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Sian Barber

fairytales and their narrative components has encouraged scholars to think about films in a similar formalist way. Other topics may not fit neatly into established theoretical models. You may be keen to explore issues of female authorship, focusing on a modern film director like Kathryn Bigelow, yet perhaps none of the existing theoretical work on the auteur theory fits with the research you want to carry out. If this is the case then you need to decide if the theoretical approach you have chosen is a suitable one. To help you do this, you should perhaps consider what

in Using film as a source
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The art of contradiction
Jacopo Galimberti, Noemi de Haro García, and Victoria H. F. Scott

, designers and film directors appropriated or emulated the political ideals of the Cultural Revolution, translating them into a wide variety of visual propositions. From the Californian campuses to the Peruvian campesinos, many attempted to integrate Mao’s principles and the Cultural Revolution’s material culture, iconography and slogans into their production and model of authorship, although in different, and at times highly incompatible, ways. It is unlikely that the lack of scholarship on this topic is accidental. The widespread apprehension concerning the attribution

in Art, Global Maoism and the Chinese Cultural Revolution
Richard Hewett

. I want to be lost in it. (Ibid.) Teague’s comments represent the instincts of a single camera film director attempting to work within an (extremely ambitious) multi-​camera context, and in this respect Frankenstein’s Wedding was an intriguing experiment; one that has not been repeated. It is clear that, given the unusual nature of its production, Frankenstein’s Wedding cannot be read as a return to the performance style of studio realism, though in rehearsal terms at least it shared certain of its processes, with the director and cast allocated a week to prepare

in The changing spaces of television acting
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Gemma King

. Beyond directing: influences, collaborations, engagements In order to understand Jacques Audiard’s work as a French film director, it is necessary to step back and consider his films within the context of his upbringing and career as a whole. Audiard was born in Paris in 1954 to Marie-Christine Guibert and Michel Audiard. By the time of his birth, Audiard’s father was already

in Jacques Audiard
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Joseph McGonagle

publicised protests in the late 1990s, controversy grew and they became a cause célèbre for French cinema: in February 1997, fifty-nine film directors spearheaded an appeal for civil disobedience against the Interior Minister Jean-Louis Debré’s bill requiring citizens to inform the authorities when lodging foreign visitors in their homes. The national demonstration that followed in Paris attracted 100,000 protestors. In June 1997, Debré’s successor under the Jospin government, Jean-Pierre Chevènement, announced an amnesty and specified the criteria France’s estimated 250

in Representing ethnicity in contemporary French visual culture
Vocal performance, gesture and technology in Spanish film
Tom Whittaker

in a self-​conscious parody of these earlier roles in El oro de Moscú/The Moscow Gold (Jesús Bonilla, 2003) and Torrente 2: Misión en Marbella/Torrente 2: Mission en Marbella (Santiago Segura, 2001). If Segura’s comedies, as Triana Toribio and others have observed, signalled a postmodern return to the sleazy subproductos [subproducts] of Lazaga and Ozores (2004: 151–​2), they also often playfully embraced the post-​synch sound design with which these films were associated. Indeed, Santiago Segura famously worked as a dubbing artist before becoming a film director

in Performance and Spanish film
Annie Fourcaut

which native savages speak street slang (la langue verte)’ (Cohen and Lortie 1991: 67). Gangs of young delinquents known as ‘Apaches’ who refused factory work despite their working-class origins terrorised bourgeois Parisians in exploits popularised by the press and in pulp fiction. Silent-era film directors found in the Zone and the ‘fortifs’ an ideal setting for burlesque chase scenes between thugs and policemen as well as for adaptations of nineteenth-century novels that included Eugène Sue’s Les Mystères de Paris (1842–43) and Adolphe d’Ennery and Eugène Cormon

in Screening the Paris suburbs
Térésa Faucon

10 Godard’s suburban years Térésa Faucon Jean-Luc Godard’s ‘Karina years’ were also his ‘Paris years’, critic Alain Bergala once noted. They were no less Godard’s suburban years, for in addition to the portrait of greater Paris in Deux ou trois choses que je sais d’elle, from the late 1950s to the late 1960s the director shot several films around the French capital. As Eric Rohmer noted, the banlieue offers the film director ‘a choice subject – first of all, because millions of people live there, and secondly, because it’s a newer and more varied setting than

in Screening the Paris suburbs
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Melanie Williams

Film-Makers for the Festival of Britain (London: BFI, 1951), p. 37. 34 David Lean, ‘The Film Director’, in Oswell Blakeston (ed.), Working for the Films (London: Focal, 1947), p. 36. 35 Quoted in George Stevens Jr. (ed.), Conversations with the Great Moviemakers of Hollywood’s Golden Age (New York: Knopf, 2006), p. 425. A variation also appears in another interview: ‘Can you think of any art that isn’t one person’s vision? Making a movie is using a vast piece of machinery like a crane to draw a fine line. One person must control the machinery.’ Lean quoted in

in David Lean
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Live television and improvised comedy in the Soviet Union, 1957–71
Andrew Janco

for the Sixth World Festival of Youth and Students in Moscow in July 1957, a Youth Festival Bureau was formed at Central Television. Sergei Muratov, a Central Television employee and student at Moscow State University, was charged with creating youth programming for the Festival. In his search for ideas, Muratov approached Mikhail Yakovlev, Andrei Donatov and Al’bert Aksel’rod, a medical student who was active in student theatre (kapustniki). The trio met in the cafeteria at Central Television to trade ideas. Muratov also met with a Czech film director named

in Popular television in authoritarian Europe