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Fifty Key American Films explores and contextualises some of the most important films ever made in the United States. With case studies from the early years of cinema to the present day, this comprehensive Key Guide provides accessible analyses from a range of theoretical perspectives.
This chronologically ordered volume includes coverage of:
- Citizen Kane
- Casablanca
- Psycho
- Taxi Driver
- Blade Runner
- Pulp Fiction
Amongst a raft of well-known films, the work of some of America’s best known directors, such as Lynch, Scorsese, Coppola and Scott, is discussed. This book is essential reading for students of film, and will be of interest to anyone seeking to explore the impact of American cinema.
- Sales Rank: #14881341 in Books
- Published on: 2009-04-28
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x 1.00" w x 5.40" l, .90 pounds
- Binding: Hardcover
- 288 pages
About the Author
John White is teacher of Film, English and Media at Parkside Community College and Anglia Ruskin University in Cambridge. He is co-author of AS Film Studies: The Essential Introduction, A2 Film Studies: The Essential Introduction, and co-editor of Fifty Key British Films, also published by Routledge.
Sabine Haenni teaches Film and American Studies at Cornell University. She is the author of The Immigrant Scene: Ethnic Amusements in New York 1880-1920 and has published widely on popular theatre, early cinema and realist fiction.
Most helpful customer reviews
2 of 2 people found the following review helpful.
A Great Collection
By EllisScottPollard
This is a cliche, but this book will be useful to both an amateur approaching film studies and to film experts. The essays are so varied and rely on so many different critical modalities that a sweeping survey of both the history of American cinema and the plethora of approaches to film is created. It is pretty astounding how intricately some of the writers in this anthology approach their respective films. The essays on Psycho, Chinatown, Aliens, Casablanca, and Se7en are just a few that stand out as wonderful. The best part about this work is that it shows what really good film criticism looks like, which is an engagement with even the most minor points of the film's composition in relation to certain hermeneutics. Paradoxically, the critics write with such an assured sense of conviction that one can easily enter into a dialog with any essay and explore problems of methodology, critical framework, or the writer's basic understanding of the movie in question. I think this is a very good thing. Negotiating with writers that we assume to have authoritative voices is how criticism progresses. For example, I'm very intrigued by the posits of the Aliens essay, but I can also think of ways where the author's logic can be brought into question. Rather than negating the value of the essay, a dialectic is made. For first-time film students, acknowledging that these essays, though extremely provocative and well-written, can be questioned will allow a fledgling film critic to engage in a discourse with a critical approach to a work--helping the student find their own voice and learn how to both read and use critical sources.
Also, the book is to be admired simply because it disregards the trite pop-criticism that is spewed all over the web from critics who only approach a film from a singular, subjective approach of what a "good" film should be. There are many films that, while not classics (whatever the hell that means), that can be considered extremely important for a number of other reasons. I think this book subtly dismisses the popular criticism in order to create truly intriguing works about a wide variety of film, and that said films should not be limited to an exploration of one perspective.
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