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Negative Space: Manny Farber On The Movies [Kindle Edition]

Manny Farber
3.8 out of 5 stars  See all reviews (6 customer reviews)

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Book Description

Manny Farber, one of the most important critics in movie history, championed the American action film—the bravado of Howard Hawks, the art brut styling of Samuel Fuller, the crafty, sordid entertainments of Don Siegel—at a time when other critics dismissed the genre. His witty, incisive criticism later worked exacting language into an exploration of the feelings and strategies that went into low-budget and radical films as diverse as Michael Snow's Wavelength, Werner Herzog's Fata Morgana, and Chantal Akerman's Jeanne Dielman. Expanded with an in-depth interview and seven essays written with his wife, artist Patricia Patterson, Negative Space gathers Farber's most influential writings, making this an indispensable collection for all lovers of film.


Editorial Reviews

About the Author

Manny Farber's early film criticism appeared in the New Republic, the Nation, and theNew Leader; his essays with Patricia Patterson were published by Artforum, City, and Film Comment. A lifelong painter, Farber has exhibited his work nationally since 1958 and has had retrospectives at Los Angeles's Museum of Contemporary Art, Pittsburgh's Carnegie Museum, Brandeis University's Rose Museum, and museums in the San Diego area. He and Patterson live in Leucadia, California.

Product Details

  • File Size: 6545 KB
  • Print Length: 412 pages
  • Publisher: Da Capo Press; Expanded edition (April 26, 1971)
  • Sold by: Amazon Digital Services, Inc.
  • Language: English
  • ASIN: B0026ZP70K
  • Text-to-Speech: Enabled
  • X-Ray:
  • Lending: Not Enabled
  • Amazon Best Sellers Rank: #833,528 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
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Customer Reviews

3.8 out of 5 stars
(6)
3.8 out of 5 stars
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Most Helpful Customer Reviews
3 of 3 people found the following review helpful
3.0 out of 5 stars FOR PEOPLE IN THE KNOW January 21, 2013
Format:Paperback|Verified Purchase
I did not know enough background to really appreciate this book. I have been going to movies for over 50 years and i am an artist with a BFA and an MFA and it was still a difficult book for me. The title said to me that he would discuss spatial things about the movies. But he talks about many things and not spatial things.
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11 of 15 people found the following review helpful
2.0 out of 5 stars A disappointment June 8, 2010
Format:Paperback|Verified Purchase
I opened the book with high expectations: Farber has a reputation. I suspect this is, ipso facto, because he swims against the tide of received opinion - which goes down well in radical circles.
Some, very few, of his reviews were brilliant, mind-stretching. "Underground Films" was the best of these and justly famous. But, as I read on, I grew tired of the anti-intellectualism, the reflex dismissal of the currently-admired greats of art cinema and the elevation of the skillful journeyman storyteller. It is all very much in the tradition of American populist iconoclasm and, to my taste, tiresomely reductive.
His taste in the visual arts and music, which he uses to illustrate his points on films, is distinctly fallible. His use of language is often startling, occasionally apt but even more often random. Like a drive-by shooting he leaves a lot of collateral damage.
I'm sure he provides a material for excitable analysis in fetid film course seminars but, for the rest of us amateurs, I wouldn't recommend the book except for very selective reading. Start - and maybe finish - with "Underground".
JR
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6 of 12 people found the following review helpful
5.0 out of 5 stars Combative and Original October 22, 2003
Format:Paperback
This compilation of essays on film and art, written from the 1950s through the '70s, still stands out as amazingly sharp, combative, and original. Take Farber's legendary "White Elephant Art vs. Termite Art" (1962); replace the notion of "great painting" with "relational aesthetics," and you see that artists like Allan Sekula follow the termite path while the Hirschhorns and Gillicks of the world are our own white elephants.
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