Angol
The "magic hour" is the name film-makers give the pre-dusk late afternoon, when anything photographed can be bathed in a melancholy golden light. A similar mood characterized the movies of the 1990s, occasioned by cinema's 1995-96 centennial and the waning of the twentieth century, as well as the decline of cinephilia and the seemingly universal triumph of Hollywood. "The Magic Hour: Film at Fin de Siecle" anthologizes J. Hoberman's movie reviews, cultural criticism, and political essays, published in "The Village Voice", "Artforum", and elsewhere during the period bracketed by the fall of the Berlin Wall and the collapse of the World Trade Towers.Demonstrating Hoberman's range as a critic, this collection reflects on the influence of Fritz Lang, as well as Quentin Tarantino, on the end of the Western and representation of the Gulf War, the Hong Kong neo-wave and the "boomerography" manifest in the cycle of movies inspired by the reign of Bill Clinton.As in his previous anthology, "Vulgar Modernism: Writings on Movies and Other Media" (nominated for a National Book Critics Circle Award), Hoberman's overriding interest is the intersection of popular culture and political power at the point where the history of film merges with what Jean-Luc Godard called "the film of history. " J. Hoberman is the senior film critic at the "Village Voice" and Adjunct Professor of Cinema at Cooper Union. His books include "Bridge of Light: Yiddish Film Between Two Worlds" (Temple, 1995), "The Red Atlantis: Communist Culture in the Absence of Communism" (Temple, 1998), and the anthology "Vulgar Modernism: Writing on Movies and Other Media" (Temple, 1991) which was nominated for a National Book Critics Circle award in criticism.
