Get A Year at the Movies: One Man's Filmgoing Odyssey PDF

By Kevin Murphy

ISBN-10: 0060937866

ISBN-13: 9780060937867

For a few of us, moviegoing is an occasional excitement. Kevin Murphy made it his obsession, and he did it for you.

Mr. Murphy, recognized to legions of fanatics as Tom Servo at the mythical television sequence Mystery technological know-how Theater 3000, went to the films each day for a 12 months. That's every unmarried day, humans. For a whole fricken' year. and never simply did he undergo, he prevailed -- for this is often the hilarious, poignant, attention-grabbing magazine of his adventures: the 1st publication concerning the video clips from the audience's element of view.

Kevin went to the multiplex, definite. yet he didn't cease there. He discovered the world's smallest advertisement movie show. one other one made thoroughly of ice. looked at flicks in a tin-roofed hut within the South Pacific. Tooled around the desolate tract from drive-in to drive-in in a cool convertible. Lived for every week completely on theater foodstuff. Took six diverse girls to an analogous date motion picture. Dressed up as a nun for the Sing-Along Sound of Music in London. Sneaked into the Cannes and Sundance movie gala's. Smuggled a complete Thanksgiving dinner right into a movie show. And observed enormous quantities of movies, from the Arctic Circle to the Equator, from the chic to the unspeakable. Come alongside on a joyous worldwide occasion of the cinema with a guy on a undertaking -- to spend A 12 months on the Movies.

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C ’est sous ce dernier aspect que la descendance théorique, lointaine et le plus souvent involontaire, de Sartre toucha du plus près à une théorie du visage ordinaire, essentiellement autour de la question cruciale du regard, ou, plus largement, autour du nœud imaginaire (tressé dans le symbolique, en langage lacanien) entre les trois regards de la caméra, du spectateur et du personnage. Il y eut même — si décalée dans le temps qu’elle passa inaper­ çue — la tentative authentiquement sartrienne de Jean-Pierre Meunier, éla­ borant en 1969, une théorie du spectatoriel où l ’identification a deux fonc­ tions psychologiques essentielles : comprendre les conduites perçues, ou du moins comprendre le sens qu’elles ont à l ’intérieur de l ’histoire en cours — et participer (« être-avec » ou « être-comme », selon les cas).

Intonations et mimiques sont étiquetées et classées p a r eux — et ils s ’enorgueillissent de les avoir “standardisées” ! » Sacha Guitry. 44 DU VISAGE AU CINÉMA S ’il y a un ordinaire du cinéma, on le cherchera d ’abord dans ce qui a dominé si longtemps, dans ce qui aujourd’hui encore émerge du passé, dans le cinéma classique. Pas plus que la modernité, un classicisme du cinéma ne se laisse enfermer dans des dates, dans des définitions. On peut le définir par la fiction, par la mise en scène et la dramaturgie, par la transparence, par l ’adéquation entre un mode de production et un mode de vision, par l ’excel­ lence dans le moyen, qu’importe : chacun en a sa définition, mais le cinéma classique existe, et il est américain.

Surtout, comme l ’a fait observer Jean Baudrillard, qui s ’en est jadis servi à propos des objets dans la société, elle est biaisée, puisqu’elle ne peut s’éta­ blir que du point de vue idéologique dominant, toujours celui de la valeur d ’échange. Aussi, du point de vue du parlant, du point de vue de l ’ordinaire cinématographique qui est forcément plus proche du nôtre, une supposée valeur d ’usage du visage (muet) ne pourra-t-elle être qu’une anomalie esthé­ tique, une monstruosité, comme dans le burlesque ou l ’expressionnisme, au mieux une valeur incemable et d ’emploi incertain, comme la photogénie, ou alors, un supplément parfaitement inoffensif, tel le glamour.

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A Year at the Movies: One Man's Filmgoing Odyssey by Kevin Murphy


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