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For the mindset I was working from was one closely allied to what film theorist Raymond Bellour was calling, in an article of the same title published in the Autumn 1975 Screen, "the unattainable text." This was what still gave movies much of their magic and pungency-the slim likelihood in most cases that one would ever see them again-and what made Moving Places for me a sort of romantic quest. But if I'd had this luxury in the late 1970s, this book would have had a different historical address-and, I suspect, a less valuable one. No doubt they could-and in fact did after I bought a VCR about five years later. Even if, by my reckoning, none of my favorite films qualify exactlyĪs "films" on videotape (I'd sooner regard them as ghosts of movies I once knew, or as snapshots of friends I'll hopefully meet again), these hybrid reproductions could assist my work in countless ways. As a practicing film critic, I can't help but envy those who can examine and study the films I write about at a closer range than I have available to me. I can't yet afford any of these exciting gadgets, so I might be affected just a little by sour grapes. My polemic was mockingly flanked on both sides by advertisements for "classic films" on video and it said in part, Among the articles I wrote for American Film in order to pay the rent was a little piece of spite for that magazine's new section "The Video Scene" in the November 1979 issue.
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I was even writing about video as a journalist to support my writing of Moving Places. VCRs were certainly around at the time, as were certain forms of video projection see, for instance, the references to Advent screens in the last three chapters, which already sound a little dated. And these consisted of TVs, audiocassettes, libraries, film archives, and-no less important-subjective recollections from a few contemporaries about the same movies I was writing about. Although Moving Places was written partly out of a sense of personal necessity-a need to connect my early adulthood as a film critic in the 1970s with my movie-drenched childhood and family life in the 1940s and 1950s, which came from my family running a small chain of theaters in Alabama-it was defined, in large measure, by its research tools. In fact, I'm not even sure it would have been written if video had been at my disposal in 1977, back when it was still a tributary of film rather than the other way around.
Ti dime trap unsensored movie#
This book marks one of the last gasps of an era of moviegoing and movie theaters that ended with the widespread use of VCRs. Moving Places: A Life at the Movies. Berkeley: University of California Press, c1995 1995.