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6 Filming Picasso and Karajan This chapter deviates from the chronological sequence followed hitherto in order to consider the documentary films which Clouzot made with Pablo Picasso and Herbert von Karajan. Le Mystère Picasso was filmed at La Victorine studios in Nice from June to September 1955 and first shown at the Cannes festival in 1956, where it was awarded a special jury prize. Following the popular success of Le Salaire de la peur and Les Diaboliques (and the critical reservations which the second film had attracted), Clouzot was able to afford to undertake

in Henri-Georges Clouzot
Recent films of David and Judith MacDougall

miles by road north of New Delhi, which was a so-called ‘hill station’ at time of the British Raj, where the families of colonial administrators would take refuge from the summer heat. Today it continues to be a holiday destination, but for middle-class Indian families. The subtitle of the film is ‘an encounter with photography’, but in fact, the subject matter of the film would be more accurately described in the plural, as it consists of a series of encounters exploring the meaning of photography for a diverse range of both practitioners and consumers in Mussoorie

in Beyond observation

Society, remained active in making films and contributed to amateur cine literature for many years. 5 During the mid-1920s, interest in cine film grew rapidly. Reporting in Amateur Photographer and Photography ( APP ) after an inaugural dinner in July 1927, the first secretary of the Amateur Cinematographers’ Association (ACA) wrote of ‘the ever-increasing numbers taking up cinematography as a hobby’. 6 There would be, he

in Amateur film

photography as film and equipment became more available; and then, the evolutionary adjustment to successive innovations. Technological and societal shifts deterred some hobbyists but attracted the involvement of others. Innovations moved the most dedicated cinephiles into new areas of visualisation using videos, camcorders and a succession of changing opportunities for home-editing, presentation, distribution and storage. The IAC

in Amateur film

, under the authoritarian leadership of André Breton. The year saw the publication of Breton’s first surrealist manifesto, and the group proceeded to demand a revolution in the arts and indeed in lifestyle, subverting received norms of expression in many fields including literature, painting, photography and cinema, and aiming to liberate the unconscious from codes of civilised behaviour. The first surrealist film was the

in Contemporary French cinema
Arthur Seaton and the arc of flight

history of this century at various key points.’14 However, this approach demonstrates a degree of incompleteness when it comes to ‘looking at the structure and the meaning of the film, as conveyed by the script, visuals, acting, direction, photography and music’. This is because the emphasis on the strands is not evenly distributed and returns us to the sense of asymmetry that Movie’s histogram originally created. To understand this we need to consider this approach in greater detail. Aldgate’s discussion of Reisz’s film is based upon his asking: what is there to gain

in The British New Wave
The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers

and audience. In our effort to understand the publicity of contemporary documentary subjects (that is, the viewers, the filmed and the filmmakers) in Cuba and how this intersects with the legacy of gendered citizenship practices, we turn to Ariella Azoulay’s work The Civil Contract of Photography . Ariella Azoulay (2009) argues for a central role for the photograph and, we suggest, by extension the

in Hispanic and Lusophone women filmmakers

Nordisk’s considerable output there. Press reaction to Nordisk films which opened there that year praised the excellence of the photography, the originality of the staging and the realism of the performances. Moving Picture World in December 1908 commented: ‘There is a marked difference between the acting in the Danish productions and those of other foreign filmmakers. The Danes seem to do everything so seriously.’ Even so

in Film editing: history, theory and practice

elusive puzzle of animating the image. In the process, they reveal continuities linking Impressionism to the chrono-photographic studies of human and animal locomotion done in the 1880s by Etienne-Jules Marey and Eadweard Muybridge, precursors of the moving picture. For what is cinema, if not the narration of light? Although Ladmiral’s career and his musings have led viewers and critics alike to associate the style of Un dimanche à la campagne with its painterly antecedents, the influence on the film of early color photography is

in Bertrand Tavernier
Abstract only
The psychogeography of sectarianism in Northern Irish photography

3 Double negative: the psychogeography of sectarianism in Northern Irish photography In Northern Ireland sectarianism is typically defined by its ‘destructive patterns of relating’.1 As a mode of speech it preaches hate and division, as a physical action it produces violence and devastation. It poses a threat to social harmony and jeopardises the well-­being of a population. As such, sectarianism is little desired and greatly despised. The Good Friday Agreement, for example, ‘seeks to remove’ sectarian symbols and the divisions they serve to propagate.2 And yet

in Northern Ireland and the politics of boredom