The Reluctant Film Art of Woody Allen by Peter J. Bailey Page A
Authors: Peter J. Bailey
Tags: General, Biography & Autobiography, Literary Criticism, American, Entertainment & Performing Arts, Performing Arts, Film & Video, Literary Collections, History & Criticism
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Nietzsche Wept . New York: Basic Books, 1992.
Yeats, William Buder. “The Second Coming.” Selected Poems and Two Plays of William Butler Yeats, ed. M.L. Rosenthal. New York: Collier Books, 1962.
Zacharek, Stephanie. Review of Sweet and Lowdown. Salon (December 3, 1999).
Zimmerman, Bernhard. Greek Tragedy: An Introduction, trans. Thomas Marier. Baltimore: Johns Hopkins University Press, 1991.
Zinsser, William K. “Bright New Comic Clowns Toward Success.” Saturday Evening Post (September 21, 1963), pp. 26–27.
Index
Note: Extended discussions of films or themes are noted in bold .
Aaron, Caroline
Abraham, F. Murray
“acceptance, forgiveness, and love,”
Adair, Gilbert
Adler, Jerry
Aiello, Danny
Airplane
“Alabammy Bound,”
Alda, Alan
Alden, Harold
Allen, Woody: ambivalent attitude toward art,;argument that critics exaggerate the value and complexity of art; association of plot resolution with illusion; assumption that artworks replicate human corruption,; belief that happy endings happen only to fictional characters,; belief that life’s bleakness demands escapist consolations of art,; blurring of reality with movie reality,; characters’ capacity for confounding art and life,; conflict between creating comic vs. serious art; conflicting attitudes on art’s derivation from artists’ lives,; continuity with tradition of Jewish/American humor; conviction of the indistinguishability of art and narcissism,; criticized for anti-Semitic depictions of Jews,; demoralization of 1990s protagonists; doubts about the family as solution to existential dilemma,; exploitation of “Woody Allen” protagonist; films reflect a convergence of American theatrical realism with classic Hollywood film style; identification with non-”Woody Allen” protagonists; intermingling of comic and serious modes in films; love of movies developed in childhood; magic as metaphor for artworks; 1990s preference for creating “magic lantern en’tertainments” over serious films,; objection to the category of “loser,”; opposition to Modernist ideal of art’s redeeming capacities,; opposition to Modernist ideal of art’s redeeming capacities ironized in Deconstructing Harry, ; protagonists’ anxiety about integrity of self; repudiation of genetic determinism and Greek notions of fatality; skepticism toward existentialist affirmation; skepticism toward the distortions of artistic representation; tendency to invoke and imitate films of European masters; thematic disparity between surface order and internal corruption,; thematic tension between WASP decorum and Jewish humor,; unconcern for audience; unresolved conflict between artistic idealism and pragmatic realism; view that reality of death nullifies all other human perceptions, —films: Alice ,; Annie Hall, ; Another Woman, ; Bananas, ; Broadway Danny Rose, ; Bullets Over Broadway, ; Celebrity ; Crimes and Misdemeanors, ; Deconstructing Harry ; Everyone Says I Love You, ; Everything You Ever Wanted to Know About Sex, ; Hannah and Her Sisters, ; Husbands and Wives, ; Interiors, ; Love and Death, ; Manhattan, ; Manhattan Murder Mystery ; Midsummer Nights Sex Comedy A, ; Mighty Aphrodite, ; “Oedipus Wrecks,”; Play It Again, Sam, ; Purple Rose of Cairo, ; Radio Days, ; September, ; Shadows and Fog ; Sleeper, ; Stardust Memories, ; Sweet andLowdown, ; Take the Money and Run, ; Zelig
—prose: Complete Prose of Woody Allen,, The, ; “Death (A Play),”; “God: A Play,”; “Kugplmass Episode, The,”; “My Apology,”; “My Secret Life with Bogart,”; “Random Reflections of a Second Rate Mind,”; “Remembering Needleman,”; “Through a Life Darkly” (review of Bergmans The Magic Lantern )
—scripts: Bullets Over Broadway (Allen and Douglas McGrath); Radio Days
Alley, Kirstie
Allison, Terry L.
Always Leave Them Laughing
Amarcord (Fellini)
Ames, Christopher
Anderson, Maxwell
Anderson, Sherwood
Ansen, David
Anspach, Susan
Anthony, Lysette
antimimetic emblems
Anzell,
Yeats, William Buder. “The Second Coming.” Selected Poems and Two Plays of William Butler Yeats, ed. M.L. Rosenthal. New York: Collier Books, 1962.
Zacharek, Stephanie. Review of Sweet and Lowdown. Salon (December 3, 1999).
Zimmerman, Bernhard. Greek Tragedy: An Introduction, trans. Thomas Marier. Baltimore: Johns Hopkins University Press, 1991.
Zinsser, William K. “Bright New Comic Clowns Toward Success.” Saturday Evening Post (September 21, 1963), pp. 26–27.
Index
Note: Extended discussions of films or themes are noted in bold .
Aaron, Caroline
Abraham, F. Murray
“acceptance, forgiveness, and love,”
Adair, Gilbert
Adler, Jerry
Aiello, Danny
Airplane
“Alabammy Bound,”
Alda, Alan
Alden, Harold
Allen, Woody: ambivalent attitude toward art,;argument that critics exaggerate the value and complexity of art; association of plot resolution with illusion; assumption that artworks replicate human corruption,; belief that happy endings happen only to fictional characters,; belief that life’s bleakness demands escapist consolations of art,; blurring of reality with movie reality,; characters’ capacity for confounding art and life,; conflict between creating comic vs. serious art; conflicting attitudes on art’s derivation from artists’ lives,; continuity with tradition of Jewish/American humor; conviction of the indistinguishability of art and narcissism,; criticized for anti-Semitic depictions of Jews,; demoralization of 1990s protagonists; doubts about the family as solution to existential dilemma,; exploitation of “Woody Allen” protagonist; films reflect a convergence of American theatrical realism with classic Hollywood film style; identification with non-”Woody Allen” protagonists; intermingling of comic and serious modes in films; love of movies developed in childhood; magic as metaphor for artworks; 1990s preference for creating “magic lantern en’tertainments” over serious films,; objection to the category of “loser,”; opposition to Modernist ideal of art’s redeeming capacities,; opposition to Modernist ideal of art’s redeeming capacities ironized in Deconstructing Harry, ; protagonists’ anxiety about integrity of self; repudiation of genetic determinism and Greek notions of fatality; skepticism toward existentialist affirmation; skepticism toward the distortions of artistic representation; tendency to invoke and imitate films of European masters; thematic disparity between surface order and internal corruption,; thematic tension between WASP decorum and Jewish humor,; unconcern for audience; unresolved conflict between artistic idealism and pragmatic realism; view that reality of death nullifies all other human perceptions, —films: Alice ,; Annie Hall, ; Another Woman, ; Bananas, ; Broadway Danny Rose, ; Bullets Over Broadway, ; Celebrity ; Crimes and Misdemeanors, ; Deconstructing Harry ; Everyone Says I Love You, ; Everything You Ever Wanted to Know About Sex, ; Hannah and Her Sisters, ; Husbands and Wives, ; Interiors, ; Love and Death, ; Manhattan, ; Manhattan Murder Mystery ; Midsummer Nights Sex Comedy A, ; Mighty Aphrodite, ; “Oedipus Wrecks,”; Play It Again, Sam, ; Purple Rose of Cairo, ; Radio Days, ; September, ; Shadows and Fog ; Sleeper, ; Stardust Memories, ; Sweet andLowdown, ; Take the Money and Run, ; Zelig
—prose: Complete Prose of Woody Allen,, The, ; “Death (A Play),”; “God: A Play,”; “Kugplmass Episode, The,”; “My Apology,”; “My Secret Life with Bogart,”; “Random Reflections of a Second Rate Mind,”; “Remembering Needleman,”; “Through a Life Darkly” (review of Bergmans The Magic Lantern )
—scripts: Bullets Over Broadway (Allen and Douglas McGrath); Radio Days
Alley, Kirstie
Allison, Terry L.
Always Leave Them Laughing
Amarcord (Fellini)
Ames, Christopher
Anderson, Maxwell
Anderson, Sherwood
Ansen, David
Anspach, Susan
Anthony, Lysette
antimimetic emblems
Anzell,
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