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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
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
, 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
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
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
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 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
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
people crossing the Med. Caroline Abu Sa’Da is General Director of its Swiss branch. Juliano Fiori: SOS is very much a product of contemporary Europe. It’s a civic response to refugees and migrants in the Med but also to nationalistic politics, or to the return of nationalist movements to the forefront of European politics. How, then, does SOS differ from European humanitarian NGOs founded in past decades? Caroline Abu Sa’Da: SOS is a European citizen movement. Besides our search-and-rescue activities, we aim to give to the greatest number of