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Lez Cooke

, about an attempt at Arab–Israeli conciliation after the six-day war, is a failure on two counts. It is politically indeterminate, in that we are not allowed to identify with one or other of the contesting groups; and, as a costly, large-scale production, it cannot manage to observe events without seeming artificially to recreate them. This would not matter if John Flynn, the director, had been content to turn The Jerusalem File into a straightforward political thriller. But as an admirer, apparently, of Costa-Gavras he has decided to film as efficiently as the rather

in Troy Kennedy Martin
The Last King of Scotland and post-imperial Scottish cinema
Christopher Meir

British, Scottish? 161 instance Snow’s mainstream account in Capturing Idi Amin) but this remains little discussed. The film achieves this largely by means of the political thriller, a generic dimension that Marx objects to, but her critique of the film overlooks debates about genre and politics that have been found in Film Studies since the 1960s, in the form of the so-called ‘Costa Gavras debates’ which pitted the political thrillers of Costa Gavras against the modernist work of Jean-Luc Godard in a debate over the proper form that political film-making should take

in Scottish cinema
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Guy Austin

) led to a vogue for political thrillers, such as Costa-Gavras’s trilogy – Z (1969), L’Aveu (1970) and État de siège (1973) – starring the left-wing icon Yves Montand. The same period saw Jean-Pierre Melville’s apolitical and heavily stylised trilogy with Alain Delon (see below). The breadth of the genre thus contributed to its popularity in the subsequent decade: a quarter of all French films made in 1981 were polars

in Contemporary French cinema
Notes on the political thriller in contemporary Spanish cinema
Vicente J. Benet

society and its political structures. Films such as Stavisky (Alain Resnais, 1974), Z (Costa Gavras, 1969), Il caso Mattei/The Mattei Affair (Francesco Rosi, 1972), Il conformista/The Conformist or Strategia del ragno/The Spider’s Stratagem (both Bernardo Bertolucci, 1970) are examples of just how far these didactic, critical films aimed to go, usurping stereotypical

in Contemporary Spanish cinema and genre
Guy Austin

Klein’s documentary on the inaugural Panafrican Festival of 1969. The organisation also co-produced French films such as Z (Costa-Gavras, 1968) and Elise ou la vraie vie (Drach, 1970). By the mid-1970s, however, the only Algerian films to have covered their costs were Gillo Pontecorovo’s 1965 classic La Bataille d’Alger and Lakhdar Hamina’s 1968 comedy Hassan Terro (see Salmane 1976b : 22

in Algerian national cinema
Diane Otosaka

Introduction Born in 1939 in Paris, Jean-Claude Grumberg is one of France’s best-known contemporary playwrights. A prolific writer, he has authored over thirty plays while also writing for cinema (notably having co-written the scripts of François Truffaut’s Le Dernier Métro ( The Last Metro ) and Costa-Gavras’s Amen ) as well as for young audiences. Key recurrent themes

in Dreams and atrocity
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Le Thé au harem d’Archimède and Hexagone
Carrie Tarr

CAP d’électricien and four years of unemployment behind him. But whereas Charef was sponsored by Costa-Gavras, Chibane set up his own production company and took six years to make Hexagone , facing problems in raising funding at every stage. The original script failed to get the avance sur recettes , and in the end the shooting of the film was financed through support from the local community, thanks also to technicians and a local amateur cast who were

in Reframing difference
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
Abstract only
Ginette Vincendeau

, 1965 Compartiment tueurs ( The Sleeping Car Murders ), Constantin Costa-Gavras, 1965 La Métamorphose des cloportes ( Cloportes ), Pierre Granier-Deferre, 1965 Pierrot le fou , Jean-Luc Godard, 1965 Le Deuxième souffle ( Second Breath ), Jean-Pierre Melville, 1966 Du rififi à Paname ( Rififi in Paris ), Denys de la Patellière, 1966 Le

in European film noir
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