Bøger af Matthew Asprey Gear

The making of Night Moves is the story of the collaboration of two artists of starkly different sensibilities – Alan Sharp the hopeless fatalist, Arthur Penn the agitating progressive. Each was just beginning to descend from his peak of cultural relevance. Sharp and Penn came together in 1973 to make a dark film about an America bereft of answers. Everything seemed in place for a triumph. Finally, in careers plagued by compromise, there was both an adequate budget and artistic freedom. Gene Hackman’s performance would expertly particularise an archetype fracturing before our eyes – the knightly private detective unable to solve his case, the macho American male desperate for certainty but lost at sea.But neither Penn nor Sharp was satisfied with the resulting movie and disagreed over its final form. After a long delay, Warner Brothers cut its losses and dumped Night Moves into cinemas with a half-hearted publicity campaign. The movie’s reviews were mixed and it failed to make a profit in the summer of 1975. That season was dominated by Steven Spielberg’s Jaws, which provided Hollywood with a new and super-profitable model of film production.And yet Night Moves has gone on to be recognised as one of the defining films of the 1970s, both as a profound human drama and as an enduring evocation of the zeitgeist. This Technicolor neo-noir, along with Robert Altman’s The Long Goodbye (1973) and Roman Polanski’s Chinatown (1974), reinvented and redeemed the private detective movie. A reactionary, nostalgia-crazed culture industry had tried to neuter the genre, reduce it to a repertoire of clichéd gestures. This trio of pictures re-asserted film noir as an ideal cinematic language to explore the darkness at the heart of America.

The films of Orson Welles inhabit the spaces of cities-from America's industrializing midland to its noirish borderlands, from Europe's medieval fortresses to its Kafkaesque labyrinths and postwar rubblescapes. His movies take us through dark streets to confront nightmarish struggles for power, the carnivalesque and bizarre, and the shadows and light of human character.This ambitious new study explores Welles's vision of cities by following recurring themes across his work, including urban transformation, race relations and fascism, the utopian promise of cosmopolitanism, and romantic nostalgia for archaic forms of urban culture. It focuses on the personal and political foundation of Welles's cinematic cities-the way he invents urban spaces on film to serve his dramatic, thematic, and ideological purposes.The book's critical scope draws on extensive research in international archives and builds on the work of previous scholars. Viewing Welles as a radical filmmaker whose innovative methods were only occasionally compatible with the commercial film industry, this volume examines the filmmaker's original vision for butchered films, such as The Magnificent Ambersons (1942) and Mr. Arkadin (1955), and considers many projects the filmmaker never completed-an immense "e;shadow oeuvre"e; ranging from unfinished and unreleased films to unrealized treatments and screenplays.