Essential Brakhage: Selected Writings on Filmmaking. Liza Palmer. Author. Liza Palmer. Animation: Genre and Authorship By Paul Wells London: Wallflower. Essential Brakhage: Selected Writings on Filmmaking over the past 50 years, ” Stan Brakhage” became synonymous with independent American filmmaking. Results 1 – 30 of 39 Essential Brakhage: Selected Writings on Filmmaking by Stan Brakhage and a great selection of related books, art and collectibles available.
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Library Resource Finder: Table of Contents for: Essential Brakhage : selected writings o
Product details Format Paperback pages Dimensions Read, highlight, and take notes, across web, tablet, and phone. It is concerned with the manner in which the film employs symbols to portray certain structural oppositions, e.
Jason rated it it was amazing Sep 02, Nevertheless, such engagement, albeit limited and brief, points to exciting directions for future research in and directions for Television Studies. In order to demonstrate that Wilder’s “European” movies do represent a different, lesser strand of his work, Armstrong needs to say much more about them. Elena Holmgren rated it it was amazing Feb 22, To see what your friends thought of this book, please sign up. More By and About This Author. Hollywood imports were treated just like any other commodity.
Of these case studies the sections on Harryhausen and Leaf are probably of most interest, primarily because Wells includes personal interviews with the animators, giving significant insights into their own understandings fi,mmaking the position and status filmkaking their work in terms of authorship. The preliminary case study lays down the format for the first half of the book by drawing filmmakig between two different film renditions of the Titanic disaster, A Night To Remember Roy Baker, and Titanic James Cameron, The heart of Keil’s study is a chapter dealing with the development of cinema narrative.
She investigates why, considering the popular nature of these genres, critics would ascribe a higher value to the original. She elucidates the function of clothing in constructing and altering the personas of characters by drawing on Annette Kuhn’s The Power of the Image: Lane marks the importance of autobiographical documentaries in disrupting the growing rigidity of documentary form that was being wrought through the dominance of “objective” documentary filmmaking in the late s, particularly by direct cinema practitioners.
The relationship between filmamking and knowledge is primarily aesthetic. Moreover, the epics are inherently imbibed by the legacies of genealogy, persistence of “dharmik” codes and the power of the renouncer 5.
Though he concedes that all these have their place in Wilder’s “coherent and important body of work” 6Armstrong’s own tastes lie elsewhere, something that becomes abundantly clear in the book’s highly selective Filmography. The chapter “Remakes of the s and s: The author draws on psychoanalytic film theory to interpret the meeting of localized mediations and melodramatic discourses of colonial literature in minor and a few major references of Indian cinema like, Madhumati and Mahal.
There are thirty- three chapters, but most are only small bites of two pages or so after white-space. Hollywood, Hype and Audiences: Issues such as censorship, media consumption, the relationship between broadcaster and audience, and programme genres such brakyage animation are discussed with reference to hundreds of comments given on questionnaires shared by children of all ages.
The two women wear the same mask and seem to be one. The television professionals speaking in the first section tend to make light of the so-called “Golden Age” with which they are associated, but cling to it nonetheless, some bemoaning the loss of those more innocent times when they could invent television drama without serious managerial intervention.
A similar strength is fikmmaking in Austin’s detailed analysis of the controversies around and reactions to Basic Instinct Brakuage Verhoeven,in the first of his case studies.
ESSENTIAL BRAKHAGE: Selected Writings on Filmmaking
Mathias Kuzina explores the cultural implications of two types of American Courtroom films — “the problem film in the guise of legal drama and the trial movie which may take the form of a social film” Studio heads and directors D.
Documentary cannot be defined in any neat, dictionary- like manner: The auteurship of both Filmmakinb Kapoor and Guru Dutt are considered to occupy an intermediate space between the reformism of pre-independence cinema and neo- traditionalism of contemporary popular Bombay cinema.
He tells a story of Wilder badgering the reluctant Fred MacMurray into playing the insurance salesman Walter Essental in Double Indemnity, precisely in order to toy with the public’s preconceptions of the star as a mild-mannered, family entertainer.
This is a mode bdakhage cinema that is itself in need of a revisionist, detailed investigation, in order to counter the somewhat pat descriptions that in many areas still characterise it. For him, the real Billy Wilder is the “rigorous commentator on the American scene” 7essentila for such films as Double IndemnityThe Apartment and The Fortune Cookie Keil also shows that editing was to enable industry-wide acceptance that narratives might display concurrent action, saying “meanwhile” and well as “here and now”.
It is accepted now that film is far more than an aesthetic or merely entertaining object, and that law is much more than wrutings a practical mechanism for resolving conflicts and coercing order. Bourne’s respect and admiration for these early black actors leads him to a would have, could have, should have commentary in which he appears dumbstruck and bitter that a certain actor or actress was not recognized for a BAFTA or other film or television award.
The text often becomes redundant though; if one is unfamiliar with the production being described and Selscted demonstrates how a great deal of this early material has been lostthe emotion, hardships or triumphs of these actors’ careers often becomes secondary.
The fourth chapter examines the nature of auteurship in the dynamic Bombay ffilmmaking during its “high period” between the s and early s. Refresh and try again. He states with disarming clarity: