A profound and richly satisfying reckoning with the movies and what they mean.
Thomson (The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder, 2009, etc.) brings his encyclopedic knowledge of film and idiosyncratic, allusive style to bear on this ambitious consideration of the history of motion pictures and their effect on the audience.
The author goes beyond mere survey and analysis to question what movies mean to us and how they have shaped our perceptions and beliefs. Thomson chronicles the development of movies from Eadweard Muybridge’s 19th-century photographic experiments to the phenomenon of Internet pornography. Along the way, he explicates the excitement and politically fraught evolution of Soviet cinema, the provocations of the European New Wave, the allure of film noir and the world-shaking product of Hollywood, but the author makes no attempt to give a comprehensive or strictly linear history of the medium. Thomson is more interested in making striking connections, looking deeply at particular films, such as Brief Encounter (a surprising subject for such intense scrutiny and indicative of Thomson’s iconoclastic bent) or the TV landmark I Love Lucy, to pursue the central question of his history: What does life in front of screens do to us? Thomson’s approach is lyrical and questing rather than academic; the book is accessible to anyone with more than a passing interest in the subject, written in a distinctive voice, learned and authoritative without pedantic dryness and touched with wonder and trepidation at the primal power of the image. Readers familiar with the author’s Biographical Dictionary of Film will be happy to note that Thomson’s beguiling knack for capturing the essences of our movie icons in poetic or provocative asides has not diminished, and the scholarship on display is first-rate. However, the heart of this unique overview is the author’s ambivalence about the power we grant those shadows on the wall.
A profound and richly satisfying reckoning with the movies and what they mean.Pub Date: Oct. 16, 2012
ISBN: 978-0-374-19189-4
Page Count: 592
Publisher: Farrar, Straus and Giroux
Review Posted Online: Oct. 3, 2012
Kirkus Reviews Issue: Nov. 1, 2012
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
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BOOK TO SCREEN
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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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