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Paul Newland

July 2017. 4 Roeg’s influence has been felt far beyond British cinema. It is evident in the work of Todd Haynes, Steven Soderbergh, Wong Kar-Wai and Charlie Kaufman, among many others. Christopher Nolan has remarked that Memento (2000) would have been ‘pretty unthinkable’ without Roeg. See Ryan Gilbey, ‘Nicolas Roeg: “I Don’t Want to be Ahead of my Time”’, Guardian , 10 March 2011, available at: https://www.theguardian.com/film/2011/mar/10/nicolas-roeg . Accessed 10 July 2017. 5 www.criterion.com . Accessed 30

in British art cinema
The (un)homeliness of Gainsbourg’s persona
Felicity Chaplin

transition to Hollywood: following her Academy Award for Best Actress in a Leading Role for La vie en rose (dir. Olivier Dahan, 2007 ), she was subsequently cast in Inception (dir. Christopher Nolan, 2010), Contagion (dir. Steven Soderbergh, 2011 ), Midnight in Paris (dir. Woody Allen, 2011 ) and The Immigrant (dir. James Gray, 2013 ). There is, however, another significant difference between Gainsbourg and these French expatriate stars. According to Vincendeau, stars ‘carry the “burden” of national identity, being constantly defined by their [nationality

in Charlotte Gainsbourg
Silence, historical memory and metaphor
Maria M. Delgado

features of Guillermo del Toro and Rigoberto Castañeda’s KM 31 [2006]), romantic comedies (Juan José Campanella’s El secreto de sus ojos/The Secret in Their Eyes [2009]), thrillers (Marcelo Piñeyro’s Las viudas de los jueves/Thursday’s Widows [2010]) and road movies (Steven Soderbergh’s Che [2008]) point to a greater confidence in the mobility of Spanish-language products across the global economy

in Spanish cinema 1973–2010
Abstract only
Performance in the contemporary biopic
Dennis Bingham

, her stillness, and her hairstyle’ (Svetkey, 2008 : 29). Star performances in the biopic are far less prevalent than in earlier periods because the biopic has now become the province of the character actor. Star performances do not completely go away, however. Steven Soderbergh agreed to direct Erin Brockovich ( 2000 ) with Julia Roberts already ‘attached’ because he knew the little

in Genre and performance
Sarah Cooper

discussion: that of Steven Soderbergh, of 2002, who makes the love story between Chris Kelvin and Rheya (not Hari, as in the Tarkovsky original) the modified sole focus of the film. Rheya’s non-human reincarnation recalls the memories of her lifetime double, now dead, but she is unable to remember the experiences that generated them. Her body did not live the past that her head remembers and which she sees in her mind’s eye in

in Chris Marker
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Mise-en-scène
Andrew Dix

by choosing a stock that produces unexpected colour relations. During filming itself they might select from a number of filtering media that moderate or even exclude certain colours while promoting others (Steven Soderbergh’s Traffic (2000) systematically uses colour filters to achieve three distinct looks of bleached-out yellow, steely blue and vibrant primaries, each corresponding to one of the film’s several narrative strands). Colour may also be chemically modified after filming via manipulations of the developing process. All of these adjustments to colour

in Beginning film studies (second edition)
Celestino Deleyto

the exploitation tactics suggested in its title but precisely because it did not deliver its promise. Before the pleasures of visible sex reached their 1990s mainstream apogee with Paul Verhoeven’s Basic Instinct (1992) and Showgirls (1995) and, later, Stanley Kubrick’s Eyes Wide Shut (1999), Steven Soderbergh’s film already anticipated an exhaustion that affected both cinematic spectatorship and cultural discourses

in The secret life of romantic comedy
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La ardilla roja (1993)
Rob Stone

Véronique (The Double Life of Veronica, 1991) and use canny marketing and Oscar campaigns to push them into multiplexes, where they turned a surprising profit. In addition, while the route of independent filmmakers to arthouse audiences and the attendant cult of auteurism that was pioneered by the Sundance Film Festival worked for Steven Soderbergh and Quentin Tarantino, whose films expressed a keen awareness of European cinema and sensibility while reclaiming genres as American traditions, Sundance was also an entry point for foreign films. The selling of Spanish cinema

in Julio Medem
Peter Marks

Weinsteins’ satisfaction, director Steven Soderbergh suggested placing the scenes with the young boys and the magic beans first. Since Grisoni had wanted to introduce the brothers early and provide a context and motivation for their actions as adults, the suggestion was accepted. 19 The beans become a marker for belief or scepticism about the power of magic. This larger contextual aspect figures importantly

in Terry Gilliam
Open Access (free)
Ian Scott and Henry Thompson

of Universal at the time, liked the movie so much he moved it up to July –​it was originally slotted for the fall, which I preferred –​but they rushed it, and I think we took a hit there because we had The Amazing Spider-​Man [Marc Webb, 2012] one week ahead of us, with The Dark Knight Rises [Christopher Nolan, 2012] opening one week behind us. There was also an unforeseen hit for Universal –​Ted [Seth MacFarlane, 2012], as well as Channing Tatum’s huge hit –​Magic Mike [Steven Soderbergh, 2012] one week ahead of us. So we had three fucking hits in front of us, and

in The cinema of Oliver Stone