Physical Evidence: Selected Film Criticism

Overview

An expert writer and thinker on movie history and directorial style, Kent Jones is among the most notable film critics of his generation. His sharp, informed analyses and cogent assessments of cinema and its practitioners have made him a significant voice both in America and internationally. Jones? inaugural collection brings together the best of his reviews (on films including In the Mood for Love, A History of Violence, and The New World), evaluations of specific filmmakers (Wes Anderson, John Cassavetes, and ...
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Overview

An expert writer and thinker on movie history and directorial style, Kent Jones is among the most notable film critics of his generation. His sharp, informed analyses and cogent assessments of cinema and its practitioners have made him a significant voice both in America and internationally. Jones’ inaugural collection brings together the best of his reviews (on films including In the Mood for Love, A History of Violence, and The New World), evaluations of specific filmmakers (Wes Anderson, John Cassavetes, and the Coen brothers), polemics (on summer blockbusters, digital cinema, and Hollywood politics), and appreciations of other film critics. Several of these pieces are published here in English for the first time, having previously appeared only in the French journals Cahiers du Cinéma and Trafic. Physical Evidence is a penetrating and personal examination of contemporary and classic cinema, one that values nothing so much as seeing on the screen the proof—the physical evidence—of the filmmaker’s own personal quest.
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Editorial Reviews

From the Publisher
“Whether it’s an appreciation for B-movie auteur John Carpenter, a love letter to fellow critic Manny Farber or a dismantling put-down of the Coen brothers, Jones communicates the kind of genuine enthusiasm and insight that inspire giddy desires to revisit—and rethink your opinions on—whatever he’s tackling. …Jones has the enviable ability to write in a manner that’s intellectually rigorous without being inaccessible.”—David Fear, Time Out New York
Publishers Weekly

In this first collected volume, Jones (editor-at-large of Film Comment) displays not only vast knowledge of film, but also an undeniable love for the medium. From his review of Samuel Fuller's director's cut of the war classic The Big Red Oneto ruminations on such recent releases as David Cronenberg's A History of Violence, Jones expertly walks the line between academia and pop culture without sacrificing insight into either approach. In one of his most incisive pieces in the collection, Jones posits a narrative progression beginning with the works of film pioneers King Vidor and F.W. Murnau, through Robert Bresson and Nicholas Roeg, and ending with Terrence Malick's latest, The New World. Tackling every aspect of the filmmaking process-from the rise of digital effects to the influence of earlier critics such as Andrew Sarris and Manny Farber-Jones presents an engagingly personal journey through the medium that will attract novices and cinephiles alike. (Sept.)

Copyright 2007 Reed Business Information
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Product Details

  • ISBN-13: 9780819568441
  • Publisher: Wesleyan University Press
  • Publication date: 9/28/2007
  • Series: Wesleyan Film
  • Pages: 248
  • Product dimensions: 6.30 (w) x 9.00 (h) x 1.00 (d)

Meet the Author

KENT JONES is editor-at-large of Film Comment and the American correspondent for Cahiers du Cinéma. He is a frequent contributor to Bookforum and Cinemascope, associate director of programming at The Film Society of Lincoln Center, and a permanent member of the selection committee for the New York Film Festival. He is also the co-writer of My Voyage to Italy and other documentaries by Martin Scorsese.
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Table of Contents

Introduction
SECTION 1: DIRECTORS
Assayas
Hou
Wes Anderson
Jia
Coen Brothers
Green
Martel
Carpenter
Cassavetes
SECTION 2: FILMS
“In the Mood for Love”
“Beau Travail”
“In Praise of Love”
“The Wind Will Carry Us”
“Waking Life”
“Sunshine State”
“Magnolia”
“Some American Comedies”
“A History of Violence”
“The New World”
SECTION 3: “THINK PIECES”
Summer Blockbusters
Digital Cinema
Documentary-Fiction Hybrids
Cannes 2005
Leftist Hollywood
SECTION 4: OUT OF THE FOG
Allan Dwan’s Comedies
Orson Welles
“The Glass Web”
“Big Wednesday”
“The Driver”
“Sorcerer”
“A Perfect World”
“The Big Red One”
SECTION 5: TWO CRITICS
Andrew Sarris
Manny Farber
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