Hollywood quarterly : film culture in postwar America, by Eric Smoodin, Ann Martin

By Eric Smoodin, Ann Martin

Creation : The Hollywood Quarterly, 1945-1957 / Eric Smoodin -- half 1. The Avant-Garde -- Experimental Cinema in the US, half One : 1921-1941 / Lewis Jacobs -- Experimental Cinema in the USA, half : The Postwar Revival / Lewis Jacobs -- The Avant-Garde movie obvious from inside / Hans Richter -- Cinema sixteen : A exhibit for the Nonfiction movie / Amos Vogel -- half 2. Animation -- Animation Learns a brand new Language / John Hubley and Zachary Schwartz -- track and the lively comic strip / Chuck Jones -- Notes on lively Sound / Norman McLaren -- Mr. Magoo as Public Dream / Milton J. Rosenberg -- half three. Documentary -- Postwar styles / John Grierson -- The Documentary and Hollywood / Philip Dunne -- Time glints Out : Notes at the Passing of the March of Time / Raymond Fielding -- half four. Radio -- The Case of David Smith : A Script, with statement by way of Sam Moore, Franklin Fearing, and Cal Kuhl / Abraham Polonsky -- Radio's charm for Housewives / Ruth Palter -- a brand new type of international relations / Gene King -- half five. perform -- a dressing up challenge : From Shot to degree to reveal / Edith Head -- functionality stressed / Alexander Knox -- Designing The Heiress / Harry Horner -- the restrictions of tv / Rudy Bretz -- half 6. tv -- Hollywood within the tv Age / Samuel Goldwyn -- You and tv / Lyman Bryson and Edward R. Murrow -- kid's tv conduct and personal tastes / may perhaps V. Seagoe -- the way to examine tv / T.W. Adorno -- half 7. The Hollywood photograph -- Why stay up for Posterity? / Iris Barry -- Hollywood : phantasm and truth / John Howard Lawson -- Negro Stereotypes at the display / Leon H. Hardwick -- ultra-modern Hero : A evaluation / John Houseman -- An Exhibitor Begs for 'B's' / Arthur L. Mayer -- A notice of warning for the clever client of movies / Franklin Fearing -- there is relatively No company Like exhibit company / Jay E. Gordon -- there is nonetheless No enterprise love it / Jean Hersholt ... [et al.] -- Hollywood's international Correspondents / Harva Kaaren Sprager -- half eight. Scenes from out of the country -- complicated education for movie staff : Russia / Jay Leyda -- complicated education for movie employees : France / Charles Boyer -- the worldwide movie / Vsevolod Pudovkin -- The Postwar French Cinema / Georges Sadoul -- while in Rome ... / Hugh grey -- half nine. Notes and Communications -- J'Accuse / Pierre Descaves -- Je Confirme / Robert Joseph -- The Cinematheque Francaise / Henri Langlois -- Jean Vigo / Siegfried Kracauer -- perspectives of a Director-- Billy Wilder / Herbert G. Luft and Charles Brackett -- discussion among the Moviegoing Public and a Witness for Jean Cocteau / Raymond Jean

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Other films continued to be made, but only two used sound. " Underground Printer, directed by Thomas Bouchard and photographed by Lewis Jacobs, presented a political satire in "monodance" drama featuring the dancer, John Bovingdon, utilizing speech, sound effects, and stylized movements. Two other silent films were made at this time:Synchronization, by Joseph Schillinger and Lewis Jacobs, with drawings by Mary Ellen Bute, illustrated the principles of rhythm in motion; Olvera Street, by Mike Seibert, was a tense dramatization of the aftermath of a flirtation between two Spanish street vendors.

The problem created by the screen's reducing the dancer to a twodimensional figure was overcome by ingenious use of wide-angle lens, a convex reflecting surface, special lighting effects, slow motion, and multiple exposures. The result is a kind of abstraction, a completely new visual experience especially heightened when two or three colored forms are juxtaposed in multiple exposure. The use of color is striking and unlike color in any other experiment thus far. Although episodic and incomplete, Introspection is original in style.

Today the documentary film is a respected, well-defined category in the film industry alongside the fictional entertainment film. It is time, I think, to introduce the experimental film as a third, legitimate if nonrespected, category, quite distinct from the other two. It has its own philosophy, its own audience, and, I feel, its necessary place in our twentieth-century society. These claims may be more difficult to prove than similar ones for the documentary or the fictional film, but even a partial failure would be a partial success in view of the current confusion about what the experimental film is and what its goals are.

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