Daily Archives: October 3, 2021

A Master Index To This Site, with Links (as of October 1, 2012)

Trevor Vartanoff, one of the frequenters of this web site, has come up with an invaluable gift to me and to others — an alphabetical master index of all (or almost all) the postings here, complete with links. “I found it useful,” Trevor just wrote me, “maybe you or readers will too.” (2021 postscript: sorry for the links here that no longer work.) — J.R.

Featured Texts

*Corpus Callosum

*CORPUS CALLOSUM

12 Monkeys

12 and Holding

15th Annual Festival of Illinois Film and Video

2 Oxford Companion Entries (Albert Brooks and découpage)

2 or 3 Things I Know About Her

2001: A Space Odyssey

2046

20th International Tournee of Animation

29th Chicago International Film Festival: Mired in the Present

4 Little Girls

4

60s Wisdom

7 Women

8 1/2

8 Mile

84 Charlie Mopic

9 1/2 Weeks with Van Gogh

A Bankable Feast [BABETTE’S FEAST]

A Beauty and a Beast

A Bluffer’s Guide to Bela Tarr

A Breakthrough And A Throwback

A Brief History of Time

A Brighter Summer Day

A Bronx Tale

A Christmas Commodity: SCROOGED

A Cinema of Uncertainty

A Constant Forge

A Couple of Kooks [MY BEST FIEND]

A Cut Above [HENRY: PORTRAIT OF A SERIAL KILLER]

A Depth in the Family [A HISTORY OF VIOLENCE]

A Dialogue about Abbas Kiarostami’s SHIRIN

A Different Kind of Swinger [GEORGE OF THE JUNGLE]

A Different Kind of Thrill (Richet’s ASSAULT ON PRECINCT 13)

A Dry White Season

A Family Thing

A Far Off Place

A Few Eruptions in the House of Lava

A Few Things Well [A LITTLE STIFF]

A Film of the Future

A Fish Called Wanda

A Force Unto Himself [on Hou Hsiao-hsien]

A Great Day in Harlem

A History of Violence

A Home of Our Own

À la recherche de Luc Moullet: 25 Propositions

A Little Transcendence Goes a Long Way

A Lucky Day

A Major Talent [on SWEETIE]

A Man Escaped

A Midnight Clear

A Moment of Innocence

A New Leaf

A Nightmare on Elm Street 4: The Dream Master

A Page of Madness

A Perfect World

A Perversion of the Past

A Place Called Chiapas

A Place in the Pantheon: Films by Bela Tarr

A Place in the World

A Price Above Rubies

A Prophet in His Own Country [Jon Jost retrospective]

A Quirky Cowboy Classic [on THE THREE BURIALS OF MELQUIADES ESTRADA]

A Radical Idea [HALF NELSON & THIS FILM IS NOT YET RATED]

A Road Not Taken (The Films of Harun Farocki)

A Room With No View [ORPHANS]

A Russian in Hollywood [SHY PEOPLE]

A Scanner Darkly

A Short Film About Killing and A Short Film About Love

A Single Girl

A Soldier’s Daughter Never Cries

A Stylist Hits His Stride (ETERNAL SUNSHINE OF THE SPOTLESS MIND)

A Tale of Love

A Tale of Winter

A Tale of the Wind

A Tale of the Wind

A Thousand Words

A Time of Love

A Time to Lie (CROSS MY HEART)

A Time to Live and a Time to Die

A Touch of Class [GOSFORD PARK]

A Woman’s Tale

A World Apart

A Year at the Movies

A Zed and Two Noughts

A.I.Read more »

Dialogue Between Shigehiko Hasumi and Jonathan Rosenbaum on Howard Hawks and Yasuzo Masumura (Tokyo, 3 December 1999)

This dialogue is part of a section called “Two Auteurs: Masumura and Hawks,” included in Movie Mutations: The Changing Face of World Cinephilia (2003), a volume I co-edited with Adrian Martin. It was preceded by my essay, “Discovering Yasuzo Masumura: Reflections on Work in Progress,” and, before the “epilogue,” it was followed by Hasumi’s own essay, “Inversion/ Exchange/Repetition: The Comedy of Howard Hawks”. — J.R.

Jonathan Rosenbaum: When did you first write about Howard Hawks?

Shigehiko Hasumi: In 1977, just after he died. At that time, Hawks was so underestimated in Japan that no film magazine wanted an article on him. I published it in a literary magazine.

JR: And is there a particular period in his career that you prefer?

SH: Yes, from Bringing Up Baby (1938) to His Girl Friday (1940). Of course, his two films noirs with Lauren Bacall and Humphrey Bogart, To Have and Have Not (1944) and The Big Sleep (1946), impress me deeply. But the comedies in this period seem to me the highest accomplishment of his mise en scène. For me, Hawks is essentially a filmmaker of comedy. In that sense, I could say also that my preference goes to the period between Twentieth Century (1934) and Monkey Business (1952).… Read more »