Crying at Movies: A Memoir by John Manderino

By John Manderino

While Hitchcock's "The Birds", started displaying in the summertime of 1963 on the Dolton Theater, the starlings of Riverside, Illinois introduced their assaults. They have been 'black, freckled, oily-looking things' with 'tiny black buttons for eyes.' They carried off Skippy Whalen's baseball cap, pooped on Father Rowley's finger, and attacked a feisty little puppy named Tuffy who fought them off. 'I blamed Alfred Hitchcock' says the writer, a Catholic grammar college pupil on the time.In this comedian, witty memoir, John Manderino indicates us how the pivotal issues of his existence were enmeshed with motion picture moments. "Crying at Movies" offers thirty-eight succinct chapters, each one bearing the name of a film."Brief Encounter", the final bankruptcy, unearths our movie-seeking Everyman hiding in his girlfriend's rest room so she won't see him crying over the ultimate scene. "Crying at Movies" is immediately a love-letter to an paintings shape and a funny appreciation of the differences among motion picture scenes and life's realities.

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Soon after this both Carmen and Don José rise to their feet, smiling, and Chaplin shows Carmen that the knife is only a stage prop. Luis César Amadori’s version locates Carmen as an opera performance within the diegetic world of the film, turning it into a Bildungsroman. Amadori’s heroine rejects the advances of the young man who works with her. In a comedy of errors, she becomes involved in the opera production of Carmen where she improvises, sending the plot totally out of control. In the scene where Don José is supposed to kill her, she faints, breaks her leg, and eventually finds herself behind the scenes.

The subject-viewer oscillates between the initial experience of pleasure, the traces left by this experience, and future attempts to repeat it. Pleasure is located in the moment of homeostasis between tension and release, that is, when difference and repetition are in equilibrium. Jouissance, in contrast, relates to the freezing of the moment of the annihilation of tension, that is, when differences and repetition are not satisfactorily balanced (see also Roland Barthes, , and Willemen, , cited in Neale : ).

On the application of Roland Barthes “The Structural Analysis of Narratives” to film, see Anat Zanger () and Brian McFarlane (). Other parameters, such as changes in the cultural setting of the film, as suggested by Robert Eberwein in Horton & McDougal (: -), intersect with mine. This activity has already been termed “intertextuality” in its broader sense (see Kristeva , Barthes  [()] and, more specifically, “rhetorical transtextuality” (see Genette,  and Eco,  []).

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