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Second Takes samples a broad spectrum of movies from the “golden years” of filmmaking, highlighting outstanding artists who have created the hallmarks of the medium.

 

The book is a collection of fifty essays focusing exclusively on classic cinema, each exploring the themes, cultural contexts, and creative ideas that came together to deliver fascinating films—some of which have retained their original appeal for nearly one hundred years. 

 

Mojtahed employs traditional values in film criticism to create fresh takes on classics. Readers will discover how interactions of visual elements with components such as sound effects, music, color, dialogue, and editing create a dynamism that shapes our response to films.

Detailed examinations reveal how this synergy of diverse elements leads to a thematic cohesion, or a recurring motif, that audiences relate to both emotionally—and intellectually. While we can often explain the impact of mise-en-scène or camera movement, the unconscious emotional response to what we see on the screen guides our intellectual reading of a moment in movies.

Film aficionados will learn how to apply the essays’ blending of theoretical concepts with practical guidelines to any film of interest. In additional to traditional classics, Second Takes also includes several important films that are overlooked or seldom discussed, and a list of “Suggested Further Reading” provides readers with a vast resource to expand their perspective on the art of cinema even further.

"Second Takes" by Naser Mojtahed, paperback book, new release, 3D mock-up

All About Second Takes

​​Movie critic Naser Mojtahed invites readers on an inspiring journey into the world of film analysis
Contents: Second Takes

Table of Contents

American Cinema

Fort Apache (John Ford, 1948)

The Searchers (John Ford, 1956)

Two Rode Together (John Ford, 1961)

The Tarnished Angels (Douglas Sirk, 1957)

Written on the Wind (Douglas Sirk, 1956)

Sherlock Jr. (Buster Keaton, 1924)

Morocco (Josef von Sternberg, 1930)

The Philadelphia Story (George Cukor, 1940)

To Be or Not to Be (Ernst Lubitsch, 1942)

Notorious (Alfred Hitchcock, 1946)

Out of the Past (Jacques Tourneur, 1947)

In a Lonely Place (Nicholas Ray, 1950)

Pickup on South Street (Samuel Fuller, 1953)

An Affair to Remember (Leo McCarey, 1957)

Man of the West (Anthony Mann, 1958)

Some Came Running (Vincente Minnelli, 1958)

Rio Bravo (Howard Hawks, 1959)

Luis Buñuel

Nazarin (Luis Buñuel, 1959)

Viridiana (Luis Buñuel, 1961)

The Exterminating Angel (Luis Buñuel, 1962)

Belle de Jour (Luis Buñuel, 1967)

Tristana (Luis Buñuel, 1970)

The Discreet Charm of the Bourgeoisie (Luis Buñuel, 1972)

That Obscure Object of Desire (Luis Buñuel, 1977)

Japanese Cinema

I Was Born, But . . . (Yasujiro Ozu, 1932)

There Was a Father (Yasujiro Ozu, 1942)

Late Spring (Yasujiro Ozu, 1949)

Tokyo Story (Yasujiro Ozu, 1953)

Late Autumn (Yasujiro Ozu, 1960)

Sisters of Gion (Kenji Mizoguchi, 1936)

Ugetsu Monogatari (Kenji Mizoguchi, 1953)

Sansho Dayu (Kenji Mizoguchi, 1954)

French Cinema

The Grand Illusion (Jean Renoir, 1937)

La Bête Humaine (Jean Renoir, 1938)

The Rules of the Game (Jean Renoir, 1939)

French Cancan (Jean Renoir, 1955)

Children of Paradise (Marcel Carné, 1945)

Touchez pas au Grisbi (Jacques Becker, 1954)

German Cinema

Nosferatu (F. W. Murnau, 1922)

M (Fritz Lang, 1931)

Danish Cinema

The Passion of Joan of Arc

    (Carl Theodor Dreyer, 1928)

Ordet (Carl Theodor Dreyer, 1955)

 
 
Italian Cinema

Le Amiche (Michelangelo Antonioni, 1955)

L’Avventura (Michelangelo Antonioni, 1960)

Blow-Up (Michelangelo Antonioni, 1966)

Europe ’51 (Roberto Rossellini, 1952)

Journey to Italy (Roberto Rossellini, 1956)

Ossessione (Luchino Visconti, 1943)

The Leopard (Luchino Visconti, 1963)

(Federico Fellini, 1963)

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