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Brian Mcfarlane

Few film directors can have had a more varied experience of their trade than Lance Comfort. Fortunately this is not a biographical study since so many of the documents that might have shed light on his earlier years have been lost. According to his son John, in moving into a smaller flat in the years just before his death, Comfort destroyed virtually all his papers, consigning a press cuttings book (the

in Lance Comfort
Jenny Lin

Kong–based film director Wong Kar-wai, who served as artistic director, “China: Through the Looking Glass” was hailed as “a From Shanghai to New York by way of conclusion stunning, cinematic journey in which magnificent examples of the haute couture and avant-garde ready-to-wear are presented alongside masterworks of Chinese art.”5 While signaling the hopeful promises of our increasingly globalized artistic and cultural spheres, the exhibition also registered some of the major problems associated with the global turn in contemporary art: uneven representation

in Above sea
Derek Paget

uncomfortably close to the title of the source book written by Derek Humphry the film’s main protagonist.20 It was re-titled as the more ambiguous Act of Love, but Granada then discovered that a 1981 NBC made-for-TV movie had already used this title. The NBC film was sufficiently well-known for this to be a problem. It had Ron Howard (Richie Cunningham in the hit television series Happy Days and now a noted film director), starring and had achieved a 21.7% rating and a 35% audience share when first transmitted. It was also frequently repeated on US television (see Gitlin 1994

in No other way to tell it
Formative years
Tony Whitehead

home, as he felt stifled and repressed by family life. Making films was certainly an ambition, but he was not particularly aware at this time of what the role of a film director actually was: ‘Sure, I wanted to make movies, but in my fantasies. I didn’t know what it meant actually. I knew about films a bit, not much, because you watched them, but I’d never seen a foreign film – i.e. a film not in English’.4 In the event, he won a scholarship to RADA, which he has described as both a ‘fluke’5 and ‘the most wonderful and also the most mystifying thing that had ever happened

in Mike Leigh
Tinne Claes and Katrin Pilz

, such as industrial workers, but also military men and veterans, mothers, children and, in colonial contexts, indigenous people. 88 Realised by different public health departments these films were prepared and executed by professional and clinical film directors. This specific genre is therefore an optimal source for discussing interdisciplinary, intercultural, scientific and public

in Medical histories of Belgium
A history of Korean cinema
Hyangjin Lee

. Kim Jong Il’s extraordinary interest in film is fully demonstrated by his successful abduction of the leading South Korean film director and his actress wife, Shin Sangok and Ch’oe Ŭnhŭi in 1978. This popular director-actress couple were regarded as the leaders of the ‘Golden Era’ in the South Korean film history. Shin made sixty-four films before his abduction, and Ch’oe played title roles in many of his films. Their

in Contemporary Korean cinema
Thai post-colonial perspectives on kingship
Irene Stengs

in the making of the movie The Legend of Queen Suriyothai . It is common knowledge that Sirikit strongly identifies with her historical predecessor. 39 Statements on the topic by people close to the queen have regularly appeared in the newspapers. Rumour (which does not appear in the press in Thailand) has it that the queen regards herself as a reincarnation of the warrior queen. We have to understand the interest of Sirikit in promoting the story of Suriyothai in this context. In 1999, Sirikit approached one of Thailand’s most established film directors, M. C

in Monarchies and decolonisation in Asia
Abstract only
Andrew Dix

film’s meanings. Is the entire debate over whose authorial signature to affix to a filmdirector’s? screenwriter’s? star’s? cinematographer’s? producer’s? studio’s? – wearisome and unproductive? Are there better things we could be doing in film studies? Is it time to shelve the problematic of film authorship itself? The rebirth of the author In film as in literary studies, announcement of the death of the author proved to be premature. Since the discipline absorbed the implications of Barthes’s memorialising essay, it is

in Beginning film studies (second edition)
The Second Situationist International on freedom, Freddie, and film
Mikkel Bolt Rasmussen

factions that emerged from the split in 1961 shared a belief in the necessity of liberating art but differed considerably when it came to the proper use of art and cinema. Together with the Danish art critic turned artist, film director, and provocateur Jens Jørgen Thorsen and other Danish, Swedish, and British artists, Nash not only made a number of films from 1962 onwards but also organised several experimental-film festivals. At these festivals, Nash and his cohorts screened not only their own films but also contemporary experimental films from both Western and

in Surrealism and film after 1945
The making of a director
Lisa Downing

Splendid group, which counted among its members such names as Michel Blanc, Thierry Lhermitte, Josiane Balasko and Miou-Miou, also collaborated closely with film director Bertrand Blier, who worked to promote and encourage the troupe of young actors. All of them went on to enjoy successful careers in acting, direction and production. Moreover, Blier is credited with having renovated French cinema by bringing to the big screen

in Patrice Leconte