Innovators: Filmmakers / David W. Galenson.

By:

Galenson, David W

Contributor(s):

National Bureau of Economic Research

Material type: Text

TextSeries: Working Paper Series (National Bureau of Economic Research) ; no. w15930.Publication details: Cambridge, Mass. National Bureau of Economic Research 2010.Description: 1 online resource: illustrations (black and white)Subject(s):

Z11 - Economics of the Arts and Literature

Online resources:

Available additional physical forms:

Hardcopy version available to institutional subscribers

Abstract: John Ford and Alfred Hitchcock were experimental filmmakers: both believed images were more important to movies than words, and considered movies a form of entertainment. Their styles developed gradually over long careers, and both made the films that are generally considered their greatest during their late 50s and 60s. In contrast, Orson Welles and Jean-Luc Godard were conceptual filmmakers: both believed words were more important to their films than images, and both wanted to use film to educate their audiences. Their greatest innovations came in their first films, as Welles made the revolutionary Citizen Kane when he was 26, and Godard made the equally revolutionary Breathless when he was 30. Film thus provides yet another example of an art in which the most important practitioners have had radically different goals and methods, and have followed sharply contrasting life cycles of creativity.

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Holdings
Item type	Home library	Collection	Call number	Status	Date due	Barcode	Item holds
Working Paper	Biblioteca Digital	Colección NBER	nber w15930 (Browse shelf(Opens below))	Not For Loan

Total holds: 0

April 2010.

John Ford and Alfred Hitchcock were experimental filmmakers: both believed images were more important to movies than words, and considered movies a form of entertainment. Their styles developed gradually over long careers, and both made the films that are generally considered their greatest during their late 50s and 60s. In contrast, Orson Welles and Jean-Luc Godard were conceptual filmmakers: both believed words were more important to their films than images, and both wanted to use film to educate their audiences. Their greatest innovations came in their first films, as Welles made the revolutionary Citizen Kane when he was 26, and Godard made the equally revolutionary Breathless when he was 30. Film thus provides yet another example of an art in which the most important practitioners have had radically different goals and methods, and have followed sharply contrasting life cycles of creativity.