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Opening Wednesday at a Theater or Drive-In near You : The Shadow Cinema of...

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    Neuwertig: Buch, das wie neu aussieht, aber bereits gelesen wurde. Der Einband weist keine ...
    ISBN
    9781632868183
    Kategorie

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    Product Identifiers

    Publisher
    Bloomsbury Publishing USA
    ISBN-10
    1632868180
    ISBN-13
    9781632868183
    eBay Product ID (ePID)
    227701250

    Product Key Features

    Book Title
    Opening Wednesday at a Theater or Drive-In Near You : the Shadow Cinema of the American '70s
    Number of Pages
    208 Pages
    Language
    English
    Publication Year
    2017
    Topic
    Film / General, Film / History & Criticism
    Genre
    Performing Arts
    Author
    Charles Taylor
    Format
    Hardcover

    Dimensions

    Item Height
    0.8 in
    Item Weight
    12.7 Oz
    Item Length
    8.5 in
    Item Width
    5.8 in

    Additional Product Features

    Intended Audience
    Trade
    LCCN
    2016-040877
    Reviews
    "A day when you can read a long, meaty, brilliant new essay by Charles Taylor cannot be a bad day." - A. O. Scott "A terrific film critic . . . His writing packs soul in a Greil Marcus sort of way." - Dwight Garner "An influential and compulsively readable film critic . . . He called it like he saw it, often employing the sorts of provocative turns of phrase that spark arguments in parking lots . . . Such vivid commentary affords readers a pathway into movies." - Slant Magazine "Movie criticism's Dostoyevsky, Charles Taylor scribbles notes from the underground of suburban basements in the Seventies, when Americans could barely tell anymore the subversive from the square. In forgotten semi-classics like Cisco Pike and cult stars like Lee Marvin ('an almost subterranean actor'), charting heretofore unseen connections between Faye Dunaway and Mick Jagger, Taylor reveals a national identity forged from the innocence we claim to have lost but never had in the first place." - Steve Erickson, author of TOURS OF THE BLACK CLOCK, ZEROVILLE, and SHADOWBAHN "Charles Taylor's impassioned exploration of the underside of '70s cinema is blunt about the flaws of these films but utterly persuasive about their value. This is provocative, informed, richly contextualized cultural criticism for readers to revel in, learn from, laugh with, and argue about." - Mark Harris, author of PICTURES AT A REVOLUTION and FIVE CAME BACK "Reading Charles Taylor's Opening Wednesday is like looking in a mirror--in this case the mirror of such officially celebrated 1970s movies as The Godfather and Mean Streets . You see yourself in unfamiliar but dimly recognizable clothes that, you swear, aren't your own: slept in, utilitarian, garish, tasteless, and yet somehow beckoning, like a repressed memory. As you pass through this book, whether you know the movies Taylor dives into or not, you'll find that the book casts its own shadows: you have to see these pictures, right now." - Greil Marcus, "An astute critic of film and popular culture in general, Taylor is often drawn to the grittier vitality of the dark underbelly. This collection of critical essays will provide revelation for many--readers who have never heard of most of these movies--but it also serves as vindication for the movie geeks who know exactly where Quentin Tarantino finds inspiration. . . . He makes readers eager to see movies that were barely seen the first time through. An illuminating collection of film criticism." - Starred Review, Kirkus Reviews "Film and culture critic Taylor opines that many worthy 1970s movies (or at least those worthy of reconsideration) have been unfairly overlooked . . . . For each, he talks about the plot, cultural underpinnings, and sometimes troubled production histories . . . . Taylor makes a very reasonable case for reexamining each one, assisted by a most readable writing style." - Library Journal "An interesting and frequently surprising look at a vibrant era in American film history." - Booklist "A day when you can read a long, meaty, brilliant new essay by Charles Taylor cannot be a bad day." - A. O. Scott "A terrific film critic . . . His writing packs soul in a Greil Marcus sort of way." - Dwight Garner "An influential and compulsively readable film critic . . . He called it like he saw it, often employing the sorts of provocative turns of phrase that spark arguments in parking lots . . . Such vivid commentary affords readers a pathway into movies." - Slant Magazine "Film critic Taylor's first collection brings together a wondrous set of essays on 1970s American B-movies. The decade is known for classics such as The Godfather and Taxi Driver , but Taylor has chosen to highlight the pleasures of lesser-known films. . . . His essays are consistently illuminating and the reader comes away with a strong desire to track down the films he praises." - Publishers Weekly "Movie criticism's Dostoyevsky, Charles Taylor scribbles notes from the underground of suburban basements in the Seventies, when Americans could barely tell anymore the subversive from the square. In forgotten semi-classics like Cisco Pike and cult stars like Lee Marvin ('an almost subterranean actor'), charting heretofore unseen connections between Faye Dunaway and Mick Jagger, Taylor reveals a national identity forged from the innocence we claim to have lost but never had in the first place." - Steve Erickson, author of TOURS OF THE BLACK CLOCK, ZEROVILLE, and SHADOWBAHN "Charles Taylor's impassioned exploration of the underside of '70s cinema is blunt about the flaws of these films but utterly persuasive about their value. This is provocative, informed, richly contextualized cultural criticism for readers to revel in, learn from, laugh with, and argue about." - Mark Harris, author of PICTURES AT A REVOLUTION and FIVE CAME BACK "Reading Charles Taylor's Opening Wednesday is like looking in a mirror--in this case the mirror of such officially celebrated 1970s movies as The Godfather and Mean Streets . You see yourself in unfamiliar but dimly recognizable clothes that, you swear, aren't your own: slept in, utilitarian, garish, tasteless, and yet somehow beckoning, like a repressed memory. As you pass through this book, whether you know the movies Taylor dives into or not, you'll find that the book casts its own shadows: you have to see these pictures, right now." - Greil Marcus, "A day when you can read a long, meaty, brilliant new essay by Charles Taylor cannot be a bad day." - A. O. Scott "A terrific film critic . . . His writing packs soul in a Greil Marcus sort of way." - Dwight Garner "An influential and compulsively readable film critic . . . He called it like he saw it, often employing the sorts of provocative turns of phrase that spark arguments in parking lots . . . Such vivid commentary affords readers a pathway into movies." - Slant Magazine "Film critic Taylor's first collection brings together a wondrous set of essays on 1970s American B-movies. The decade is known for classics such as The Godfather and Taxi Driver , but Taylor has chosen to highlight the pleasures of lesser-known films. . . . His essays are consistently illuminating and the reader comes away with a strong desire to track down the films he praises." - Publishers Weekly "Movie criticism's Dostoyevsky, Charles Taylor scribbles notes from the underground of suburban basements in the Seventies, when Americans could barely tell anymore the subversive from the square. In forgotten semi-classics like Cisco Pike and cult stars like Lee Marvin ('an almost subterranean actor'), charting heretofore unseen connections between Faye Dunaway and Mick Jagger, Taylor reveals a national identity forged from the innocence we claim to have lost but never had in the first place." - Steve Erickson, author of TOURS OF THE BLACK CLOCK, ZEROVILLE, and SHADOWBAHN "Charles Taylor's impassioned exploration of the underside of '70s cinema is blunt about the flaws of these films but utterly persuasive about their value. This is provocative, informed, richly contextualized cultural criticism for readers to revel in, learn from, laugh with, and argue about." - Mark Harris, author of PICTURES AT A REVOLUTION and FIVE CAME BACK "Reading Charles Taylor's Opening Wednesday is like looking in a mirror--in this case the mirror of such officially celebrated 1970s movies as The Godfather and Mean Streets . You see yourself in unfamiliar but dimly recognizable clothes that, you swear, aren't your own: slept in, utilitarian, garish, tasteless, and yet somehow beckoning, like a repressed memory. As you pass through this book, whether you know the movies Taylor dives into or not, you'll find that the book casts its own shadows: you have to see these pictures, right now." - Greil Marcus, "Film and culture critic Taylor opines that many worthy 1970s movies (or at least those worthy of reconsideration) have been unfairly overlooked . . . . For each, he talks about the plot, cultural underpinnings, and sometimes troubled production histories . . . . Taylor makes a very reasonable case for reexamining each one, assisted by a most readable writing style." - Library Journal "A day when you can read a long, meaty, brilliant new essay by Charles Taylor cannot be a bad day." - A. O. Scott "A terrific film critic . . . His writing packs soul in a Greil Marcus sort of way." - Dwight Garner "An influential and compulsively readable film critic . . . He called it like he saw it, often employing the sorts of provocative turns of phrase that spark arguments in parking lots . . . Such vivid commentary affords readers a pathway into movies." - Slant Magazine "Film critic Taylor's first collection brings together a wondrous set of essays on 1970s American B-movies. The decade is known for classics such as The Godfather and Taxi Driver , but Taylor has chosen to highlight the pleasures of lesser-known films. . . . His essays are consistently illuminating and the reader comes away with a strong desire to track down the films he praises." - Publishers Weekly "Movie criticism's Dostoyevsky, Charles Taylor scribbles notes from the underground of suburban basements in the Seventies, when Americans could barely tell anymore the subversive from the square. In forgotten semi-classics like Cisco Pike and cult stars like Lee Marvin ('an almost subterranean actor'), charting heretofore unseen connections between Faye Dunaway and Mick Jagger, Taylor reveals a national identity forged from the innocence we claim to have lost but never had in the first place." - Steve Erickson, author of TOURS OF THE BLACK CLOCK, ZEROVILLE, and SHADOWBAHN "Charles Taylor's impassioned exploration of the underside of '70s cinema is blunt about the flaws of these films but utterly persuasive about their value. This is provocative, informed, richly contextualized cultural criticism for readers to revel in, learn from, laugh with, and argue about." - Mark Harris, author of PICTURES AT A REVOLUTION and FIVE CAME BACK "Reading Charles Taylor's Opening Wednesday is like looking in a mirror--in this case the mirror of such officially celebrated 1970s movies as The Godfather and Mean Streets . You see yourself in unfamiliar but dimly recognizable clothes that, you swear, aren't your own: slept in, utilitarian, garish, tasteless, and yet somehow beckoning, like a repressed memory. As you pass through this book, whether you know the movies Taylor dives into or not, you'll find that the book casts its own shadows: you have to see these pictures, right now." - Greil Marcus
    Synopsis
    "Movie criticism's Dostoyevsky . . . Taylor reveals a national identity forged from the innocence we claim to have lost but never had in the first place." --Steve Erickson, author of Zeroville When we think of '70s cinema, we think of classics like The Godfather , Taxi Driver , and The Wild Bunch . . . but the riches found in the overlooked B movies of the time, rolled out wherever they might find an audience, unexpectedly tell an eye-opening story about post-Watergate, post-Vietnam America. Revisiting the films that don't make the Academy Award montages, Charles Taylor finds a treasury many of us have forgotten, movies that in fact "unlock the secrets of the times." Celebrated film critic Taylor pays homage to the trucker vigilantes, meat magnate pimps, blaxploitation "angel avengers," and taciturn factory workers of grungy, unartful B films such as Prime Cut , Foxy Brown , and Eyes of Laura Mars . He creates a compelling argument for what matters in moviemaking and brings a pivotal American era vividly to life in all its gritty, melancholy complexity., "Movie criticism's Dostoyevsky . . . Taylor reveals a national identity forged from the innocence we claim to have lost but never had in the first place." --Steve Erickson, author of Zeroville
    LC Classification Number
    PN1995.9.B2T39 2017

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