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Schreiber Theory : A Radical Rewrite of American Film History by David Kipen (2006, Perfect)

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With Oscar season upon us, David Kipen asks whos responsible for Hollywoods best movies?. In an edgy and funny manifesto, critic David Kipen says au contraire to that old film school theorythe auteur theorythat gives all the credit to the director.

About this product

Product Identifiers

PublisherMelville House Publishing

ISBN-10097665833X

ISBN-139780976658337

eBay Product ID (ePID)16038778174

Product Key Features

Book TitleSchreiber Theory : a Radical Rewrite of American Film History

Number of Pages172 Pages

LanguageEnglish

Publication Year2006

TopicFilm / General, Film / Screenwriting, Film / History & Criticism

IllustratorYes

GenrePerforming Arts

AuthorDavid Kipen

Book SeriesMelville Manifestos Ser.

FormatPerfect

Dimensions

Item Height0.6 in

Item Weight5.3 Oz

Item Length6.2 in

Item Width5.1 in

Additional Product Features

Intended AudienceTrade

LCCN2005-033164

Dewey Edition22

TitleLeadingThe

Dewey Decimal808.2/30973

SynopsisKipen dismantles the auteur theory and presents a convincing argument that screenwriters are the guiding creative geniuses behind the best films., In this wonderfully witty and wide-ranging manifesto, noted book and movie critic David Kipen takes dead aim at that old film school canard, the "auteur theory", and blows it sky-high with a theory of his own that he supports with a rollicking tour through movie history. Thanks to the "auteurists", everyone nowadays credits the director with being the creative genius behind every movie. But, in what may be the first significant counter-theory to the notion invented by legendary critics Andrew Sarris, Fran'ois Truffaut, and others, Kipen says, ""Au contraire"." Instead, inspired by "the mother tongue of America's first screenwriters," he uses the Yiddish word for writer to coin "The Schreiber Theory", which decrees that knowing who wrote a film is often a far better-and far more consistent-guide to whether it was any good. Kipen's new heresy topples the old orthodoxy by studying the careers of the early writers who came to Hollywood from Broadway and the modern scriptwriters coming out of TV. Most usefully, the second half of the book is a who's who of screenwriters past and present, with entries on over 40 of Hollywood's most significant "schreibers". There's plenty of film-world gossip along the way, as well as smart discussion of how the "auteur" theory took hold and what some other opponents-such as Pauline Kael-had to say about it. From the early days-when Faulkner, Fitzgerald, and Hemingway labored in Hollywood-to today, when international sales are turning scripts into pidgin affairs, it's aclever and savvy consideration of movie-making from a whole new perspective. David Kipen is the former editor of "Buzz Magazine" and has written about movies for "The Hollywood Reporter", "Variety", "Boxoffice", "The Atlantic Monthly", and "The Los Angeles Times". He is currently the book critic for "San Francisco Chronicle", as well as a weekly commentator on NPR's "Day to Day" program and on KCRW-FM in southern California., In this wonderfully witty and wide-ranging manifesto, noted book and movie critic David Kipen takes dead aim at that old film school canard, the auteur theory, and blows it sky-high with a theory of his own that he supports with a rollicking tour through movie history. Thanks to the auteurists, everyone nowadays credits the director with being the creative genius behind every movie. But, in what may be the first significant counter-theory to the notion invented by legendary critics Andrew Sarris, Franois Truffaut, and others, Kipen says, Au contraire, Instead, inspired by the mother tongue of America's first screenwriters, he uses the Yiddish word for writer to coin The Schreiber Theory, which decrees that knowing who wrote a film is often a far better-and far more consistent-guide to whether it was any good. Kipen's new heresy topples the old orthodoxy by studying the careers of the early writers who came to Hollywood from Broadway and the modern scriptwriters coming out of TV. Most usefully, the second half of the book is a who's who of screenwriters past and present, with entries on over 40 of Hollywood's most significant schreibers, There's plenty of film-world gossip along the way, as well as smart discussion of how the auteur theory took hold and what some other opponents-such as Pauline Kael-had to say about it. From the early days-when Faulkner, Fitzgerald, and Hemingway labored in Hollywood-to today, when international sales are turning scripts into pidgin affairs, it's a clever and savvy consideration of movie-making from a whole new perspective. David Kipen is the former editor of Buzz Magazine and has written about movies for TheHollywood Reporter, Variety, Boxoffice, The Atlantic Monthly, and The Los Angeles Times, He is currently the book critic for San Francisco Chronicle, as well as a weekly commentator on NPR's Day to Day program and on KCRW-FM in southern California., In an edgy and funny manifesto, critic David Kipen contradicts the old film school theory - the auteur theory - that gives all the credit to the director. Instead, in honour of the mother tongue of America's first screenwriters', Kipen uses the Yiddish word for 'writer' to coin The Schreiber Theory, which decrees that knowing who wrote a movie is often a far better guide to knowing whether the movie will be any good or not.'

LC Classification NumberPN1996.K485 2006