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Munich–Rome–Los Angeles, or ‘The last temptation of Ingmar Bergman’
Thomas Elsaesser

commissioned Maddin and Sparks to do a live preview of the film on the festival’s opening night. The plot premise is that immediately after his 1956 success at Cannes (nomination for the Palme d’Or and first prize for poetic humour) with Smiles of a Summer Night (1955), Bergman was enticed to Hollywood, where he was greeted by none other than Greta Garbo herself. One enthusiastic commentator wrote: Ron and Russell Mael’s yarn of the famed film director leaving Sweden for Hollywood is an

in Ingmar Bergman
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John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard

pupils. A commercial and to a large degree critical success, this film constitutes a significant point of reference in Anderson’s career. Arguably it epitomises his legacy as a film director, the title that members of the general public are most likely to recognise and associate with his work and personality. In that connection, after making The White Bus , he was asked with reference to statements by

in Lindsay Anderson
Douglas Keesey

tale of her serial love affairs in saucy voice-over and provocative dialogue: ‘Je ne suis pas vieux jeu. Je couche avec tout le monde’.2 Solange (a film director) sleeps with her husband Bruel (a producer), but she also sleeps with Jim (an actor), Bruno (a director), Frédéric (a rock musician) and others. It is Paris in the 1970s and Solange appears to be living the life of a sexually liberated woman, a freedom made possible by the gains of 1 ‘a story of Loves, lived like today and told like today. With impudence’. 2 ‘I’m not old-fashioned. I sleep with everyone

in Catherine Breillat
John Gibbs

5 Movie: approaches and analysis While those who wrote for early Movie were in certain respects very clear about their values and their methods, Movie was not a journal of film theory and its approach was not programmatic. The critical language used by Movie writers is self-­conscious but at the same time tentative and exploratory. Concepts and terms are not always used consistently and approaches are not clearly delineated – indeed, such a concern with categories would have been inconsistent with the process Ian Cameron describes, in ‘Films, Directors and

in The life of mise-en-scène
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Coline Serreau and politics (1972–96)
Brigitte Rollet

. Renoir’s La Vie est à nous (1936) was financed by a collective and was a manifesto for the French Communist Party. The cinema was not the only field explored by the Popular Front which contributed to many cultural experiments during its brief access to political power (May 1936–October 1938). The main difference, however, between 1970s’ cinema and that of the Popular Front is the fact that unlike the latter, the former was the expression of a reaction against a right-wing government, albeit ‘liberal’. Many film directors of the

in Coline Serreau
Ken Russell, national culture and the possibility of experimental television at the BBC in the 1960s
Kay Dickinson

note here is the fact that ‘the film director’ also doubles up as Debussy’s patron Louÿs, a move that implies that the requisite benefactor qualities of empathy, financial support and encouragement (as well as some ‘Svengali’ tendencies, as the programme points out) are also shared by the contemporary film maker. Consequently, the film advocates the idea that a film director is nowadays more an economically influential, like-minded comrade than a lowly and destructive competitor to other art forms, a line Russell doubtless takes himself. During the programme, we are

in Experimental British television
Tom Ryall

reputation as a distinctive film-maker with an awareness of the currents in the international cinema of the time and a firm grasp of the specificities of the medium. Like Hitchcock he demonstrated the film director’s ‘touch’ and his work was praised for its innovative and experimental approach to the art of the silent film. Indeed, as has been noted in Chapter 2, his work was in tune with the aesthetic propounded by many influential critics and writers at the close of the silent period who argued that ‘film was a unique artform, an artistic category unto itself – film as

in Anthony Asquith
The Last of England and The Garden
Alexandra Parsons

the night. His physical presence frames both films, setting them up as a contemporary re-imagining of medieval dream allegory, originating in the mind of the filmsdirector. In The Last of England , I argue that, while this framing device makes the film appear autobiographical, it is a self-representational act in the character of the dream poet, the purpose of which is to enable his audience to collaborate in the sharp socio-political critique portrayed by the visions in the film. This role changes in The Garden , however, where the dream poet is shown asleep

in Luminous presence
Barry Jordan

signals and codes of the film text. And, until the arrival of cultural studies in the 1980s, film studies was quickly and successfully occupied for nearly two decades by faddish, repetitive and ultimately tiresome incantations from Marxism, psychoanalysis, linguistics and ‘ideological critique’. Yet, miraculously, though marginalised and frequently written off, the notion of the film director as auteur refused to die. Indeed, the concept is

in Alejandro Amenábar
The amateur art films of Enrico Cocozza
Ryan Shand

Film will only become an art when its materials are as inexpensive as pencil and paper. Jean Cocteau In 1937, B. Vivian Braun, of the Experimental Film Exchange, wrote, ‘At one time or another every film director has said “If only I could make the film I want.” To the amateur film director that is no hopeless wish. He can […] For every amateur who takes into his hand a motion picture camera becomes a film director, an artist, and an

in British art cinema