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Sam Rohdie

became less averse to editing. Bertolucci’s concern was with blurring differences between fiction and reality. Bazin’s ‘realism’ linked to an uninterrupted space and time which he attributed to the cinema of Orson Welles and its supposed realism. In fact, few film directors have been as committed to artifice, theatre, make-­believe and fakery as Welles. Welles was an anti-realist like Bertolucci. What Bertolucci and Welles brought into play was an apparent c­ ontradiction between film as a duplication of the real and film as artifice and theatre. The shot sequence and

in Film modernism
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Cinema saved my life
Diana Holmes and Robert Ingram

’s development from delinquent teenager to thirty-something divorcee, confirmed the generalised belief that Truffaut’s work could be read as a form of autobiography, a belief supported by the uncanny physical resemblance between the director and Jean-Pierre Léaud, the actor who played Doinel, once Leaud reached maturity. La Nuit américaine (1973), in which Truffaut played the part of a film-director and represented on-screen many of

in François Truffaut
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Brigitte Rollet

of the twenty-first century, one can only hope that these female directors’ films will have the power to reverse sexual stereotypes and to fulfil the wish film director Nelly Kaplan expressed in 1976 : ‘Mais de grâce, que les films faits par des femmes soient construits pour intéresser – même en dérangeant, surtout en dérangeant – tout le monde! Il s’agit de raconter des histoires. Et a travers elles, de détróner ce qui est le poison le plus insidieux du cinéma: sa misogynie’ 6 (p. 14). There is very little doubt that Serreau

in Coline Serreau
John Gibbs

articles; the fifth issue is dedicated to Hawks. Early Movie also published substantial interviews with directors, including: Minnelli, Varda, Preminger, Hawks, Hitchcock, Tashlin, Bresson, Leacock, Aldrich, Chabrol and King Vidor. In this period there are two round-­table discussions, one on Fleischer’s Barabbas in the first issue, and a second on Movie criticism in the eighth. The first eleven issues also include a small number of general articles, such as ‘The British Cinema’ in the opening issue and ‘Films, Directors, Critics’ in the second. Among the subjects

in The life of mise-en-scène
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Guy Austin

the more remarkable when one notes that in recent years several previously successful French film directors have been more or less obliged to abandon the cinema, including Léos Carax, Jean-Jacques Beineix and Bertrand Blier.) Chabrol’s forty-year career is in some ways a history of recent French cinema and society: neorealism, the new wave, the trauma of the Algerian War, the political legacy of 1968, the rise of the consumer society

in Claude Chabrol
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Maria Holmgren Troy, Johan Höglund, Yvonne Leffler, and Sofia Wijkmark

combine critical social realism with supernatural Gothic. Arthouse film director Lars von Trier's turn to the TV medium and the creation of a Gothic TV series about a haunted hospital proved to be surprisingly popular with TV viewers in Denmark and Sweden, as well as with critics. 3 Riget was also successfully presented as a four-hour film at national and international film festivals. In 1995, it won the national Bodil Awards for the best Danish film, best actor, best actress

in Nordic Gothic
Brigitte Rollet

’amour releasedin France in 1974 (see the filmography and below for more details). In 1975 she made her debut as a film director. She directed ashort fiction film, entitled Le Rendez-vous, for the second French public channel. From feminist activist documentary to mainstream comedies: genres and mixture of genres In an interview in February 1977, 2 Coline Serreau told the journalist who asked her whether she would continue to make documentaries that ‘j’ai envie de continuer la fiction aussi, et j’ai envie de continuer à jouer: pour

in Coline Serreau
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Peter Marks

and film comedy, registers his contribution, as does Take Ten: Contemporary British Film Directors (1991). There, Peter Greenaway speaks of admiring Gilliam and fellow Python Terry Jones for their anarchy and irreverence, 4 while Derek Jarman puts ‘glorious Terry Gilliam’s Brazil ’ on a very short list of British 1970s and 1980s films he would keep. 5 By

in Terry Gilliam
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We need to talk about Julien
Ben McCann

  1 Introduction: we need to talk about Julien When the French cinema dies, it might do worse than find his [Duvivier’s] name written across its retina. (Alistair Cooke 1971: 125) No one speaks of Julien Duvivier without apologising. (Dudley Andrew 1997: 283) Once upon a time, Julien Duvivier (1896–​ 1967) was considered one of the world’s great film directors. He was beloved by Orson Welles, Rouben Mamoulian, Frank Capra, and John Ford, while Ingmar Bergman once admitted that, of all the careers that he would have liked to have had, it would be Duvivier’s. The

in Julien Duvivier
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Linnie Blake

audiences, allows for a powerful and potentially cathartic engagement with otherwise unrepresentable aspects of the German past. And that Buttgereit’s films should have been subject to the most radical acts of state censorship in Germany since the Second World War bespeaks not only of the ongoing trauma of Germany’s prematurely bound and hence unhealed historical wounds but of the cultural significance of this little-known cult film director. He finds a place in this study of predominantly mainstream horror cinema not only because the distinction, in Germany of this

in The wounds of nations