Search results

You are looking at 11 - 20 of 26 items for :

  • "Olivier Assayas" x
  • Refine by access: All content x
Clear All
Gemma King

and cinéma de banlieue movements, the 1990s also saw the release of several multilingual films which featured stories about European movement. These include Krzysztof Kieslowski’s Franco-Polish La Double Vie de Véronique in 1991 and his 1993–94 Trois couleurs trilogy (Trois couleurs: bleu (1993), Trois couleurs: blanc (1994) and Trois couleurs: rouge (1994)). Others are Luc Besson’s La Femme Nikita and Olivier Assayas’s Irma Vep (1996). MUP_King_Printer.indd 44 22/06/2017 11:03 Multilingualism in French cinema  45 The twenty-first century The twentieth

in Decentring France
Abstract only
Maurice Pialat, the outsider
Marja Warehime

. Pialat’s reputation rests primarily on ten full-length films (although this does not include La Maison des bois, ‘The House in the woods,’ a seven-part television series, unavailable at the time this was written). Ironically, however, in 1998 when Cahiers du cinéma invited a number of young, gifted, and influential directors (Olivier Assayas, Claire Denis, Cédric Kahn and Noémie Lvovsky) to consider the importance of the Nouvelle Vague in the development of their work, the conversation veered off into a discussion of Maurice Pialat. Cédric Kahn insisted that ‘Ce sont

in Maurice Pialat
Abstract only
Bill Marshall

extensive work with Jacques Rivette, and whose directorial credits include the comedy Rien sur Robert (1999); and Olivier Assayas (Rendez-vous, Le Lieu du crime, Alice et Martin), whose films are a mixture of social observation (Fin août, début septembre/Late August, Early September, 1998; Les Destinées sentimentales, 2000), and an opening out on to other world (Asian) cinemas (Irma Vep, 1996; Demonlover, 2002). The third most important writing collaborator is Gilles Taurand (Hôtel des Amériques, Les Roseaux sauvages, Les Voleurs, Alice et Martin, Les Egarés), who worked

in André Téchiné
Abstract only
Winterbottom and a body of work
Brian McFarlane and Deane Williams

Axe] (2007) and Olivier Assayas’s Late August, Early September (1998), Clean (2004) and Noise (2006). 22 Jean Douchet, French New Wave , in collaboration with Cédric Anger, trans. Robert Bonnono (New York: D.A.P./Distributed Art Publishers, Inc. in association with Éditions Hazan/Cinémathèque Française, 1998

in Michael Winterbottom
Almodóvar’s, Amenábar’s and de la Iglesia’s generic routes in the US market
Vicente Rodriguez Ortega

Spanish and US markets Thomas Elsaesser has provocatively theorised that contemporary European cinema may be better understood as a subset of world cinema, rather than through a model that directly opposes it to the imperialistic populism of Hollywood’s global reach. The world cinema auteur – Wong Kar-Wai, Edward Yang, Wim Wenders, Olivier Assayas, etc. – operates within the terrain of this

in Contemporary Spanish cinema and genre
The ‘post-Hollywood’ Besson
Rosanna Maule

not have quite the same credentials. The young Virginie Silla (since August 2004 Besson’s wife) had worked for a few years at Gaumont in the foreign office department, the distribution department, and as an assistant producer, before joining Besson’s team, three years before the foundation of Europa. The third partner, Michel Feller, is a former art-house actor – the protagonist of Olivier Assayas

in The films of Luc Besson
Abstract only
Sarah Leahy and Isabelle Vanderschelden

.1 ). Figure 0.1 Screenwriting roles: proportion of films written by director, screenwriter or both (Kopp 2013: 5). Examples of directors who normally write their films alone include Arnaud Desplechin, Olivier Assayas, Laetitia Masson, Maïwenn and Lucile Hadzihalilovic. Several

in Screenwriters in French cinema
The ‘screenplays’ of the New Wave auteurs
Sarah Leahy and Isabelle Vanderschelden

between scénario dispositif and scénario programme , Truffaut’s screenwriting requires the expansion of Vanoye’s classification with the notion of ‘open screenplay’ proposed by Olivier Assayas ( 1985 : 6) to define a ‘scénario toujours ouvert, toujours modifiable’ (an open screenplay, which can at all times be modified) until the editing stage is complete. This method differs from improvisation

in Screenwriters in French cinema
Sarah Leahy and Isabelle Vanderschelden

for the central features of French comedy: the established narrative conventions of comic dramaturgy, and the special attention paid to dialogue. Her distinction is echoed by screenwriter and director Olivier Assayas (1985: 7), who opposes ‘open’ and ‘closed’ (or ‘completed’) screenplays. Given Assayas’s association with auteur cinema, we might assume that he would place comedy screenwriting in the

in Screenwriters in French cinema
Bill Marshall

advertising in the metro and elsewhere, are very Godardian.4 Similarly, when Alice conducts her 4 Stéphane Bouquet (1998) likens the rapid cuts and use of shoulder-held camera in these sequences to the style of Olivier Assayas. See his portrayal of the rockmusic milieu in Désordre (1986, starring Wadeck Stanczak), and of the life of itineraries of frenchness 101 investigation of the provincial bourgeois milieu, we seem to be very much in the territory of murder enquiries to be found in films by Claude Chabrol. And Alice’s final redemptive encounters with Martin recall the

in André Téchiné