Search results

You are looking at 31 - 40 of 3,786 items for :

  • Refine by access: All content x
Clear All
Ken Loach, Ae Fond Kiss and multicultural Scottish cinema
Christopher Meir

5 Importing national cinema: Ken Loach, Ae Fond Kiss and multicultural Scottish cinema In Scotland, we’re a colony in more ways than one . . . For me the two most important directors in Scotland in the past 15 years have both been English, Danny Boyle and Ken Loach. They were the ones who let us out of the cage. (Peter Mullan, quoted in Murray, 2005a, p. 4) One of the most widely discussed cycles of films within the ‘new Scottish cinema’ period has comprised the five films made by English director Ken Loach in Scotland. These films – Carla’s Song (1995), My

in Scottish cinema
Richard Rushton

5  Cinema produces reality  7  Cinema produces reality: David Hemmings in Blow Up (Michelangelo Antonioni, 1966) I nterpretations of Gilles Deleuze’s books on cinema have tended to concentrate on his distinction between the movement-image and the time-image. In focusing on this distinction, authors have also tended to accentuate the virtues of the time-image while denigrating the shortcomings of the movement-image: the movement-image is the relic of a past mode of cinema that has been surpassed by the superior mode of the time-image (see, for example, Rodowick

in The reality of film
Vito Zagarrio

The one-shot sequence – the articulation of an entire scene through a single, unbroken long take – is one of the cinema’s most important rhetorical devices and has therefore been much used and widely theorised over the years. This article provides a brief overview of these theories and of the multiple ways in which the one-shot sequence has been used both in world cinema (in general) and Italian cinema (in particular) in order to contextualise its use by one of Italian cinema’s best-known and most significant practitioners, Paolo Sorrentino. Through close analyses of one-shot sequences in Sorrentino’s films L’uomo in più/One Man Up, Le conseguenze dell’amore/The Consequences of Love, This Is the Place and Il divo – La vita spettacoloare di Giulio Andreotti – the article argues that Sorrentino’s predilection for the device is best explained by the wide variety of functions that it serves (as a mark of directorial bravura and auteur status; as a self-reflexive device and meditation on the cinematic gaze; as a political tool; and as a means of generating emotion). While rooted in history, Sorrentino’s use of the one-shot sequence thus transcends its position within Italian film history and discourse.

Film Studies
Alan O’Leary

9 Cinema in the library Alan O’Leary The visual is essentially pornographic, which is to say that it has its end in rapt, mindless fascination .... Pornographic films are thus only the potentiation of films in general, which ask us to stare at the world as though it were a naked body. (Fredric Jameson)1 In August 1908 Leo Tolstoy received a visit from a handful of early cinematographers. Surrounded by their cameras, he made a prediction: ‘this little clicking contraption with the revolving handle will make a revolution in our life – in the life of writers. It

in Alan Hollinghurst
Michael Leonard

late capitalism, and its transformation of authentic lived experience into ‘mere representation’. Critical concepts developed by Debord, including détournement (the hijacking and redirection of existing imagery and texts for critical purposes) and the notion of an ‘anti-cinema’, were resonant in intellectual circles in France at the time and captured the attention of Garrel. The critical theory and practice of the Situationists open avenues for interpreting aspects of the film-maker’s later adolescent works which are often resistant to simple exegesis. Early

in Philippe Garrel
Michael Temple

Tous les cinéastes cherchent le Cinéma et le découvrent partiellement. Vigo est le Cinéma incarné dans un homme. 1 (Langlois 1986 : 283) This superlative assessment of the films and reputation of Jean Vigo was written in 1956 by no less a figure than Henri Langlois, the historic founder of the Cinémathèque

in Jean Vigo
Renate Günther

Working within the 1970s French avant-garde, Duras set out to dismantle the mechanisms of mainstream cinema, progressively undermining conventional representation and narrative and replacing them with her own innovative technique. However, the experimental impetus of her cinema was not motivated solely by artistic or aesthetic considerations, but also had important political implications. As Prédal has

in Marguerite Duras
Christopher Lloyd

1 Clouzot and the cinema Before studying Clouzot’s films in detail, we need to situate him in the wider context of French history and cinema in the mid-twentieth century. Issues such as the following will be addressed in this introductory chapter. What forces, personal, political and social, shaped his career as a film-maker? To what extent do his films propose a consistent, personal vision, and how do they reflect the important social and aesthetic changes of his time? Does Clouzot qualify as an auteur, as an original and innovative creator, or was he essentially a

in Henri-Georges Clouzot
Michael Leonard

2011 : 71). The commitment to an anti-spectacular cinema, produced outside of the capitalist ‘machine’, emerges in several nuanced ways that establish continuity with aspects of Le Révélateur and La Concentration . These include a wandering, digressive approach to composition (both narrative and pictural) that draws meaning from the Situationist concept of dérive ; an affinity between Garrel’s approach to portraiture at this time and Andy Warhol’s predilection for cinematic portraiture in his first Factory period (1962–1968); and finally in the development of

in Philippe Garrel
Pagnol, Paramount, and Marius on-screen
Brett Bowles

Since the early 1930s critics and scholars have often inaccurately characterised Pagnol’s films as ‘théâtre photographié’ (photographed theatre) or ‘théâtre en conserve’ (canned theatre), labels that the director himself sometimes defiantly appropriated to justify his defection from the stage and to generate publicity for his new career. While it is true that Pagnol conceived talking cinema as ‘l

in Marcel Pagnol