Twenty-One Landmark European Films 1939-1999
by: Bert Cardullo (Author)
Publisher: Algora Publishing
Publication Date: 2015/1/21
Language: English
Print Length: 276 pages
ISBN-10: 1628941308
ISBN-13: 9781628941302
Book Description
Twenty-One Landmark European Films, 1939-1999 is a film-analysis text that includes illustrated essays on many of the best European films made between the coming of World War II and the end of the twentieth century. Written with university students in mind (but also aimed at teachers, film buffs, and educated readers), these essays cover some of the central films treated in cinema courses. They also provide students with practical models to help them improve their own analytical and critical skills. The essays included in Twenty-One Landmark European Films thus make perfect introductions to their respective films as well as important contributions to the field of film studies in general. This book contains, in addition, a valuable critical apparatus:notes, bibliographies, movie credits, filmographies, and topics for writing and discussion. The book is aimed at students, teachers, and cinephiles with an interest in European cinema in particular and cinema studies in general, as well as at those educated readers with an interest in the practice of film analysis and criticism. “Cardullo provides readers with highly valuable accounts of the context in which each film was made (and released). Although this may sound trivial, lack of context – social, historical, and otherwise – is one of the great weaknesses of most film criticism. On the other hand, Cardullo provides a comprehensive and detailed survey of what has already been said about each film, while simultaneously demonstrating how genuinely new his own analysis is. Frankly, positing a canon of significant films, as Cardullo does here, and then re-evaluating them – or, rather, validating their importance – is a critical act of serious merit. Nowadays, academic film criticism takes an excessively microscopic view of the cinema. In short, the significance of Twenty-One Landmark European Films is that it creates a canon and makes a convincing argument for the place of these particular films within it.”This work would have an appeal to any serious student of film. It is mercifully free of the critical-cum-theoretical jargon that disfigures most scholarly writing; this book can be read with profit by almost anyone. At the same time, Cardullo’s lucid counter-arguments to the usual run-of-the-mill accounts scattered in film histories challenge common assumptions. One of Cardullo’s strengths as a critic is precisely what he has to say about major films of the kind found in this book. I think he is at his best in tackling landmarks:that’s where his revisionist insights place him head and shoulders above academic film critics. Bert Cardullo does an excellent job of showing both why these works are landmarks and why to a great extent they’ve not been properly understood – until now.”– John Mosier, Loyola University of New Orleans, USAThis book could be one of the primary texts for courses in film analysis, to accompany a work like Timothy Corrigan’s A Short Guide to Writing about Film . It would also be a suitable supplementary or secondary text in such courses as ‘Introduction to Film’ or ‘Film Appreciation’; ‘Weste European Cinema’; ‘History of Film’ or ‘Global Cinema’; and ‘Film Directors’ or ‘Film Style and Imagination.The only competition comes from Stanley Kauffmann’s relatively brief Ten Great Films (136 pp., 2012), which treats Potemkin, Way Down East, The Gold Rush, La Grande Illusion, Rashomon, L’avventura, Persona, Tokyo Story, and Some Like It Hot. The current work offers twenty-one illustrated essays (Kauffmann’s book contains no images) and focuses on Europe (France, Italy, England, Hungary, Belgium, Sweden, Scotland, Denmark, Russia, Spain, Germany, Scotland, and Finland.)
About the Author
Twenty-One Landmark European Films, 1939-1999 is a film-analysis text that includes illustrated essays on many of the best European films made between the coming of World War II and the end of the twentieth century. Written with university students in mind (but also aimed at teachers, film buffs, and educated readers), these essays cover some of the central films treated in cinema courses. They also provide students with practical models to help them improve their own analytical and critical skills. The essays included in Twenty-One Landmark European Films thus make perfect introductions to their respective films as well as important contributions to the field of film studies in general. This book contains, in addition, a valuable critical apparatus:notes, bibliographies, movie credits, filmographies, and topics for writing and discussion. The book is aimed at students, teachers, and cinephiles with an interest in European cinema in particular and cinema studies in general, as well as at those educated readers with an interest in the practice of film analysis and criticism. “Cardullo provides readers with highly valuable accounts of the context in which each film was made (and released). Although this may sound trivial, lack of context – social, historical, and otherwise – is one of the great weaknesses of most film criticism. On the other hand, Cardullo provides a comprehensive and detailed survey of what has already been said about each film, while simultaneously demonstrating how genuinely new his own analysis is. Frankly, positing a canon of significant films, as Cardullo does here, and then re-evaluating them – or, rather, validating their importance – is a critical act of serious merit. Nowadays, academic film criticism takes an excessively microscopic view of the cinema. In short, the significance of Twenty-One Landmark European Films is that it creates a canon and makes a convincing argument for the place of these particular films within it.”This work would have an appeal to any serious student of film. It is mercifully free of the critical-cum-theoretical jargon that disfigures most scholarly writing; this book can be read with profit by almost anyone. At the same time, Cardullo’s lucid counter-arguments to the usual run-of-the-mill accounts scattered in film histories challenge common assumptions. One of Cardullo’s strengths as a critic is precisely what he has to say about major films of the kind found in this book. I think he is at his best in tackling landmarks:that’s where his revisionist insights place him head and shoulders above academic film critics. Bert Cardullo does an excellent job of showing both why these works are landmarks and why to a great extent they’ve not been properly understood – until now.”– John Mosier, Loyola University of New Orleans, USAThis book could be one of the primary texts for courses in film analysis, to accompany a work like Timothy Corrigan’s A Short Guide to Writing about Film . It would also be a suitable supplementary or secondary text in such courses as ‘Introduction to Film’ or ‘Film Appreciation’; ‘Weste European Cinema’; ‘History of Film’ or ‘Global Cinema’; and ‘Film Directors’ or ‘Film Style and Imagination.The only competition comes from Stanley Kauffmann’s relatively brief Ten Great Films (136 pp., 2012), which treats Potemkin, Way Down East, The Gold Rush, La Grande Illusion, Rashomon, L’avventura, Persona, Tokyo Story, and Some Like It Hot. The current work offers twenty-one illustrated essays (Kauffmann’s book contains no images) and focuses on Europe (France, Italy, England, Hungary, Belgium, Sweden, Scotland, Denmark, Russia, Spain, Germany, Scotland, and Finland.)
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