TABLE OF CONTENTS

film

The Wild Bunch, Easy Rider, More, The Gypsy Moths, The Rain People, and Bob & Carol & Ted & Alice

The Wild Bunch has a virile ribbon image, often an aerial view, of border life in 1914 Texas, stretched across a mottled wide screen in which there are so many intense, frontal details—five kids marching in a parade with their arms linked, a line of bounty hunters riding straight at the camera—that the spectator’s store chest of visual information is constantly widened. Someone seems to have studied all the frontal postures and somber-sharp detailing in Civil War photographs, as well as the snap-the-whip, across-the-page-compositions that Homer often used as a perfect substructure for the spread-out, pastoral, early 1900s. There is a lunatic intensity in exploiting this archaic photography, getting the inside effect of life in movement, having people in rows, the pride and uprightness of a pose, emphasizing dishevelment in peasant huts or the dry-dusty exit from a Mexican walled city.

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