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Martin O’Shaughnessy

1 A director and his methods Cantet was born in 1961 in the small town of Melle in the PoitouCharentes region. His parents were teachers. His cinematic vocation began to emerge when he studied photography at Marseille University and started to assemble photographs to make short pictorial stories. At the same time, he bought a digital camera, a piece of equipment that was becoming an affordable consumer item at the time, and started to make short films with friends. Then, moving decisively towards cinema, he took the entrance examination at the prestigious

in Laurent Cantet
Brian Mcfarlane

name, though the wartime thrillers no doubt have melodramatic elements. There were six intervening films, justifying the journalist who described him in early 1943 as the ‘Busiest British film director … Within the last six months he’s made five films, and now he’s busy on a sixth [ Escape to Danger ] . And they haven’t all been the same kind of movie as well.’ 1 Indeed they were not. In order of release, 2 they were: the comedy-drama of

in Lance Comfort
Beineix, Besson, Carax from Diva to Le Grand Bleu
Raphaël Bassan

, as so many purists and nostalgics maintain, but informs real discussion about art. There are a thousand and one ways of being postmodern . It is said that the work of the three directors with whom we are concerned here is too hip to be sincere. But they are not so much hip as dependent on the ephemeral nature of their time. For some critics, Diva , Subway or Mauvais sang (Carax, 1986

in The films of Luc Besson
Abstract only
William Klein and Alain Tanner
Alison Smith

almost the fantastic fever of words which exploded at that moment’ (Klein 1978 : 41). 18 To refer to 1968 as a ‘fever of words’ may seem reductive on the part of a director who has acknowledged the profound effect exercised on him by the ideas expressed during May. (Klein 1977 : 18). 19 It nonetheless corresponds to the representation of the events which Grands Soirs provides. Throughout the film the emphasis is on talk; not merely the platform speakers which many of the short militant films reproduced, but planning

in French cinema in the 1970s
Dave Rolinson

The director in television’s ‘studio system’ 1 In this chapter I explore Alan Clarke’s personal and professional origins, and his emergence as a director in a writer’s medium. I begin with a sketch of his background and early theatre work, comparing these with the backgrounds of others of his generation in order to establish the social contexts which shaped Clarke’s thematic concerns and the television landscape around him. I then trace his developing technique by looking at several of the plays which he made for ITV in the 1960s and the BBC in the early 1970s

in Alan Clarke
Notes sur le cinématographe
Keith Reader

the director’s work, though as we have seen there are many more. The section entitled ‘De l’automatisme’ is the clearest justification of Bresson’s allegiance to modèles rather than actors. Once modèles ’ behaviour has become automatic – a goal generally achieved through constant repetition – leurs rapports avec les personnes et les objets autour d’eux seront justes, parce qu’ils ne seront pas

in Robert Bresson
The impact of colonial universities on the University of London
Dongkyung Shin

In January 1967, Walter Adams, principal of the University College of Rhodesia and Nyasaland (hereafter the UCR), was appointed as the new director of the London School of Economics (hereafter LSE). 1 In an immediate response, LSE students occupied the Old Theatre building to protect what they construed as the most multiracial university in Britain from having a director

in British culture after empire
Abstract only
Auteurism from Assayas to Ozon
Editor:

There have been vigorous debates about the condition and prospects of auteur cinema in France over the last decade, debates that seem mostly to have gone unreported in anglophone criticism of francophone cinema. But these have been paralleled by a revival of international debate about the status of the auteur: in their extended chapter on auteur cinema added to the second edition of Cook's The Cinema Book, Pam Cook and Mieke Bernink observe that this was definitely underway by 1995. This book summarises the development of auteurism as a field up to the 1990s, drawing particularly on Wright Wexman's historical overview. Georges Méliès was the first auteur. Following the advent of structuralism and structuralist approaches to narrative and communication in the mid 1960s, a type of auteurism was born that preserved a focus on authorship. The book presents an account of the development of Olivier Assayas' career, and explores this idea of what one might call 'catastrophe cinema'. Jacques Audiard's work reflects several dominant preoccupations of contemporary French cinema, such as an engagement with realism (the phenomenon of the 'new new wave') and the interrogation of the construction of (cultural) memory. The book then discusses the films of the Dardenne brothers and their documentaries. Michael Haneke's films can be read as a series of polemical correctives to the morally questionable viewing practices. An introduction to Ozon's films that revolve around the centrality of queer desire to his cinema, and the continual performative transformations of identity worked within it, is presented.

Bulletin of the John Rylands Library
A Realistic Ambition?
Pierre Mendiharat
,
Elba Rahmouni
, and
Léon Salumu

2012 revealed some of the world’s highest HIV incidence and prevalence, and a poor “treatment cascade”. Six years later a new Epicentre study, NHIPS 2, showed that the 90-90-90 target had been more than met. What explains this ‘success’? And given the still-high incidence, is it truly a success? What follows is an interview on the political, scientific, and operational challenges of the Ndhiwa project with MSF Deputy Director of Operations Pierre Mendiharat and physician

Journal of Humanitarian Affairs