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The film was attacked in the black press for its racism.

It’s a typical approach that one person or a couple function as the protagonists of a film. Yet many Hollywood films use multiple protagonists. Woody Allen’s Hannah and Her Sisters examines the psychological traits and interactions among a group of characters. We shall see that creating several protagonists does not necessarily make a film any less “classical” in its form and style.

The film was nominated for five Academy Awards, and won numerous other awards.

The masquerade signals the absence of man; the fetishised image merely indicates the exclusion and repression of women (1973/1991: 26). For Laura Mulvey (1975/1989) too, Marlene Dietrich is the ultimate (Freudian) fetish in the cycle of von Sternberg's films.

Film Form Essays in Film Theory by Sergei Eisenstein http www

For over a decade psychoanalysis was to be the dominant paradigm in feminist film theory.

She pleads for an inclusion of black feminist theory and of a historical approach into feminist film theory in order to understand how in cinema gender intersects with race and class.

Racial hierarchies in ways of looking have created visual taboos, the neglect of which reflects back on film theory, which fails to account for the ways in which some social groups have the licence to look openly, while others can only `look' illicitly.

The brooklyn film essays in the history of filmmaking / Stay

A search for an oppositional subjectivity can also be found in the practice of filmmaking.

The women do recognise that the film continues the tradition of racist representations of blacks; Spielberg's interpretation of Sofia and Harpo is not considered to be successful.

For hooks this is a radical departure from the 'totalizing agenda' of feminist film criticism, and the beginning of an oppositional spectatorship for black women.

Richard Dyer (1988/1993) is one of the few film critics who has written about whiteness in cinema.
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The Theory of Everything (2014 film) - Wikipedia

When our comrades at Criterion announced their plan for a centenary Lloyd celebration this month on , I suggested we devote an installment of our series to one of the films. Kristin and I have been Lloyd fans for decades. Fans and collectors kept his work alive. Kevin Brownlow had to remind people with his Lloyd documentary, The Third Genius (1989), that, well, Lloyd was a genius. The more you get to know his work, the better it looks, and the less plausible seem many of the clichés that have clustered around it.

Film Art: An Introduction by David Bordwell and Kristin Thompson

For decades after sound came in, American silent comedies dropped mostly out of sight. Some 16mm copies were available in cut-down rental versions, and a few were circulated by the Museum of Modern Art Film Library. (Of Lloyd’s work, that included only The Freshman of 1925.) The MoMA canon became the canon. In the 1970s, thanks largely to piracy, the films of Keaton were added, and still later we came to recognize Charley Chase, Max Davidson, and other talents.

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Harold Lloyd had already featured in some sixty-five short comedies from 1915, playing characters called Willie Work and Lonesome Luke. Even after introducing the Boy, Lloyd continued with a few Lukes before phasing out this sad sack. No one expected that in a few years the glasses character would become world famous. Lloyd’s films were more lucrative in aggregate than those of any other silent comedian, and he became one of the central figures in Hollywood.

Welcome Team EOB! | Okonkwo and nwoye essays

December 28, 2017: Our thanks to Manfred Polak, who sends some good news about a restoration and possible upcoming availability of one of our films: “A restored version of “The Love of Jeanne Ney” was shown in an open-air event in Berlin last August. This version also aired on German-French TV station Arte, and it was available for legal download and streaming in HD for three months. I think there might be a DVD or Blu-ray of this version in a few months.”

Anthology Film Archives : Film Screenings

Throughout these years Lloyd’s films were almost invisible because he controlled the rights to them and limited their circulation. Kept in vaults in his rococo estate Greenacres, they would not reemerge until the 1960s, in cut TV versions distributed by Time-Life. Until fairly recently, most critics relied on memory of the films and the received image of the Boy dangling helplessly from the clock face.

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