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Author: Jürgen Tobisch
Publisher: GRIN Verlag
ISBN: 3640161300
Category : Performing Arts
Languages : en
Pages : 54
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Book Description
Master's Thesis from the year 2003 in the subject Film Science, grade: 1,0, University of Edinburgh, 37 entries in the bibliography, language: English, abstract: Wim Wenders, one of the key figures of New German Cinema, a movement similar to the "Nouvelle Vague" in some ways, is of another generation than Fellini and Godard. In his film "Der Stand der Dinge" (1982) he literally commutes between the two poles of his filmmaking, Europe and the US. The film begins in Portugal, where a film crew is forced to stop shooting and ends at the place where all the great cinema myths arise, Hollywood. Wenders' film is an attempt by a young filmmaker to find a stable creative position in unstable times. (Wenders had just experienced great difficulties in making "Hammett" (1982) in the US). In "Der Stand der Dinge" this is exemplified by the direct inclusion of his own thoughts about European and American filmmaking, images and stories, and black-andwhite and colour film stock, opposites that are not harmoniously resolved at the end. Among the three films discussed Wenders' film within the film is the only one not completed, suggesting an unsure future for the cinema. In examining these three films, I shall focus on the following aspects: 6 - In what way does the film reflect on the history of motion pictures (references to it)? - What attitude does the filmmaker have concerning the artificial-illusionist elements of his profession/product? - How does the filmmaker deal with the narrative and filmic conventions of his profession? - What does the film tell us about the film director's artistic and working style. Does "life imitates art" in these films? - To which extent can autobiographic elements be found in these films and can any parallels between the director in the film and the director of the film be drawn? - How can the film be classified in the oeuvre of the director? Does it mark the end of one phase of his work and/or lead into a new one? - How is the "film within the fi
Author: Jürgen Tobisch
Publisher: GRIN Verlag
ISBN: 3640161300
Category : Performing Arts
Languages : en
Pages : 54
Get Book Here
Book Description
Master's Thesis from the year 2003 in the subject Film Science, grade: 1,0, University of Edinburgh, 37 entries in the bibliography, language: English, abstract: Wim Wenders, one of the key figures of New German Cinema, a movement similar to the "Nouvelle Vague" in some ways, is of another generation than Fellini and Godard. In his film "Der Stand der Dinge" (1982) he literally commutes between the two poles of his filmmaking, Europe and the US. The film begins in Portugal, where a film crew is forced to stop shooting and ends at the place where all the great cinema myths arise, Hollywood. Wenders' film is an attempt by a young filmmaker to find a stable creative position in unstable times. (Wenders had just experienced great difficulties in making "Hammett" (1982) in the US). In "Der Stand der Dinge" this is exemplified by the direct inclusion of his own thoughts about European and American filmmaking, images and stories, and black-andwhite and colour film stock, opposites that are not harmoniously resolved at the end. Among the three films discussed Wenders' film within the film is the only one not completed, suggesting an unsure future for the cinema. In examining these three films, I shall focus on the following aspects: 6 - In what way does the film reflect on the history of motion pictures (references to it)? - What attitude does the filmmaker have concerning the artificial-illusionist elements of his profession/product? - How does the filmmaker deal with the narrative and filmic conventions of his profession? - What does the film tell us about the film director's artistic and working style. Does "life imitates art" in these films? - To which extent can autobiographic elements be found in these films and can any parallels between the director in the film and the director of the film be drawn? - How can the film be classified in the oeuvre of the director? Does it mark the end of one phase of his work and/or lead into a new one? - How is the "film within the fi
Author: Jürgen Tobisch
Publisher: GRIN Verlag
ISBN: 3640161173
Category : Performing Arts
Languages : en
Pages : 47
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Book Description
Master's Thesis from the year 2003 in the subject Film Science, grade: 1,0, University of Edinburgh, language: English, abstract: Wim Wenders, one of the key figures of New German Cinema, a movement similar to the “Nouvelle Vague” in some ways, is of another generation than Fellini and Godard. In his film “Der Stand der Dinge” (1982) he literally commutes between the two poles of his filmmaking, Europe and the US. The film begins in Portugal, where a film crew is forced to stop shooting and ends at the place where all the great cinema myths arise, Hollywood. Wenders’ film is an attempt by a young filmmaker to find a stable creative position in unstable times. (Wenders had just experienced great difficulties in making “Hammett” (1982) in the US). In “Der Stand der Dinge” this is exemplified by the direct inclusion of his own thoughts about European and American filmmaking, images and stories, and black-andwhite and colour film stock, opposites that are not harmoniously resolved at the end. Among the three films discussed Wenders’ film within the film is the only one not completed, suggesting an unsure future for the cinema. In examining these three films, I shall focus on the following aspects: 6 • In what way does the film reflect on the history of motion pictures (references to it)? • What attitude does the filmmaker have concerning the artificial-illusionist elements of his profession/product? • How does the filmmaker deal with the narrative and filmic conventions of his profession? • What does the film tell us about the film director’s artistic and working style. Does “life imitates art” in these films? • To which extent can autobiographic elements be found in these films and can any parallels between the director in the film and the director of the film be drawn? • How can the film be classified in the oeuvre of the director? Does it mark the end of one phase of his work and/or lead into a new one? • How is the “film within the film” plot accomplished? Finally, all three films will be compared with each other with regard to the above mentioned questions which will then lead to a final assessment of the self-reflexivity , explored in these films. [...]
Author: András Bálint Kovács
Publisher: University of Chicago Press
ISBN: 0226451631
Category : Performing Arts
Languages : en
Pages : 441
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Book Description
Casting fresh light on the renowned productions of auteurs like Antonioni, Fellini, and Bresson and drawing out from the shadows a range of important but lesser-known works, Screening Modernism is the first comprehensive study of European art cinema’s postwar heyday. Spanning from the 1950s to the 1970s, András Bálint Kovács’s encyclopedic work argues that cinematic modernism was not a unified movement with a handful of styles and themes but rather a stunning range of variations on the core principles of modern art. Illustrating how the concepts of modernism and the avant-garde variously manifest themselves in film, Kovács begins by tracing the emergence of art cinema as a historical category. He then explains the main formal characteristics of modern styles and forms as well as their intellectual foundation. Finally, drawing on modernist theory and philosophy along the way, he provides an innovative history of the evolution of modern European art cinema. Exploring not only modernism’s origins but also its stylistic, thematic, and cultural avatars, Screening Modernism ultimately lays out creative new ways to think about the historical periods that comprise this golden age of film.
Author: Thomas Elsaesser
Publisher: Routledge
ISBN: 1136519475
Category : Performing Arts
Languages : en
Pages : 677
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Book Description
While Hollywood’s success – its persistence – has remained constant for almost one hundred years, the study of its success has undergone significant expansion and transformation. Since the 1960s, Thomas Elsaesser’s research has spearheaded the study of Hollywood, beginning with his classic essays on auteurism and cinephilia, focused around a director’s themes and style, up to his analysis of the "corporate authorship" of contemporary director James Cameron. In between, he has helped to transform film studies by incorporating questions of narrative, genre, desire, ideology and, more recently, Hollywood’s economic-technological infrastructure and its place within global capitalism. The Persistence of Hollywood brings together Elsaesser’s key writings about Hollywood filmmaking. It includes his detailed studies of individual directors (including Minnelli, Fuller, Ray, Hitchcock, Lang, Altman, Kubrick, Coppola, and Cameron), as well as essays charting the shifts from classic to corporate Hollywood by way of the New Hollywood and the resurgence of the blockbuster. The book also presents a history of the different critical-theoretical paradigms central to film studies in its analysis of Hollywood, from auteurism and cinephilia to textual analysis, Marxism, psychoanalysis, and post-industrial analysis.
Author: Marcelline Block
Publisher: Edinburgh University Press
ISBN: 1474456030
Category : Performing Arts
Languages : en
Pages : 240
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Book Description
In this book, a range of international scholars offers a comprehensive study of this significant and influential figure, covering his French and English-language films and videos, and framing Gondry as a transnational auteur whose work provides insight into both French/European and American cinematic and cultural identity.
Author: Deborah Jermyn
Publisher: Wallflower Press
ISBN: 9781903364420
Category : Performing Arts
Languages : en
Pages : 248
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Book Description
"Kathryn Bigelow is one of Hollywood's most significant female film-makers, well known in popular terms for films such as 'Near dark', 'Blue steel' and 'Point break', yet remaining relatively unexplored in academia... Placing particular emphasis on 'Strange days', her most ambitious and controversial picture to date, this collection explores Bigelow's role within New Hollywood as a film-maker that blurs genre conventions, reinscribes gender identities and produces a breathless cinema of attractions." -- Back cover.
Author: Brad Prager
Publisher: John Wiley & Sons
ISBN: 1444361406
Category : Performing Arts
Languages : en
Pages : 651
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Book Description
A Companion to Werner Herzog showcases over two dozen original scholarly essays examining nearly five decades of filmmaking by one of the most acclaimed and innovative figures in world cinema. First collection in twenty years dedicated to examining Herzog’s expansive career Features essays by international scholars and Herzog specialists Addresses a broad spectrum of the director’s films, from his earliest works such as Signs of Life and Fata Morgana to such recent films as The Bad Lieutenant and Encounters at the End of the World Offers creative, innovative approaches guided by film history, art history, and philosophy Includes a comprehensive filmography that also features a list of the director’s acting appearances and opera productions Explores the director’s engagement with music and the arts, his self-stylization as a global filmmaker, his Bavarian origins, and even his love-hate relationship with the actor Klaus Kinski
Author: Berna Gueneli
Publisher: Indiana University Press
ISBN: 0253037891
Category : Performing Arts
Languages : en
Pages : 222
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Book Description
In Fatih Akın’s Cinema and the New Sound of Europe, Berna Gueneli explores the transnational works of acclaimed Turkish-German filmmaker and auteur Fatih Akın. The first minority director in Germany to receive numerous national and international awards, Akın makes films that are informed by Europe’s past, provide cinematic imaginations about its present and future, and engage with public discourses on minorities and migration in Europe through his treatment and representation of a diverse, multiethnic, and multilingual European citizenry. Through detailed analyses of some of Akın’s key works—In July, Head-On, and The Edge of Heaven, among others—Gueneli identifies Akın’s unique stylistic use of multivalent sonic and visual components and multinational characters. She argues that the soundscapes of Akın’s films—including music and multiple languages, dialects, and accents—create an “aesthetic of heterogeneity” that envisions an expanded and integrated Europe and highlights the political nature of Akın’s decisions regarding casting, settings, and audio. At a time when belonging and identity in Europe is complicated by questions of race, ethnicity, religion, and citizenship, Gueneli demonstrates how Akın’s aesthetics intersect with politics to reshape notions of Europe, European cinema, and cinematic history.
Author: Kuei-fen Chiu
Publisher: Taylor & Francis
ISBN: 1351691333
Category : History
Languages : en
Pages : 247
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Book Description
Chinese glossary: Selected names and terms -- Selected Chinese filmography -- Bibliography -- Index
Author: Frank Burke
Publisher: John Wiley & Sons
ISBN: 1444332287
Category : Performing Arts
Languages : en
Pages : 644
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Book Description
Written by leading figures in the field, A Companion to Italian Cinema re-maps Italian cinema studies, employing new perspectives on traditional issues, and fresh theoretical approaches to the exciting history and field of Italian cinema. Offers new approaches to Italian cinema, whose importance in the post-war period was unrivalled Presents a theory based approach to historical and archival material Includes work by both established and more recent scholars, with new takes on traditional critical issues, and new theoretical approaches to the exciting history and field of Italian cinema Covers recent issues such as feminism, stardom, queer cinema, immigration and postcolonialism, self-reflexivity and postmodernism, popular genre cinema, and digitalization A comprehensive collection of essays addressing the prominent films, directors and cinematic forms of Italian cinema, which will become a standard resource for academic and non-academic purposes alike
