Filminstruktører og filmskabere

First collection on filmmaker and poet Pasolini's passion for painting

Considers the remake from a variety of critical and theoretical perspectives and positions it alongside other serialized cultural forms.

Silicon Valley corporations such as Facebook, Google, and Apple now dominate our daily lives to the extent that they might even be dictating the entire future of humanity. The 2010s saw a sequence of Hollywood films debate how these corporations achieved this position of dominance. This sequence included biopics of key Silicon Valley figures Mark Zuckerberg and Steve Jobs, science fiction action extravaganzas like Rise of the Planet of the Apes, Venom, and Terminator: Genisys, the dystopian thriller The Circle, and extended to The Internship and Why Him?, whimsical comedies that warned us of the profound dangers of Silicon Valley capitalism. Silicon Valley Cinema argues that these films undercut the messianic pretensions of our Silicon Valley overlords and encourage us to end our immersion in Silicon Valley's technotopia. Releasing ourselves from Silicon Valley's grip, they suggest, will make our working lives more pleasurable, our world a better place, and might even avert a cataclysmic war with genetically enhanced apes or a robot-led apocalypse. Joe Street is an Associate Professor in American History at Northumbria University, Newcastle upon Tyne.

Sofia Coppola's Lost in Translation (2003) brings two Americans together in Tokyo, each experiencing a personal crisis. Charlotte (Scarlett Johansson), a recent graduate in philosophy, faces an uncertain professional future, while Bob Harris (Bill Murray), an established celebrity, questions his choices at midlife. Both are distant - emotionally and spatially - from their spouses. They are lost until they develop an intimate connection. In the film's poignant, famously ambiguous closing scene, they find each other, only to separate. In this close look at the multi-award-winning film, Suzanne Ferriss mirrors Lost in Translation's structuring device of travel: her analysis takes the form of a trip, from planning to departure. She details the complexities of filming (a 27-day shoot with no permits in Tokyo), explores Coppola's allusions to fine art, subtle colour palette and use of music over words, and examines the characters' experiences of the Park Hyatt Tokyo and excursions outside, together and alone. She also re-evaluates the film in relation to Coppola's other features, as the product of an established director with a distinctive cinematic signature: 'Coppolism'. Fundamentally, Ferriss argues that Lost in Translation is not only a cinema classic, but classic Coppola too.

Although Michelangelo Antonioni became one of the icons of "modernist" cinema in the 1960s, his position in the pantheon of great directors has never been quite secure. Unlike his famous contemporaries, such asIngmar Bergman and Luchino Visconti, whose essential contribution to the art of cinema is hardly ever questioned, Antonioni's work has been repeatedly denigrated from many angles for both aesthetic and political reasons. Though the historical importance of some of Antonioni's films as an incarnation of certain attitudes and problems characteristic of the 1960s and 70s is not denied, they are often considered passé, artificial and boring. Contesting prevalent readings, which focus on existential and psychological motifs involving anxiety and the malady of sentiments, this book offers a re-evaluation of Antonioni's most important films interpreted as political cinema engaged with issues which are still crucial in the 21st century. Far from being politically neutral, Antonioni's oblique and "abstract" approach makes possible the prising open and devaluation of the morally and politically constrictive "organic" narrative structures. HIs approach overthrows the primacy of character and plot, on the one hand, by showing them to be emanations of the spectral materiality of capital, and, on the other hand, by allowing for an opening into the utopian dimension, implying engagement in the rethinking of our attachments to the world.

A new critical perspective on the female auteur that considers her place in the avant-garde tradition of provocation

Esfir Shub was the only prominent female director of nonfiction film present at the dawning of the Soviet film industry. She was, in fact, the first woman both to write critical texts on cinema and then practically apply these theorisations in her own films. As such, her syncretism of cinema theory and praxis inspired her to ask questions regarding both the nature of nonfiction film, such as the problem of authenticity and reality, and the function of the artist in society; issues which are still relevant in contemporary discussions about the documentary. Accordingly, this book demonstrates Shub's position not only as a significant filmmaker and recognised member of the early Soviet avant-garde but also as a key figure in global cinema history. Shub deserves recognition both as the founder and ardent promoter of the compilation film genre and as a pioneer of the theory and practice of documentary filmmaking.

Written in 1971 and published here for the first time, Through the Billboard Promised Land Without Ever Stopping is Derek Jarman's only piece of narrative fiction; a surreal, fable-like, lyrical tale which echoes throughout his later work.

Acclaimed filmmaker John Darling lived in Bali through the 1970s and 1980s. During that time, he created the films that established him as the leading foreign filmmaker of Indonesia. This included Lempad of Bali, which celebrated the life and times of the astonishing Balinese artist Gusti Nyoman Lempad. Today, Darling is often remembered for his documentary The Healing of Bali, made in the immediate aftermath of the October 2002 bombing in Kuta and described in The Sydney Morning Herald as a 'masterpiece.' This collection of essays is a multifaceted portrayal of Darling's years in Bali, revealing the cultural experiences that shaped him. Transcending conventional biography, it contains essays in his honour, paired with his poetry and photographs, as well as critical essays on his work and personal reminiscences of his life from Balinese and Australian expatriates. It is a book for fans of John's work as well as the new generation of filmmakers he inspired, and those with an interest in Balinese culture and Bali's cosmopolitan expatriate scene in the 1970s and 1980s. Published in conjunction with Monash University's Herb Feith Indonesian Engagement Centre.

Rithy Panh survived the Cambodian genocide and found his life work. Aesthetics and ethics inform all he does, whether he is directing Isabel Huppert in The Sea Wall, following laborers digging trenches or interrogating the infamous director of S-21 prison. Written for film lovers as well as scholars, Ferryman of Memories introduces Panh and his incomparable cinema.

Anche questo ottavo volume è dedicato in buona parte agli effetti, ma non mancano considerazioni più generali, e comunque pratiche, sul Mentalismo. Un'opera destinata sia agli esperti che ai principianti. Gli esperti troveranno innumerevoli spunti per migliorare il proprio mentalismo, e i principianti inizieranno sin da subito con il piede giusto. E tutti miglioreranno il proprio livello di comunicazione, il carisma, la fiducia in se stessi, l'empatia con gli altri. Il Mentalismo (con la emme maiuscola), infatti, non è solo un modo per farsi vedere bravi. Il Mentalismo è una grande occasione di crescita personale. Migliorare divertendosi e divertendo, insomma.

"The movie director Paul Williams is a real-life Forrest Gump. Williams' experiences form a unique and often wild constellation of encounters with star power, political power, and spiritual power-a life cycle that led to fame and fortune and to integrity and anonymity. In a mad childhood created by an autocratic English teacher father and an infantilizing mother, he develops a precocious visual acuity to avoid wallops and a writing ability that mollified his father. This skill set wins him a scholarship to Harvard, where he needs to learn how the Wisemen think. He seeks out tutors who reveal themselves: Kissinger, Skinner, Galbraith, Erikson, Alpert, Leary, the Hubleys and Jean Renoir. Howard Gardner is his roommate and Michael Crichton is an editor friend on the college daily, The Crimson. After months, his lover reveals she is the heiress of a great American fortune. A member of the inner circle of the "Movie Brats" who led the charge of American New Wave cinema in the 1970s, Williams' idiosyncrasies make him a darling of the era. His stories about his pals-Scorsese, Voight, Christie, DePalma, Coppola, Dreyfuss, Spielberg, De Niro, Lucas-shed new light on a world bursting with creativity and possibility. He helps Terrence Malick make his first film, tries to adjust to the tyranny of the fabulously wealthy, and turns down the offer to direct the smash hits Animal House and Stepford Wives, and to partner on a new Parisian restaurant-The Hard Rock Cafe; and turns down Lorne Michaels' offer to help him create Saturday Night Live. With amazing honesty, Williams recounts the unexpected details of making his own seminal cult classics, Out of It (1969), The Revolutionary (1970) and Dealing (1972). And his adventures with Black Panther Eldridge Cleaver in Algiers, Fidel Castro in Havana, Huey P. Newton in Oakland, and Pope John Paul II in Vatican City. Harvard, Hollywood, Hitmen and Holy Men is an extraordinary odyssey-large, experimental, fearlessly audacious and eventually self-knowing. Through his anecdotes, shocking and delightful in their humor and authenticity, Williams takes readers on his unique journey to answer life's big questions-with aides Mescalito (the Peyote guide), Ichazo (the Gurdjieffian Sufi master), and Dilgo Khyentse (the current Dali Lama's principal teacher), and finally, Vivian (a transcendent love)"--

James Cameron: A Retrospective is an enthralling and beautifully illustrated film-by-film biography - from The Terminator to Aliens to Avatar 2 - of the most popular director in movie history.

Examines the films of Shirley Clarke using theory from creative practice and distributed cognition.

For all fans of John Hughes and his hit films such as National Lampoon's Vacation, Sixteen Candles, and Home Alone, comes Jason Diamond's hilarious memoir of growing up obsessed with the iconic filmmaker's movies?a preoccupation that eventually convinces Diamond he should write Hughes' biography and travel to New York City on a quest that is as funny as it is hopeless.For as long as Jason Diamond can remember, he's been infatuated with John Hughes' movies. From the outrageous, raunchy antics in National Lampoon's Vacation to the teenage angst in The Breakfast Club and Pretty in Pink to the insanely clever and unforgettable Home Alone, Jason could not get enough of Hughes' films. And so the seed was planted in his mind that it should fall to him to write a biography of his favorite filmmaker. It didn't matter to Jason that he had no qualifications, training, background, platform, or direction. Thus went the years-long, delusional, earnest, and assiduous quest to reach his goal. But no book came out of these years, and no book will. What he did get was a story that fills the pages of this unconventional, hilarious memoir. In Searching for John Hughes, Jason tells how a Jewish kid from a broken home in a Chicago suburb?sometimes homeless, always restless?found comfort and connection in the likewise broken lives in the suburban Chicago of John Hughes' oeuvre. He moved to New York to become a writer. He started to write a book he had no business writing. In the meantime, he brewed coffee and guarded cupcake cafes. All the while, he watched John Hughes movies religiously.Though his original biography of Hughes has long since been abandoned, Jason has discovered he is a writer through and through. And the adversity of going for broke has now been transformed into wisdom. Or, at least, a really, really good story. In other words, this is a memoir of growing up. One part big dream, one part big failure, one part John Hughes movies, one part Chicago, and one part New York. It's a story of what comes after the ?Go for it!? part of the command to young creatives to pursue their dreams?no matter how absurd they might seem at first.

Until his death in 2012 at age 100, legendary filmmaker Kaneto Shindo was a living link to more than 70 years of Japanese cinema history. Screenwriter of more than 200 films and director of more than 40, Shindo earned international praise for his masterpieces Children of Hiroshima and The Naked Island, and for the fantastical proto-horror film, Onibaba. In this volume, Shindo narrates his career, from his beginnings as an art director and fledgling screenwriter in the 1930s and 1940s, to his collaborations with such luminaries as Kenji Mizoguchi, Kon Ichikawa and Kinji Fukasaku, to his breakout into independent filmmaking in the 1950s and beyond. This first-ever English language book on Shindo's work is a stunning introduction to one of film's great overlooked masters. It includes the full screenplay of The Naked Island and a foreword by Benicio del Toro.

“Highly recommended” (Library Journal): The only full-length biography of legendary film director Ernst Lubitsch, the director of such Hollywood classics as Trouble in Paradise, Ninotchka, and The Shop Around the Corner.In this groundbreaking biography of Ernst Lubitsch, undeniably one of the most important and influential film directors and artists of all time, critic and biographer Scott Eyman, author of the critically acclaimed New York Times bestseller John Wayne, examines not just the films Lubitsch created, but explores as well the life of the man, a life full of both great successes and overwhelming insecurities. The result is a fascinating look at a man and an era—Hollywood’s Golden Age. Born in Berlin and transported to Hollywood in the 1920s with the help of Mary Pickford, Lubitsch brought with him a level of sophistication and subtlety previously unknown to American movie audiences. He was quickly established as a director of unique quality and distinction. He captivated audiences with his unique “touch,” creating a world of fantasy in which men are tall and handsome (unlike Lubitsch himself) and humorously adept at getting women into bed, and where all the women are beautiful and charming and capable of giving as well as receiving love. He revived the flagging career of Marlene Dietrich and, in Ninotchka, created Greta Garbo’s most successful film. When movie buffs speak of “the Lubitsch touch,” they refer to a sense of style and taste, humor and humanity that defined the films of one of Hollywood’s all-time great directors. In the history of the medium, no one has ever quite equaled his unique talent. Written with the cooperation of an extraordinary ensemble of eyewitnesses, and unprecedented access to the files of Paramount Pictures, this is an enthralling biography as rich and diverse as its subject—sure to please film buffs of all types, especially those who champion Lubitsch as one of the greatest filmmakers ever.

"What Ever Happened to Orson Welles? A Portrait of an Independent Career" challenges the conventional wisdom that Welles's career after Kane was a long decline and that he spent his final years doing little but eating and making commercials while squandering his earlier promise. In this intimate and often surprising personal portrait, Joseph McBride shows instead how Welles never stopped directing radical, adventurous films and was always breaking new artistic ground as a filmmaker. McBride is the first author to provide a comprehensive examination of the films of Welle's artistically rich yet little know later period in the United States (1970-1985) when McBride knew and worked with him. McBride reports on Welles's daringly experimental film projects, including the legendary 1970-1976 unfinished film The Other Side of the Wind, Welles's satire of Hollywood during the Easy Rider era. McBride gives a unique, inside perspective on Welles from the viewpoint of a young film critic playing a spoof of himself in a cast headed by John Huston and Peter Bogdanovich. To put Welles's widely misunderstood later years into context, What Ever Happened to Orson Welles? reexamines the filmmaker's entire life and career. McBride offers many fresh insights into the collapse of Welles's Hollywood career in the 1940s, his subsequent political blacklisting, and his long period of European exile.