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Bezig met laden... The Cinema of Todd Haynes: All That Heaven Allows (Directors' Cuts)door James Morrison
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Todd Haynes has emerged from the trenches of independent American film in the 1990s to become one of the twenty-first century's most audacious filmmakers. In a series of smart, informative essays, this book traces his career from its roots in New Queer Cinema to the Oscar-nominated Far from Heaven (2002). Along the way, it covers such landmark films as Poison (1991), Safe (1995), and Velvet Goldmine (1998). Contributors look at these films from a variety of angles, including his debts to the avant-garde and such noted precursors as Rainer Werner Fassbinder; his adventurous uses of melodrama; and his incisive portrayals of contemporary life. Geen bibliotheekbeschrijvingen gevonden. |
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)791.430233092The arts Recreational and performing arts Public performances Film, Radio, and Television Film Techniques, procedures, apparatus... Supervision Film direction History, geographic treatment, biography DirectorsLC-classificatieWaarderingGemiddelde:
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But I'm going to try to control myself for a minute so that I can write this review without, like, rushing off to watch Safe for the millionth time.
It's obvious that this collection, like all other collections of criticism about a single director, takes auteur theory as its point of departure. What's interesting, though, is that it's criticism about works that are already drenched in theory, that are already engaged with the very concerns that criticism usually attempts to tease out.
This is a director whose short film Dottie Gets Spanked isn't just about a young boy's fascination with spanking--it actually quotes Freud's "A Child is Being Beaten." Far from Heaven isn't just a melodrama that borrows some visual and narrative cues from Douglas Sirk's films; it plays with Sirk and with Fassbinder's takes on Sirkian melodrama, and it's not just indebted to Fassbinder's films but to Fassbinder's essay about Sirk's films. I mean, come on, this isn't Quentin Tarantino-style fanboy pastiche auteurism--Haynes is a different beast entirely.
So what I like about this collection is that it attempts to deal with its subject by pushing beyond the obvious connections to the theories (postmodern, feminist, queer, genre, etc.) that are embedded in the films themselves. I particularly enjoyed Marcia Landy's "Storytelling and Information in Todd Haynes' Films," both essays about queer childhood, and especially Nick Davis' "'The Invention of a People': Velvet Goldmine and the Unburying of Queer Desire," which is going to be the thing that forces me finally, at long last, to read Gilles Deleuze.
I haven't yet read the other collection of essays about Haynes (the Camera Obscura one) so I can't compare the two, but this is a pretty exciting collection for anyone who's into his work, or into contemporary cinema in general. ( )