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Anne Lagerwall

versus Fritz Bauer (Lars Kraume, Germany, 2015). See also on the subject of Nazis from Hungary integrated in United States, Music Box (Costa-Gavras, US, 1989). 36 The Hunting Party (Richard Shepard, US/Bosnia/Croatia, 2007); S. Anderson, ‘What I Did on My Summer Vacation: Inside the Hunt for Ratko Mladic’, Esquire , October 2000. 37 C. Schwöbel-Patel, ‘Spectacle in International Criminal Law: The Fundraising Image of Victimhood’ (2016) London Review of International Law 1–28; P. Hazan, Juger la guerre, juger l’Histoire (Paris: PUF, 2016); J. Allard, O

in Cinematic perspectives on international law
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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
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Derek Schilling

Nuit chez Maud narrowly missed a prize for best actress, which Fabian lost to Vanessa Redgrave (Isadora Duncan). And while Trintignant took Best Actor for his role as a magistrate in Costa-Gavras’s political thriller Z (also Best Picture), many thought he equally deserved that distinction for Maud’s church-going engineer. Rohmer’s popular success mystified industry experts: how could an austere picture

in Eric Rohmer
Open Access (free)
Ian Scott and Henry Thompson

one of several niche directors who sought to strike a different tone and maintain some of the agendas set by Pakula and Coppola a decade earlier. Alongside him, Warren Beatty, Constantin Costa-​Gavras and Mike Nichols all made important contributions to Hollywood’s more daring liberal wing, with movies such as Reds (1981), Missing (1982) and Silkwood (1983). The Russian Revolution, South American politics and corporate and political cover-​ups seemed unlikely subjects for critical let alone commercial successes during the decade, but each of the directors bucked the

in The cinema of Oliver Stone
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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
Towards a cinema of the senses
Martine Beugnet

shorts commissioned as a homage to Jean Vigo’s (1905–34) celebrated A propos de Nice (1934), a 21 min documentary that drew a biting portrait of the city of the douceur de vivre. The 1995 sequel, however, received little critical approval in spite of its impressive list of contributors (Abbas Kiarostami and Paviz Kimiavi, Catherine Breillat, Raymond Depardon, Pavel Longuine, Claire Denis, Costa Gavras

in Claire Denis
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Martine Beugnet

the treatment of a victim of political oppression. Denis shot a film in defence of the Sudanese activist Ushari Ahmed Mahmoud. Together with Costa Gavras, she was amongst the few participants who chose the musical clip format: produced in collaboration with French singer Alain Souchon, her film follows, through long travelling shots, the wanderings of a black man in the popular multi-ethnic district of Belleville. The images are set to

in Claire Denis