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task of this and the following chapters will be to explore the ways that films are structured and the theories that inform those structures in terms of what is recognised as traditional film-editing practice. Any considerations of the way that dialogue is edited must begin by acknowledging that the structuring methods that editors use to reveal the essential meanings within a set of dialogue exchanges have

in Film editing: history, theory and practice

exchange of opinions between the Hungarian philosopher and his student István Mészáros, who is compiling a volume on aesthetic issues of the film. These notes are of particular interest because, for the first time here, Lukács intervenes directly into the field of cinema studies. We believe that the notable importance of this intervention should not escape the attention of readers

in Lukácsian film theory and cinema
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enthusiasm for documentary pitching and selling markets. Markets like the Sheffield Documentary Festival, MIPCOM in Cannes, HotDocs, Leipzig, and MIP TV have now become essential venues for pitching opportunities, making sales, schmoozing, meeting people, and exchanging ideas regarding single films, and series, financing and coproducing. You are probably familiar with the pitch from films such as Robert Altman’s The Player. Here, we have a classic demonstration of the Hollywood pitch where an eager young script writer tries to sell his idea to a bored movie mogul in thirty

in The documentary diaries
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motivation stems. Blier’s relentless depiction of marginal characters, their lifestyles and their position on the social and moral fringes of his diegetic societies is a key feature of his overall cinematic conception, and one which has earned him the reputation of a misanthropist. However, Blier’s consistent attention to the more banal elements of social exchange reveals a considered devaluation of the

in Bertrand Blier
Open Access (free)
History, legend and memory in John Sayles’ Lone Star

representation of US history came to the fore, often embedded in the looser exchanges and controversies over so-called political correctness. George Lipsitz cites Lynne Cheney, E. D. Hirsch, Allan Bloom and others, who began to attack new forms of history teaching for betraying particular established knowledges about America and its past. As Cheney wrote in 1988, history textbooks needed to be like those of the

in Memory and popular film
Almodóvar’s, Amenábar’s and de la Iglesia’s generic routes in the US market

chapter examines the function of film within a variety of circuits of cultural, economic and ideological exchange. As Steve Neale has noted, genres are indeed ‘specific systems of expectations and hypotheses which spectators bring with them to the cinema and which interact with films themselves during the course of the viewing process’ ( 2000 : 31). But they are also the very discourses different players

in Contemporary Spanish cinema and genre
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Catherine Millet, Virginie Despentes

consistently valorises distinction : her concern is to maintain a kind of separation, hierarchical and exclusive, both within the worlds of sexual exchange she describes, and between herself as author and her fleshly reader. The paradox is evident: the documentary of promiscuity whose aesthetic refuses precisely this. But the affirmation of distinction, however surprising, is the most prominent characteristic of Millet as narrator

in The new pornographies
Letter to M. Cavell about cinema (a remake)

. d’Alembert on the Theatre ). It provoked an extended public exchange and represented Rousseau’s permanent break from d’Alembert, Diderot and all his former Enlightenment allies. In our day, the optimistic view that a nation’s political culture may be improved by the exposure of its people to spectacles of a particular kind has again become popular. It has

in Cinema, democracy and perfectionism

Falzon, whose exchanges offer a detailed discussion of the ways in which philosophical and Constable_01_Text.indd 10 4/3/09 14:35:51 Good example, bad philosophy  11 filmic texts might be inter-related.2 However, the ostensibly positive roles they offer the films will be shown to be intrinsically limited. This chapter will demonstrate that none of the current approaches provides the means to answer a simple question, namely ‘what is the philosophical project of the films themselves?’ The dominant model for inter-relating philosophical and filmic texts offered by

in Adapting philosophy
Men apart

the role: heavy, plodding, out of breath, seemingly dazed and frequently unsteady on his feet – is emblematic of the difficulties faced by a realist filmmaker attempting to portray the invisible and ineffable mysteries of faith and of spiritual vocation solely through material means. If Pialat attempts, once, to use voice-over to convey the priest’s innermost thoughts, he then abandons it as an option. There is no other articulation of the priest’s convictions, motivations, physical or spiritual anguish except through his gestures, exchanges with others and the

in Maurice Pialat