Direct cinema

Style became more pronounced in the 50s with "direct cinema," in the documentaries of Lindsay Anderson (Everyday Except Christmas) and Karel Reisz and Tony Richardson (Momma Don t Allow). This was even more the case in the "cinema verite" explosion in the documentary filmmakers of the 60s (Leacock, Pennebaker, the Maysles brothers). But no examples of the style sacrificed those original intentions—actuality, education, political goals. Also, the style crossed over into the feature film— Haskell Wexler s Medium Cool and Michael Ritchie s The Candidate. In the... 

I also think that the American tradition that we were talking about, of 1960s New Journalism and direct cinema, is very rich. And in addition to that, 1 think Americans are disposed toward empiricism. You really do have this preparedness among very intelligent American filmmakers to spend forever on a subject until it s absolutely right, and that s why their films are very good. Very enduring. And why I love them so much. 

When this gratuitously titled machinery is set into rotary motion, the striped and displaced circles appear to undulate. This movement produces a hypnotic illusion of pulsating depth, or what Robert Lebel poetically called a screen for suggestive metamorphosis. Fascinated by this quirky optical experiment, Duchamp (especially in 1926) created a number of substitute disks decorated with either spiral-linear and colored patterns, many of which included similarly inscribed onomatopoetically, pseudo-emblematic patterns (see MD-125, MD-126, MD-135, MD-139). These motorized illusionistic doodles continued in production, culminating eventually in 1935, with the editions of some 1500, flat cardboard disks, collectively called the Rotoreliefs (MD-144). Another approach in this direction of rotary symbolism was represented in the 1926 film Anemic Cinema (MD-140), where spirals alternate with puns inscribed within slowly turning disks. ... 

It could be argued that much of Allen s work, especially the early work, responds to iconic masculinity in cinema, for example. Play It Again, Sam (1972), is directly about the character s relationship with Humphrey Bogart. However, the Bond/Allen relationship has not been explored in any depth in the scholarly literature. 

Woolf s key essay about visual culture is The Cinema , one of the first British essays to identify cinema s potential in modernism. The essay was triggered by Woolf s interest in The Cabinet of Dr. Caligari, directed by Robert Wiene in Germany in 1919. The film depicts a story told by a madman about a psychopathic murder, and interweaves nightmare and reality. Woolf s essay is only tangentially about the film itself and focuses more on issues of the psychoanalytic and film spectatorship in general. The Cinema addresses her central concerns elsewhere in her work how common viewers experience film and film s psychic power the relationship between film and the arts and film s status and future. 

In the world of cinema, Poe is probably best known through the works of American actor Vincent Price. Indeed, as Ron Haydock has noted, It s difficult anymore not to think of Vincent Price whenever anybody, for whatever reason, even mentions the name of Edgar Allan Poe. While such a comment may be less true today than it was in the 1970s, Price still seems intimately linked to Poe and the movies, and indeed to Poe and popular culture, perhaps more than any other person. From i960 to 1970 Price starred in eleven Poe films, which were produced by American International Pictures and directed, for the most part, by Roger Corman. 5 Haydock finds the Corman films particularly notable for the dream sequences usually bizarre, camera-distorted scenes that actually came the closest in any of the... 

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