Filminstruktører og filmskabere

Amidst the male-dominated South Korean cinema and the film industry, Yim Soon-rye has consistently produced critically and commercially influential films and has been recognized at numerous film festivals both in Korea and abroad. In the first English-language book focusing on this renowned South Korean director, ReFocus: The Films of Yim Soon-rye showcases critical readings of Yim's work and addresses Yim's position in the larger historical context of Korean cinema and women filmmakers globally. Molly Kim is an Adjunct Professor of the College of Humanities at Hanyang University.

After 10 years of research and writing, Frank Brady has written the first comprehensive life story of Orson Welles--the legendary genius, filmmaker, and actor whose contribution to the art of moviemaking has never been surpassed. 16-page black-and-white photograph insert.

“The finest filmmaker of my lifetime . . . Bergman was a born spinner of tales.” —Woody AllenIn this new paperback edition, Ingmar Bergman presents an intimate view of his own unique body of work in film. His career spanned forty years and produced more than fifty films, many of which are considered classics: The Seventh Seal, The Virgin Spring, Persona, Smiles of a Summer Night, Wild Strawberries, and Fanny and Alexander, to name but a few. When he began this book, Bergman had not seen most of his movies since he made them. Resorting to scripts and working notebooks, and especially to memory, he comments brilliantly and always cogently on his failures as well as his successes; on the themes that bind his work together; on his concerns, anxieties, and moments of happiness; on the relationship between his life and art.Readers are allowed a glimpse of the inner workings behind his well-known masterpieces: his anxiety and pain as he edited a 312 minute Fanny and Alexander for a three-hour feature film release; his attempt to reconcile the towering figures of his parents with Wild Strawberries. He relates his own starkly honest view of his great triumphs and quiet failures. More clearly than ever before, Images allows us to listen to his “voice of genius” (Woody Allen, New York Times Book Review).

Offers an anthology of author's writings on journalism, feminism, and being a woman; on the importance of food (including of course her favourite recipes), and on the bittersweet reality of growing old.

Nicolas Roegs The Man Who Fell to Earth von 1976 wurde ursprünglich als "bewusstseinserweiterndes Erlebnis" angekündigt und verschlug der Kinowelt dann tatsächlich die Sprache. Diese Tour de Force der Science-Fiction als Kunstform bescherte dem Publikum nicht nur hypnotische Bilder und explizite Kritik an der modernen Konsumgesellschaft, sondern auch Glam-Rock-Legende David Bowie , der in der Rolle des paranoiden Außerirdischen namens Newton seine Ziggy-Stardust-Persona weiter ausbaute. Der Film nach Walter Tevis' gleichnamigem Scifi-Roman von 1963 schildert die Erlebnisse des Außerirdischen Newton, der auf der Erde nach Wasser für seinen Heimatplaneten sucht, dank seiner überragenden Intelligenz und seines fortschrittlichen technologischen Wissens einen Industriekonzern aufbaut und mit der jungen Mary-Lou seine Sexualität entdeckt, aber letztlich am gefühlskalten Egoismus und der Oberflächlichkeit der Menschen zerbricht. Roeg entlockt seinen Darstellern absolute Bestleistungen - nicht nur Bowie in all seiner außerirdischen Entrücktheit , sondern auch den Co-Stars Candy Clark, Rip Torn und Buck Henry . David Bowie - The Man Who Fell to Earth präsentiert eine Fülle von Standbildern und Aufnahmen des Filmfotografen David James von den Dreharbeiten , darunter zahlreiche Fotos von Bowie in schauspielerischer Bestform. Ein neuer einleitender Essay setzt sich mit den Dreharbeiten des Films und mit seiner Bedeutung für das Scifi-Genre auseinander - unter Einbeziehung eines Exklusivinterviews mit David James , der Einblicke aus erster Hand in die Entstehung dieses Scifi-Meisterwerks beisteuert.

Keith Charles Dovoric is a NJ-born-and-based singer-songwriter, author, musician, and educator. He has composed songs and poems for nearly thirty-five years, recorded ten albums of music, and performed throughout the Metropolitan Area. "Rest" is Mr. Dovoric's eleventh volume.

Das silent green präsentiert die in Deutschland bislang umfangreichste Einzelausstellung zur letzten Schaffensperiode der 2019 verstorbenen französischen Filmemacherin, Fotografin und bildenden Künstlerin Agnès Varda. Varda gilt als eine der einflussreichsten kreativen Persönlichkeiten unserer Zeit, die sich im Laufe ihres mehr als sechs Jahrzehnte umspannenden Lebenswerks immer wieder neu erfand. Die dritte Schaffensperiode der Wegbereiterin des modernen Films ist in Deutschland jedoch bisher weniger bekannt. Sie begann 2003 auf der Biennale in Venedig und umfasst installative Arbeiten, die Vardas Experimentierfreude zwischen Dokumentarischem und Fiktionalem, ihren poetisch-abstrakten Realismus und ihre empathischen Beobachtungen gesellschaftspolitischer Fragen in vielfältigen Bildmedien widerspiegelt. Agnès Varda (1928-2019) arbeitete in den 1950er Jahren als Fotografin, u. a. für das Festival von Avignon, fotografierte Reportagen in China, Kuba, Portugal und Deutschland. 1954 produzierte sie ihren ersten Spielfilm La Pointe Courte, der die Nouvelle Vague einläutete. Seit 2003 zahlreiche Ausstellungen als bildende Künstlerin mit Installationen, Videos und Fotografien. Julia Fabry, unabhängige Kuratorin, bildende und Video-Künstlerin, arbeitete seit 2007 mit Varda zusammen. Dominique Bluher ist Autorin und Dozentin am Fachbereich Film- und Medienwissenschaften und Lehrbeauftragte am Fachbereich Bildende Kunst der Universität Chicago.--Silent green present the most comprehensive solo exhibition in Germany to date on the last creative period of the French filmmaker, photographer and visual artist Agnès Varda, who died in 2019. Varda is regarded as one of the most influential creative personalities of our time, who reinvented herself constantly in the course of her life's work, which spanned more than six decades. However, the third creative period of the modern film's pioneer is less known in Germany. It began in 2003 at the Venice Biennale and comprises installation works that reflect Varda's joy in experimenting between documentary and the fiction formats, her poetic, abstract realism and her sensitive observations of socio-political issues in various visual media. Agnès Varda (1928-2019) worked as a photographer in the 1950s, taking pictures for the Avignon Festival, for example, and producing photo reportages in China, Cuba, Portugal, and Germany. In 1954 she produced her first feature film, La Pointe Courte, which helped usher in the Nouvelle Vague. Since 2003, she has worked as a visual artist, mounting numerous exhibitions with installations, videos, and photographs. Julia Fabry, an independent curator, visual artist, and video artist, has worked together with Varda since 2007. Dominique Bluher is a writer and lecturer in the Department of Cinema and Media Studies at the University of Chicago. She is also associate faculty in the university's Department of Visual Arts.

Immensely popular and prolific, Harold Lloyd sold more movie tickets during the Golden Age of Comedy than any other comedian. From Coney Island to Catalina Island, and from Brooklyn to Beverly Hills, Lloyd’s movies captured visions of silent-era America unequaled on the silver screen.A stunning work of cinematic archeology, Silent Visions describes the historical settings found in such Lloyd classics as Safety Last!, Girl Shy, and Speedy, and matches them with archival photographs, vintage maps, and scores of then-and-now comparison photographs, illuminating both Lloyd’s comedic genius, and the burgeoning Los Angeles and Manhattan landscapes preserved in the background of his films.The book represents John Bengtson’s completion of his trilogy of works focusing on the three great geniuses of silent film comedy (Keaton, Chaplin, and Lloyd) in what Oscar-winning historian Kevin Brownlow calls “a new art form.”

Sofia Coppola (b. 1971) was baptized on film. After appearing in The Godfather as an infant, it took twenty-five years for Coppola to take her place behind the camera, helming her own adaptation of Jeffrey Eugenides's celebrated novel The Virgin Suicides. Following her debut, Coppola was the third woman ever to be nominated for Best Director and became an Academy Award winner for Best Original Screenplay for her sophomore feature, Lost in Translation. She has also been awarded the Golden Lion at the Venice Film Festival and Best Director at Cannes. In addition to her filmmaking, Coppola is recognized as an influential tastemaker. She sequenced the so-called Tokyo dream pop of the Lost in Translation soundtrack like an album, a success in its own right. Her third film, Marie Antoinette, further showcased Coppola's ear for the unexpected needle drop, soundtracking the controversial queen's life with a series of New Romantic bangers popular during the director's adolescence. The conversations compiled within Sofia Coppola: Interviews mark the filmmaker's progression from dismissed dilettante to acclaimed auteur of among the most visually arresting, melancholy, and wryly funny films of the twenty-first century. Coppola discusses her approach to collaboration, Bill Murray as muse, and how Purple Rain blew her twelve-year-old mind. There are interviews from major publications, but Coppola speaks with musician Kim Gordon for indie magazine Bust and Tavi Gevinson, then-adolescent founder of online teen magazine Rookie, as well. The volume also features a new and previously unpublished interview conducted with volume editor Amy N. Monaghan. To read these interviews is to witness Sofia Coppola coming into her own as a world-renowned artist.

Explore the beginning of Steven Spielberg’s remarkable career with this definitive retrospective that covers Duel, The Sugarland Express, Jaws, Close Encounters of the Third Kind, 1941, Raiders of the Lost Ark, and E.T. The Extra-Terrestrial. In the first ten years of his career, Steven Spielberg directed some of the most influential and beloved films in cinema history. Movies such as Jaws, Close Encounters of the Third Kind, Raiders of the Lost Ark, and E.T. The Extra-Terrestrial introduced audiences to the modern blockbuster and cemented Spielberg as a monumental figure in pop culture. Through exclusive imagery and unparalleled insight from Spielberg’s longtime documentarian, Laurent Bouzereau, this deluxe volume explores how a young filmmaker reinvented American cinema within just ten years. Featuring a fresh perspective on films including Duel, The Sugarland Express, Jaws, Close Encounters of the Third Kind, 1941, Raiders of the Lost Ark, and E.T. The Extra-Terrestrial, this book is an essential exploration of an iconic filmmaker’s early career. ALL-NEW INSIGHTS: Featuring exclusive imagery and unparalleled insight from Spielberg’s longtime documentarian, Laurent Bouzereau. EXPLORE SPIELBERG’S EARLY CAREER: Covering the years 1971 to 1982, this deluxe volume explores how a young filmmaker reinvented American cinema within just a decade. LEARN THE HISTORY OF LANDMARK FILMS: This book dives deep into groundbreaking Spielberg films including Duel, The Sugarland Express, Jaws, Close Encounters of the Third Kind, 1941, Raiders of the Lost Ark, and E.T. The Extra-Terrestrial. COMPLETE YOUR COLLECTION: This book stands alongside hit titles including Jurassic Park: The Ultimate Visual History and Close Encounters of the Third Kind: The Ultimate Visual History.

Celebrate more than three decades of filmmaking by diving into the brilliant, twisted mind of Quentin Tarantino, and discover the artistic process of an Oscar-winning legend.Born in Knoxville, Tennessee, in 1963, Quentin Tarantino spent many Saturday evenings during his childhood accompanying his mother to the movies, nourishing a love of film that was, over the course of his life, to become all-consuming. The script for his first movie took him four years to complete: My Best Friend’s Birthday (1987), a seventy-minute film in which he both acted and directed. The script for his second film, Reservoir Dogs (1992), took him just under four weeks to complete. When it debuted, he was immediately hailed as one of the most exciting new directors in the industry. Known for his highly cinematic visual style, out-of-sequence storytelling, and grandiose violence, Tarantino’s films have provoked both praise and criticism over the course of his career. They’ve also won him a host of awards—including Oscars, Golden Globes, and BAFTA awards—usually for his original screenplays. His oeuvre includes the cult classic Pulp Fiction, bloody revenge saga Kill Bill Vol. 1 and Vol. 2, and historical epics Inglorious Basterds, Django Unchained, The Hateful Eight, and Once Upon a Time...In Hollywood.  Featuring an all-new chapter on the director’s latest award-winning film Once Upon a Time…In Hollywood, this stunning retrospective catalogs each of Quentin Tarantino’s movies in fascinating detail. The book is a tribute to a unique directing and writing talent, celebrating an uncompromising, passionate director’s enthralling career at the heart of cult filmmaking.

Studienarbeit aus dem Jahr 2015 im Fachbereich Filmwissenschaft, Note: 1,3, Friedrich-Alexander-Universität Erlangen-Nürnberg (Institut für Theater- und Medienwissenschaften), Veranstaltung: Proseminar Autoren und Genre, Sprache: Deutsch, Abstract: Im Rahmen dieser Hausarbeit möchte ich mich mit den Stilmerkmalen des deutschen expressionistischen Films der Zwanziger Jahre auseinandersetzen und versuchen, ihren Einfluss auf die Filme Ende des 21. Jahrhunderts zu untersuchen. Um aber dabei den Rahmen dieser Arbeit nicht zu überschreiten, werde ich mich auf zwei zentrale Merkmale beschränken, die man auch noch in moderneren Filmen unserer Zeit finden kann. Für dieses Vorhaben habe ich mich für den Regisseur Tim Burton entschieden, da man, wie ich finde, bei seinen Filmen am deutlichsten erkennen kann, dass er sich thematisch, wie auch optisch von den expressionistischen Filme der zwanziger Jahre beeinflussen lässt. Daher werde ich im weiteren Verlauf meiner Arbeit versuchen die Frage zu beantworten, warum Tim Burton in seinen Filmen bei der Bildgestaltung und bei seinen Figuren auf expressionistische Elemente zurückgreift. Vorher gilt es aber wichtige Grundlagen anzuführen, die mir bei der Beantwortung meiner Fragestellung helfen sollen. Danach folgt eine Analyse zweier ausgewählter Filme von Burton, in der ich die einzelnen Elemente expressionistischer Merkmale herausstellen und erklären werde. Ich werde in einigen Gliederungspunkten vereinzelt auf bekannte Werke des expressionistischen Films der zwanziger Jahre zu sprechen kommen, um zeigen können, wo genau und wie Tim Burton expressionistische Elemente in seinen Filmen einbaut. Diese bekannten Werke der zwanziger Jahre sind unter anderem "NOSFERATU ¿ EINE SYMPHONIE DES GRAUENS" von Friedrich Wilhelm Murnau aus dem Jahr 1922, "METROPOLIS" von Fritz Lang aus dem Jahr 1927 und "DAS CABINET DES DR. CALIGARI" von Robert Wiene aus dem Jahr 1920. Da Tim Burton bis heute eine große Anzahl von Filmen gedreht hat und bei fast ausschließlich allen expressionistische Elemente zu finden sind, werde ich mich auf zwei Filme beschränken, von den ich denke, das man ihnen diesen Einfluss deutlich ansieht. Tim Burtons Filme lassen sich grob gegliedert in Stop-Motion Puppentrickfilme und Spielfilme mit realen Schauspielern unterscheiden. Ich möchte mich jeweils einem Film aus jeder Kategorie zuwenden. Dazu werde ich mit dem Kurzfilm "VINCENT" von 1982 und dem Spielfilm "EDWARD SCISSORHANDS" von 1990 arbeiten.

Reviled, rioted over and banned as pornographic even as it was recognized by many as an unprecedented visionary masterpiece, Jack Smith's Flaming Creatures is one of the most important and influential underground movies ever released in America. J. Hoberman's monograph details the creative making--and legal unmaking--of this extraordinary film, a source of inspiration for artists as disparate as Andy Warhol, Federico Fellini and John Waters. Described by its maker as "a comedy set in a haunted music studio," the story of Flaming Creatures is here augmented with a dossier of personal recollections, relevant documents and remarkable, previously unpublished on-set photographs by Norman Solomon. Expanding on notes originally prepared for the 1997 retrospective on Jack Smith at the American Museum of the Moving Image, the monograph includes further material on his unfinished features Normal Love and No President, as well as shorter film fragments.

I bund og grund taler jeg ikke om andet end en filmkunst, der er i stand til at udtænke en ny grammatik hver eneste gang, den bevæger sig fra én verden til den næste, en filmkunst der er i stand til at skabe en særlig følelse foran hver enkelt ting, dyr eller plante ved ganske enkelt at ændre rummet og varigheden. Men dette indebærer en konstant praksis, der på én og samme tid er opmærksom og adspredt, evnen til at gå i gang med en indspilning og straks efter vende tilbage til en tilstand af kontemplativ uvirksomhed. Kort sagt en filmkunst, der er i stand til som det første at berette om mangfoldighederne i erfaringen af den sanselige verden. Det er let sagt.

Danish director Lars von Trier has produced more than 20 films since his first appearance with The Elements of Crime in 1984. One of the most acknowledged – and most controversial – film directors of our time, Trier’s films often escape the representational production of meaning. In Lars von Trier’s Renewal of Film 1984-2014. Signal, Pixel, Diagram scholar Bodil Marie Stavning Thomsen offers a comprehensive discussion of Lars von Trier’s collected works. Examining Trier’s experiments with narrative forms, genre, camera usage, light, and colour tones, she shows how Trier’s unique ethically involving style activates the viewer’s entire perception apparatus. In understanding this affective involvement, the author frames the discussion around concepts from Gilles Deleuze, Alois Riegl, Brian Massumi and others on the haptic image, the diagram, affect and the signaletic material.

Bille August er en af filmens største fortællere, hvilket bl.a. "Pelle Erobreren", "Den gode vilje" og "Åndernes hus" vidner om.I denne bog beretter han om sit liv og sine film til Politikens Anne Wolden-Ræthinge, bedre kendt som Ninka.Hudløst ærligt får vi historien om han barndom og ungdom, hans kærlighedsliv og hans børn. Og ikke mindst historien om disciplinen, sliddet, dramaet og glæden bag hver films årelange tilblivelse.Bogen har forord af Max von Sydow og slutter med, at Meryl Streep, Jeremy Irons, Glenn Close, Isabel Allende, Pernilla August, Ghita Nørby og Bille Augusts klipper, fotograf, scenograf og sekretær fortæller om deres samarbejde med filmskaberen og personen Bille August.Gateway /title /head body center h1 502 Bad Gateway /h1 /center /body /htmlAnne Wolden-Ræthinge, også kendt som Ninka (1929-2016) var en dansk journalist og forfatter, der blandt andet udmærkede sig ved sine dybdegående portrætter og interviews af alt fra revykonger til royale, skuespillere til erhvervsfolk. I 1974 vandt Ninka den hæderkronede Cavlingpris for sine mange interviews.

I et provokerende, letforståeligt sprog tager den Oscar-vindende filmmand David Mamet fat om de grundlæggende elementer ved den gode historie. Om at instruere film er fuld af praktiske tips og inspirerende tanker. Bogen bygger på en række forelæsninger fra Columbia University, så man får - takket være de oprindelige tilhørere - mulighed for at stille spørgsmål undervejs. Men titlen snyder. For bogen henvender sig ikke bare til filmfolk, men til alle der interesserer sig for at fortælle historier.