Emanuel Levy
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780231152761
- eISBN:
- 9780231526531
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231152761.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Through intimate encounters with the life and work of five contemporary gay male directors, this book develops a framework for interpreting what it means to make a gay film or adopt a gay point of ...
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Through intimate encounters with the life and work of five contemporary gay male directors, this book develops a framework for interpreting what it means to make a gay film or adopt a gay point of view. For most of the twentieth century, gay characters and gay themes were both underrepresented and misrepresented in mainstream cinema. Since the 1970s, however, a new generation of openly gay directors has turned the closet inside out, bringing a poignant immediacy to modern cinema and popular culture. Combining his experienced critique with in-depth interviews, Emanuel Levy draws a clear timeline of gay filmmaking over the past four decades and its particular influences and innovations. While recognizing the “queering” of American culture that resulted from these films, Levy also takes stock of the ensuing conservative backlash and its impact on cinematic art, a trend that continues alongside a growing acceptance of homosexuality. He compares the similarities and differences between the “North American” attitudes of Todd Haynes, Gus Van Sant, and John Waters and the “European” perspectives of Pedro Almodóvar and Terence Davies, developing a truly expansive approach to gay filmmaking and auteur cinema.Less
Through intimate encounters with the life and work of five contemporary gay male directors, this book develops a framework for interpreting what it means to make a gay film or adopt a gay point of view. For most of the twentieth century, gay characters and gay themes were both underrepresented and misrepresented in mainstream cinema. Since the 1970s, however, a new generation of openly gay directors has turned the closet inside out, bringing a poignant immediacy to modern cinema and popular culture. Combining his experienced critique with in-depth interviews, Emanuel Levy draws a clear timeline of gay filmmaking over the past four decades and its particular influences and innovations. While recognizing the “queering” of American culture that resulted from these films, Levy also takes stock of the ensuing conservative backlash and its impact on cinematic art, a trend that continues alongside a growing acceptance of homosexuality. He compares the similarities and differences between the “North American” attitudes of Todd Haynes, Gus Van Sant, and John Waters and the “European” perspectives of Pedro Almodóvar and Terence Davies, developing a truly expansive approach to gay filmmaking and auteur cinema.
Daniel Kremer
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780813165967
- eISBN:
- 9780813166742
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813165967.001.0001
- Subject:
- Film, Television and Radio, Film
The fifty-seven-year career of Toronto-born film director Sidney J. Furie laughs in the face of monotony, surely ranking among the most fascinating in the history of the industry. Emigrating to ...
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The fifty-seven-year career of Toronto-born film director Sidney J. Furie laughs in the face of monotony, surely ranking among the most fascinating in the history of the industry. Emigrating to London after blazing a trail as a pioneer in his home country of Canada, the young Furie built his reputation early as a visual daredevil, an enfant terrible, and a bankable name, only to be cruelly (and flippantly) dismissed in later years as a “wizened old hack” and a journeyman on a losing streak. What these later detractors often fail to remember, however, is that Furie provided key creative signatures for films like the art-house espionage drama The Ipcress File (1965), the award-winning box-office smash Lady Sings the Blues (1972), the influential Vietnam War drama/satire The Boys in Company C (1978), the stylish horror film The Entity (1982), and other classics. This critical biography, the first book ever written on Furie, gets to the heart of this paradox, as well as the surrounding evolution of the individual, the artist, and his oeuvre. It also examines Furie’s auteur status, probing the recurring themes and trademarks that pervade his films. Over the course of a breathtakingly diverse journey, Furie made an indelible mark on early Canadian independent cinema, the British New Wave, the New Hollywood, the studio system, the blockbuster era, and, finally, the direct-to-video assembly line. All-new stories surface on Furie’s many collaborators, including Marlon Brando, Frank Sinatra, Peter O’Toole, Robert Redford, Diana Ross, Michael Caine, Richard Pryor, and many others.Less
The fifty-seven-year career of Toronto-born film director Sidney J. Furie laughs in the face of monotony, surely ranking among the most fascinating in the history of the industry. Emigrating to London after blazing a trail as a pioneer in his home country of Canada, the young Furie built his reputation early as a visual daredevil, an enfant terrible, and a bankable name, only to be cruelly (and flippantly) dismissed in later years as a “wizened old hack” and a journeyman on a losing streak. What these later detractors often fail to remember, however, is that Furie provided key creative signatures for films like the art-house espionage drama The Ipcress File (1965), the award-winning box-office smash Lady Sings the Blues (1972), the influential Vietnam War drama/satire The Boys in Company C (1978), the stylish horror film The Entity (1982), and other classics. This critical biography, the first book ever written on Furie, gets to the heart of this paradox, as well as the surrounding evolution of the individual, the artist, and his oeuvre. It also examines Furie’s auteur status, probing the recurring themes and trademarks that pervade his films. Over the course of a breathtakingly diverse journey, Furie made an indelible mark on early Canadian independent cinema, the British New Wave, the New Hollywood, the studio system, the blockbuster era, and, finally, the direct-to-video assembly line. All-new stories surface on Furie’s many collaborators, including Marlon Brando, Frank Sinatra, Peter O’Toole, Robert Redford, Diana Ross, Michael Caine, Richard Pryor, and many others.
Holly Rogers
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199861408
- eISBN:
- 9780199332731
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199861408.003.0004
- Subject:
- Music, History, Western, Popular
This chapter charts the rise of video art-music during the 1960s. Using the audiovisual and spatial genealogies of the previous chapters, it situates the rise of video art-music within its ...
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This chapter charts the rise of video art-music during the 1960s. Using the audiovisual and spatial genealogies of the previous chapters, it situates the rise of video art-music within its socio-cultural context and outlines the ways in which early video artist-composers contributed to the creation of their own histories and myths. After exploring the difficulties of including sound and moving image art within a gallery environment, the alternative performance and exhibition spaces used by early video artist-composers are uncovered. Beginning with the early television exhibitions of Paik, Vostell and the Filmmaker’s Cinematheque, the chapter investigates the mixed media performances of Rauschenberg, John Cage, Whitman, USCO and E.A.T. The performances of early video artists Tambellini, Levine, Schneider, Gillette, Nauman and various video collectives are then considered in light of audience activation, improvisation and performativity.Less
This chapter charts the rise of video art-music during the 1960s. Using the audiovisual and spatial genealogies of the previous chapters, it situates the rise of video art-music within its socio-cultural context and outlines the ways in which early video artist-composers contributed to the creation of their own histories and myths. After exploring the difficulties of including sound and moving image art within a gallery environment, the alternative performance and exhibition spaces used by early video artist-composers are uncovered. Beginning with the early television exhibitions of Paik, Vostell and the Filmmaker’s Cinematheque, the chapter investigates the mixed media performances of Rauschenberg, John Cage, Whitman, USCO and E.A.T. The performances of early video artists Tambellini, Levine, Schneider, Gillette, Nauman and various video collectives are then considered in light of audience activation, improvisation and performativity.
Ann Marie Stock
- Published in print:
- 2009
- Published Online:
- July 2014
- ISBN:
- 9780807832691
- eISBN:
- 9781469605852
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807894194_stock.10
- Subject:
- History, Latin American History
This chapter examines the works of Street Filmmaker Juan Carlos Cremata Malberti. Malberti's success emanates from his unique authorial identity, engendered by his eccentric behavior and compounded ...
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This chapter examines the works of Street Filmmaker Juan Carlos Cremata Malberti. Malberti's success emanates from his unique authorial identity, engendered by his eccentric behavior and compounded by the press, by the markers of “Cubanness” he fashions to please audiences at home and abroad, and by the low-budget digital mode that enhances his appeal to foreign producers. This cineaste serves as a cultural and commercial negotiator between Cuba and the international film arena.Less
This chapter examines the works of Street Filmmaker Juan Carlos Cremata Malberti. Malberti's success emanates from his unique authorial identity, engendered by his eccentric behavior and compounded by the press, by the markers of “Cubanness” he fashions to please audiences at home and abroad, and by the low-budget digital mode that enhances his appeal to foreign producers. This cineaste serves as a cultural and commercial negotiator between Cuba and the international film arena.
Ann Marie Stock
- Published in print:
- 2009
- Published Online:
- July 2014
- ISBN:
- 9780807832691
- eISBN:
- 9781469605852
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807894194_stock.11
- Subject:
- History, Latin American History
This chapter examines the works of Street Filmmaker Pavel Giroud. Giroud resists the “sociological emphasis” of some Cuban films that depict problems facing the island nation. Instead, this avid fan ...
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This chapter examines the works of Street Filmmaker Pavel Giroud. Giroud resists the “sociological emphasis” of some Cuban films that depict problems facing the island nation. Instead, this avid fan of popular films consistently integrates elements from thrillers, comedies, and dramas. He has tackled a host of projects, working both within and outside the industry. At age thirty-five, Giroud was the youngest Cuban filmmaker of his generation to have made a feature film.Less
This chapter examines the works of Street Filmmaker Pavel Giroud. Giroud resists the “sociological emphasis” of some Cuban films that depict problems facing the island nation. Instead, this avid fan of popular films consistently integrates elements from thrillers, comedies, and dramas. He has tackled a host of projects, working both within and outside the industry. At age thirty-five, Giroud was the youngest Cuban filmmaker of his generation to have made a feature film.
Ann Marie Stock
- Published in print:
- 2009
- Published Online:
- July 2014
- ISBN:
- 9780807832691
- eISBN:
- 9781469605852
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807894194_stock.12
- Subject:
- History, Latin American History
This chapter examines the works of Street Filmmaker Esteban Insausti. Drawing on video art, advertising, and avant-garde cinema, Insausti creates complex works capable of producing multiple meanings. ...
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This chapter examines the works of Street Filmmaker Esteban Insausti. Drawing on video art, advertising, and avant-garde cinema, Insausti creates complex works capable of producing multiple meanings. Unlike the avant-garde revolutionary filmmakers from whom he draws inspiration, he uses digital technology.Less
This chapter examines the works of Street Filmmaker Esteban Insausti. Drawing on video art, advertising, and avant-garde cinema, Insausti creates complex works capable of producing multiple meanings. Unlike the avant-garde revolutionary filmmakers from whom he draws inspiration, he uses digital technology.
Sean Redmond
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231163330
- eISBN:
- 9780231850230
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231163330.003.0007
- Subject:
- Film, Television and Radio, Film
This concluding chapter draws the main threads of the book together while taking a closer look at Kitano's trilogy (Takeshis, 2005; Glory to the Filmmaker, 2007; and Achilles and the Tortoise, 2008). ...
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This concluding chapter draws the main threads of the book together while taking a closer look at Kitano's trilogy (Takeshis, 2005; Glory to the Filmmaker, 2007; and Achilles and the Tortoise, 2008). This destructive/deconstructive tendency is read as a further indication of Kitano's artistic desire to ruin representation, enter catastrophe, and emerge with pre-perceptual and asemiotic forces. Kitano's 2010 art exhibition, Gosse de Peintre, housed at the prestigious Fondation Cartier on the Left Bank in Paris, is explored in terms of the body without organs. Finally, this chapter ends at Office Kitano, where we can glimpses a hope of further journeys into Kitano's oevre, a hope that rings true with a return to Kitano's violent underworld, Outrage (2010) and Outrage Beyond (2012), as a final statement in Kitano's death and life journeying.Less
This concluding chapter draws the main threads of the book together while taking a closer look at Kitano's trilogy (Takeshis, 2005; Glory to the Filmmaker, 2007; and Achilles and the Tortoise, 2008). This destructive/deconstructive tendency is read as a further indication of Kitano's artistic desire to ruin representation, enter catastrophe, and emerge with pre-perceptual and asemiotic forces. Kitano's 2010 art exhibition, Gosse de Peintre, housed at the prestigious Fondation Cartier on the Left Bank in Paris, is explored in terms of the body without organs. Finally, this chapter ends at Office Kitano, where we can glimpses a hope of further journeys into Kitano's oevre, a hope that rings true with a return to Kitano's violent underworld, Outrage (2010) and Outrage Beyond (2012), as a final statement in Kitano's death and life journeying.
Scott MacDonald
- Published in print:
- 2014
- Published Online:
- October 2014
- ISBN:
- 9780199388707
- eISBN:
- 9780199388745
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199388707.003.0007
- Subject:
- Literature, Criticism/Theory
A student of Ross McElwee’s and Robb Moss’s at Harvard, Davenport discusses her history as a personal documentary filmmaker influenced not only by McElwee (she appears in and was an assistant editor ...
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A student of Ross McElwee’s and Robb Moss’s at Harvard, Davenport discusses her history as a personal documentary filmmaker influenced not only by McElwee (she appears in and was an assistant editor on McElwee’s Six O’Clock News) and Moss, but by avant-garde filmmaker, Peter Hutton. Her first important film, Hello Photo (1995), for which she spent months in filming in India, was funded by Robert Gardner. If her early films are a feminine/feminist version of McElwee’s personal documentaries, her Operation Filmmaker is a breakthrough work in revealing the struggles between a filmmaker and her subject, a young Iraqi would-be filmmaker. This is Davenport’s first extensive interview, and it covers Hello Photo and the series of films that have followed it, including Always a Bridesmaid (2000) and Parallel Lines (2003).Less
A student of Ross McElwee’s and Robb Moss’s at Harvard, Davenport discusses her history as a personal documentary filmmaker influenced not only by McElwee (she appears in and was an assistant editor on McElwee’s Six O’Clock News) and Moss, but by avant-garde filmmaker, Peter Hutton. Her first important film, Hello Photo (1995), for which she spent months in filming in India, was funded by Robert Gardner. If her early films are a feminine/feminist version of McElwee’s personal documentaries, her Operation Filmmaker is a breakthrough work in revealing the struggles between a filmmaker and her subject, a young Iraqi would-be filmmaker. This is Davenport’s first extensive interview, and it covers Hello Photo and the series of films that have followed it, including Always a Bridesmaid (2000) and Parallel Lines (2003).
