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Tom Ryall

critical standing was such that, ‘by the last days of the silent cinema he would be mentioned with Hitchcock as one of Britain’s two leading film directors’.20 Asquith was to make one more film for British Instructional, an adaptation of the Compton Mackenzie novel Carnival (1912), the story of a ballet dancer set in Edwardian times and featuring dance sequences performed by the Marie Rambert company. The film – Dance Pretty Lady (1931) – did not perform well at the box office though it impressed both John Grierson and Robert Flaherty.21 There were press reports of a

in Anthony Asquith
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Renaissance Man in search of a soul
Rowland Wymer

soul. (Derek Jarman, Kicking the Pricks ) Before he died in 1994 Derek Jarman had achieved distinction in an astonishing number of different activities – as a film director, painter, writer, set designer, gardener, and political activist. He was a true ‘Renaissance Man’ in the colloquial sense of the word, as well as having a strong and permanent interest in the art, thought, and

in Derek Jarman
David Murphy and Patrick Williams

Introduction At the time of his premature death in 1998, at the relatively young age of fifty-three, there was a consensus amongst many commentators that the Senegalese director Djibril Diop Mambety was the most gifted of all African film directors. If we examine the work of the first generation of sub-Saharan African filmmakers as a whole, his films certainly stand out for their rejection of the

in Postcolonial African cinema
Harvey O’Brien

Clive Barker found joy in painting at the age of 45, two years after the release of Lord of Illusions ( 1995 ), his third and last feature as a film director. 1 Speaking in the documentary Clive Barker: The Man Behind the Myth ( 2007 ), the artist described his encounter with the medium in a wistful voice: ‘It was like opening a door

in Clive Barker
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Carrie Tarr

Diane Kurys’ entry into mainstream cinema as a successful twenty-eight-year-old film director is like a fairy story in which the princess herself overcomes the obstacles in the way of her success. Kurys had first turned to writing in the mid-1970s because of dissatisfaction with her life as an actress. She had started to write up her memories of school and adolescence, and was advised by a friend to turn her

in Diane Kurys
Godard as film critic, 1950–59
Douglas Morrey

cinéma . Along with other critics at Cahiers du cinéma , including Truffaut, Rivette, Chabrol and Rohmer, Godard’s writing on film in the 1950s played an important role in shaping the canon of great film directors that would influence the development of both French and anglophone film studies. Godard was a particularly sensitive commentator on the new American cinema, two of his finest articles being

in Jean-Luc Godard
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David Murphy and Patrick Williams

Introduction The Malian film director Souleymane Cissé is best known for his breathtaking film Yeelen ( The Light ), which won the Jury Prize at Cannes in 1987 (the first sub-Saharan African film to do so). Yeelen was heralded not only as a crucial breakthrough for African cinema on the international film stage but also as the embodiment of a new form of African filmmaking practice, which

in Postcolonial African cinema
Renate Günther

When she embarked on a second career as a film director in the late 1960s, Marguerite Duras was already a well-known and highly acclaimed novelist and playwright who had published fourteen literary texts since her first novel Les Impudents (1943). What binds her fictional texts and her films together is that both are inhabited by the people, places and events of her life, as she remarked in an interview with

in Marguerite Duras
Representing the supernatural in film adaptations of A Midsummer Night’s Dream
Gayle Allan

A Midsummer Night’s Dream is one of the most often-performed Shakespeare plays, and one of his most popular comedies. 1 It is also a favourite of film directors, with a number of adaptations made since its first known appearance on the silver screen in 1909. 2 The play's popularity is due in no small part to the supernatural elements in the play, and more particularly the supernatural beings that populate it – the

in Shakespeare and the supernatural
Paul Newland

In this chapter I want to reflect on the ways in which the reputation of the British film director Nicolas Roeg has developed from the 1970s through to the twenty-first century, and to consider how this might tell us interesting things about the discursive and cultural frameworks that shape particular films (and their critical reception) historically within the contexts of British art cinema. 1 Looking specifically at Performance (co-directed with Donald Cammell, 1970) and Don’t Look Now (1973), I will argue that through an

in British art cinema