Filminstruktører og filmskabere

Susan Seidelman's career is one of firsts, yet little is written about her. This collection begins filling that gap while opening the door for additional scholarship, making this a valuable text for years to come. As the first volume dedicated entirely to her work, ReFocus: The Films of Susan Seidelman includes never before published archival material and an interview with insights into her process and thoughts on #timesup and the future of the industry. Seidelman's first feature film, Smithereens, was the first American independent film to compete for the Palme d'Or at the Cannes Film Festival in 1982. Her talent for casting became an asset to her films since she first insisted on Madonna for Desperately Seeking Susan early in her fame. Seidelman directed Meryl Streep and John Malkovich in their first comedy features, Roseanne Barr in her first feature film and Laverne Cox in one of her earliest features. Susan Santha Kerns is Associate Professor of Cinema and Television Arts at Columbia College Chicago.

The Desert Turned to Glass is a place where the cosmic and chthonic collide. Commemorating the centenary of the planetarium as an architectural type, this book collects a new body of work by acclaimed Canadian artist Charles Stankievech. Thematically, the project explores alternative theories concerning the origin of life, consciousness, and art-bridging the cosmological visions of cave art and the modern technology of the planetarium. Richly illustrated, the book pairs images of Stankievech's installations and cinematic works with newly commissioned writings by geologists, exobiologists, philosophers and archeologists. Spanning the abyss of space and the depths of the earth, The Desert Turned to Glass is an epic meditation on origins, endings, and infinity.CHARLES STANKIEVECH (*1978, Canada) is an artist redefining "fieldwork" at the convergence of geopolitics, deep ecologies, and sonic resonances. From the Arctic's northernmost settlement to the depths of the Pacific Ocean, Stankievech's practice uncovers the paradoxes of our existence on the planet by engaging with the imperceptible. He is Associate Professor at the University of Toronto.

William Klein's 1966 cult classic send-up of Paris haute couture - Vanity FairBased on the original images and dialogue of William Klein's 1966 film Who Are You, Polly Maggoo?, this fantastic photo-novel tells the adventures of Polly Maggoo, a star model played by Dorothy McGowan (model for Vogue in the 1960s). The plot unfolds across the fashion world of Polly Maggoo; the world of television (based around the character of director Jean Rochefort); and a magical kingdom of operetta whose crown prince (played by Sami Frey) is in love with the young model. Also featuring in this star-studded cast are Alice Sapritch, Delphine Seyrig, Philippe Noiret, Roland Topor and Jacques Seiler. The publication ingeniously translates into book form the zany universe of the film. Klein's masterful framing gives exquisite rhythm to its page composition and flow as we follow the crazy adventures of the extraordinary heroine in a madcap race through the streets and rooftops of Paris, all the way up to a distant palace lost in the snow. Born in New York, William Klein (1926-2022) was a multidisciplinary artist whose practice revolutionized photography, particularly fashion and street photography. His fashion work was the subject of several iconic photobooks, including Life Is Good and Good for You in New York (1957) and Tokyo (1964). In the 1980s, he turned to film projects. His works are held in the collections of the Museum of Modern Art in New York, the National Gallery of Art in Washington, DC, and the Art Institute of Chicago, among others.

"This publication accompanies Director's inspiration: Agnáes Varda, organized by Ana Santiago and Jessica Niebel in collaboration with Cinâe-Tamaris and presented at the Academy Museum of Motion Pictures, Los Angeles, November 3, 2022-January 5, 2025, as part of the exhibition Stories of Cinema"--Colophon.

"The story of the epic friendship between John Belushi and Dan Aykroyd, the golden era of improv, and the making of a comedic film classic that helped shape our popular culture. "They're not going to catch us," Dan Aykroyd, as Elwood Blues, tells his brother Jake, played by John Belushi. "We're on a mission from God." So opens the musical action comedy The Blues Brothers, which hit theaters on June 20, 1980. Their scripted mission was to save a local Chicago orphanage. But Aykroyd, who conceived and wrote much of the film, had a greater mission: to honor the then-seemingly forgotten tradition of rhythm and blues, some of whose greatest artists-Aretha Franklin, James Brown, John Lee Hooker, Cab Calloway, Ray Charles-made the film as unforgettable as its wild car chases. Much delayed and vastly over budget, beset by mercurial and oft drugged-out stars, The Blues Brothers opened to outraged reviews. However, in the 44 years since, it has been acknowledged a classic: it has been inducted into the National Film Registry for its cultural significance, even declared a "Catholic classic" by the Church itself, and re-aired thousands of times on television to huge worldwide audiences. It is, undeniably, one of the most significant films of the 20th century. The story behind any classic is rich; the saga behind The Blues Brothers, as Daniel de Visâe reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard's Lampoon and Chicago's Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and, of course, the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene. Based on original research and dozens of interviews probing the memories of principals from director John Landis and producer Bob Weiss to Aykroyd himself, The Blues Brothers illuminates an American masterpiece while vividly portraying the creative geniuses behind modern comeedy"--

From the director of Zack Snyder's Justice League and Army of the Dead, comes Rebel Moon, Zack Snyder's eagerly awaited space fantasy. Rebel Moon: Creating a Galaxy: Worlds and Technology goes behind the scenes of this much-anticipated film to explore the planets, ships and technology of the galaxy. Bursting with exclusive on-set photography, concept art, costume designs, storyboards by Zack Snyder, and more, accompanied by cast and crew interviews, the book takes an in-depth look at the making of the movie.

La carrera de John Fante tras un éxito esquivo está repleta de anécdotas sorprendentes y giros inesperados. El último, el encuentro casual entre su obra y las manos de Charles Bukowski en una biblioteca de Los Ángeles, sería el que le permitiría, finalmente, darle caza. En el despertar tardío de la bibliografía fantiana sobresale Ask the Dust, un retrato en claroscuro del amor fatal en los márgenes de la L.A. de los años 30 que golpeó la inspiración del director y guionista Robert Towne al primer contacto: arrancaba entonces un nuevo pillapilla entre la pasión del genio y el pragmatismo de la industria que recorrería los pasillos de Hollywood durante más de tres décadas. 2006 pondría término a la espera y alfombra roja a la película: Ask the Dust desembarcaba en los cines estadounidenses. Por fin.Este trabajo da cuerpo a las historias esbozadas en las líneas anteriores, pero también penetra en una fracción de la alfaguara paratextual que sucedió al lanzamiento de la película para analizar su recepción por parte de crítica y público. Al mismo tiempo, sus páginas calibran el peso de la (in)fidelidad a la novela en sus valoraciones y desglosan cómo aborda cada audiencia este aspecto, tan central como controvertido en la genealogía de los estudios de adaptación. Para saber más, no hace falta preguntar al polvo: basta con leer este libro.

Named to Kirkus Review's List of "Best Indie Books of 2023"Mugge describes the genesis of his twenty-five music films, the methods used, and the experiences shared by him, his crews, and his subjects.

A chronological overview of one of modern cinema’s most celebrated directors, featuring interviews with Jane Campion herself.Awarded Best Cinema Album by the French Syndicate of Film CriticsJane Campion on Jane Campion offers a unique perspective on the creative process of one of cinema’s greatest contemporary film directors. Through a series of interviews beginning in the early days of Campion’s career and conducted by award-winning cinema historian Michel Ciment, each chapter contains the study of a film, starting with the short films that Campion made during her studies at the Australian Film Television and Radio School, then moving through the Academy Award–winning The Piano, The Portrait of a Lady, Holy Smoke, In the Cut, Bright Star, the TV series Top of the Lake, and ending with the Academy Award–winning The Power of the Dog. Organized chronologically, film by film, the interviews are illustrated with film stills and photographs taken on set, as well as with annotated scripts, storyboards, and personal documents lent by Campion. The book also reproduces three short stories and a text about the poet John Keats written by the director, along with actress Holly Hunter’s “Scattered Memories” of their collaborations on The Piano and Top of the Lake. A detailed bibliography and filmography of the filmmaker complete this volume, which contains more than 300 color and black-and-white illustrations.Includes Color and Black-and-White Images

"Werner Herzog was born in September 1942 in Munich, Germany, at a turning point in the Second World War. Soon Germany would be defeated and a new world would have to be made out the rubble and horrors of the war. Fleeing the Allied bombing raids, Herzog's mother took him and his older brother to a remote, rustic part of Bavaria where he would spend much of his childhood hungry, without running water, in deep poverty. It was there, as the new postwar order was emerging, that one of the most visionary filmmakers of the next seven decades was formed ... [This book] is ... a firsthand personal record of one of the great and self-invented lives of our time"--

In 1991, Boyz N the Hood made history as an important film text and the impetus for a critical national conversation about American urban life in African American communities, especially for young urban black males. Boyz N the Hood: Shifting Hollywood Terrain is an interdisciplinary examination of this iconic film. Beyond the two historic Academy Award nominations for Best Screenplay and Best Director for John Singleton, the first African American male nominee and the youngest nominee ever in the category, Boyz N the Hood¿s induction into the Library of Congress National Film Registry by the National Film Preservation Board, speaks to the film¿s iconic and meaningful impact in film history and American culture. This interdisciplinary approach to the film provides an in-depth critical perspective of Boyz N the Hood, as the embodiment of the blues¿how Boyz intimates a world beyond the symbolic world Singleton posits, its fictive stance pivots to a constituent truth in the real world. This book is as much about the filmmaker as it is about the film. It explores John Singleton¿s cinematic voice and helps explicate his propensity for folk elements in his work (the oral tradition and lore). In addition, the text features critical perspectives from the filmmaker himself and other central figures attached to the production, including a first-hand account of the behind the scenes during production by Steve Nicoladies, Boyz¿s producer, and an intimate conversation with Shelia Morgan Ward, Singleton¿s Chief Executive/Business Manager and mother. The text is a critical resource guide and includes Singleton¿s original screenplay and a range of critical articles and initial movie reviews."This wise and pioneering book is the first serious and substantive treatment of John Singleton¿s classic film! This film and book speak with great courage and insight into the plight and predicament of young black men. Don¿t miss this book!!"¿Cornel West, Dietrich Bonhoeffer Chair, Union Theological Seminary; Professor Emeritus, Princeton University"At long last comes a book we have all been waiting for: Joi Carr¿s masterful examination of John Singleton¿s classic Boyz in the Hood. This book is an accomplished, enlightening piece of work, a great companion to Singleton¿s film. Highly recommended!"¿Donald Bogle, Film Historian/Author; University of Pennsylvania; New York University¿s Tisch School of the Arts

Det selvmodsigende eller paradoksale er at virkelige ting i endokumentar har en tendens til at miste deres virkelighed ved at blivefilmet og præsenteret på den “dokumentariske” måde, og det er der ikkenoget poetisk i. I poesi sker der noget andet. Det er svært at sigepræcist hvad det er. Lad os kalde det nærvær, sjæl eller ånd, en empatifor det der dvæles ved, at føle med det – til det punkt hvor manidentificerer sig med det.

Hitchcock Annual volume 26 will include essays on Rebecca, and an expanded section of review essays on recent books on such topics as Vertigo and the history of British cinema.

Clarence Brown: Hollywood's Forgotten Master explores the forces that shaped a complex man - part--dreamer, part-pragmatist - who left an indelible mark on cinema.

I 2022 fejrer vi, at danske dramatikere i 300 år har lagt et utal af ord i munden på et utal af skuespillere på et utal af scener - og med tiden også på biograflærredet, i radioen, på TV-skærmen med videre. I 116 af de trehundrede år har dramatikerne været organiseret i Danske Dramatikere, stiftet af Emma Gad i 1906. Forfatter Jacob Wendt Jensen har skrevet historien om et forbund af drevne historiefortællere, sceneforfattere, TV-digtere i med-, mod- og søgang. Danske Dramatikeres historier er på 536 sider og indeholder blandt meget andet interviews med Svend Åge Madsen, Leif Petersen, Charlotte Strandgaard, Kirsten Thorup, Kaj Nissen, Sten Kaalø, Niels Brunse, Jørgen Ljungdalh, Nina Malinovski, Astrid Saalbach, Stig Thorsboe, Kim Fupz Aakeson, Bo Hr. Hansen, Line Knutzon, Nikolaj Scherfig, Madame Nielsen, Søren Sveistrup, Jokum Rohde, Jacob Tingleff, Jakob Weis, Anders Thomas Jensen, Mette Heeno, Christian Lollike, Maya Ilsøe, Jeppe Gjervig Gram, Julie Maj Jakobsen, Anna Emma Haudal og Amalie Olesen.

A scrapbook on Baillie's life and career, with stills, ephemera and writings by filmmakers across generationsThis is the first book on the West Coast avant-garde filmmaker Bruce Baillie (1931-2020), famed for the films Mass for the Dakota Sioux (1964), Castro Street (1966) and All My Life (1966) and for his influence on directors such as George Lucas (one of Lucas' charitable foundations helped fund the digital transfer of Baillie's films) and Apichatpong Weerasethakul. Alongside stills from Baillie's films, the book fosters a dialogue between Baillie and filmmakers and writers across several generations, including experimental filmmaker Peter Hutton, filmmaker and anthropologist J.P. Sniadecki and Jonas Mekas, along with suites of images by the Thai director Apichatpong Weerasethakul, British artist and experimental filmmaker Ben Rivers and Brazilian artist and filmmaker Ana Vaz, among others. Reproductions of correspondence and other ephemera are also included.

Christian Petzold (b. 1960) is the best-known filmmaker associated with the "Berlin School" of postunification German cinema. Identifying as an intellectual, Petzold self-consciously approaches his work for both the big and the small screen by weaving critical reflection on the very conditions of contemporary filmmaking into his approach. Archeologically reconstructing genre filmmaking in a national film production context that makes the production of genre cinema virtually impossible, he repeatedly draws on plots from classic films, including Alfred Hitchcock's, in order to provide his viewers with the distinct pleasures only cinema can instill without, however, allowing his audience the comforts the "cinema of identification" affords them. Including thirty-five interviews, Christian Petzold: Interviews is the first book in any language to document how one of Germany's best-known director's thinking about his work has evolved over the course of a quarter of a century, spanning his days as a flailing student filmmaker in the early 1990s in postunified Germany to 2020, when his reputation as one of world cinema's most respected auteurs has been firmly enshrined. The interviews collected here--thirty of which are published in English for the first time--highlight Petzold's career-long commitment to foregrounding how economic operations affect individual lives. The volume makes for a rich resource for readers interested in Petzold's work or contemporary German cinema but also those looking for theoretically challenging and sophisticated commentary offered by one of global art cinema's leading figures.

The cinephile community knows Abbas Kiarostami (1940-2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews, editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members.

I Danmark i 1930’erne er der lige så meget fart på udviklingen som det nye lyntog, der passerer den nybyggede Lillebæltsbro. I filmbranchen sker der også store forandringer, hvor stumfilmen nu for alvor forstummer til fordel for tonefilmen. 30’ernes film kendetegnes ved den muntre genre fyldt med komik, romantik og musik. Marguerite Viby og Hans W. Petersen titter til hinanden, Christian Arhoff ’Okke-ja’er og ’Okke-nejer’, imens Ib Schønberg snart for alvor skal blive hele Danmarks Ibbermand. Hvor der i den virkelige verden ikke var meget at grine ad i de voldsomme krisetider, så stod smil og latter i kø i de mørke biografsale. Det var dog ikke lystspil hele vejen igennem, for faktisk starter tonefilmen med kendte dramatiske værker af både Blicher og Drachmann. Danskerne kunne også stifte bekendtskab med skattefrie historiske film og de første danske musicals. Velkommen til en fantastisk tidsrejse igennem filmens første tonefilmsårti – 1930’erne. Uddrag af bogen I 1931 udkommer Nordisk Films Kompagni med den første danske tonefilm, ’Præsten i Vejlby’. Det krævede sin tilvænning og især for de mange og efterhånden garvede filmfolk. De fik sved på panden ved tanken om at skulle filme på en helt anden måde og med nyt og dyrt teknisk udstyr. Det var ikke bare ligetil. Filmproduktioner blev i det hele taget meget dyrere, og mange filminstruktører var bange for at give slip på deres ’stumfilmstider’. Men det krævede også tilvænning hos publikum, som hidtil kun havde mødt filmstjernerne stumme på lærredet. Man havde selv dannet sig en ide om, hvem de var, og hvordan de skulle lyde, og det stemte ikke altid overnes med virkeligheden, når filmen pludselig fik lyd på. Om forfatteren Sandra Neerhøj er født 1990 i Sønderborg. Efter endt skolegang og studentereksamen var det lærergerningen, Sandra tog fat på, hvor historie var selvskrevet som undervisningsfag. Det er netop historie, som er Sandras store passion, og dette i særdeleshed den danske film-, teater- og revyhistorie, som hun har interesseret sig for siden den tidligste ungdom.

Im Rahmen des künstlerischen Forschungsprojektes «Unsichtbares und Ungesagtes» sind 10 Gespräche mit internationalen feministischen Regiepersonen entstanden, die sich mit der Frage einer feministischen Ästhetik im zeitgenössischen Kino auseinandersetzen.Gibt es aktuell eine neue Generation feministischer Filmemacherinnen? Inwieweit wird an den Filmästhetiken eine feministische Haltung sichtbar?Die Regisseurin und künstlerische Forscherin Bernadette Kolonko ist diesen und weiteren Fragen im Modus des sich Versammelns, des Zuhörens und des Austausches nachgegangen, um sowohl die filmkünstlerische Arbeit der Interviewten, als auch das gegenwärtige Kino unter dem Aspekt eines Female*Feminist*Gaze zu reflektieren.Mitwirkende: Susanne Heinrich, Laura Bispuri, Kamila Andini, Ester Martin Bergsmark, Anna Sofie Hartmann, Valérie Massadian, Teona Strugar Mitevska, Maryam Touzani, Katharina Wyss und Maura Delpero.