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Zusatztext This stealthy dissection of Alan J. Pakula's seminal political thriller promises to "imitate" reporters Bernstein and Woodward by "asking questions and taking notes and making connections". Job Done. Strong on context, the book really takes flight with its often shot-by-shot analysis, which places everything from bicycle wheels to banjos under the microscope. Informationen zum Autor Robert B. Ray is Professor of English at the University of Florida and the author of A Certain Tendency of the Hollywood Cinema, 1930-1980 , The Avant-Garde Finds Andy Hardy, How a Film Theory Got Lost and Other Mysteries in Cultural Studies, The ABCs of Classic Hollywood, Walden x 40, and The Structure of Complex Images. Christian Keathley is Professor of Film and Media Culture at Middlebury College and the author of Cinephilia and History , or The Wind in the Trees and co-author of The Videographic Essay . His scholarly articles have appeared in such journals as Screen and MOVIE, and in such volumes The Last Great American Picture Show and Directed by Allen Smithee . Klappentext Alan J. Pakula's political thriller All the President's Men (1976) was met with immediate critical and commercial success upon its release, finishing second at the box office and earning seven Academy Award nominations. Through a close reading of key scenes, performances and stylistic decisions, Christian Keathley and Robert B. Ray show how the film derives its narrative power through a series of controlled oppositions: silence vs. noise; stationary vs. moving camera; dark vs. well-lit scenes and shallow vs. deep focus, tracing how these elements combine to create an underlying formal design crucial to the film's achievement. They argue that the film does not fit the auteurist model of New Hollywood film-makers such as Coppola and Scorsese. Instead, All the President's Men more closely resembles a studio-era film, the result of a collaboration between a producer (Robert Redford), multiple scriptwriters, a skilful director, important stars (Robert Redford and Dustin Hoffman), a distinctive cameraman (Gordon Willis), an imaginative art director (George Jenkins) and ingenious sound designers, who together created an enduringly great film. Vorwort A study of Alan Pakula's 1976 political thriller All the President's Men in the BFI Film Classics series. Zusammenfassung Alan J. Pakula’s political thriller All the President’s Men (1976) was met with immediate critical and commercial success upon its release, finishing second at the box office and earning seven Academy Award nominations. Through a close reading of key scenes, performances and stylistic decisions, Christian Keathley and Robert B. Ray show how the film derives its narrative power through a series of controlled oppositions: silence vs. noise; stationary vs. moving camera; dark vs. well-lit scenes and shallow vs. deep focus, tracing how these elements combine to create an underlying formal design crucial to the film’s achievement. They argue that the film does not fit the auteurist model of New Hollywood film-makers such as Coppola and Scorsese. Instead, All the President’s Men more closely resembles a studio-era film, the result of a collaboration between a producer (Robert Redford), multiple scriptwriters, a skilful director, important stars (Robert Redford and Dustin Hoffman), a distinctive cameraman (Gordon Willis), an imaginative art director (George Jenkins) and ingenious sound designers, who together created an enduringly great film. Inhaltsverzeichnis Acknowledgements Introduction 1.Who's in Control? 2.The Scripts and Their Ellipses 3.Cast Performance Styles 4.Découpage and Dialectics Conclusion Notes Credits ...
