Yoshiharu Tezuka
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9789888083329
- eISBN:
- 9789882209282
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888083329.001.0001
- Subject:
- Film, Television and Radio, Film
Japan's film industry has gone through dramatic changes in recent decades, as international consumer forces and transnational talent have brought unprecedented engagement with global trends. With ...
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Japan's film industry has gone through dramatic changes in recent decades, as international consumer forces and transnational talent have brought unprecedented engagement with global trends. With careful research and unique first-person observations drawn from years of working within the international industry of Japanese film, this book aims to examine how different generations of Japanese filmmakers engaged and interacted with the structural opportunities and limitations posed by external forces, and how their subjectivity has been shaped by their transnational experiences and has changed as a result. Having been through the globalization of the last part of the twentieth century, are Japanese themselves and overseas consumers of Japanese culture really becoming more cosmopolitan? If so, what does this mean for Japan's national culture and the traditional sense of national belonging among Japanese people?Less
Japan's film industry has gone through dramatic changes in recent decades, as international consumer forces and transnational talent have brought unprecedented engagement with global trends. With careful research and unique first-person observations drawn from years of working within the international industry of Japanese film, this book aims to examine how different generations of Japanese filmmakers engaged and interacted with the structural opportunities and limitations posed by external forces, and how their subjectivity has been shaped by their transnational experiences and has changed as a result. Having been through the globalization of the last part of the twentieth century, are Japanese themselves and overseas consumers of Japanese culture really becoming more cosmopolitan? If so, what does this mean for Japan's national culture and the traditional sense of national belonging among Japanese people?
Ronny Regev
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781469636504
- eISBN:
- 9781469636771
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469636504.003.0006
- Subject:
- History, American History: 20th Century
The fifth chapter deals with the experience of those who are commonly known as craftsmen or below-the-line workers. It suggests that the division between arts and crafts in the film industry resulted ...
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The fifth chapter deals with the experience of those who are commonly known as craftsmen or below-the-line workers. It suggests that the division between arts and crafts in the film industry resulted from the history of labor organization and the political struggles between labor unions such as IATSE and the American Society of Cinematographers. In addition, focusing on the experience of cameramen, the chapter demonstrate that workers in the technical branches of filmmaking, were concerned less with control and more with recognition. It shows how directors of photography sought to claim some of the respect and artistic stature accorded to directors and screenwriters. Thus, they struggled to form a tighter bond between the creative status of the film industry and the more traditional craft or technical work they introduced into it.Less
The fifth chapter deals with the experience of those who are commonly known as craftsmen or below-the-line workers. It suggests that the division between arts and crafts in the film industry resulted from the history of labor organization and the political struggles between labor unions such as IATSE and the American Society of Cinematographers. In addition, focusing on the experience of cameramen, the chapter demonstrate that workers in the technical branches of filmmaking, were concerned less with control and more with recognition. It shows how directors of photography sought to claim some of the respect and artistic stature accorded to directors and screenwriters. Thus, they struggled to form a tighter bond between the creative status of the film industry and the more traditional craft or technical work they introduced into it.
Andrew deWaard and R. Colin Tait
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231165518
- eISBN:
- 9780231850391
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231165518.001.0001
- Subject:
- Film, Television and Radio, Film
The industry's only director-cinematographer-screenwriter-producer-actor-editor, Steven Soderbergh is contemporary Hollywood's most innovative and prolific filmmaker. A Palme D'Or and Academy ...
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The industry's only director-cinematographer-screenwriter-producer-actor-editor, Steven Soderbergh is contemporary Hollywood's most innovative and prolific filmmaker. A Palme D'Or and Academy Award-winner, Soderbergh has directed nearly thirty films, including political provocations, digital experiments, esoteric documentaries, global blockbusters, and a series of atypical genre films. This book considers its slippery subject from several perspectives, analysing Soderbergh as an expressive auteur of art cinema and genre fare, as a politically motivated guerrilla filmmaker, and as a Hollywood insider. Combining a detective's approach to investigating the truth with a criminal's alternative value system, Soderbergh's films tackle social justice in a corporate world, embodying dozens of cinematic trends and forms advanced in the past twenty-five years. His career demonstrates the richness of contemporary American cinema, and this study gives his complex oeuvre the in-depth analysis it deserves.Less
The industry's only director-cinematographer-screenwriter-producer-actor-editor, Steven Soderbergh is contemporary Hollywood's most innovative and prolific filmmaker. A Palme D'Or and Academy Award-winner, Soderbergh has directed nearly thirty films, including political provocations, digital experiments, esoteric documentaries, global blockbusters, and a series of atypical genre films. This book considers its slippery subject from several perspectives, analysing Soderbergh as an expressive auteur of art cinema and genre fare, as a politically motivated guerrilla filmmaker, and as a Hollywood insider. Combining a detective's approach to investigating the truth with a criminal's alternative value system, Soderbergh's films tackle social justice in a corporate world, embodying dozens of cinematic trends and forms advanced in the past twenty-five years. His career demonstrates the richness of contemporary American cinema, and this study gives his complex oeuvre the in-depth analysis it deserves.
Luci Marzola
- Published in print:
- 2021
- Published Online:
- March 2021
- ISBN:
- 9780190885588
- eISBN:
- 9780190885625
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190885588.003.0004
- Subject:
- Literature, Film, Media, and Cultural Studies
The film technicians who used and managed the technology within the Hollywood studios themselves, such as cameramen and electricians, take center stage in this chapter, focusing on how the technical ...
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The film technicians who used and managed the technology within the Hollywood studios themselves, such as cameramen and electricians, take center stage in this chapter, focusing on how the technical work of motion picture production was understood, managed, and promoted within the new “factory” system of Hollywood. The primary case study here is the cameramen, who used their organization, the American Society of Cinematographers, and its publication, American Cinematographer, to establish their status as the chief technicians in motion picture production in the silent period, often by resisting unionization and by touting their special knowledge of the tools of the trade. The cinematographers positioned themselves as “engineers” within the studio, a position that the incursion of trained sound engineers into Hollywood challenged.Less
The film technicians who used and managed the technology within the Hollywood studios themselves, such as cameramen and electricians, take center stage in this chapter, focusing on how the technical work of motion picture production was understood, managed, and promoted within the new “factory” system of Hollywood. The primary case study here is the cameramen, who used their organization, the American Society of Cinematographers, and its publication, American Cinematographer, to establish their status as the chief technicians in motion picture production in the silent period, often by resisting unionization and by touting their special knowledge of the tools of the trade. The cinematographers positioned themselves as “engineers” within the studio, a position that the incursion of trained sound engineers into Hollywood challenged.
Norris Pope
- Published in print:
- 2013
- Published Online:
- March 2014
- ISBN:
- 9781617037412
- eISBN:
- 9781621039280
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617037412.001.0001
- Subject:
- Film, Television and Radio, Film
This book provides a history of the most consequential 35mm motion picture camera introduced in North America in the quarter century following the Second World War: the Arriflex 35. It traces the ...
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This book provides a history of the most consequential 35mm motion picture camera introduced in North America in the quarter century following the Second World War: the Arriflex 35. It traces the North American history of this camera from 1945 through 1972—when the first lightweight, self-blimped 35mm cameras became available. The book emphasizes theatrical film production, documenting the Arriflex’s increasingly important role in expanding the range of production choices, styles, and even content of American motion pictures in this period. Its exploration culminates most strikingly in examples found in feature films dating from the 1960s and early 1970s, including a number of films associated with what came to be known as the “Hollywood New Wave.” The author shows that the Arriflex prompted important innovation in three key areas: it greatly facilitated and encouraged location shooting; it gave cinematographers new options for intensifying visual style and content; and it stimulated low-budget and independent production. Films in which the Arriflex played an absolutely central role include Bullitt, The French Connection, and, most significantly, Easy Rider. Using an Arriflex for car-mounted shots, hand-held shots, and zoom-lens shots led to greater cinematic realism and personal expression.Less
This book provides a history of the most consequential 35mm motion picture camera introduced in North America in the quarter century following the Second World War: the Arriflex 35. It traces the North American history of this camera from 1945 through 1972—when the first lightweight, self-blimped 35mm cameras became available. The book emphasizes theatrical film production, documenting the Arriflex’s increasingly important role in expanding the range of production choices, styles, and even content of American motion pictures in this period. Its exploration culminates most strikingly in examples found in feature films dating from the 1960s and early 1970s, including a number of films associated with what came to be known as the “Hollywood New Wave.” The author shows that the Arriflex prompted important innovation in three key areas: it greatly facilitated and encouraged location shooting; it gave cinematographers new options for intensifying visual style and content; and it stimulated low-budget and independent production. Films in which the Arriflex played an absolutely central role include Bullitt, The French Connection, and, most significantly, Easy Rider. Using an Arriflex for car-mounted shots, hand-held shots, and zoom-lens shots led to greater cinematic realism and personal expression.
Emanuel Levy, Pedro Almodóvar, Terence Davies, Todd Haynes, Gus Van Sant, and John Waters
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780231152761
- eISBN:
- 9780231526531
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231152761.003.0004
- Subject:
- Literature, Film, Media, and Cultural Studies
One of America’s most iconoclastic directors, Van Sant has been the most committed chronicler of youth--working class youth, disaffected middle-class youth, regional youth, dispossessed black youth. ...
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One of America’s most iconoclastic directors, Van Sant has been the most committed chronicler of youth--working class youth, disaffected middle-class youth, regional youth, dispossessed black youth. This chapter deals with his personal movies (Mala Noche, Drugstore Cowboy, My Own Private Idaho), mainstream features (Good Will Hunting, Finding Forrester, Milk), and what is known as the Death Trilogy, indies about untimely and tragic death of youth (Gerry, Elephant, Last Days).Less
One of America’s most iconoclastic directors, Van Sant has been the most committed chronicler of youth--working class youth, disaffected middle-class youth, regional youth, dispossessed black youth. This chapter deals with his personal movies (Mala Noche, Drugstore Cowboy, My Own Private Idaho), mainstream features (Good Will Hunting, Finding Forrester, Milk), and what is known as the Death Trilogy, indies about untimely and tragic death of youth (Gerry, Elephant, Last Days).
Andrew A. Erish
- Published in print:
- 2021
- Published Online:
- September 2021
- ISBN:
- 9780813181196
- eISBN:
- 9780813181202
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813181196.003.0004
- Subject:
- Film, Television and Radio, Film
Chapter Three charts Vitagraph's ascendency in becoming the world's leader in motion picture production, during which time the company earned one million dollars in annual net profit. This was ...
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Chapter Three charts Vitagraph's ascendency in becoming the world's leader in motion picture production, during which time the company earned one million dollars in annual net profit. This was derived exclusively from foreign earnings due to the mismanagement of the Patents Company's domestic distribution arm. Part of Vitagraph's popularity is attributed to the crediting and promotion of its actors via the creation of the first trade and fan magazines devoted exclusively to the movies. There are in-depth profiles of such leading players "Vitagraph Girl" Florence Turner, matinee idol Maurice Costello, and comedian John Bunny, who was widely regarded as the most recognizable man in the world. The significance of Vitagraph's Los Angeles studio in the production of popular Westerns is considered. The chapter also includes an analysis of the company's development of a sophisticated cinematography aesthetic to complement particular narratives, an approach that later came to be labeled "film noir".Less
Chapter Three charts Vitagraph's ascendency in becoming the world's leader in motion picture production, during which time the company earned one million dollars in annual net profit. This was derived exclusively from foreign earnings due to the mismanagement of the Patents Company's domestic distribution arm. Part of Vitagraph's popularity is attributed to the crediting and promotion of its actors via the creation of the first trade and fan magazines devoted exclusively to the movies. There are in-depth profiles of such leading players "Vitagraph Girl" Florence Turner, matinee idol Maurice Costello, and comedian John Bunny, who was widely regarded as the most recognizable man in the world. The significance of Vitagraph's Los Angeles studio in the production of popular Westerns is considered. The chapter also includes an analysis of the company's development of a sophisticated cinematography aesthetic to complement particular narratives, an approach that later came to be labeled "film noir".
Ray Zone
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780813136110
- eISBN:
- 9780813141183
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813136110.003.0015
- Subject:
- Film, Television and Radio, Film
The making of the IMAX 3-D film Cirque du Soleil: Journey of Man is analysed. Filmmakers Keith Melton, Reed Smoot, Peter Anderson and John Hora, who worked on the film are interviewed about aspects ...
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The making of the IMAX 3-D film Cirque du Soleil: Journey of Man is analysed. Filmmakers Keith Melton, Reed Smoot, Peter Anderson and John Hora, who worked on the film are interviewed about aspects of producing the film.Less
The making of the IMAX 3-D film Cirque du Soleil: Journey of Man is analysed. Filmmakers Keith Melton, Reed Smoot, Peter Anderson and John Hora, who worked on the film are interviewed about aspects of producing the film.
Ray Zone
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780813136110
- eISBN:
- 9780813141183
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813136110.003.0003
- Subject:
- Film, Television and Radio, Film
Camera configurations using dual-band or two cameras to photograph 3D motion pictures are described in the different configurations used for the 1950s 3D movies.
Camera configurations using dual-band or two cameras to photograph 3D motion pictures are described in the different configurations used for the 1950s 3D movies.
Ruth Barton
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780813147093
- eISBN:
- 9780813151496
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813147093.003.0007
- Subject:
- Film, Television and Radio, Film
In this chapter Ingram makes the shift into genre filmmaking, making two swashbucklers, The Prisoner of Zenda (1922), set in mythical Ruritania, and Scaramouche (1923), as well as more intimate ...
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In this chapter Ingram makes the shift into genre filmmaking, making two swashbucklers, The Prisoner of Zenda (1922), set in mythical Ruritania, and Scaramouche (1923), as well as more intimate romances. He marries Alice Terry and takes on Ramón Novarro to replace Valentino as his films’ new “Latin lover.” The chapter continues to analyze Ingram’s style and the contribution of his cinematographer, John Seitz.Less
In this chapter Ingram makes the shift into genre filmmaking, making two swashbucklers, The Prisoner of Zenda (1922), set in mythical Ruritania, and Scaramouche (1923), as well as more intimate romances. He marries Alice Terry and takes on Ramón Novarro to replace Valentino as his films’ new “Latin lover.” The chapter continues to analyze Ingram’s style and the contribution of his cinematographer, John Seitz.
