By Sue Harris
From Amazon: "An American in Paris (1951) was once a landmark movie within the careers of Vincente Minnelli, Gene Kelly and Leslie Caron. A joyous get together of George Gershwin's song, French paintings, the wonderful thing about dance and the fabled urban of sunshine, the movie was once heralded as a unprecedented instance of leisure 'for mass and sophistication alike'. Choreographed by means of Kelly on the peak of his occupation, it gave new stature to the Hollywood musical, and showcased as by no means earlier than the creative ambition, technical talents, artistic mind's eye and collaborative ethos of MGM's pioneering Arthur Freed Unit. Sue Harris attracts on archival fabric to track the film's improvement from perception to monitor. supplying new insights into the layout procedure specifically, she indicates how An American in Paris tested the cinematic template for a urban with which Hollywood may turn into more and more infatuated within the a long time to follow."
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What they might signify seems less important than the fact of them being cast off, floating free in a weightless semiotic space devoid of the gravity and anchorage that generic convention provides. Their poignancy is palpable, if their precise meaning remains indistinct. This unorthodox attitude towards generic resources may have important implications for the narrative texture of cult films too. THE ROCKY HORROR PICTURE SHOW (1975) INTRODUCTION (iii) Narrative One of the keywords most often associated with cult films in the burgeoning critical literature on this subject is ‘excess’.
49 Critics have since ventured a range of explanations for what J. P. 51 Bruce Kawin suggests the film offers an example of the ‘rhetoric of direct address’, its performance style is so compelling that it ‘says “you” when it means “us”’. 52 27 28 WITHNAIL AND US I have suggested (above) that the answers to this question may lie in three specific areas. Firstly, there is the hypersignification of certain iconic and transferable signifiers which the fragmented nature of the narrative structure allows to become detached from the text itself, and used by an audience.
5 By 1963, any concerted hopes for this third circuit had been abandoned. 8 This marked the beginnings of a fragmentation of cinema at the exhibition level and the formation of niche markets in the general context of its continuing decline. All this was extremely bad news for the already struggling independent distributor British Lion. Not only were Lion’s debts and managerial squabbles a recurrent subject of Government scrutiny, but shifts in public taste prompted industry caution and made it extremely difficult to finance new projects or to obtain releases for films which did get made.
An American in Paris (BFI Film Classics) by Sue Harris