By Steven Jay Schneider
With multiple million copies offered all over the world in twenty-four languages, 1001 video clips you want to See ahead of You Die celebrates the good and groundbreaking, vintage and cult, must-see video clips of all time and gives a treasure trove of incisive, witty and revealing insights into the realm of movie.
This newly revised and up-to-date edition of 1001 video clips is illustrated with hundreds of thousands of lovely movie stills, snap shots and poster paintings, bringing jointly the main major videos from all genres, from motion to Western, via animation, comedy, documentary, musical, noir, romance, mystery, brief and sci-fi.
The choice contains videos from over 30 nations and spans greater than a century of outstanding cinema. no matter if your ardour is rom-com or paintings apartment, The Blue Angel or Blue Velvet, 1001 videos is the ebook for you.
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Additional resources for 1001 Movies: You Must See Before You Die (Updated Edition)
Scorsese claimed that the only way to deliver it was “so cold that you concentrate on the words” (SS, 77). ” With La Motta looking in the mirror as he speaks, an ambiguity arises. That is, does “Charlie” refer to Jake’s brother Joey, who seems to be in an analogous situation with Terry’s brother Charlie, or does Jake staring at himself in the mirror imply that he himself is culpable? Does Jake blame his brother for his compromises, his ring failures, Vickie’s ostensible infidelities? Or has he finally faced up to his own responsibility?
Raging Bull employs an array of image and sound devices to portray Jake La Motta’s emotions in the course of the fight. Most noteworthy is that the camera almost always stays in the ring with Jake rather than shooting from the side or above the ring. The film develops the sense that inside the ring becomes equivalent to inside Jake’s psyche. Earlier boxing films, such as Kid Galahad, Body and Soul, and Somebody Up There Likes Me, have shots within the ring that intercut with more distant perspectives and highlight the decisive moments of the bout; but no boxing film has designed its fighting sequences almost exclusively within the ring and employed that distinctive view as a basis for the boxer’s subjectivity.
Malcolm, “The Punch,” 10. 7. Eleanor Ringel, “Raging Bull Goes the Distance in Spite of Itself,” Atlanta Constitution, 20 February 1981, 3B. 8. Peter Ackroyd, “All the Rage,” Spectator, 28 February 1981, 26. 9. John Coleman, “Box and Cocks,” New Statesman, 20 February 1981, 23. 10. Desson Thomson, “Inside the Skin of a Killer: Charlize Theron Tears into Role of a Lifetime in Violent Monster,” Washington Post, 9 January 2004, sec. C, p. 1. 11. Lawrence O’Toole, “Going the Distance, and Much, Much Further,” Maclean’s, 1 December 1980, 73.