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Steven Rybin - The Cinema of Hal Hartley: Flirting With Formalism

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Steven Rybin The Cinema of Hal Hartley: Flirting With Formalism
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Over the course of nearly thirty years, Hal Hartley has cultivated a reputation as one of Americas most steadfastly independent film directors. From his breakthrough films The Unbelievable Truth (1989), Trust (1990), and Simple Men (1992) to his recently completed Henry Fool trilogy, Hartley has honed a rigorous, deadpan, and instantly recognizable film style informed by both European modernism and playful revisions of Classical Hollywood genres. Featuring new essays on this important director and his films, this collection explores Hartleys work from a variety of aesthetic, cultural, and economic contexts, while also looking closely at his collaborations with actors, the contexts of his authorial reputation, his reworking of the romantic comedy and other genres, and the shifting economics of his filmmaking.
This book, up-to-date through Hartleys latest film, Ned Rifle (2014), includes new scholarship on the directors early work as well as reflections on his cinema in connection with new theories and approaches to independent filmmaking. Covering the entire trajectory of his career, including both his features and short films, the book also includes new readings of several of Hartleys seminal films, including Amateur (1994), Flirt (1995), and Henry Fool (1997).

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Table of Contents
the cinema of HAL HARTLEY DIRECTORS CUTS Other selected titles in the - photo 1
the cinema of HAL HARTLEY
DIRECTORS CUTS
Other selected titles in the Directors Cuts series:
the cinema of ROBERT ALTMAN:hollywood maverick
ROBERT NIEMI
the cinema of SEAN PENN:in and out of place
DEANE WILLIAMS
the cinema of CHRISTOPHER NOLAN:imagining the impossible
JACQUELINE FURBY & STUART JOY (eds)
the cinema of THE COEN BROTHERS:hardboiled entertainments
JEFFREY ADAMS
the cinema of CLINT EASTWOOD:chronicles of america
DAVID STERRITT
the cinema of ISTVN SZAB:visions of europe
JOHN CUNNINGHAM
the cinema of AGNS VARDA:resistance and eclecticism
DELPHINE BNZET
the cinema of ALEXANDER SOKUROV:figures of paradox
JEREMI SZANIAWSKI
the cinema of MICHAEL WINTERBOTTOM:borders, intimacy, terror
BRUCE BENNETT
the cinema of RAL RUIZ:impossible cartographies
MICHAEL GODDARD
the cinema of MICHAEL MANN:vice and vindication
JONATHAN RAYNER
the cinema of AKI KAURISMKI:authorship, bohemia, nostalgia, nation
ANDREW NESTINGEN
the cinema of RICHARD LINKLATER:walk, dont run
ROB STONE
the cinema of BLA TARR:the circle closes
ANDRS BLINT KOVCS
the cinema of STEVEN SODERBERGH:indie sex, corporate lies, and digital videotape
ANDREW DE WAARD & R. COLIN TATE
the cinema of TERRY GILLIAM:its a mad world
JEFF BIRKENSTEIN, ANNA FROULA & KAREN RANDELL (eds)
the cinema of THE DARDENNE BROTHERS:responsible realism
PHILIP MOSLEY
the cinema of MICHAEL HANEKE:europe utopia
BEN McCANN & DAVID SORFA (eds)
the cinema of SALLY POTTER:a politics of love
SOPHIE MAYER
the cinema of DAVID CRONENBERG:from baron of blood to cultural hero
ERNEST MATHIJS
the cinema of JAN SVANKMAJER:dark alchemy
PETER HAMES (ed.)
the cinema of LARS VON TRIER:authenticity and artifice
CAROLINE BAINBRIDGE
the cinema of WERNER HERZOG:aesthetic ecstasy and truth
BRAD PRAGER
the cinema of TERRENCE MALICK:poetic visions of america (second edition)
HANNAH PATTERSON (ed.)
the cinema of ANG LEE:the other side of the screen (second edition)
WHITNEY CROTHERS DILLEY
the cinema of STEVEN SPIELBERG:empire of light
NIGEL MORRIS
the cinema of TODD HAYNES:all that heaven allows
JAMES MORRISON (ed.)
the cinema of DAVID LYNCH:american dreams, nightmare visions
ERICA SHEEN & ANNETTE DAVISON (eds)
the cinema of KRZYSZTOF KIESLOWSKI:variations on destiny and chance
MAREK HALTOF
the cinema of GEORGE A. ROMERO:knight of the living dead (second edition)
TONY WILLIAMS
the cinema of KATHRYN BIGELOW:hollywood transgressor
DEBORAH JERMYN & SEAN REDMOND (eds)
the cinema of HAL HARTLEY
flirting with formalism
edited by Steven Rybin
A Wallflower Press Book Published by Columbia University Press Publishers Since - photo 2
A Wallflower Press Book
Published by
Columbia University Press
Publishers Since 1893
New York Chichester, West Sussex
cup.columbia.edu
Copyright 2017 Columbia University Press
All rights reserved
E-ISBN 978-0-231-85084-1
Wallflower Press is a registered trademark of Columbia University Press
A complete CIP record is available from the Library of Congress
ISBN 978-0-231-17616-3 (cloth : alk. paper)
ISBN 978-0-231-17617-0 (pbk. : alk. paper)
ISBN 978-0-231-85084-1 (e-book)
A Columbia University Press E-book.
CUP would be pleased to hear about your reading experience with this e-book at .
Series design by Rob Bowden Design
Cover image of Hal Hartley courtesy of Photofest (www.photofestnyc.com)
CONTENTS
Steven Rybin
David Bordwell
Mark L. Berrettini
Jason Davids Scott
Steven Rawle
Sebastian Manley
Amateur Daniel Varndell
Steven Rybin
Fernando Gabriel Pagnoni Berns
Zachary Tavlin
Jennifer OMeara
Steven Rybin
The editor would like to thank Yoram Allon, Commissioning Editor at Wallflower Press, for his enthusiastic support of this project from its beginning, as well as all of the contributors for their excellent work and keen insight on Hal Hartleys films. Thanks also to everyone at Columbia University Press, in particular Jennifer Crewe, Justine Evans and Miriam Grossman. Thanks also to my family and to Jessica Belser for her tireless encouragement of all of my endeavours and obsessions.
Mark L. Berrettini is Professor of Film Studies and the Director of the School of Theater + Film at Portland State University, where he teaches in film history, theory, genre and screenwriting. He is the author of Hal Hartley (2011), part of the Contemporary Film Directors Series at the University of Illinois Press.
Fernando Gabriel Pagnoni Berns currently works at Universidad de Buenos Aires (UBA) Facultad de Filosofa y Letras, as a Graduate Teaching Assistant of Esttica del Cine y Teoras Cinematogrficas. He has published articles in the collections Undead in the West (Scarecrow Press, 2013), Horrofilmico: Aproximaciones al Cine de Terror en Latinoamerica y el Caribe (Editorial Isla Negra, 2012), The Culture and Philosophy of Ridley Scott (Lexington Books, 2013), To See the Saw Movies: Essays on Torture Porn and Post 9/11 Horror (McFarland, 2013), The Ages of Wonder Woman: Essays on the Amazon Princess in Changing Times (McFarland, 2014) and Reading Richard Matheson: A Critical Survey (Rowman & Littlefield, 2014).
David Bordwell is Jacques Ledoux Professor Emeritus of Film Studies at the University of Wisconsin-Madison. His books include The Films of Carl Theodor Dreyer (University of California Press, 1981), Narration in the Fiction Film (University of Wisconsin Press, 1985), Ozu and the Poetics of Cinema (Princeton University Press, 1988), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Harvard University Press, 1989), The Cinema of Eisenstein (Harvard University Press, 1993), On the History of Film Style (Harvard University Press, 1997), Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000), Figures Traced in Light: On Cinematic Staging (University of California Press, 2005), The Way Hollywood Tells It: Story and Style in Modern Movies (University of California Press, 2006) and The Poetics of Cinema (Routledge, 2008). He has won a University Distinguished Teaching Award and was awarded an honorary degree by the University of Copenhagen.
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