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New Zealand has produced one of the world's most vibrant film
cultures, a reflection of the country's evolving history and the
energy and resourcefulness of its people. From early silent
features like "The Te Kooti Trail" to recent films such as "River
Queen," this book examines the role of the cinema of New Zealand in
building a shared sense of national identity. The works of key
directors, including Peter Jackson, Jane Campion, and Vincent Ward,
are here introduced in a new light, and select films are given
in-depth coverage. Among the most informative accounts of New
Zealand's fascinating national cinema, this will be a must for film
scholars around the globe.
Between 1959 and 1984, French film director Francois Truffaut was
interviewed over three hundred times. Each interview offers
critical insight into the genesis of Truffaut's films as he shares
the sources of his inspiration, the choice of his themes, and the
development of his screenplays. In addition, Truffaut discusses his
relationships with collaborators, actors, and the circumstances
surrounding the shooting of each film. These texts, originally
assembled by Anne Gillain and published in French in 1988, are
presented here in a montage arranged chronologically by film. This
compilation includes an impressive array of reflections on cinema
as an art form. Truffaut defines the aims and practices of the
French New Wave, comparing their efforts to the films made by their
predecessors and including comments that encompass the entire
history of cinema. Truffaut on Cinema provides commentary on
contemporary events, a wealth of biographical information, and
Truffaut's own artistic itinerary.
Alistair Fox presents a theory of literary and cinematic
representation through the lens of neurological and cognitive
science in order to understand the origins of storytelling and our
desire for fictional worlds. Fox contends that fiction is deeply
shaped by emotions and the human capacity for metaphorical thought.
Literary and moving images bridge emotional response with the
cognitive side of the brain. In a radical move to link the
neurosciences with psychoanalysis, Fox foregrounds the interpretive
experience as a way to reach personal emotional equilibrium by
working through autobiographical issues within a fictive form.
Alistair Fox presents a theory of literary and cinematic
representation through the lens of neurological and cognitive
science in order to understand the origins of storytelling and our
desire for fictional worlds. Fox contends that fiction is deeply
shaped by emotions and the human capacity for metaphorical thought.
Literary and moving images bridge emotional response with the
cognitive side of the brain. In a radical move to link the
neurosciences with psychoanalysis, Fox foregrounds the interpretive
experience as a way to reach personal emotional equilibrium by
working through autobiographical issues within a fictive form.
A comprehensive study of Raymond Bellour, one of the most important
foundational theorists of Film StudiesOne of the most influential
figures in French film philosophy, Raymond Bellour's interests
range across cinema, art, literature and philosophy, and his work
sits at the critical juncture between the cinematic experience in
the period of classical cinema to the new forms of spectatorship
ushered in by digital media in the 21st century. With a succinct
account of Bellour's oeuvre, this book provides a generous
introduction to his ideas on cinema, an annotated bibliography of
his work, and a six-chapter translation of a substantial and
wide-ranging interview previously unavailable in English. Providing
a clear, systematic account of the evolution of Bellour's thought
on the nature of cinematic representation, the impact of digital
technology and the response of the spectator, this is an essential
guide to the work of a major contemporary thinker.Key
featuresProvides a clear, systematic exposition of the evolution of
Bellour's thought over 60 yearsMakes available in an English
translation a hitherto unpublished interview with Bellour from
2015Includes an annotated bibliography, with brief abstracts of all
of his books and most important articles
This is the first book to investigate the coming-of-age genre as a
significant phenomenon in New Zealand's national cinema, tracing
its development and elucidating its role in cultural change. With
chapters on landmark films like An Angel at My Table, Heavenly
Creatures, Once Were Warriors and Boy, this book explores the
influence of the French New Wave and European art cinema, and
examines the dialogue between national cinema and a nation's
literature. Looking at the characteristics of an indigenous "Fourth
Cinema," as well as different perspectives on gendered and sexual
identities, Coming-of-Age Cinema in New Zealand considers the
evidence that these films provide of significant cultural shifts
that have taken place or are in the process of taking place as New
Zealanders' discover their emerging national identity.
A comprehensive study of Raymond Bellour, one of the most important
foundational theorists of Film StudiesOne of the most influential
figures in French film philosophy, Raymond Bellour's interests
range across cinema, art, literature and philosophy, and his work
sits at the critical juncture between the cinematic experience in
the period of classical cinema to the new forms of spectatorship
ushered in by digital media in the 21st century. With a succinct
account of Bellour's oeuvre, this book provides a generous
introduction to his ideas on cinema, an annotated bibliography of
his work, and a six-chapter translation of a substantial and
wide-ranging interview previously unavailable in English. Providing
a clear, systematic account of the evolution of Bellour's thought
on the nature of cinematic representation, the impact of digital
technology and the response of the spectator, this is an essential
guide to the work of a major contemporary thinker.Key
featuresProvides a clear, systematic exposition of the evolution of
Bellour's thought over 60 yearsMakes available in an English
translation a hitherto unpublished interview with Bellour from
2015Includes an annotated bibliography, with brief abstracts of all
of his books and most important articles
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Truffaut on Cinema (Hardcover)
Anne Gillain; Translated by Alistair Fox
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R2,320
R2,163
Discovery Miles 21 630
Save R157 (7%)
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Ships in 12 - 17 working days
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Between 1959 and 1984, French film director Francois Truffaut was
interviewed over three hundred times. Each interview offers
critical insight into the genesis of Truffaut's films as he shares
the sources of his inspiration, the choice of his themes, and the
development of his screenplays. In addition, Truffaut discusses his
relationships with collaborators, actors, and the circumstances
surrounding the shooting of each film. These texts, originally
assembled by Anne Gillain and published in French in 1988, are
presented here in a montage arranged chronologically by film. This
compilation includes an impressive array of reflections on cinema
as an art form. Truffaut defines the aims and practices of the
French New Wave, comparing their efforts to the films made by their
predecessors and including comments that encompass the entire
history of cinema. Truffaut on Cinema provides commentary on
contemporary events, a wealth of biographical information, and
Truffaut's own artistic itinerary.
In Jane Campion: Cinema, Nation, Identity a diverse group of
contributors challenge the view that Campion's body of work lacks
coherence or unity to instead examine the important characteristics
and themes that underlie it. Editors Hilary Radner, Alistair Fox,
and Irene Bessiere have compiled rich, original scholarship on
Campion's oeuvre to probe issues previously neglected by
scholars-like her debt to New Zealand sources and her personal
views of family dynamics-and those that benefit from additional
insight-such as her place in the feminist filmmaking tradition.
This volume also investigates Campion's distinct cinematic style in
light of these issues to examine the source of her enduring
cross-cultural and international appeal. Contributors in the first
section explore the creation of subjectivity and identity in
Campion's films, which include well-known works like The Piano and
Holy Smoke, to trace the unique perspectives of Campion's
characters and Campion herself as director. In the second section,
essays analyze Campion's close relationship with literature and
argue that the singular vision in her literary adaptations stems
from her New Zealand background and her personal mythology.
Contributors in the third section argue that while Campion devotes
considerable attention to the evocation of feminine internal space,
she also uses the symbolic potential of her external physical
locations to register what is taking place in the inner life of her
characters and reflect their search for personal fulfillment. A
final group of essays presents a variety of responses to Campion's
films, demonstrating that Campion is a highly personal and
idiosyncratic director who nonetheless manages to fascinate viewers
across a broad cultural spectrum. Taken together, contributors in
Jane Campion: Cinema, Nation, Identity present a compelling
analysis of Campion's status as a leading female filmmaker with
close attention to her distinctive cinematic style and particular
mise-en-scene. The collective nature of this volume will appeal to
students and teachers of film, literature, and gender studies, as
well as fans of Campion's work.
For Francois Truffaut, the lost secret of cinematic art is in
the ability to generate emotion and reveal repressed fantasies
through cinematic representation. Available in English for the
first time, Anne Gillain's Francois Truffaut: The Lost Secret is
considered by many to be the best book on the interpretation of
Truffaut's films. Taking a psycho-biographical approach, Gillain
shows how Truffaut's creative impulse was anchored in his personal
experience of a traumatic childhood that left him lonely and
emotionally deprived. In a series of brilliant, nuanced readings of
each of his films, she demonstrates how involuntary memories
arising from Truffaut's childhood not only furnish a succession of
motifs that are repeated from film to film, but also govern every
aspect of his mise en scene and cinematic technique."
For Francois Truffaut, the lost secret of cinematic art is in
the ability to generate emotion and reveal repressed fantasies
through cinematic representation. Available in English for the
first time, Anne Gillain's Francois Truffaut: The Lost Secret is
considered by many to be the best book on the interpretation of
Truffaut's films. Taking a psycho-biographical approach, Gillain
shows how Truffaut's creative impulse was anchored in his personal
experience of a traumatic childhood that left him lonely and
emotionally deprived. In a series of brilliant, nuanced readings of
each of his films, she demonstrates how involuntary memories
arising from Truffaut's childhood not only furnish a succession of
motifs that are repeated from film to film, but also govern every
aspect of his mise en scene and cinematic technique."
Alistair Fox explores the dynamics of the creative process
involved in cinematic representation in the films of Jane Campion,
one of the most highly regarded of contemporary filmmakers.
Utilizing a wealth of new material including interviews with
Campion and her sister and personal writings of her mother Fox
traces the connections between the filmmaker s complex background
and the thematic preoccupations of her films, from her earliest
short, Peel, to 2009 s Bright Star. He establishes how Campion s
deep investment in family relationships informs her aesthetic
strategies, revealed in everything from the handling of shots and
lighting, to the complex system of symbolic images repeated from
one film to the next."
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