By Jean-Luc Nancy
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Extra resources for Abbas Kiarostomi : The Evidence of Film
In short, the poetic potential of nonnarrative filmmaking was no less significant for American filmmakers as for their European counterparts. But the early American avant-garde did far more than document cities. Like its European influence, it frequently used the frame not for verisimilitude but for abstraction, preferring the symbolic rather than the indexical potential of the medium. In The Life and Death of 9413—A Hollywood Extra (1928), Robert Florey and Slavko Vorkapich satirize the movie business, depicting a man whose dreams of stardom turn nightmarish when he is transformed into a numbered, mechanized Hollywood extra.
Registering the power of mass culture and its place within a novelty-seeking era, in love with both profits and selfpromotion, Chicago represented the kinship that then existed and would remain between the movies and the newspaper world. The thorough reciprocity between Hollywood and publishing, in the form of fan magazines, film reviews, and gossip columns, would only be strengthened with the coming of sound and the migration of writers from Eastern and Midwestern cities to the movie colony. While the fictional narrative dominated production throughout this period, three other categories of filmmaking also got their start during the silent era.
SETTING THE STAGE: ORIGINS TO 1928 Fielding, Raymond. (1972). The American Newsreel 1911– 1967. Norman: University of Oklahoma Press. Gomery, Douglas. (2005). The Coming of Sound. New York: Routledge. Gunning, Tom. (1994). D. W. Griffith and the Origins of American Narrative Film. Urbana: University of Illinois Press. Horak, Jan-Christopher. (1995). The First American Film Avant-Garde, 1919–1945. Madison: University of Wisconsin Press. Jacobs, Lea. (2012). ), The Wiley-Blackwell History of American Film.
Abbas Kiarostomi : The Evidence of Film by Jean-Luc Nancy