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Sto caricando le informazioni... Lady in the Dark: Iris Barry and the Art of Filmdi Robert Sitton
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Given such a protagonist it would be hard to produce a dull book, and Robert Sitton’s biography makes for lively reading – much helped by lavish quotation from Barry’s own spirited, if occasionally wayward, prose. Her early film criticism, for The Spectator and briefly for the Daily Mail, still reads well. In the teeth of widespread scorn – not least from the film industry– she insisted that films were more than an ephemeral, vulgar amusement, and that cinema represented a new art form worthy of as much serious critical attention as the novel or the theatre. Years before Cahiers du cinéma and Andrew Sarris, she formulated the essence of the auteurist theory, stating that “Every good film must have the impress of one mind, and one mind only, upon it” – that mind, in most cases, being the director’s. Premi e riconoscimenti
Iris Barry (1895-1969) was a pivotal modern figure and one of the first intellectuals to treat film as an art form, appreciating its far-reaching, transformative power. Although she had the bearing of an aristocrat, she was the self-educated daughter of a brass founder and a palm-reader from the Isle of Man. An aspiring poet, Barry attracted the attention of Ezra Pound and joined a demimonde of Bloomsbury figures, including Ford Maddox Ford, T. S. Eliot, Arthur Waley, Edith Sitwell, and William Butler Yeats. She fell in love with Pound's eccentric fellow Vorticist, Wyndham Lewis, and had two children by him. In London, Barry pursued a career as a novelist, biographer, and critic of motion pictures. In America, she joined the modernist Askew Salon, where she met Alfred Barr, director of the new Museum of Modern Art. There she founded the museum's film department and became its first curator, assuring film's critical legitimacy. She convinced powerful Hollywood figures to submit their work for exhibition, creating a new respect for film and prompting the founding of the International Federation of Film Archives. Barry continued to augment MoMA's film library until World War II, when she joined the Office of Strategic Services to develop pro-American films with Orson Welles, Walt Disney, John Huston, and Frank Capra. Yet despite her patriotic efforts, Barry's "foreignness" and association with such filmmakers as Luis Bu©łuel made her the target of an anticommunist witch hunt. She eventually left for France and died in obscurity. Drawing on letters, memorabilia, and other documentary sources, Robert Sitton reconstructs Barry's phenomenal life and work while recasting the political involvement of artistic institutions in the twentieth century. Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)791.43092The arts Recreational and performing arts Public performances Film, Radio, and Television Film History, geographic treatment, biography BiographyClassificazione LCVotoMedia:
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