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Abstract only
Don Fairservice

public interest and audience taste and determined the particular kinds of stories suitable for production and the methods that could be used for their presentation. Since the rise of the studio system in the early 1920s there had been a gradual erosion of the film director’s authority and the producer was now securely in place as the key functionary; a new generation of studio managers and production heads had come to power

in Film editing: history, theory and practice
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Genesis of Carax’s system
Fergus Daly and Garin Dowd

invisibility as far as US cinema audiences were concerned, the critic Stuart Klawans notes that Hollywood film directors had absorbed some Caraxian influences, citing the scene in The English Patient (1996) where Juliette Binoche is lifted to view a painting and the entwined lovers as ship’s figurehead in Titanic (Klawans 1999), to which we might add the bunjee-jumping scene featuring Julie Delpy in An American Werewolf in

in Leos Carax
Elizabeth Montes Garcés

intervention in Uruguay in the 1960s and 1970s. In doing so, the Greek-French film director forces the audience to reflect on the use of torture as a means of getting crucial information from members of guerrilla groups to guarantee success in counter-insurgency operations, and to question the effectiveness of violence as a means of advancing a political cause. In order to understand the circumstances that surrounded Daniel Anthony Mitrione's kidnapping and assassination in 1970, and the recreation of these events in Costa-Gavras's film, it is useful to provide a

in The films of Costa-Gavras
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Pathways through nowhere
Ann Davies

: this festival continuum formed part of Calparsoro’s early strategy to get himself known, and would be pursued further Davis_Calparsoro_01_Text.indd 83 14/11/08 19:58:25 84 The films with the next film A ciegas, which appeared at Venice.1 The Spanish reaction to Pasajes thus proved to some extent similar to that of Salto, with somewhat less indulgence than that shown to a first-time feature-film director but with some effort to view both film and director as purveyors of some sort of art. At this early stage it would still be hard to consider Calparsoro as auteur

in Daniel Calparsoro
Abstract only
Don Fairservice

awards and received considerable critical acclaim wherever it has been shown. Breaking the Waves Breaking the Waves (1996) marked the return of Danish film director Lars von Trier to the cinema screen after a period making The Kingdom (1994), a hospital-drama series for television. The latter was a bizarre, black-comedy melodrama, a supernatural soap opera shot with hand-held cameras. Von Trier had first

in Film editing: history, theory and practice
Guy Austin

Feminism and film in France Although film-making remains male-dominated in France as elsewhere, ‘more women have taken an active part in French cinema than in any other national film industry’ (Kuhn and Radstone 1990 : 163). France claims not only the first woman film director – Alice Guy, whose career began in 1900 – but also the first feminist filmmaker, Germaine Dulac, a

in Contemporary French cinema
Diana Holmes and Robert Ingram

) presents Truffaut in a role totally opposed to that of the film-director Ferrand: where Ferrand was creative and adaptable, Davenne is morbid and inflexible. The film balances sympathy for Davenne with recognition of the ethical inadequacy of his position. By shifting the action of James’s story to the 1920s, Truffaut establishes a context that partially justifies Davenne’s inability to leave the past behind: he is a survivor of

in François Truffaut
Sarah Cooper

From 1967 until 1977, Marker veils his individual signature as a film director. While he continues to produce his own work, these years place increased emphasis on collective projects. He also plays a crucial behind-the-scenes role in facilitating recognition of other people’s work. Although his filmmaking has been politically engaged from the outset, this is a period of heightened militancy. It begins

in Chris Marker
Abstract only
Ann Davies

1 Introduction The purpose of this study is essentially twofold, although one element will appear more immediate than the other. It is in the first place to consider the work of a contemporary Spanish film director, Daniel Calparsoro, and to do so arguably in auteurist terms. The reasons for doing so are theorised more explicitly below, although anyone picking up this book might assume the approach to be already implied by taking a single director as a focus of study. That this study does not take auteurism for granted is suggested by the second element of its

in Daniel Calparsoro
Paul Feig

Jason Statham is a film star. As a film director working in Hollywood, Paul Feig cast him in one of his comedies: Spy. Known mostly for his work as a tough guy, Statham showed real comedic talent.

This chapter – a personal essay – explains why his director chose him for the role of incompetent British spy, Rick Ford.

in Crank it up