Gabe Klinger

Curator, teacher and critic

Brazil/US

Voted in the critics’ poll

Voted for

1126 Dewey Avenue, Apt. 207

Creators unknown

79 Springtimes

1969

Santiago Álvarez

Artists and Models

1955

Frank Tashlin

Au Hasard Balthazar

1966

Robert Bresson

Brighter Summer Day, A

1991

Edward Yang

Country Doctor, The

1909

D.W. Griffith

Early Summer

1951

Ozu Yasujirô

Finis terrae

1929

Jean Epstein

Outer and Inner Space

1965

Andy Warhol

Wagon Master

1950

John Ford

Comments

Appendix: Histoire(s) du cinéma (Jean-Luc Godard, 1998, France, 266’) If this list serves as a superficial indicator, my favorite films are staged narratives (six titles), American (five) and on average 80 minutes in length. How oddly, appallingly conventional! An eviscerator of personal taste, the statistics machine brings up the question of whether canons in cinema can mean anything today with so many films existing and so much/many history(ies) to choose from. My idea was to make a list and to narrow it by applying a rationale to each film. Thus, major studios (Biograph, Shochiku, Paramount) had to be complimented by institutions that, over the second half of the 20th century, proved equally monolithic: Castro’s Cuba, Warhol’s Factory. The zenith work of New Taiwanese Cinema, a national movement that provided a model for the success and failure of world cinema culture as we came to know it in the following decade and a half, is bookended by a lyrical American silent made by a director who didn’t only provide the model, but everything that we know about… oh, who am I kidding? The only way to submit to this impossible task was to keep things strictly personal, and the reasons for including these films (and the bonus video) are, in the end, no one’s business but my own.

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