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Ben Cohen and Eve Garrard

contemporary antisemitism is the impulse to treat such of the antisemitism as there is acknowledged (by whomever) to be – in Europe, in the Arab world – as a pure epiphenomenon of the Israel–Palestine conflict. One instance of this was the statement by film director Ken Loach * in March 2009 that if there was a rise of antisemitism in Europe this was not surprising: ‘it is perfectly understandable ’ (my emphasis), he was reported as saying, ‘because Israel feeds feelings of antisemitism’. The key word here is ‘understandable’. This might just mean ‘capable of being

in The Norman Geras Reader
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Andrew Dix

film’s meanings. Is the entire debate over whose authorial signature to affix to a filmdirector’s? screenwriter’s? star’s? cinematographer’s? producer’s? studio’s? – wearisome and unproductive? Are there better things we could be doing in film studies? Is it time to shelve the problematic of film authorship itself? The rebirth of the author In film as in literary studies, announcement of the death of the author proved to be premature. Since the discipline absorbed the implications of Barthes’s memorialising essay, it is

in Beginning film studies (second edition)
Foucault’s genealogical theatre of truth
Aline Wiame

. But the power that this ‘true’ theatrical performance about a false artist has regarding the production of knowledge can be addressed at another level, thanks to a narrative twist that occurs near the end of the play: we learn that Willem Kroon is the hidden son of Kurt Gerson, the Jewish actor and film director who was coerced by the Nazis into directing a propaganda movie

in Foucault’s theatres
A cultural biography of Red-White-Blue, from Hong Kong to Louis Vuitton
Wessie Ling

Nigeria and Ghana. A metaphor for Ghanaian immigration, ‘Ghana must go’, while largely entailing movement within or between Ghana and Nigeria, is also about their socio-political realities. In 2016, the Nigerian film director Frank Rajah Arase released an award-wining movie using the phrase ‘Ghana must go’ as its title, albeit unrelated to the novel. 32 A light-hearted comedy featuring the conflicts between Nigerians and Ghanaians, the movie unfolds the story of the refusal of a Ghanaian father to let his daughter marry a Nigerian due to the ‘Ghana must go’ saga. In

in European fashion
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Anna Green and Kathleen Troup

putting the accent on the insularity of Sardinia, and it is quite true that it has been a decisive factor in Sardinian history. But the mountains are an equally important factor, just as responsible for the isolation of the people of Sardinia as the sea, if not more so; even in our own time they have produced those cruel and romantic outlaws, at Orgosolo and elsewhere, in revolt against the establishment of the modern state and its carabinieri. This moving phenomenon has been portrayed by anthropologists and film directors. ‘He who does not steal’, says a character in

in The houses of history
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Andrew Dix

. One way to move beyond discussion of individual tastes, then, is to explore the cultural determinations of colour on screen. Chromatic effects in film have, to begin with, a history: the Technicolor sequences of The Wizard of Oz carried a greater utopian charge in Depression-era America than they can do in the colour-saturated consumer economy of the United States today. Chromatic effects also have a geography: the ‘colour world of England’, for instance, ‘is not the same as that of Berlin’ (Batchelor, 2000 : 37). In similar vein, the Soviet film director and

in Beginning film studies (second edition)
Roger Spalding and Christopher Parker

made the western democracies seem like closed societies, albeit of a different kind. Developments of this kind stimulated many intellectuals to look more closely and critically at their own societies. In Germany this occurred across the spectrum of academic and artistic activity. In 1970, for example, the German film director, Rainer Werner Fassbinder, declared: I would say that in 1945, at the end of the war, the chances which existed for Germany to renew itself were not realized. Instead the old structures and values, on which our state rests, now as a

in Historiography
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Brian McFarlane and Anthony Slide

commercials. British commercial TV, launched in 1955 with the famous ‘ice-block’ ad for Gibbs SR toothpaste, sustained the inventiveness of British advertising films and many succeeding feature film-makers, including John S CHLESINGER , Ken R USSELL and Ridley S COTT nurtured their skills on the genre. Clyde Jeavons. See also television commercials and feature film directors Africa in British film Essentially Africa has provided British cinema with exotic locations in which, more often than not, it situated imperial adventures rather than serious exploration of

in The Encyclopedia of British Film