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
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
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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