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David O. Russell (b. 1958) boasts a diverse body of work as a
writer and director, spanning multiple genres and featuring
radically differing aesthetic styles. While his early work
comically explored taboo subjects with unerring directness, he has
also investigated politics with explosive satire. In his most
recent films, including American Hustle and Silver Linings
Playbook, Russell examines characters and situations that are at
once everyday and also extraordinary. Whatever the project, Russell
is driven to explore the idiosyncrasies that make each character
human, and he extends that curiosity to explore what makes each
actor unique. His attentiveness to his cast members has earned him
the label of ""actor's director,"" due in no small part to the many
nominations and awards earned by a long list of Hollywood stars in
his movies. Russell has also become one of our era's most
interesting formal stylists as he adopts a visual design
appropriate to each of his film's thematic concerns. The result may
be a color palette resembling the washed-out pages of a newspaper
achieved by manipulating the film stock for Three Kings or the
tumultuous opening of The Fighter when an audacious, roving camera
plunges viewers straight into the story from the very first shots
of the film. Rather than building a signature style, Russell has
instead tested the varied possibilities of cinematic expression.
This career-spanning volume features conversations with scholars
and journalists as well as filmmakers. Speaking to directors like
Alexander Payne and Spike Jonze, Russell contextualizes each of his
films, offers an intimate account of his evolving writing and
directing process, and opens his life to reveal how a remarkable
body of work has come to be.
Cinema, the primary vehicle for storytelling in the twentieth
century, is being reconfigured by new media in the twenty-first.
Terms such as "worldbuilding," "virtual reality," and "transmedia"
introduce new methods for constructing a screenplay and
experiencing and sharing a story. Similarly, 3D cinematography,
hypercinema, and visual effects require different modes for
composing an image, and virtual technology, motion capture, and
previsualization completely rearrange the traditional flow of
cinematic production. What does this mean for telling stories? Fast
Forward answers this question by investigating a full range of
contemporary creative practices dedicated to the future of mediated
storytelling and by connecting with a new generation of filmmakers,
screenwriters, technologists, media artists, and designers to
discover how they work now, and toward what end. From Chris Milk
and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca
Mendez's projection and installation work exploring climate change
to the richly mediated interactive live performances of the
collective Cloud Eye Control, this volume captures a moment of
creative evolution and sets the stage for imagining the future of
the cinematic arts.
"New Digital Cinema: Reinventing the Moving Image" tracks the
evolution of contemporary cinema as it intersects with the formerly
separate realms of film-making, video art, music video, animation,
print design and live club events to create an avant-garde for the
new millennium. Building on the premise that we are witnessing the
most extensive reworking of the role of images since the
inauguration of cinema, due to the advent of desktop film-making
tools. The book opens with an investigation of digital cinema and
its contribution to innovations in the feature film format. While
examining animation/live action hybrids, the gritty aesthetic of
the Dogme ninety-five film-makers, the explosions of frames within
frames and the evolution of the 'ambient narrative' film. The book
then moves on to explore the creation of new genres and moving
image experiences. What we know as 'cinema' explodes beyond the
confines of the movie theatre and television screen into new venues
and formats.
Cinema, the primary vehicle for storytelling in the twentieth
century, is being reconfigured by new media in the twenty-first.
Terms such as "worldbuilding," "virtual reality," and "transmedia"
introduce new methods for constructing a screenplay and
experiencing and sharing a story. Similarly, 3D cinematography,
hypercinema, and visual effects require different modes for
composing an image, and virtual technology, motion capture, and
previsualization completely rearrange the traditional flow of
cinematic production. What does this mean for telling stories? Fast
Forward answers this question by investigating a full range of
contemporary creative practices dedicated to the future of mediated
storytelling and by connecting with a new generation of filmmakers,
screenwriters, technologists, media artists, and designers to
discover how they work now, and toward what end. From Chris Milk
and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca
Mendez's projection and installation work exploring climate change
to the richly mediated interactive live performances of the
collective Cloud Eye Control, this volume captures a moment of
creative evolution and sets the stage for imagining the future of
the cinematic arts.
David O. Russell (b. 1958) boasts a diverse body of work as a
writer and director, spanning multiple genres and featuring
radically differing aesthetic styles. While his early work
comically explored taboo subjects with unerring directness, he has
also investigated politics with explosive satire. In his most
recent films, including American Hustle and Silver Linings
Playbook, Russell examines characters and situations that are at
once everyday and also extraordinary. Whatever the project, Russell
is driven to explore the idiosyncrasies that make each character
human, and he extends that curiosity to explore what makes each
actor unique. His attentiveness to his cast members has earned him
the label of ""actor's director,"" due in no small part to the many
nominations and awards earned by a long list of Hollywood stars in
his movies. Russell has also become one of our era's most
interesting formal stylists as he adopts a visual design
appropriate to each of his film's thematic concerns. The result may
be a color palette resembling the washed-out pages of a newspaper
achieved by manipulating the film stock for Three Kings or the
tumultuous opening of The Fighter when an audacious, roving camera
plunges viewers straight into the story from the very first shots
of the film. Rather than building a signature style, Russell has
instead tested the varied possibilities of cinematic expression.
This career-spanning volume features conversations with scholars
and journalists as well as filmmakers. Speaking to directors like
Alexander Payne and Spike Jonze, Russell contextualizes each of his
films, offers an intimate account of his evolving writing and
directing process, and opens his life to reveal how a remarkable
body of work has come to be.
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