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Posts Tagged ‘Night Moves’

Arthur Penn’s Night Moves

Posted in Uncategorized, tagged Robert Altman, Don't Look Now, Nicolas Roeg, Wes Anderson, Bonnie and Clyde, Arthur Penn, Night Moves, Roger Ebert, The Long Goodbye, Point Blank, Days of Heaven, Annie Hall, John Boorman, Gene Hackman, Éric Rohmer, My Night at Maud's, Melanie Griffith, The Conversation, William Wyler, Ernst Lubitsch, Billy Wilder, The New Hollywood, Jonathan Rosenbaum, Ross Macdonald, Francis Ford Coppola on September 30, 2010 | 10 Comments »

Well, Arthur Penn died. He was of course a great director. And of course everyone will be talking about how great Bonnie and Clyde (1967) is—and it is great. It’s one of the most important of American films; along with John Boorman’s Point Blank (1967), it essentially kick-started 1970s cinema, and that decade’s auteur-driven New [...]

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Uncover Your Tracks: A Preliminary Critique of James Wood’s How Fiction Works

Posted in Uncategorized, tagged Aristotle, Ben Jonson, Don Quixote, Flarf, free indirect style, Gravity's Rainbow, Gustave Flaubert, How Fiction Works, James Cameron, James Wood, John Gardner, leitmotif, Madame Bovary, Night Moves, On Moral Fiction, rhetoric, Shakespeare, Shya Scanlon, The Red and the Black, Thomas Pynchon, Tristram Shandy, Wagner on January 27, 2010 | 41 Comments »

Shya posted something two days ago about James Wood’s How Fiction Works, in which Wood advocates the use of “free indirect style”: The entire book is built around a concept he calls “free indirect style,” which essentially refers to a prose style for which Gustave Flaubert is largely responsible. One of the hallmarks of this [...]

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Posts Tagged ‘Night Moves’

Arthur Penn’s Night Moves

Uncover Your Tracks: A Preliminary Critique of James Wood’s How Fiction Works

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