.N'b in: SEA j. . ., FILM BOOK
BEYO (tbc)118min 000 - ..
- - MARK COUSINS
‘ ,r ., 1. . I, The Story of Film
_. . H _ . _ p, 191,550... ‘. " 1 ‘ . . .' " :' Beautifully produced and z -v I»: i . ' .- - : :. Iucidly written, this work " " -' ' ° ' ' '- -: :- :w. ' tackles the history of cinema v. : .' ~ . ' ~ ' single-handedly. This obviously ' ' v : 1 ’ - ' z ' ' has pros and cons. Cousins . :° " :‘ --' ' :'. : .' lays out the advantages in his ' z ' " -- ' ~ introduction, where he - -A » " :' '- : " elaboratesa notion of ‘schema " ' ~ ~ .' '1' -. :' :" ' .:' . plus variation’ to explore film . I ~ . " . ~ : i‘ history. ‘What if we consider a ' . E4, " :' :" ‘ v. thatthereisnosuchthingas " ° 2' :' -‘ ' ' .. : Film,thereareonly
i" a: . :i . z a a w l n: ‘_ ' .' :' ' filmmakers?’heproposes.
v '- = -' ' Laterhesuggeststhatthe i ~ :"y:' :" centreofthisfilmmaker‘s
w n . :z» . ..' u H. i .l’ my . :' i" .‘ -: ' history of cinema shouldn‘t be
H '1» " n l“ '- .. 2°» -:' : :--: whathecallsHollywood’s
’r v ' .‘f.-: 1' «i f. :v f". m- :' :t' w i. z -- ‘closed romantic realism’ but
‘1 m w .v °« ...l'l'l ' l' i.» M» r ' ,z '. '. z :. . ‘_ an aesthetic closer to that of
i‘ i t ' ‘- u : 1M « z w.» t ' " 7 ' . l.':‘ m z ' the great Japanese filmmaker Yazujiro Ozu. Cousins reckons Da Vinci’s
? .v I/ f .' " " i ' . ' famous Study of Proportions serves as a precedent to Ozu‘s filmic style, ‘.: - I ' .: ' I " i and has ‘profound elements of classicism’ generally missing from
v v 4:.» 'r v” l<\«>.i"f;; .v ' . u .m. 1 f °,' ‘ w: lm'H‘”. nl v: .‘i?’ . Hollywood. Thus ‘Hollywood in all its glory and intermittent barbarity
iv .- .- ‘r .: H l l unriaiw Ht”. cannot be judged the norm’. . O . . lill' w n 1’: .n w ,I’ .1 {lliill‘ii l‘ in in (U) 120mm .... This allows one writer to explore a thesis while also offering up a history. .u l!‘ l ll fl" «ill : ."l, ill nli. A mi: ".i'tllii. . But ineVItany things get patchy and the idea pushing the book gets a little waylaid. The patchiness comes when filmmakers of immense import, like Wong Kar Wai, or Lars von Trier, are explored for their general significance (Von Trier in relation to Dogme; Wong’s importance to Asian cinema in recent years) rather than their singularity. And maybe we don’t get enough on how filmmakers’ work on either side of the classical aesthetic Cousins fascinatingly proposes. But these are quibbles, and when Cousins writes well on a filmmaker - as on Welles and Lynch - maybe I was just greedy for more. (Tony McKibbin)
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"1 ./ Lat .77 .-1 THE LIST 57