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정보과학회 컴퓨팅의 실제 논문지. 2023-01 29(1):1-9
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항공우주시스템공학회 학술행사 논문집. 2023-10 2023(10):792-793
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한국정보과학회 학술발표논문집. 2023-12 2023(12):221-223
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In: SIGMOD Record. (SIGMOD Record, 14 May 2024, 53(1):7-14)
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Alphaville: Journal of Film and Screen Media, Iss 27, Pp 278-282When the actor Phillip Baker Hall was approached by a twenty-two-year-old Paul Thomas Anderson with the script for his first short film, Cigarettes & Coffee (1993), he claims to have wondered to himself, “Who was the first actor in the seventeenth century to see a Shakespeare script, and did he know what he was reading? I certainly knew what I had in my hand” (qtd. in Warren 3). As Anderson is known for having a deep self-certainty about exactly what he was capable of, and moreover, a keen self-awareness too of how he is placed as an auteur figure within the arena of post-New Hollywood cinema, it can be very hard to divorce his work from his personality. This popular imagination of Anderson and his oeuvre, which I in no way wish to suggest is inherently misleading or facetious, is extensively considered by film critic Ethan Warren through a critical reading of not just his films, but also the discourse surrounding Anderson as well. Through a theory of an American apocrypha in Anderson’s work, Warren finds a fascinating way to not just think through Anderson’s own dynamicity as a filmmaker, but also to provide us with an intellectual manoeuvre that makes the reader ask what an auteur even means within commercial Hollywood today, a question we must approach within the terms of commerce. (2024)
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