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Derek Paget

publisher of the false libel acted with actual malice’, while for private individuals, ‘a showing of negligence in the publication of the defamatory falsehood’ is required.20 The case that helped establish the US law’s position in regard to docudrama was ‘Davis versus Costa-Gavras’ (1987). The latter film director’s depiction of historical events in his 1982 film Missing was challenged by a very powerful court opponent: the US State Department. Politicians were, to say the least, unhappy with the way American involvement in Chile in 1973 was portrayed in Missing. The

in No other way to tell it
A cinematic saga
François Dubuisson

villages destroyed or expropriated, to which Palestinian residents aspire to return or which they at least wish to visit. 24 This same topic is depicted in several fictional productions, 25 with as forerunner Hannah K . by Costa-Gavras, released in 1983. In Salt of this Sea , Soraya, a Palestinian settled in New York, decides to go to Palestine for the first time, her family, originally from Jaffa, having been exiled since 1948. 26 Upon her arrival to Ramallah, she explains the reasons of her visit to two Palestinian businessmen: Businessman 1: Why does a

in Cinematic perspectives on international law
Dave Rolinson

the way in which structure ‘represents’ and ‘explains’ content, and claims to ‘know’ and ‘judge’ events within a ‘cause-effect chain’, Elephant serves to foreground the ideological mediation of the narrative process. The radicalism of this combination of form and narrative can be explored through reference to Loach’s Hidden Agenda, which approached Britain’s alleged shoot-to-kill policy through an investigative structure resembling a political thriller. John Hill (1997b: 131) located complaints about this structuring alongside the ‘Costa-Gavras debate’, which tied

in Alan Clarke
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Guy Austin

impossibility of spending, of giving, of losing, and the relentless nature of the law of value’. Compare Chabrol on the political films of Costa-Gavras: ‘Tout est récupéré [everything is recuperated]’ (Chabrol 1976 : 319). 8 Italics in original. 9 ‘an idiotic sign, like all the others: Fascist

in Claude Chabrol
Views from two Mediterranean cities
Mahdis Azarmandi and Piro Rexhepi

novelist Vassilis Vassilikos and filmmaker Costa-Gavras, not only documenting the life and death of Lambrakis but also giving voice to the growing protests against the conditions that led to his assassination. Both the novel and the movie Zi , which means ‘he lives’ in Greek, rekindle the spirits of leftist movements which had been under attack by the military dictatorship. Bringing to salience other bodies that bear the marks of violence and oppression, Christianopoulos generated a new language. He would attend to the homosexual, lesbian and transgender bodies that

in European cities
Will Higbee

’/ ‘in attempting to pass his entry exam into Hollywood he overdoes it’. 28 ‘À 15 ans j’ai passé 10 heures par jour à regarder des films comme Gothika . Même si j’aime aussi Costa-Gavras ou Werner Herzog’/ ‘Even if I also appreciate directors such as Costa-Gavras or Werner Herzog, at the age of 15 I

in Mathieu Kassovitz
Martine Beugnet

Desire, 1987, Down by Law, 1986, etc.). She was a regular collaborator of Wim Wenders but also of filmmakers such as the politically committed Costa Gavras, veteran nouvelle vague director Jacques Rivette, and the enfant terrible of independent American cinema, Jim Jarmush. Rivette was a crucial source of reference for Denis, who shot a documentary portrait of him. Jacques Rivette, Le Veilleur (1990) was produced for

in Claire Denis
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Carrie Tarr

’est Madame la France que tu préfères? , 1981, and Le Départ du père , 1983) and Aïssa Djabri ( La Vago , 1983) were critically acclaimed and gave expression to the identity crisis and, in the case of La Vago , the socio-economic disadvantages facing the ‘second generation’. The breakthrough into full-length feature filmmaking aimed at a mainstream audience carne in 1985 with Costa-Gavras’ sponsoring of Mehdi Charef’s Le Thé au harem d’Archimède , winner of

in Reframing difference
Open Access (free)
Ian Scott and Henry Thompson

cinematic critiques including Reds (Warren Beatty, 1981), Missing (Costa Gavras, 1982), Silkwood (Mike Nichols, 1983), and of course Stone’s own Salvador (1986), Platoon (1986) and Wall Street. By the time that Natural Born Killers arrived in cinemas, US audiences were more likely to be savouring The Bodyguard (Mick Jackson, 1992), Jurassic Park (Steven Spielberg, 1993), Forrest Gump (Robert Zemeckis, 1994) and The Lion King (Roger Allers and Rob Minkoff, 1994). Only in Quentin Tarantino’s Pulp Fiction (1994), fêted by the Academy with a Oscar for Best Screenplay and six

in The cinema of Oliver Stone
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Les Misérables, La Rafle and Elle s’appelait Sarah

she refuses him. This is a rose-coloured perspective, of course; other international films such as Amen. (2002, Costa-Gavras) reveal uncomfortable truths of Catholic complicity in collaboration during the war and also in hiding Nazis in the subsequent decades. Lelouch may tread lightly in his judgment of the Catholic Church, but the film's condemnation of the authorities and individuals who sought to profit from this ‘miserable’ situation is clear. In a heartbreaking scene, one of the last things Henri Fortin's father (Henri senior) says to his

in Reframing remembrance