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For another reading of this film that focuses on the significance of the all-women cast, see Neumann ( 2002 ). References Coe , B . ( 1981 ), The History of Movie Photography ( London : Ash and Grant ). Jones , J . ( 2003 ), ‘From forgotten film to a film archive; the curious history of From

in Cinematic countrysides

evocative, almost expressionistic lighting, as well as some ‘deep-focus’ photography. Antoine then emphasises the plight of the central character through the use of a motif rendered earlier in the films: shots of a lone, tiny individual lost in a vast landscape of wheatfield. More formalist superimpositions are used at this point to emphasise the metaphor of homelessness, and an expressionistic tone is also employed in order to

in Realist film theory and cinema
Y tu mamá también

8 Cuarón finds his own path: Y tu mamá también The only film over which Cuarón had full creative control before making Y tu mamá también (2001) was Sólo con tu pareja (Love in the Time of Hysteria, 1991); both films were co-written with his brother Carlos Cuarón. As seen, Sólo con tu pareja is a domestic film, a national film that lacked the backing and the ingredients to become a global success. Nevertheless, what Cuarón learnt from the experience of the filmmaking and the production, distribution, and exhibition processes is that, with the right kind of film

in The three amigos

and Sound , when Antonioni arrived in London in 1966 the speculation was intense that his film was to be ‘a devastating expose of the swinging scene and the lascivious world of fashion photography’. 47 But as it transpired, Blow-Up was more concerned with Thomas’s realisation that the outside world is just as opaque and ‘unreal’ as that inside his studio, undermining his belief that he can faithfully interpret reality through his camera. Writing two decades later, Seymour Chatman notes that despite being more exciting and accessible than Antonioni’s previous

in British art cinema
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diaries did most of the filming myself I would need about $50,000 to finish the film. But that reckoning was based on myself or Larry doing all the photography. If I wanted a really top-notch cameraperson to do the job, then I knew I’d have to add another $7,000 or so to the budget. Anyway I wrote the proposal, sent it off to two foundations and a TV station. That was two weeks ago. Now I live in hope. I think the film has great possibilities. If the foundations come through then I know everything will augur well for a marvelous and moving film. If no money comes

in The documentary diaries
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Jonathan Rayner

coincidence at work in Lindsay’s novel, the film uses a variety of filmic techniques. The novel’s unpredictable shifts in tense and perspective are expressed through alterations in film speed. Time-lapse photography is used in the observation of ants consuming a celebration cake at the picnic grounds. The point of view of male characters watching the girls crossing the creek on their way up the Rock is relayed through eroticised slow motion. Weir also used a range of effects on the soundtrack to exaggerate the sense of

in Contemporary Australian cinema
genre in Franju’s longs métrages

1960): it seems more likely that Les Yeux sans visage ’s mixture of poetic aesthetics and pulp narrative was determined more by other, unplanned factors, but Franju’s defence of his film’s place in the burgeoning popular culture of the time does at least indicate that he did not share the snobbishness of his critics. Les Yeux sans visage ’s unusual infusion of pulp narrative into beautiful, velvety photography, which was to be

in Georges Franju
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were part of a broader populist culture of the period, evident through the songs of realist singers, the literature of writers like Pierre Mac Orlan and Eugène Dabit, and the photography of Brassaï and André Kertész. In his article Carné highlights and criticises filmed theatre’s emphasis on high society (most famously articulated in the work of Sacha Guitry), arguing instead for a cinema centring on the lives of ordinary

in Marcel Carné

journeys were undertaken, purely to document a particular event, as shown by Charles Chislett’s film of the Queen Mary ’s first transatlantic voyage in May 1936. 18 Such variety reminds us that cine-cameras were used differently, and amateur productions changed over time as people’s interests in cine photography and travel opportunities changed. Through until the 1960s, working on Saturday mornings in many

in Amateur film
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, which moves to a shot where a glass is shattered, has led to comparisons with Citizen Kane (for example Maillot 2003 ). Providence is a film which is self-conscious about cinema as medium; for Van Wert, it is ‘a meta-film, a film about the making of films, a work of art about the fabricating of art works’ (Van Wert 1979 : 179). Dirk Bogarde, who stars in the film (and whom Resnais had previously imagined casting as the Marquis de Sade

in Alain Resnais