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By George Stevens Jr.

The 1st e-book to assemble those interviews of grasp moviemakers from the yankee movie Institute’s popular seminars, Conversations with the nice Moviemakers bargains an unequalled heritage of yankee cinema within the phrases of its maximum practitioners.

Here are the incomparable administrators Frank Capra, Elia Kazan, King Vidor, David Lean, Fritz Lang (“I realized in simple terms from undesirable films”), William Wyler, and George Stevens; popular manufacturers and cinematographers; celebrated screenwriters Ray Bradbury and Ernest Lehman; in addition to the immortal Ingmar Bergman and Federico Fellini (“Making a film is a mathematical operation. It’s totally most unlikely to improvise”). Taken jointly, those conversations supply uniquely intimate entry to the pondering, the knowledge, and the genius of cinema’s so much proficient pioneers.

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Extra info for Conversations with the Great Moviemakers of Hollywood's Golden Age at the American Film Institute

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In Pretty Woman the dream is expressed through clothes. A woman acquiring sexual confidence and a man through the appropriation of a new wardrobe is a well-established cinematic convention. Charlotte in Now Voyager, for example, conducts her courtship with Jerry dressed entirely in the clothes of a woman we never see. In Pretty Woman there is a similar transaction between clothes and female identity, and a similar awareness that the woman is at her most alluring when wearing clothes that do not belong to or are new to her.

Deneuve's sexuality, unlike Jean Harlow's, is not conveyed through a wardrobe of sensuous silks, furs and feathers; rather her attractiveness is marked by a severity, a lack of sensuality, ornamentation or flamboyance in her wardrobe: all sharp lines, fastened buttons and perfect co-ordination. This lack is only partly linked to Severine's sexual repression when with her husband and the concomitant impulse to destroy her immaculate appearance during her vivid fantasies. There is also the way in which the clothes are signalled as beautiful, as when a client and the other prostitutes at the brothel heap admiration on Severine's self-consciously, absurdly unremarkable beige dress, fondling the jersey fabric, glancing at the label and complimenting Severine on her style.

Not only is the audience for fashion traditionally female, and so the assumption that the dictating fantasy is male a tendentious one, but it is the clothes more than the woman that render her perfect and become the point of identification. Because this feminine discourse could be seen as one that excludes men (as illustrated by Jeff's feigned interest in the detailed description Lisa offers of what her early evening cocktail partner was wearing), the version of la femme offered in Rear Window or Belle de jour and Trap Belle Pour Toil, although presenting women as simulacra, use clothes as distancing devices whereby the presumed bond between beauty and sexuality or desirability is displaced .

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