Tom, Tom’s thrust is intensively epistemological; Rose Hobart is a more compact, but dazzling exercise in the techniques of assertive editing, and in its “copulative” propensity, to which Eisenstein had somewhat blushingly referred in Film Form. . . . Demonstrating the generative uses of junction and disjunction, Cornell will use the cut, the cut on gesture, and the jump-cut with a kind of insolence.
June 01, 1973