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Almodóvar’s, Amenábar’s and de la Iglesia’s generic routes in the US market
Vicente Rodriguez Ortega

potentially profitable European film auteur who had already established himself in the US with Mujeres al borde de un ataque de nervios but also a perfect match between the film’s polemical representation of sex and violence and Miramax’s aggressive push to become a mini-major in the US. In 1989 Miramax released Steven Soderbergh’s Sex, Lies, and Videotape , which ushered in the era of the ‘indie

in Contemporary Spanish cinema and genre
Affect and artifice in the melodramas of Isabel Coixet
Belén Vidal

’s ( 2003 ) profile of Sarah Polley and Coixet in the youth-oriented El País de las Tentaciones . 7 Some salient examples include the awarding of the Palme d’Or in the 1989 Cannes Film Festival to Steven Soderbergh’s Sex, Lies and Videotape , of the Golden Lion in the 1993 Venice Film Festival to Robert Altman

in Contemporary Spanish cinema and genre
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
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
Abstract only
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)
Abstract only
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
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
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
Nigel Mather

MacDowell had starred with Gerard Depardieu in Green Card (Peter Weir, 1990), a romantic comedy about an American woman and a French man set in New York. In 1989, she had played a woman troubled by modern sexual mores in sex, lies and videotape (Steven Soderbergh, 1989). 68 Information on Notting Hill taken from the BFI Film and

in Tears of laughter