|Print List Price:||$16.00|
Save $8.01 (50%)
Random House LLC
Price set by seller.
Zona: A Book About a Film About a Journey to a Room Kindle Edition
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Customers who bought this item also bought
Zona is penned with great linguistic flair, in a non-academic, conversational tone... It turns Zona from film criticism into a stranger, more amusing study and the section on why their journey is like the journey of writing a book is both intellectually neat and rather touching. (Independent on Sunday)
Doesn't so much inject fun into the film's eerie Soviet glamour as find comedy in the gulf between us and our objects of desire (Boyd Tonkin Independent)
Dyer, ever the postmodernist, thrives on the futility of his critical mission...and he duly unleashes a battle between footnotes and central text, relentlessly peppering his Tarkovskian plot pr�cis with beautiful biographical notes. (The Times)
This is a rigorous book, and one that celebrates properly a lifelong devotion to an artistic masterpiece. But it is also entertaining. As such, it is almost revolutionary in form. (Financial Times)
Perennially readable and wonderfully difficult to second-guess (Bookseller)
[Geoff Dyer] can be laugh out loud funny...[Zona] is a work which generates meanings rather than exhausts them by specificity. The loveliness of Dyer's book is that he could write it again in a decade and it would be different again. (Scotland on Sunday)
[Geoff Dyer] shows how writing about film can deliver a sense of adventure. His book offers the satisfaction of a meditation that inhales a much larger world (Nick James Sight and Sound)
One of my favourite of all contemporary writers. (Alain de Botton)
An investigation into everything from faith to knapsacks. Therapy for Dyer, bliss for the reader (The Daily Telegraph) --This text refers to an out of print or unavailable edition of this title.
About the Author
- File Size : 1425 KB
- Publication Date : February 21, 2012
- Print Length : 135 pages
- Word Wise : Enabled
- Publisher : Vintage (February 21, 2012)
- Screen Reader : Supported
- X-Ray : Not Enabled
- Enhanced Typesetting : Enabled
- Text-to-Speech : Enabled
- Language: : English
- ASIN : B004X6PS1I
- Lending : Not Enabled
- Best Sellers Rank: #929,186 in Kindle Store (See Top 100 in Kindle Store)
- Customer Reviews:
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
Now, in a sense all reviews or discussions about a book or movie is through the eyes of the reviewer. Their own history, their own experiences, act like a filter or lens that they saw the story through. And sometimes this allows them to give us some insight that we, having different filters or lens, may not have noticed. That is the point of reading or listening to a review.
But not here. At one point the author explains he has NO idea why the Stalker is tossing nuts about. Even though the Stalker explained, within the movie, he was searching for traps. HOW can I believe Geoff Dyer has any clue about what he is talking about...no...discussing...? no..babbling about? Yes. How can I believe Geoff Dyer has any clue about what he is babbling about when I know more about the film than he does?
And the footnotes. Some of them go for pages, taking over the book, and causing some confusion. Sometimes there is a gem here and there but you had to search for it. Yet I had no problems with his language. Okay, he called a dog a "doggy".
I think the real problem is this is BABBLING. Almost as if he recorded what he was saying during a watching of the film and had somebody type it out. As if somebody was trying to do make a Mystery Science Theater 3000 episode of Stalker. Badly.
His humor is hit and miss, much of what he talks about (such as the interviews) could easily be found on the net, and the book could have easily been smaller. No, really, it could have easily been half the size. This was over 200 pages. It could have easily been 100 pages. Less if the editor had forced him to take over or reduce many of the footnotes.
When I finally finished the book I realized I was likely going to sell it to Second & Charles. Because this is NOT a reread. And to be honest I doubt they will give me much for it.
In the end I would suggest getting it from a library if you want to read it. But warned - you will likely NOT get anything NEW from his views of the movie. This is like those travel books that don't tell you anything about the country but everybody about the views the writer HAS on the country. If done right they can bring you insight and a smile on your face. If done wrong...you get this book.
I guess this makes me sound like some kind of moldy fig, but I watch films like Stalker to get away from cynicism and junk pop culture and it’s disappointing to wade through pages of it before reaching an intelligent discussion about the film.
I wasn't particularly interested in reading about the movie Stalker since I hadn't seen it, but when I picked Zona up in the bookstore I could not put it down.
The influence of this film on Dyer is evident as he passionately and carefully summarizes the story and its meaning. He has not only analyzed every reel of the film but the challenges, and there were many, in making the film.
His love of this film is the basis for analogies and metaphors and associations with art and life. The film leads to Burning Man, Nabokov, Kafka, Antonioni, Fitzgerald, Nosferatu, Brother's Karamazov, Solaris, L'Avventura, The Italian Job, Henry James, Hopi Indians, Buster Keaton, Flaubert, Roland Barthes, Daniel Day Lewis and on and on.
He suggests that this film with its slow pace has given him a deeper appreciation for art and allowing a story to unfold. This is not something available in movies today he laments. But he also did not love Stalker when he first saw it; in fact, he was a little bored, but "it was an experience I couldn't shake off."
The title Zona refers to the mythical zone in the film where your innermost desires will be granted. Dyer's deepest desire appears to have been sleeping with two women at once. I mention this because it's revealing and humorous, but also reflects the wild honesty in his writing.
If you haven't seen this film, I suggest you read this book before you do. If you have seen it, this book will change or reinforce your impression of a fascinating movie.
There's a sense of going over the edge in Dyer's writing--that is often like reading a revealing memoir--he is so original that I can't think of another writer who can reach his state of unforgettable madness.
For me Dyer lifts Tarkovsky up to the level of a Homer in the sense that Stalker encompasses history, myth and a fantastical journey that only art can communicate.
Top reviews from other countries
In Dyer's case it allows him to reminisce about his first acquaintance with Stalker before the days of DVD, the weeks of waiting for a cinema to screen it, making a VHS copy of its broadcast, just in case there would never be another opportunity, at the same time as commanding us to watch it in projection, not on a small TV screen. He also goes into the appalling list of hazards and personal rivalries which Tarkovsky had to overcome in order to complete it. Multiple references to other Tarkovsky films enable him to eke out a reading of the film, which does not explain it, but sends you back to the film itself (to the VHS copy I made from the broadcast!), with a heightened awareness of its qualities.
As with the best criticism, this relatively short book, for such a long film, takes us closer to the work, teasing out its characteristics and the underlying reasons behind its choices with humour and humility (why the jeep, rather than a Mini Cooper!). The most intensely personal part of the book relates to the significance of The Room for the author (or are we merely led to imagine that this persona is the author?), to his fear that it might reveal secret wishes which he has harboured since adolescence but has never had (nor probably ever will have) the opportunity to experience. It is thus a book about ageing, about how a film can change over time, about how it will be different for each new generation of passionate film goers who encounter it for the first time during their late adolescence (how long does that last?).
Permit me to point out one tiny technical error, in case other photographers/film makers are also puzzled: the first part of the film, prior to entering the Zone, was shot on negative stock and printed onto colour in a gloomy sepia, not the other way around, as Dyer suggests. If you shoot in colour and print onto black and white stock you end up with black and white, sort of.