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In 1923, the film director Victor Seastrom (né Sjöström), then Sweden's most renowned filmmaker, was recruited to Hollywood by Goldwyn Pictures, where he made eight silent pictures and one talkie in seven years, among them a 1926 version of 'The Scarlet Letter'. What elements of Swedish cinema did he bring with him to the States, and how were these techniques transformed by Hollywood? This is the first book-length study dedicated to the films of Sjöström (1879-1960) and how he functioned in the studio system of 1920s Hollywood. Bo Florin explores the ways the director applied his austere and naturalistic film style in a radically different context and discusses how his films were received in Hollywood.
Motion picture producers and directors --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Persons --- Sjöström, Victor, --- Sjöström, Victor David, --- Seastrom, Victor,
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Highly prized biography of one of the Netherlands' most famous and controversial filmmakers.
Motion picture producers and directors --- Producteurs et réalisateurs de cinéma --- Biography. --- Biographies --- Ivens, Joris, --- Producteurs et réalisateurs de cinéma --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Jvens, Joris, --- Ivens, Georg Henri Anton --- Persons
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Scorsese and Religion concerns the religious vision of the great American filmmaker Martin Scorsese. Not only will this volume explore the foundation of Scorsese’s interest in religion—namely, his relation to the Catholic Church—but it will also highlight the religious breadth of Scorsese’s corpus. Ultimately, this book demonstrates that Scorsese’s cinematic “re-presentation” of reality brings together various religious influences (Catholicism, existentialism, Buddhism, etc.) and topics such as violence, morality, nihilism, and so on. The overarching claim is that Scorsese, who indeed once claimed that his “whole life” had been “movies and religion,” cannot be properly understood without reflecting on the ways in which his religious interests are expressed in and through his art.
Motion picture producers and directors. --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Persons --- Religion in motion pictures --- Motion pictures - Religious aspects - Christianity --- Scorsese, Martin - Criticism and interpretation --- Films, cinema --- Individual film directors, film-makers --- Scorsese, Martin --- Criticism and interpretation. --- Skorseze, Martin --- Motion pictures
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"Jia Zhangke on Jia Zhangke is an extended dialogue between film scholar Michael Berry and the internationally acclaimed Chinese filmmaker. Drawing from extensive interviews and public talks, this volume offers a portrait of Jia's life, art, and approach to filmmaking. Jia and Berry's conversations range from Jia's childhood and formative years to extensive discussions of his major narrative films, including such classics as Xiao Wu, Platform, The World, Still Life, and A Touch of Sin. Jia gives a first-hand account of his influences, analyzes the Chinese film industry, and offers his thoughts on everything from film music and working with actors to cinematography and screenwriting. From industry and economics to art and politics, Jia Zhangke on Jia Zhangke represents the single most comprehensive document of the director's candid thoughts on the art and challenges of filmmaking"--
Jia Zhangke --- Chinese cinema --- independent film --- oral history --- Sixth Generation --- Reform Era --- Motion picture producers and directors --- Jia, Zhangke, --- Criticism and interpretation. --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Persons --- Zhangke, Jia --- Jia, Zhang-ke, --- 贾樟柯
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This book brings together two major filmmakers--German avant-gardist Harun Farocki and French New Wave master Jean-Luc Godard--to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create "film as theory."
Motion pictures -- Social aspects. --- Motion pictures. --- Film --- Music, Dance, Drama & Film --- Motion pictures --- Social aspects. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- History and criticism --- Audio-visual materials --- Mass media --- Performing arts --- Motion picture producers and directors. --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Farocki, Harun. --- Godard, Jean-Luc, --- Faroqhi, Harun El Usman --- Persons --- Philosophy. --- Farocki, Harun --- Criticism and interpretation. --- essay film --- harun farocki --- film theory --- jean-luc godard --- Photography
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The volume is the first-ever book-length study of the cinematic representation of Paris in the films of German èmigrè filmmakers.
Motion picture industry --- Motion picture producers and directors --- Germans --- Austrians --- Cinéma --- Producteurs et réalisateurs de cinéma --- Allemands --- Autrichiens --- History --- Biography. --- Industrie --- Histoire --- Biographies --- #SBIB:309H1320 --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- History. --- Cinéma --- Producteurs et réalisateurs de cinéma --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Ethnology --- Film industry (Motion pictures) --- Moving-picture industry --- Persons --- Cultural industries --- motion pictures --- film
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"Han Hyung-mo was a major figure within South Korea’s Golden Age cinema. The director of Madame Freedom (1956), the most famous film of the 1950s, Han made popular films that explored women’s relationship to modernity. He was also a master stylist who introduced technological innovations and fresh ideas about film form and genre into Korean cinema. This book offers a transnational cultural history of Han’s films, one that foregrounds questions of gender and style. Han’s films embody a period style that Klein calls “Cold War cosmopolitanism.” The waging of the Cold War enmeshed South Korea within a network of ties to the Free World. Fostered by political leaders like Syngman Rhee, American institutions such as the US military and the Asia Foundation, and ordinary Koreans, these networks created channels through which material resources, liberal ideas, and cultural texts flowed into and out of Korea. Han and other cultural producers tapped into these networks to create new forms of commercial culture that meshed local concerns with foreign trends.Combining extensive archival research and in-depth analyses of individual films, Cold War Cosmopolitanism offers a fresh, interdisciplinary perspective on the waging of the cultural Cold War in Asia."
Films, cinema --- Asian history --- Media studies --- Motion picture producers and directors --- Motion pictures --- K9790 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Persons --- History --- Social aspects --- Korea: Performing and media arts -- cinema --- History and criticism --- Han, Hyŏng-mo, --- 한 형모, --- Han, Hyung-mo, --- Han, Hyeong-mo, --- Criticism and interpretation. --- 1950s. --- aesthetic. --- asia. --- cia. --- consumerism. --- cosmopolitanism. --- cultural cold war. --- feminism. --- film culture. --- film style. --- glamorous. --- golden age cinemas. --- han hyung mo. --- japanese colonialism. --- madame freedom. --- material ties. --- modernity. --- popular cultures. --- postwar years. --- regional political alliances. --- south korea. --- study of film style. --- transnational cultural history. --- us military bases. --- women.
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Before he became the father of cinematic special effects, George Méliès (1861-1938) was a maker of deluxe French footwear, an illusionist, and a caricaturist. Proceeding from these beginnings, Méliès Boots traces how the full trajectory of Georges Méliès' career during the late-nineteenth and early-twentieth centuries, along with the larger cultural and historical contexts in which Méliès operated, shaped his cinematic oeuvre. Solomon examines Méliès' unpublished drawings and published caricatures, the role of laughter in his magic theater productions, and the constituent elements of what Méliès called "the new profession of the cinéaste." The book also reveals Méliès' connections to the Incohérents, a group of ephemeral artists from the 1880s, demonstrating the group's relevance for Méliès, early cinema, and modernity. By positioning Méliès in relation to the material culture of his time, Solomon demonstrates that Méliès' work was expressive of a distinctly modern, and modernist, sensibility that appeared in France during the 1880s in the wake of the Second Industrial Revolution.
Motion picture producers and directors. --- Material culture. --- Footwear. --- Culture materielle --- Chaussures --- Producteurs et realisateurs de cinema --- Material culture --- Footwear --- Motion picture producers and directors --- Histoire --- History --- Melies, Georges, --- France --- France. --- Boots and shoes --- Foot wear --- Clothing and dress --- Culture --- Folklore --- Technology --- Directors, Motion picture --- Film directors --- Film producers --- Filmmakers --- Motion picture directors --- Moviemakers --- Moving-picture producers and directors --- Producers, Motion picture --- Persons --- Bro-C'hall --- Fa-kuo --- Fa-lan-hsi --- Faguo --- Falanxi --- Falanxi Gongheguo --- Faransā --- Farānsah --- França --- Francia (Republic) --- Francija --- Francja --- Francland --- Francuska --- Franis --- Franḳraykh --- Frankreich --- Frankrig --- Frankrijk --- Frankrike --- Frankryk --- Fransa --- Fransa Respublikası --- Franse --- Franse Republiek --- Frant︠s︡ --- Frant︠s︡ Uls --- Frant︠s︡ii︠a︡ --- Frantsuzskai︠a︡ Rėspublika --- Frantsyi︠a︡ --- Franza --- French Republic --- Frencisc Cynewīse --- Frenska republika --- Furansu --- Furansu Kyōwakoku --- Gallia --- Gallia (Republic) --- Gallikē Dēmokratia --- Hyãsia --- Parancis --- Peurancih --- Phransiya --- Pransiya --- Pransya --- Prantsusmaa --- Pʻŭrangsŭ --- Ranska --- República Francesa --- Republica Franzesa --- Republika Francuska --- Republiḳah ha-Tsarfatit --- Republikang Pranses --- République française --- Tsarfat --- Tsorfat --- Γαλλική Δημοκρατία --- Γαλλία --- Франц --- Франц Улс --- Французская Рэспубліка --- Францыя --- Франция --- Френска република --- פראנקרייך --- צרפת --- רפובליקה הצרפתית --- فرانسه --- فرنسا --- フランス --- フランス共和国 --- 法国 --- 法蘭西 --- 法蘭西共和國 --- 프랑스 --- France (Provisional government, 1944-1946) --- Méliès;cinema;cinematography;film;special effects;technology;shoes;boots;footwear;industrial revolut --- Méliès, Georges, --- Méliès, Marie-Georges-Jean, --- 1800-1899 --- City of Paris --- Paris --- Farans --- Frant͡ --- Frant͡s Uls --- Frant͡sii͡ --- Frantsuzskai͡a Rėspublika --- Frantsyi͡ --- Pʻŭrangs --- Producteurs et reÌalisateurs de cineÌma --- Culture mateÌrielle --- MeÌlieÌs, Georges,
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