Aktion	Zweigstelle	Standorte	Status	Frist	Vorbestellungen
Vorbestellen	Zweigstelle: 07., Urban-Loritz-Pl. 2a	Standorte: KT.FG Kael / College 5a - Szene	Status: Verfügbar	Frist:	Vorbestellungen: 0
Vorbestellen	Zweigstelle: 07., Urban-Loritz-Pl. 2a	Standorte: KT.FG Kael / College 5a - Szene	Status: Rücksortierung	Frist:	Vorbestellungen: 0

"Film criticism is exciting just because there is no formula to apply," Pauline Kael once observed, "just because you must use everything you are and everything you know." Between 1968 and 1991, as regular film reviewer for The New Yorker, Kael used those formidable tools to shape the tastes of a generation, enthralling readers with her gift for capturing, with force and fluency, the essence of an actor's gesture or the full implication of a cinematic image. Kael called movies "the most total and encompassing art form we have," and she made her reviews a platform for considering both film and the worlds it engages, crafting in the process a prose style of extraordinary wit, precision, and improvisatory grace. To read The Age of Movies, the first new selection in more than a generation, is to be swept up into an endlessly revealing and entertaining dialogue with Kael at her witty, exhilarating, and opinionated best. Her ability to evoke the essence of a great artist-an Orson Welles or a Robert Altman-or to celebrate the way even seeming trash could tap deeply into our emotions was matched by her unwavering eye for the scams and self-deceptions of a corrupt movie industry. Here in this career spanning collection are her appraisals of the films that defined an era-among them Breathless, Bonnie and Clyde, The Leopard, The Godfather, Last Tango in Paris, Nashville-along with many others, some awaiting rediscovery, all providing the occasion for masterpieces of observation and insight, alive on every page. (Verlagstext)

Contents: Introduction / Movies, the Desperate Art / from I Lost it at the Movies: The Glamour of Delinquency; The Golden Coach; Shoeshine; Breathless, and the Daisy Miller Doll; West Side Story; Lolita; Jules and Jim: Billy Budd; Yojimbo; Devi; Hud, Deep in the Divided Heart of Hollywood / from Kiss Kiss Bang Bang: Laurence Olivier as Othello; Marlon Brando: An American Hero; Movie Brutalists; Tourist in the City of Youth [Blow-Up]; Movies on Television; Orson Welles: There Ain´t No Way [Falstaff / Chimes at Midnight]; Bonnie and Clyde / from Going Steady: Movies as Opera [China Is Near]; A Minority Movie [La Chinoise]; Faces; A Sign of Life [Shame]; Trash, Art, and the Movies; Saintliness [Simon of the Desert] / from Deeper into Movies: The Bottom of the Pit [Butch Cassidy and the Sundance Kid]; High School; Fellini´s Mondo Trasho" [Fellini Satyricon]; Notes on Heart and Mind; The Poetry of Images [The Conformist]; Pipe Dream [mcCabe & Mrs.Miller]; Helen of Troy, Sexual Warrior [The Trojan Women]; Louis Malle´s Portrait of the Artist as a Young Dog [Murmur of the Heart]; Urban Gothic [The French Connection]; The Fall and Rise of Vittorio De Sica [The Garden of the Finzi-Continis]; Stanley Strangelove [A Clockwork Orange]; Alchemy [The Godfather]; Collaboration and Resistance [The Sorrow and the Pity] / from Reeling: Tango [Last Tango in Paris]; Pop Versus Jazz [Lady Sings the Blues]; The Fred Astaire & Ginger Rogers Book; Days and Nights in the Forest; A Rip-off with Genius [Marilyn]; After Innocence [The Last American Hero]; Everyday Inferno [Mean Streets]; Movieland-The Bums´Paradise [The Long Goodbye]; Moments of Truth [The Iceman Cometh]; Politics and Thrills; Survivor [Sleeper]; Killing Time [Magnum Force]; Cicely Tyson Goes to the Fountain [The Autobiography of Miss Fane Pittman]; The Used Madonna [The Mother and the Whore]; When the Saints Come Marching In [Lenny]; Fathers and Sons [The Godfather, Part II]; Beverly Hills as a Big Bed [Shampoo]; Coming: Nashville / from When the Lights Go Down: The Man from Dream City [Cary Grant]; All for Love [The Story of Adéle H.]; Walking into Your Childhood [The Magic Flute]; Notes on the Nihilist Poetry of Sam Peckinpah [The Killer Elite]; The Artist as a Young Comedian [Next Stop, Greenwich Village]; Undergroung Man [Taxi Driver]; Sparkle; Notes on Evolving Heroes, Morals, Audiences; Hot Air [Network]; Marguerite Duras [The Truck]; A Woman for All Seasons? [Julia]; Shivers [The Fury]; Fear of Movies; Bertrand Blier; The God-Bless-America Symphony [The Deer Hunter]; Pods [Invasion of the Body Snatchers] / from Taking It All In: Why Are Movies So Bad? or, The Numbers, The Chant of Jimmie Blacksmith, The Man Who Made Howard Hughes Sing [Melvin and Howard]; Used Cars; Religious Pulp, or The Incredible Hulk [Raging Bull]; Atlantic City; Hey, Torquemada [History of the World-Part I]; Portrait of the Artist as a Young Gadgeteer [Blow Out]; Pennies from Heaven; Shoot the Moon; Richard Pryor Live on the Sunset Strip; E.T.The Extra-Terrestrial; Up the River [Fitzcarraldo, Burden of Dreams]; Tootsie; Memory [The Night of the Shooting Stars] / form State of the Art: A Masterpiece [The Leopard]; The Perfectionist [Yentl]; Golden Kimonos [THe Makioka Sisters] / from Hooked: Out There and In Here [Blue Velvet]; Irish Voices [The Dead]; The Lady From the Sea [High Tide] / from Movie Love: Unreal [Women on the Verge of a Nervous Breakdown]; A Wounded Apparition [Casualties of War]; Satyr [My Left Foot]; The Grifters; Sources and Acknowledgments; Index