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Books > Language & Literature > Literature: texts > Drama texts, plays > From 1900
This book philosophically and creatively examines ways in which
independent filmmakers may explore, through practice, the discovery
and development of a personal voice in the making of their films.
Filmmaker and academic, Professor Erik Knudsen, uses a combination
of autoethnographic experience derived from his own filmmaking
practice and new insights gained from a series of
ethnomediaological StoryLab workshops with independent filmmakers
in Malaysia, Ghana and Colombia to drive this innovative
examination. The book contextualises this practice exploration
within an eclectic psychological and philosophical framework that
ranges from Jungian psychological theories of the collective
unconscious to Sheldrakian scientific theories of morphic
resonance, from Christian mystical ideas about creative motivation
to structuralist theories that underpin our linguistic
understanding of story and narrative. Why should we create? What is
a creative act? This in-depth study tackles these questions by
examining the early ideation stages of cinematic expression and
ultimately seeks to understand the practical ways in which ideas
are shaped into stories and narratives.
Screenwriting is the second of the 'Behind the Silver Screen'
series of ten volumes, which will together cover for the first time
the full art, craft, business and history of filmmaking from
inception to reality. Screenwriting is where a movie begins.
Written by screenwriters and critics, this innovative book is
devoted to the art of the screenwriter and the business of
screenwriting from Hollywood's silent beginnings to the global
multimedia marketplace. Focusing on key screenplays that changed
the game in Hollywood and beyond and on films from The Birth of a
Nation to Chinatown and Lost in Translation, the book reveals the
profound ways in which screenwriters contribute to films, as they
try to capture the hopes and dreams, the nightmares and concerns of
the period in which they are writing. It is compelling reading for
film lovers, screenwriters & film students, industry
professionals - anyone interested in the creative collaboration
that creates the movies we see on the screen.
Actors and the Art of Performance: Under Exposure combines the
author's two main biographical paths: her professional commitment
to the fields of both theatre and philosophy. The art of acting on
stage is analysed here not only from the theoretical perspective of
a spectator, but also from the perspective of the actor. The author
draws on her experience as both a theatre actor and a university
professor whose teachings in the art of acting rely heavily on her
own experience and also on her philosophical knowledge. The book is
unique not only in terms of its content but also in terms of its
style. Written in a multiplicity of voices, the text oscillates
between philosophical reasoning and narrative forms of writing,
including micro-narratives, fables, parables, and inter alia by
Carroll, Hoffmann and Kleist. Hence the book claims that a
trans-disciplinary dialogue between the art of acting and the art
of philosophical thinking calls for an aesthetical research that
questions and begins to seek alternatives to traditionally
established and ingrained formats of philosophy.
In these twenty-one interviews, filmmaker Peter Greenaway expresses
his film aesthetic and discusses his combat with the dominant
Hollywood style of filmmaking. His films have run unmistakably
against the main current of present cinematic practice, from the
short film Windows in the mid-seventies, to his more popular but
nonetheless challenging films such as A Zed and Two Noughts and The
Pillow Book in the nineties.
In this collection the ever-controversial Greenaway discusses
his philosophies of film, art, aesthetics, literature, and reality,
criticizing and even condemning the standard fare of what he calls
Hollywood cinema. For him such films tell stories or they translate
literature with its linear narrative onto a medium that he feels
should be preeminently visual. He finds that, instead of
foregrounding the image and the composition of visual elements as
in the long history of painting, Hollywood-style directors seem
mesmerized by the "and then and then" narrative.
In these provocative interviews Greenaway tells of his ambition
to make cinema a medium based more on image than on narrative. He
explains his painterly approach in The Cook, the Thief, His Wife,
and Her Lover, defends his use of total nudity of both sexes, and
declares that traditional literary-based cinema is dead. He
believes that the most creative imaginations, the most innovative
technologies, and the greatest financial resources are being
devoted to television and the Internet and that Hollywood
moviemaking is no longer in the vanguard.
Two very different women meet during a long wait to buy subsidized
rice and discover they have more in common than their poverty; an
old man and a child share a last loving waltz; a cynical, disabled
gangster learns humanity from a committed social worker, and a
young girl finds her missing father and her role in the political
struggle. This collection of stage plays, one radio play and a
cinepoem, captures the essence of Zakes Mda’s method as a
dramatist- a slow but intimate process of revelation (on the part
of the characters). It is an artistic cooperation of the most
pleasurable kind.
Ingeborg Bachmann (1926-1973) is recognized as one of postwar
German literature's most important novelists, poets, and
playwrights. Influenced by Hans Weigel and the legendary literary
circle Gruppe 47, Bachmann gained international renown for her
poems, short stories, and novels, and won numerous awards for her
work. Sadly, her life ended abruptly in October of 1973 when a lit
cigarette burned down her apartment, causing Bachmann to suffer
severe burns that would eventually prove fatal. The author was only
forty-seven, and her tragic death left what could have been a long
and lustrous writing career regretfully stunted. Nearly twenty
years after her death, during an estate sale in Vienna, fifteen
episodes of the Viennese radio drama The Radio Family were
discovered. Remarkably, they happened to be written by Bachmann
herself, who had been a writer on the show just after she graduated
from university. The Radio Family was a popular soap opera
broadcast in the American sector of occupied Vienna in the 1950s.
The program focused on a middle-class Viennese family and their
everyday life. Topics ranged from birthday parties and holiday
plans to profiteering and currency fraud in the commercial sector
and Austrians' involvement in the Nazi past. All fifteen scripts
have now been compiled and masterfully translated, revealing an
early and significant piece of Bachmann's body of work, while
simultaneously offering a rare glimpse into Vienna's quotidian
history.
Though screenwriting is an essential part of the film production
process, in Britain it is yet to be fully recognised as a form in
itself. In this original study, Jill Nelmes brings the art of
screenwriting into sharp focus, foregrounding the role of the
screenwriter in British cinema from the 1930s to the present day.
Drawing on otherwise unseen drafts of screenplays, correspondence
and related material held in the Special Collections of the BFI
National Archive, Nelmes's close textual analysis of the screenplay
in its many forms illuminates both the writing and the production
process. With case studies of a diverse range of key writers - from
individuals such as Muriel Box, Robert Bolt and Paul Laverty, to
teams such as the Carry On writers - Nelmes exposes the depth and
breadth of this thriving field.
Federico FelliniOCOs script for perhaps the most famous unmade
film in Italian cinema, The Journey of G. Mastorna (1965/6), is
published here for the first time in full English translation. It
offers the reader a remarkable insight into FelliniOCOs creative
process and his fascination with human mortality and the great
mystery of death. Written in collaboration with Dino Buzzati,
Brunello Rondi, and Bernardino Zapponi, the project was ultimately
abandoned for a number of reasons, including FelliniOCOs near
death, although it continued to inhabit his creative imagination
and the landscape of his films for the rest of his career.
Marcus Perryman has written two supporting essays which discuss
the reasons why the film was never made, compare it to the two
other films in the trilogy La Dolce Vita and 8cents, and analyze
the script in the light of ItOCOs a Wonderful Life and Fredric
BrownOCOs sci-fi novel What Mad Universe. In doing so he opens up
an entire world of connections to FelliniOCOs other films, writers
and collaborators. It should be essential reading for students and
academics studying FelliniOCOs work."
The essays within this collection explore the possibilities and
potentialities of all three positions, presenting encounters that
are, at times contradictory, at other times supportive, as well as
complementary. The collection thereby enriches the questions that
are being raised within contemporary cinematic studies.
This thorough account of the life and films of the Spanish-Basque
filmmaker Julio Medem is the first book in English on the
internationally renowned writer-director of Vacas, La ardilla roja
(Red Squirrel), Tierra, Los amantes del Circulo Polar (Lovers of
the Arctic Circle), Lucia y el sexo (Sex and Lucia), La pelota
vasca: la piel contra la piedra (Basque Ball) and Caotica Ana
(Chaotic Ana), Initial chapters explore Medem's childhood,
adolescence and education and examine his earliest short films and
critical writings against a background of a dramatically changing
Spain. Later chapters provide accounts of the genesis, production
and release of Medem's challenging and sensual films, which feed
into complex but lucid analyses of their meanings, both political
and personal, in which Stone draws on traditions and innovations in
Basque art, Spanish cinema and European philosophy to create a
complete and provocative portrait of Medem and his work. -- .
Alex de la Iglesia, initially championed by Pedro Almodovar, and at
one time the enfant terrible of Spanish film, still makes film
critics nervous. The director of some of the most important films
of the Post-Franco era - Accion mutante, El dia de la bestia,
Muertos de risa - receives here the first full length study of his
work. Breaking away from the pious tradition of acclaiming
art-house auteurs, The cinema of Alex de la Iglesia tackles a new
sort of beast: the popular auteur, who brings the provocation of
the avant-garde to popular genres such as horror and comedy. This
book brings together Anglo-American film theory, an exploration of
the legal and economic history of Spanish audio-visual culture, a
comprehensive knowledge of Spanish cultural forms and traditions
(esperpento, sainete costumbrista) with a detailed textual analysis
of all of Alex de la Iglesia's seven feature films. -- .
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