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What do the movie masterpieces Gaslight, Stella Dallas, Now, Voyager, and Letter from an Unknown Woman have in common? Stanley Cavell, Harvard professor and film lover, believes they make up a small genre: the Hollywood melodrama of the unknown woman. In this sequel to his book Pursuits of Happiness, Cavell argues that these darkly beautiful films respond to issues raised in such comedies of remarriage as The Philadelphia Story, Adam's Rib, and The Awful Truth. The author's prose is sometimes challenging, but he remains one of the most interesting critics of film genre and classic Hollywood. One would be hard-pressed to find an author who writes about individual films with his kind of rigor, or who connects the various issues they raise to so many different philosophies of mind and art. The section in which Cavell refutes the academic commonplace that the camera offers viewers only the male gaze is particularly well done. In it, Cavell lists sequence after sequence in classic Hollywood films in which audiences are invited to look through the eyes--and the desires--of women. --Raphael Shargel
Kurzbeschreibung
A Note on the Captions Preface Introduction 1: Naughty Orators: Negation of Voices in Gaslight 2: Psychoanalysis and Cinema: Moments of Letter from an Unknown Woman3: Ugly Duckling, Funny Butterfly: Bette Davis and Now, Voyager 4: Postscript: To Whom It May Concern 5: Stella's Taste: Reading Stella Dallas Notes Bibliography Filmography Index
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SOMETHING IN THE LANGUAGE OF THE unknown woman melodrama must bear, as I was saying, the weight borne by the weight of conversation in the case of remarriage comedy. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
SOMETHING IN THE LANGUAGE OF THE unknown woman melodrama must bear, as I was saying, the weight borne by the weight of conversation in the case of remarriage comedy. Lesen Sie die erste Seite
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Format:Taschenbuch
To say that Cavell's prose is challenging is charitable, at best. True, his ideas are solid and any good, insightful work requires effort to understand, but Cavell seems to circle around himself in a rhetorical spiral of namedropping and navel-gazing with an irksome regularity. He frequently explores ill-transitioned tangets with no warning or reason apprent, and the overall read becomes fractured and one is left wondering why. This said, when one can extract the ore of Cavell's reason, it is pure gold. Truly, a mixed bag.
Format:Taschenbuch
THE BOOK IS THE CUMULATIVE RESULT OF CAVELL'S REMARKABLE QUEST TO BRING PHILOSOPHY BACK TO THE HUMANITIES.
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3 Rezensionen
2 von 4 Kunden fanden die folgende Rezension hilfreich
Not bad, certainly, but not the best.
20. September 1999
Format:Taschenbuch
To say that Cavell's prose is challenging is charitable, at best. True, his ideas are solid and any good, insightful work requires effort to understand, but Cavell seems to circle around himself in a rhetorical spiral of namedropping and navel-gazing with an irksome regularity. He frequently explores ill-transitioned tangets with no warning or reason apprent, and the overall read becomes fractured and one is left wondering why. This said, when one can extract the ore of Cavell's reason, it is pure gold. Truly, a mixed bag.
5 von 10 Kunden fanden die folgende Rezension hilfreich
Cavell's WORST book
10. August 2002
Format:Taschenbuch
No, I haven't read them all, but this is a severely disappointing follow-up to Cavell's near-perfect previous volume on Hollywood film, "Pursuits of Happiness" (a collection of essays on, mostly, screwball comedies). Especially given that the idea for the volume is such a great one, foreshadowed in an earlier essay (included here, on "Letter from an Unknown Woman") in which Cavell suggestively drew a connection between Hollywood melodrama and Freud's early work on hysteria as a new way of getting at our author's trademark obsession, epistemological problems as human problems. But what made "Pursuits of Happiness" such a tremendous work of film criticism is that whatever Cavell's pretensions, one always believed that he loved the movies he was writing about. Here that feeling is missing; instead you get the feeling he doesn't understand the point of most of these movies at all, and even (shudder!) that his attitude to the genre is condescending. Well, no critic or philosopher can do everything. A sorry introduction to either Cavell or the great Hollywood genre of the women's picture, which still awaits the kind of exposition that Cavell could have given it, at his best. The two stars are for the excellent essay on "Now, Voyager"; the essay on "Gaslight" is an interesting philosophical read, with very little to do with the film; the essay on "Stella Dallas" should be avoided like the plague.
2 von 8 Kunden fanden die folgende Rezension hilfreich
CAVELL'S BEST BOOK
2. Oktober 1998
Format:Taschenbuch
THE BOOK IS THE CUMULATIVE RESULT OF CAVELL'S REMARKABLE QUEST TO BRING PHILOSOPHY BACK TO THE HUMANITIES.
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