By Shaun Considine
ISBN note: ISBN for identify couldn't sourced. ASIN B0057G4FU8
Bette Davis and Joan Crawford: of the deadliest arch-rivals of all time. Born within the similar 12 months (though Davis swore 'Crawford is 5 years older than me if she's a day'), the 2 fought bitterly all through their lengthy and outstanding Hollywood careers.
Joan turned a celeb first, which constantly irked her rival, who prompt her good fortune had come through the casting sofa. 'It convinced as hell beats the challenging chilly floor' used to be Crawford's scathing reaction. based on Davis, Crawford used to be not just a nymphomaniac but additionally 'vain, jealous and approximately as good and reliable as a basket of snakes'. Crawford, in flip, accused Davis of stealing her glory and making plans to break her.
The competitors fought over as many males as they did components - while Bette fell in love along with her co-star in risky, Franchot Tone, Joan stepped in and married him. the ladies labored jointly just once, within the vintage mystery no matter what occurred TO child JANE?, during which their violent hatred of one another as rival sisters was once no act.
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Additional info for Bette And Joan: The Divine Feud (25h Anniversary Edition)
COSTUME Genre, a term designating ﬁlms of a common type, provides an easy inroad to costuming: we can think easily of a cowboy’s look as he rides into town in a Western, or of a spaceship oﬃcer’s garb as she sits before a ﬂashing control board in a science ﬁction ﬁlm. Because genre is an eﬀect of repetition, we learn its codes so that we can quickly orient ourselves to the new iteration of a given story. This form of “typing” is not limited to genre ﬁlms, of course. Sergei Eisenstein’s The Battleship Potemkin (1925) exploits “typage” in order to diﬀerentiate the heroic sailors from the rigid and oppressive oﬃcers on the battleship.
A note for future study: many ﬁne textbooks extend the discussion of ﬁlm analysis you are about to read. Three of them upon which many academics and college/university courses rely regularly THE LANGUAGE OF FILM are Jill Nelmes’ Introduction to Film Studies, David Bordwell and Kristin Thompson, Film Art: An Introduction and Timothy Corrigan and Patricia White, The Film Experience. All three texts multiply the number of terms I present here, and they acknowledge the paradoxical, if not impossible, nature of any taxonomy of ﬁlm.
As the words in bold type throughout this book indicate, however, I ﬁnd some specialized language nonetheless helpful for describing what we see and hear and then thinking deeply about it, just as the ability, I believe, to parse a sentence renders one’s own writing more precise and nuanced in order to make an argument. Here in this chapter, then, I condense key areas of ﬁlm analysis; in the remainder of the book, I visit some of these other ways of thinking through the phenomena of cinema. The title of this chapter, “the language of ﬁlm,” means, then, to suggest that one learn the language of ﬁlm analysis precisely in order to say something meaningful about a given ﬁlm, or about cinema (and you will see that most of what follows applies equally to digital practices, some of which I distinguish especially in the realms of cinematography and editing).