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The Spanish Civil War in cinema
Author: David Archibald

This book charts the changing nature of cinematic depictions of the Spanish Civil War. In 1936, a significant number of artists, filmmakers and writers – from George Orwell and Pablo Picasso to Joris Ivens and Joan Miró – rallied to support the country's democratically elected Republican government. The arts have played an important role in shaping popular understandings of the Spanish Civil War, and the book examines the specific role cinema has played in this process. Its focus is on fictional feature films produced within Spain and beyond its borders between the 1940s and the early years of the twenty-first century – including Hollywood blockbusters, East European films, the work of the avant garde in Paris and films produced under Franco's censorial dictatorship.

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Alan Rosenthal

swap stories like old comrades. ‘Do you remember the Ebro? Do you remember when that bastard Franco launched his attack on Madrid? Do you remember when those German planes came over and we lost fifty men, women and children? And were you really there in Barcelona when I was filming … ?’ And so on and so on. We in the audience listen in awe, and silent admiration. We know we’ll 96 The documentary diaries remember this afternoon. We know we are privileged, and that few others will ever see Joris Ivens and Abe Osheroff together again in informal discussion. Like most

in The documentary diaries
Des O’Rawe

études cinématographiques (IDHEC). In Paris at that time, figures such as Joris Ivens, Herman van der Horst, Bert Haanstra, and even the up-­and-­coming Louis van Gasteren, were enjoying international acclaim as documentary filmmakers, and Van der Keuken’s chances of making a name for himself among such luminaries must have seemed slim.4 As if his chosen artistic field was not crowded enough, there was also the formidable hinterland of post-­war French cinema to contend with­– n ­ ot least, the emerging brilliance of the New Wave­– a­ s well as the achievements of

in Regarding the real
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Des O’Rawe

), and which also included work by Marker and Resnais, and Joris Ivens, as well as Jean-­Luc Godard, Michèl Ray-­Gavras, Claude Lelouch, and Agnès Varda. Klein’s contribution to Far from Vietnam was substantial; he provided extensive footage of anti-­ war demonstrators in New York and an interview with the family of Norman Morrison, who had committed suicide by self-­immolation in 1965, on the front lawn of the Pentagon (in full view of Robert McNamara’s office).5 While Klein’s work may not have been especially important to the French New Wave and Cahiers du cinéma, he

in Regarding the real
Sarah Lonsdale

people should have the right to the productivity of the land, denied them through years of Spanish absentee landlordism. The carefully prepared runnels and seedlings, the order and hard work of the boys were evidence that they would be capable of farming the land if it belonged to them. This powerful image echoes the 1937 pro-Republican film Spanish Earth , directed by Joris Ivens and commissioned by the left-wing US collective Contemporary Historians Inc., which ends with an arresting image of water cascading over the arid earth, directly connecting the needs of the

in Rebel women between the wars
Annie Fourcaut

-garde artistic stamp on classic images of suburban misery. Prévert’s lyrics recall the spoken manner of the October Group with whom he worked in the 1930s; Kosma punctuates his score after the manner of Kurt Weil; while Lotar, who had shot Luis Buñuel’s Las Hurdes: tierra sin pan (Land Without Bread, 1933), borrows deliberately from social filmmakers’ repertoire: the face of a sleeping baby covered with flies and a smiling girl, her clothing in tatters, recall in equal measure Eisenstein, Borzage and Henri Storck and Joris Ivens’ Misère au Borinage (1933). An activist work by

in Screening the Paris suburbs
For Whom the Bell Tolls
David Archibald

introduction. Blockade and The Spanish Earth The Spanish Earth was commissioned by Contemporary Historians Inc., an organisation established by prominent, US-based, left-wing writers and artists, which invited the celebrated documentarian, Joris Ivens, to travel to Spain to make a film that could raise awareness of the civil war among a largely uninformed American public. 3 In January 1937 the US Congress had passed the Embargo Act prohibiting the export of arms to either side; however, as Germany and Italy were supporting the Nationalists, this seemingly neutral

in The war that won't die
Michael Temple

’s Berlin, a City Symphony (1927) and Dziga Vertov’s The Man with a Movie Camera (1929), those landmarks of a historical meeting between the documentary movement and the avant-garde, between experimental film and the cinema of experience. For some filmmakers of Vigo’s generation, like Jean Lods (Aujourd’hui /24 heures en 30 minutes, 1928), Henri Storck (Images d’Ostende, 1929) and Joris Ivens (The Bridge, 1928), the

in Jean Vigo
Daniel Dezeuze and China from scroll to (TV) screen
Sarah Wilson

. Portrait of Liu Tchi-Tei, amateur peasant painter), from series ‘Le désir est partout’, 1974 filmmaker Joris Ivens to China in the summer. The Chinese ‘peasant painters’ encountered on officially managed visits, celebrated by both Fromanger (Illustration 9.3) and Julia Kristeva (see Des Chinoises), would be officially invited to Paris for the Biennale in 1975; distance collapsed, the short-circuit was complete.42 Yet 1974 was important for another reason, heralding Dezeuze’s interest in an alternative ‘support’ and thus message. The show ‘Art vidéo confrontation’, at

in Art, Global Maoism and the Chinese Cultural Revolution
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Richard Kilborn

student Junge had felt more drawn towards documentary than to fiction film, but it was working under Gass’s mentorship that convinced him that, if he was going to make a mark as a filmmaker, then it would probably be as a documentarist. Junge was especially enthusiastic about the work of renowned filmmakers such as Joris Ivens, Richard Leacock and Chris Marker. The quality he most admired in these other filmmakers was their ability to let events speak for themselves rather than foisting Getting started 57 their own interpretations and explanations on the audience. Central

in Taking the long view