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Dark imaginer

This book explores the diverse literary, film and visionary creations of the polymathic and influential British artist Clive Barker. It presents groundbreaking essays that critically reevaluate Barker's oeuvre. These include in-depth analyses of his celebrated and lesser known novels, short stories, theme park designs, screen and comic book adaptations, film direction and production, sketches and book illustrations, as well as responses to his material from critics and fan communities. The book examines Barker's earlier fiction and its place within British horror fiction and socio-cultural contexts. Selected tales from the Books of Blood are exemplary in their response to the frustrations and political radicalism of the 1980s British cultural anxieties. Aiming to rally those who stand defiant of Thatcher's polarising vision of neoliberal British conservatism, Weaveworld is revealed to be a savage indictment of 1980s British politics. The book explores Barker's transition from author to filmmaker, and how his vision was translated, captured, and occasionally compromised in its adaptation from page to the screen. Barker's work contains features which can be potentially read as feminine and queer, positioning them within traditions of the Gothic, the melodrama and the fantastic. The book examines Barker's works, especially Hellraiser, Nightbreed, and Lord of Illusions, through the critical lenses of queer culture, desire, and brand recognition. It considers Barker's complex and multi-layered marks in the field, exploring and re-evaluating his works, focusing on Tortured Souls and Mister B. Gone's new myths of the flesh'.

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A history of Latin American women filmmakers
Patricia Torres San Martín

set, and drawing on her experience as a journalist, she learned the secrets of film direction. Perhaps she even developed a taste for melodrama by being exposed to the canonical genre. 10 Sequeyro resumed her acting career in the 1930s, starring in Fernando de Fuentes’s classic El prisionero trece , 1933, as an extra in José Bohr’s La sangre manda , 1933, and playing a small part in Ramón Peón and

in Hispanic and Lusophone women filmmakers
The auteur as an ekphrastic ghost
Maaret Koskinen

The point, however, is that the photographs described in ekphrasis serve a similar function. Not least, they constitute exhortations to those who Bergman knew would turn his text into a film—both director Bille August and the actors, whom he encourages ‘to go into the photograph and recreate’. Thus, these photographs function as regular stage directions, or, more precisely, as film direction emanating from the written page . And yet, in complete contradistinction to the self-reflexive interjections mentioned

in Ingmar Bergman
The ‘screenplays’ of the New Wave auteurs
Sarah Leahy
Isabelle Vanderschelden

the auteurist approach, Rohmer ( 1980 : vi) confirms that he ‘dreamed of being the sole creator of his work’. He redefined the function of screenwriting, by using these pre-existing prose texts as the basis for films, proposing an alternative to the notion of ‘original screenplay’ and regarding film direction as paramount, a view he shares with Truffaut. For Rohmer, then, the role of the camera, its

in Screenwriters in French cinema
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Peter Hutchings

in another.’ 3 Film direction here becomes ‘bugging it about a bit’, where ‘it’, presumably, is the script. Fisher was always insistent that the script, the written word, came before all else in film-making: ‘For God’s sake, the script is your Bible! It’s the guts that you start with. All a director is, please, is an interpreter of the written word, or translator of the written word, into a visual form

in Terence Fisher
Barry Jordan

arose over Amenábar’s alleged ‘fail’ in Film Direction, because of the surname of one of his film characters, Jorge Castro. This coincided with the real name of the lecturer (Antonio Castro) who had allegedly failed him unfairly in Direction. Amenábar thus named his fictional Professor of Media Psychology Jorge Castro, as a deliberate ‘dig’ at his old Faculty nemesis. In a long, commented interview

in Alejandro Amenábar

's Polyèdre (1965) ( Figure 5 ). Tilda Swinton also offers a similar analogy of the process of film direction: “in amongst this mayhem, you get this middle point, it's like the Venn diagram, you get this little, thin strand of coherence.”  9 Indeed, it is this “strand of coherence” that Skaer could be said to have found when Carrington was glimpsed in her periphery. Bearing this in mind, I will explore how Skaer offers an alternative approach to some of the key concerns of Carrington's artistic universe

in The medium of Leonora Carrington
‘Reading between the lines of history’
Alexandra Parsons

film's direction. The project is not simply about the finished result of the film release, although that was a huge relief after so many years’ hiatus, but about the collaborative process of exploring then re-enacting the painter's history. Caravaggio, Christ and Jarman taking things further On the double-page spread dedicated to self-portraits in Derek Jarman's Caravaggio , Jarman comments on a further self-portrait, which is subtly featured in The Martyrdom of Saint Matthew (1599–1600), installed in the San Luigi dei

in Luminous presence
Representing the supernatural in film adaptations of A Midsummer Night’s Dream
Gayle Allan

poet's imagination. In 2014, acclaimed film director, Julie Taymor made a similar claim – she held that the Dream was ‘unfilmable’. 46 So, rather than make a film adaptation, despite being known for her film direction, Taymor mounted a lavish and ambitious stage production of the Dream to great acclaim. 47 Although not produced as a film adaptation (but rather a filmed record of her stage production), Taymor's A Midsummer

in Shakespeare and the supernatural
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Soviet montage and the American cinematic avant-garde
Barnaby Haran

the main road, without even attempt at analysis or positive statement of the problems of mechanism as to their social, political or psychological elements, and in this sense, the humanism of those who look back to New England for authority, is as far away from the actual problems of the American scene as the humanitarianism of those who look forward to the USSR for a point of reference.58 Montage was an element in the ‘force’ of the ‘motion picture machine’. The reproduction of Pudovkin’s ‘Film Direction and Film Manuscript’ article in the first two issues of

in Watching the red dawn