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Stolen Glimpses, Captive Shadows: Writing on Film, 2002-2012 Hardcover – May 28, 2013


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Product Details

  • Hardcover: 288 pages
  • Publisher: Counterpoint (May 28, 2013)
  • Language: English
  • ISBN-10: 1619021706
  • ISBN-13: 978-1619021709
  • Product Dimensions: 9.1 x 6.1 x 1.4 inches
  • Shipping Weight: 1.3 pounds (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #490,353 in Books (See Top 100 in Books)

Editorial Reviews

Review

Praise for Stolen Glimpses, Captive Shadows

“There is something for all movie lovers in this expertly written, often thought-provoking collection.” —Library Journal

"The author’s insights into these familiar icons are unfailingly intelligent and delivered in polished prose." —Kirkus

About the Author

Geoffrey O’Brien is the editor in chief of the Library of America and a regular contributor to The New York Review of Books. His latest books are Early Autumn and The Fall of the House of Walworth. (September 2012). He is a widely published poet, critic, editor, and cultural historian and has been honored with a Whiting Award and fellowships from the Guggenheim Foundation and the New York Institute for the Humanities. He lives in New York City.

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5 of 7 people found the following review helpful By Roochak on June 28, 2013
Format: Hardcover
It's perverse to suggest that nothing might give the flavor of Geoffrey O'Brien's new book of film writings better than the index, but here, in its entirety, is his entry for director Wes Anderson:

"Anderson, Wes: adventurousness, 289; anti-naturalism, 287-288; artistic vision, 288-289; BOTTLE ROCKET, 286; characters, 288; childhood, 286, 287, 288, 289; escape, 286; MOONRISE KINGDOM, 281, 286-289; unnatural excrescences, 287."

It's just too bad for me that I'd been reading Pauline Kael prior to picking up STOLEN GLIMPSES, CAPTIVE SHADOWS (it was the Library of America-sanctioned career retrospective The Age of Movies: Selected Writings of Pauline Kael, to be exact), because the difference between reading Kael and reading O'Brien, apart from the latter's penchant for giving his books instantly forgettable titles, is the difference between being regaled by the life of the party and being addressed by the designated driver. The comparison is unfair to O'Brien who, besides being a poet and editor-in-chief of -- wait for it -- the Library of America, is the kind of intelligent, insightful, lucid, and passionless critic who can illuminate what you've seen but not excite you about what you haven't. Next to the almost erotic intellectual charge in Kael's writing, most critics would come off as cold fish, but it's O'Brien's immaculate coolness and precision that work against him at book length. Read more than three or four of these short essays at one sitting and mental fatigue begins to set in. I find myself yearning for at least the occasional vulgar or provocative statement that he's simply too fastidious to write.
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1 of 2 people found the following review helpful By I. Brossard on December 11, 2013
Format: Hardcover Verified Purchase
Typically brilliant essays by Geoffrey O'Brien, who has an encyclopedic knowledge of film and pretty much everything else. Don't miss it.
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