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The Films of Woody Allen by Sam B. Girgus

By Sam B. Girgus

The flicks of Woody Allen is the 1st full-length paintings to ascertain the director as a major filmmaker and artist. Sam Girgus argues that Allen has always been at the leading edge of up to date serious and cultural attention, not easy our notions of authorship, narrative, viewpoint, personality, subject matter, ideology, gender and sexuality. This revised and up to date version contains new chapters that learn Allen's paintings for the reason that 1992. Girgus argues that the scandal surrounding Allen's own existence within the early Nineties has altered his photograph in ways in which reposition ethical awareness in his paintings.

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Other critics such as Terrence Rafferty sometimes express disappointment over his efforts, but still acknowledge the special quality and character of his work. To both the popular press and serious students of cinema, Woody Allen remains an eccentric and enigmatic genius who works ceaselessly as an innovative artist in an industry and medium dominated by commercial interests and mass tastes. Moreover, other directors imitate him in ways that suggest Allen’s elevation as an influence and a force among that special group of critics, one’s peers.

See Ziˇ tween Theory and Post-Theory (London: BFI, 2001), p. ” 25. Bernard Weinraub, “At The Movies: Separating Fact, Fiction, and Film,” New York Times, January 2, 1998, p. B7. 26. John Lahr, “The Imperfectionist,” The New Yorker, December 9, 1996, p. 68. 27. Ibid. 28. Ibid. 29. , p. 72. 30. , p. 72. 31. Janet Maslin, “Jostling and Stumbling Toward a Fateful 15 Minutes,” New York Times, September 25, 1998, p. B1. 32. See Elvis Mitchell, “There’s Deceit, And Then There’s Deceit,” The New York Times, May 1, 2002, B1, 8; Neil Genzlinger, “A Slip, a Snuff, a Sneeze: Woody Allen in Snippets,” rev.

35 In the years since Play It Again, Sam first appeared, repeated showings of the film have made it part of our popular consciousness so those famous classic scenes from Casablanca seem like the inevitable beginning of the film. In fact, we remember that the original play on Broadway actually opened with Felix watching Bogart in The Maltese Falcon tell Mary Astor that she would have to take the fall for her crimes in spite of – or perhaps secretly because of – his love for her. There are some important benefits from this change that reflect the transition from Allen’s play to the film.

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