This intensely oneiric work is a monument of vulgarity and erudition.
Rakoff acknowledges that it takes a lot to make people care.
King shrewdly connects Hodges’s torment, the stuff of formula cop movies, to larger American feelings of rootlessness and economic despair.
This is a satisfying survey of the artists who’re still actively turning the graphic novel into a new kind of literature.
Aside from expected essays on film adaptations, there are a number of pieces that roam free from these constraints.
The book is more a corroboration for the initiated than inquest for the infidels.
That multitude, with regard to films, is rather restricted to a specific kind of cinephilia, primarily an overt emphasis on Classical Hollywood.
Herbert’s strongest work comes via his explanation for the physical layout of various stores and how each utilizes the space in order to cater to a specific type of consumer.
One gets the sense that Lee’s work is being used here as an explicative tool for theoretical engagement and not the other way around.
A book insufficiently framed by either strong historical or theoretical parameters is bound to flounder quickly and Davis’s work is no exception.
Gemünden’s extensive definition of “exile” draws on the likes of theorists Theodor Adorno, Edward Said, and Salman Rushdie.
Noah Isenberg embraces the biographic over the critical dimensions entailed in his chosen methodological approach.
By shifting the questions to stakes of claims rather than just an affirmation of positive or negative images, Nishime moves toward a progressive politics of the mediated imaging of multiracial Asians.
In order to comprehend Godard’s cinema, Witt claims, it’s first necessary to understand precisely how Godard defines the cinema.
While many academic monographs take a single director, time period, or genre as their field for analysis, Andrews is juggling at least half a dozen at once.
Fisher’s smart questions elicit both useful and humorous responses from Petzold throughout.
Several major university presses such as Duke, Texas, California, and Indiana continue to set the benchmark for scholarly film studies.
Brode structures the book into two parts, one dealing with politics, the other religion.
As story elements, the cauldron and the magical potion are almost overinvested with the history of Western literature and folklore.
Perhaps the weakest points of the biography are McGilligan’s basic treatment of the films proper.
Review: Guillermo del Toro’s Cabinet of Curiosities: My Notebooks, Collections, and Other Obsessions
Throughout, Del Toro’s book obliterates repugnant notions of “high art” and “low art.”