Read Instead…in Print

 
A photo of a good book about cinema. No discursive, pretentious analyses, no verbose scrutiny. Because the idea is to invite you to read the book, not read about it here. But instead of using social media, I use my journal. Back to basics. Take it as a wish to break free of over-reliance on social media (even if it’s just for posting a photo of a good book) for presenting my work, cultural finds and interests. These are things to be enjoyed as stand-alone pieces in a more substantial and meaningful way than showing them in the black hole of Instagram thronged with an audience with a short attention span. This is also a look through my voluminous collection of books about film that I use as research in my adamant decision to rely less and less on the online and more on more on print materials.

Read instead…in print #13

In Pictures at a Revolution: Five Movies and the Birth of the New Hollywood, Mark Harris tells five stories at a time, about the making of five movies (Bonnie and Clyde, The Graduate, Guess Who’s Coming to Dinner, In the Heat of the Night, Doctor Doolittle) at a pivotal moment for the future of the American cinema, in the 1960s, and the birth of the New Hollywood. It is a great account of making movies. It is also a great account of the social and cultural scene of the period. It is the story of a moment in time, of the ideas, politics and art surrounding the world of cinema, while the writer’s main preoccupation remains how the movies were made.

“All movies are gambles; each one begins with a prayer that what seems like a brilliant idea to its writers and directors and producers and actors at the moment it is kindled will still have meaning after years of fights and compromises and reconceptions and struggles, when it comes alive on a screen.”
 
 

MORE STORIES

Read instead…in print #12: Lulu in Hollywood

A Southern girl who was dying to get out of the South: Faye Dunaway in Bonnie and Clyde

Bob Willoughby, the photographer who was as great as the stars he shot:
Interview with Christopher Willoughby

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