Rewriting Indie Cinema

In Rewriting Indie Cinema, J. J. Murphy explores alternative forms of scripting and how they have shaped American film from the 1950s to the present.

Author: J. J. Murphy

Publisher:

ISBN: 0231191960

Category: Performing Arts

Page: 360

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In Rewriting Indie Cinema, J. J. Murphy explores alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer's own life experiences.

Rewriting Indie Cinema

Rewriting Indie Cinema deals with such issues: the scripted and the unscripted, fiction and nonfiction, and the differences between them. This book grew out of my previous two: Me and You and Memento and Fargo: How Independent ...

Author: J. J. Murphy

Publisher: Columbia University Press

ISBN: 9780231549592

Category: Performing Arts

Page: 337

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Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from the page to performance. In Rewriting Indie Cinema, J. J. Murphy explores these alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer’s own life experiences. Murphy begins in the 1950s and 1960s with John Cassavetes, Shirley Clarke, Barbara Loden, Andy Warhol, Norman Mailer, William Greaves, and other independent directors who sought to create a new type of narrative cinema. In the twenty-first century, filmmakers such as Gus Van Sant, the Safdie brothers, Joe Swanberg, and Sean Baker developed similar strategies, sometimes benefitting from the freedom of digital technology. In reading key films and analyzing their techniques, Rewriting Indie Cinema demonstrates how divergence from the script has blurred the divide between fiction and nonfiction. Showing the ways in which filmmakers have striven to capture the subtleties of everyday behavior, Murphy provides a new history of American indie filmmaking and how it challenges Hollywood industrial practices.

Acting Indie

Black City Cinema: African American Experiences in Film. Philadelphia:Temple University Press. Murphy, J.J. 2019. Rewriting Indie Cinema: Improvisation, Psychodrama, and the Screenplay. New York: Columbia University Press.

Author: Cynthia Baron

Publisher: Springer Nature

ISBN: 9781137408631

Category: Performing Arts

Page: 347

View: 567

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This book illustrates the many ways that actors contribute to American independent cinema. Analyzing industrial developments, it examines the impact of actors as writers, directors, and producers, and as stars able to attract investment and bring visibility to small-scale productions. Exploring cultural-aesthetic factors, the book identifies the various traditions that shape narrative designs, casting choices, and performance styles. The book offers a genealogy of industrial and aesthetic practices that connects independent filmmaking in the studio era and the 1960s and 1970s to American independent cinema in its independent, indie, indiewood, and late-indiewood forms. Chapters on actors’ involvement in the evolution of American independent cinema as a sector alternate with chapters that show how traditions such as naturalism, modernism, postmodernism, and Third Cinema influence films and performances.

Robert Altman and the Elaboration of Hollywood Storytelling

Murphy, Rewriting Indie Cinema, 12–13. 7. Steven Maras, Screenwriting: History, Theory, and Practice (London: Wallflower Press, 2009), 21–22. 8. Ian W. Macdonald, Screenwriting Poetics and the Screen Idea (New York: Palgrave Macmillan, ...

Author: Mark Minett

Publisher: Oxford University Press, USA

ISBN: 9780197523827

Category: Performing Arts

Page: 392

View: 371

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Robert Altman and the Elaboration of Hollywood Storytelling reveals an Altman barely glimpsed in previous critical accounts of the filmmaker. This re-examination of his seminal work during the "Hollywood Renaissance" or "New Hollywood" period of the early 1970s (including M*A*S*H, Brewster McCloud, McCabe & Mrs. Miller, Images, The Long Goodbye, Thieves Like Us, California Split, and Nashville) sheds new light on both the films and the filmmaker, reframing Altman as a complex, pragmatic innovator whose work exceeds, but is also grounded in, the norms of classical Hollywood storytelling rather than someone who rejected those norms in favor of modernist art cinema. Its findings and approach hold important implications for the study of cinematic authorship. Largely avoiding thematic exegesis, it employs an historical poetics approach, robust functionalist frameworks, archival research, and formal and statistical analysis to demystify the essential features of the standard account of Altman's filmmaking history and profile-lax narrative form, heavy reliance on the zoom, sound design replete with overlapping dialogue, improvisational infidelity to the screenplay, and a desire to subvert based in his time in the training grounds of industrial filmmaking and filmed television. The book provides a clear example of how a filmmaker might work collaboratively and pragmatically within and across media institutions to elaborate upon their sanctioned practices and aims. We misunderstand Altman's work, and the creative work of Hollywood filmmakers in general, when we insist on describing innovation as opposition to institutional norms and on describing those norms as simply assimilating innovation.

The Florida Project

Baker's nimble approach is well suited to making low-budget films, but how would it fare on a production with a much larger ... 7 In Rewriting Indie Cinema, I trace the use of improvisation in indie cinema from its early roots at the ...

Author: J. J. Murphy

Publisher: University of Texas Press

ISBN: 9781477324066

Category: Performing Arts

Page: 216

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In Sean Baker’s award-winning 2017 film The Florida Project, a young girl, her single mother, and her friends live in rundown motels near Disney World, the children’s summer fun contrasting with the grim conditions around them. In this book, J. J. Murphy delves deep into the movie’s development and filming while also examining it within the wider context of Baker’s career. Using production documents, different versions of the screenplay, and interviews with principal members of the production team, Murphy traces the evolution of The Florida Project from initial idea through its various stages of production. He highlights Baker’s unconventional strategies in making a film about a marginalized subculture, including alternative scripting, guerrilla-like filmmaking, improvisation, and the unorthodox casting of local and first-time actors. Murphy also explores how Baker’s impromptu style sometimes rankled crew members and caused a major crisis on set, revealing the difficulties indie filmmakers can face when working with professional crews on larger films. A lively analysis of this critically acclaimed movie, its director, and its production, The Florida Project also betters our understanding of contemporary independent cinema as a whole.

Robert De Niro at Work

As J. J. Murphy's recent study Rewriting Indie Cinema: Improvisation, Psychodrama and the Screenplay makes clear, improvisation reached the cinema via a number of different routes, and via an inter-medial approach to filmmaking in which ...

Author: Adam Ganz

Publisher: Springer Nature

ISBN: 9783030479602

Category: Performing Arts

Page: 246

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Robert De Niro and the Working Screenplay is the first critical study to examine how Robert de Niro, perhaps the finest screen actor of his generation, works with screenplays to imagine, prepare and denote his performance. In categorising the various ways in which De Niro works with a screenplay, this book will re-examine the relationship between actor and text. This book considers the screenplay as above all a working document and a material object, present at every stage of the filmmaking process. The working screenplay goes through various iterations in development and exists in many versions on set, each adapted and personalised for the specific use of the individual and their role. As the archive reveals, nobody works more closely with the script than the actor, and no actor works more on a script than De Niro.

Absence in Cinema

... Rogers Continental Strangers: German Exile Cinema, 1933–1951 Gerd Gemünden Deathwatch: American Film, Technology, ... Cinema, and Media of the 1920s Sarah Street and Joshua Yumibe Rewriting Indie Cinema: Improvisation, Psychodrama, ...

Author: Justin Remes

Publisher: Columbia University Press

ISBN: 9780231548281

Category: Performing Arts

Page:

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Absence has played a crucial role in the history of avant-garde aesthetics, from the blank canvases of Robert Rauschenberg to Yves Klein’s invisible paintings, from the “silent” music of John Cage to Samuel Beckett’s minimalist theater. Yet little attention has been given to the important role of absence in cinema. In the first book to focus on cinematic absence, Justin Remes demonstrates how omissions of expected elements can spur viewers to interpret and understand the nature of film in new ways. While most film criticism focuses on what is present, such as images on the screen and music and dialogue on the soundtrack, Remes contends that what is missing is an essential part of the cinematic experience. He examines films without images—such as Walter Ruttmann’s Weekend (1930), a montage of sounds recorded in Berlin—and films without sound—such as Stan Brakhage’s Window Water Baby Moving (1959), which documents the birth of the filmmaker’s first child. He also examines found footage films that erase elements from preexisting films such as Naomi Uman’s removed (1999), which uses nail polish and bleach to blot out all the women from a pornographic film, and Martin Arnold’s Deanimated (2002), which digitally eliminates images and sounds from a Bela Lugosi B movie. Remes maps out the effects and significations of filmic voids while grappling with their implications for film theory. Through a careful analysis of a broad array of avant-garde works, Absence in Cinema reveals that films must be understood not only in terms of what they show but also what they withhold.

William Greaves

In The Garden in the Machine: A Field Guide to Independent Films About Place, 223–46. ... In Rewriting Indie Cinema: Improvisation, Psychodrama, and the Screenplay, chap. 5. New York: Columbia University Press, 2019.

Author: Scott MacDonald

Publisher: Columbia University Press

ISBN: 9780231553193

Category: Performing Arts

Page:

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William Greaves is one of the most significant and compelling American filmmakers of the past century. Best known for his experimental film about its own making, Symbiopsychotaxiplasm: Take One, Greaves was an influential independent documentary filmmaker who produced, directed, shot, and edited more than a hundred films on a variety of social issues and on key African American figures ranging from Muhammad Ali to Ralph Bunche to Ida B. Wells. A multitalented artist, his career also included stints as a songwriter, a member of the Actors Studio, and, during the late 1960s, a producer and cohost of Black Journal, the first national television show focused on African American culture and politics. This volume provides the first comprehensive overview of Greaves’s remarkable career. It brings together a wide range of material, including a mix of incisive essays from critics and scholars, Greaves’s own writings, an extensive meta-interview with Greaves, conversations with his wife and collaborator Louise Archambault Greaves and his son David, and a critical dossier on Symbiopsychotaxiplasm. Together, they illuminate Greaves’s mission to use filmmaking as a tool for transforming the ways African Americans were perceived by others and the ways they saw themselves. This landmark book is an essential resource on Greaves’s work and his influence on independent cinema and African-American culture.

Spaces Mapped and Monstrous

Digital 3D Cinema and Visual Culture Nick Jones ... Secret: The Hidden Environmental Costs of the Movies, Hunter Vaughan Chromatic Modernity: Color, Cinema, and Media of the 1920s, Sarah Street and Joshua Yumibe Rewriting Indie Cinema: ...

Author: Nick Jones

Publisher: Columbia University Press

ISBN: 9780231550710

Category: Performing Arts

Page: 305

View: 223

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Digital 3D has become a core feature of the twenty-first-century visual landscape. Yet 3D cinema is a contradictory media form: producing spaces that are highly regimented and exhaustively detailed, it simultaneously relies upon distortions of vision and space that are inherently strange. Spaces Mapped and Monstrous explores the paradoxical nature of 3D cinema to offer a critical analysis of an inescapable part of contemporary culture. Considering 3D’s distinctive visual qualities and its connections to wider digital systems, Nick Jones situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and historical contexts. He examines 3D’s relationship with computer interfaces, virtual reality, and digital networks as well as tracing its lineage to predigital models of visual organization. Jones emphasizes that 3D is not only a technology used in films but also a tool for producing, controlling, and distorting space within systems of surveillance, corporatization, and militarization. The book features detailed analysis of a wide range of films—including Avatar (2009), Goodbye to Language (2014), Love (2015), and Clash of the Titans (2010)—demonstrating that 3D is not merely an augmentation of 2D cinema but that it has its own unique properties. Spaces Mapped and Monstrous brings together media archaeology, digital theory, and textual analysis to provide a new account of the importance of 3D to visual culture today.

Keep Em in the East

... Hollywood's Dirtiest Secret: The Hidden Environmental Costs of the Movies, Hunter Vaughan Chromatic Modernity: Color, Cinema, and Media of the 1920s, Sarah Street and Joshua Yumibe Rewriting Indie Cinema: Improvisation, Psychodrama, ...

Author: Richard Koszarski

Publisher: Columbia University Press

ISBN: 9780231553872

Category: Performing Arts

Page:

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The year 1955 was a watershed one for New York’s film industry: Elia Kazan’s On the Waterfront took home eight Oscars, and, more quietly, Stanley Kubrick released the low-budget classic Killer’s Kiss. A wave of films that changed how American movies were made soon followed, led by directors such as Sidney Lumet, William Friedkin, Francis Ford Coppola, and Martin Scorsese. Yet this resurgence could not have occurred without a deeply rooted tradition of local film production. Richard Koszarski chronicles the compelling and often surprising origins of New York’s postwar film renaissance, looking beyond such classics as Naked City, Kiss of Death, and Portrait of Jennie. He examines the social, cultural, and economic forces that shaped New York filmmaking, from city politics to union regulations, and shows how decades of low-budget independent production taught local filmmakers how to capture the city’s grit, liveliness, and allure. He reveals the importance of “race films”—all-Black productions intended for segregated African American audiences—that not only helped keep the film business afloat but also nurtured a core group of writers, directors, designers, and technicians. Detailed production histories of On the Waterfront and Killer’s Kiss—films that appear here in a completely new light—illustrate the distinctive characteristics of New York cinema. Drawing on a vast array of research—including studio libraries, censorship records, union archives, and interviews with participants—“Keep ’Em in the East” rewrites a crucial chapter in the history of American cinema.

The Modernist Screenplay

Rewriting Indie Cinema: Improvisation, Psychodrama, and the Screenplay. New York: Columbia University Press. Nannicelli, Ted. 2013. A Philosophy of the Screenplay. New York: Routledge. Price, Steven. 2010. The Screenplay: Authorship ...

Author: Alexandra Ksenofontova

Publisher: Springer Nature

ISBN: 9783030505899

Category: Electronic books

Page: 249

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The Modernist Screenplay explores the film screenplay as a genre of modernist literature. It connects the history of screenwriting for silent film to the history of literary modernism in France, Germany, and Russia. At the same time, the book considers how the screenplay responded to the modernist crisis of reason, confronted mimetic representation, and sought to overcome the modernist mistrust of language with the help of rhythm. From the silent film projects of Bertolt Brecht, to the screenwriting of Sergei Eisenstein and the poetic scripts of the surrealists, The Modernist Screenplay offers a new angle on the relationship between film and literature. Based on the example of modernist screenwriting, the book proposes a pluralistic approach to screenplays, an approach that sees film scripts both as texts embedded in film production and as literary works in their own right. As a result, the sheer variety of different and experimental ways to tell stories in screenplays comes to light. The Modernist Screenplay explores how the earliest kind of experimental screenplays--the modernist screenplays--challenged normative ideas about the nature of filmmaking, the nature of literary writing, and the borders between the two. .

Bombay Hustle

... Hollywood's Dirtiest Secret: The Hidden Environmental Costs of the Movies Hunter Vaughan Chromatic Modernity: Color, Cinema, and Media of the 1920s Sarah Street and Joshua Yumibe Rewriting Indie Cinema: Improvisation, Psychodrama, ...

Author: Debashree Mukherjee

Publisher: Columbia University Press

ISBN: 9780231551670

Category: Performing Arts

Page: 420

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From starry-eyed fans with dreams of fame to cotton entrepreneurs turned movie moguls, the Bombay film industry has historically energized a range of practices and practitioners, playing a crucial and compelling role in the life of modern India. Bombay Hustle presents an ambitious history of Indian cinema as a history of material practice, bringing new insights to studies of media, modernity, and the late colonial city. Drawing on original archival research and an innovative transdisciplinary approach, Debashree Mukherjee offers a panoramic portrait of the consolidation of the Bombay film industry during the talkie transition of the 1920s–1940s. In the decades leading up to independence in 1947, Bombay became synonymous with marketplace thrills, industrial strikes, and modernist experimentation. Its burgeoning film industry embodied Bombay’s spirit of “hustle,” gathering together and spewing out the many different energies and emotions that characterized the city. Bombay Hustle examines diverse sites of film production—finance, pre-production paperwork, casting, screenwriting, acting, stunts—to show how speculative excitement jostled against desires for scientific management in an industry premised on the struggle between contingency and control. Mukherjee develops the concept of a “cine-ecology” in order to examine the bodies, technologies, and environments that collectively shaped the production and circulation of cinematic meaning in this time. The book thus brings into view a range of marginalized film workers, their labor and experiences; forgotten film studios, their technical practices and aesthetic visions; and overlooked connections among media practices, geographical particularities, and historical exigencies.

Anxious Cinephilia

... Hollywood's Dirtiest Secret: The Hidden Environmental Costs of the Movies Hunter Vaughan Chromatic Modernity: Color, Cinema, and Media of the 1920s Sarah Street and Joshua Yumibe Rewriting Indie Cinema: Improvisation, Psychodrama, ...

Author: Sarah Keller

Publisher: Columbia University Press

ISBN: 9780231543309

Category: Performing Arts

Page: 301

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The advent of new screening practices and viewing habits in the twenty-first century has spurred a public debate over what it means to be a “cinephile.” In Anxious Cinephilia, Sarah Keller places these competing visions in historical and theoretical perspective, tracing how the love of movies intertwines with anxieties over the content and impermanence of cinematic images. Keller reframes the history of cinephilia from the earliest days of film through the French New Wave and into the streaming era, arguing that love and fear have shaped the cinematic experience from its earliest days. This anxious love for the cinema marks both institutional practices and personal experiences, from the curation of the moviegoing experience to the creation of community and identity through film festivals to posting on social media. Through a detailed analysis of films and film history, Keller examines how changes in cinema practice and spectatorship create anxiety even as they inspire nostalgia. Anxious Cinephilia offers a new theoretical approach to the relationship between spectator and cinema and reimagines the concept of cinephilia to embrace its diverse forms and its uncertain future.

Play Time

... Cinema, and Media of the 1920s, Sarah Street and Joshua Yumibe Rewriting Indie Cinema: Improvisation, Psychodrama, and the Screenplay, J. J. Murphy On the Screen: Displaying the Moving Image, 1926–1942, Ariel Rogers.

Author: Malcolm Turvey

Publisher: Columbia University Press

ISBN: 9780231550116

Category: Performing Arts

Page: 311

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Jacques Tati is widely regarded as one of the greatest postwar European filmmakers. He made innovative and challenging comedies while achieving international box office success and attaining a devoted following. In Play Time, Malcolm Turvey examines Tati’s unique comedic style and evaluates its significance for the history of film and modernism. Turvey argues that Tati captured elite and general audiences alike by combining a modernist aesthetic with slapstick routines, gag structures, and other established traditions of mainstream film comedy. Considering films such as Monsieur Hulot’s Holiday (1953), Mon Oncle (1958), Play Time (1967), and Trafic (1971), Turvey shows how Tati drew on the rich legacy of comic silent film while modernizing its conventions in order to encourage his viewers to adopt a playful attitude toward the modern world. Turvey also analyzes Tati’s sardonic view of the bourgeoisie and his complex and multifaceted satire of modern life. Tati's singular and enduring achievement, Turvey concludes, was to translate the democratic ideals of the postwar avant-garde into mainstream film comedy, crafting a genuinely popular modernism. Richly illustrated with images from the director’s films, Play Time offers an illuminating and original understanding of Tati’s work.

Film Studies second edition

Chromatic Modernity: Color, Cinema, and Media of the 1920s SARAH STREET AND JOSHUA YUMIBE Rewriting Indie Cinema: Improvisation, Psychodrama, and the Screenplay J. J. MURPHY On the Screen: Displaying the Moving Image, 1926–1942 ARIEL ...

Author: Ed Sikov

Publisher: Columbia University Press

ISBN: 9780231551564

Category: Performing Arts

Page: 269

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Film Studies is a concise and indispensable introduction to the formal study of cinema. Ed Sikov offers a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director’s use of camera movement. Film Studies is designed for courses on film history, film theory, and popular culture. Its straightforward explanations of core critical concepts, practical advice, and technical, visual, and aesthetic aspects anchor the reader’s understanding of the formal language and anatomy of film and the techniques of film analysis. The second edition of this best-selling textbook adds two new chapters: “Film and Ideology,” which covers how to read a film’s political and social content, and other key topics in film theory, and “Film Studies in the Age of Digital Cinema,” which explores the central problems of studying film when “film” itself is no longer the medium.

Indie Cinema Online

In the current era of media convergence, cinema's meaning is being rewritten as viewers experience cinema on their computers, tablets, and cell phones. However, this proliferation of screens impacts not only the content that is ...

Author: Sarah E.S. Sinwell

Publisher: Rutgers University Press

ISBN: 9781978814714

Category: Performing Arts

Page: 186

View: 324

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Indie Cinema Online investigates the changing nature of contemporary American independent cinema in an era of media convergence. Focusing on the ways in which modes of production, distribution, and exhibition are shifting with the advent of online streaming, simultaneous release strategies, and web series, this book analyzes sites such as SundanceTV, YouTube, Netflix, Hulu, and other online spaces as a means of redefining independent cinema in a digital era. Analyzing the intersections among cinema studies, cultural studies, and new media studies within contemporary convergence culture, author Sarah E.S. Sinwell looks at sites of media convergence that are often ignored within most studies of digital media. Emphasizing the ways in which the forms and technologies of media culture have changed during the age of convergence, this book analyzes contemporary production, distribution, and exhibition practices as a means of examining the changing meanings of independent cinema within digital culture.

American Independent Cinema

Indie, Indiewood and Beyond Geoff King, Claire Molloy, Yannis Tzioumakis ... Rather than rewriting the dominant narratives of U.S. culture in the 1960s or 1970s—i.e. narratives of the turbulent, vibrant 1960s and the malaise-ridden ...

Author: Geoff King

Publisher: Routledge

ISBN: 9780415684286

Category: Performing Arts

Page: 253

View: 931

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The American independent sector has attracted much attention in recent years, an upsurge of academic work on the subject being accompanied by wider public debate. But many questions remain about how exactly independence should be defined and how its relationship might be understood with other parts of the cinematic landscape, most notably the Hollywood studios. Edited and written by leading authors in the field, American Independent Cinema: indie, indiewood and beyond offers an examination of the field through four sections that range in focus from broad definitions to close focus on particular manifestations of independence. A wide variety of examples are included but within a framework that offers insights into how these are related to one another. More specifically this collection offers: an account of recent developments as well as reviewing, reassessing and revising a number of central positions, approaches and arguments relating to various parts of the independent and/or indie sector. Individual case studies that range from the distinctive qualities of the work of established 'quality' filmmakers such as Wes Anderson, Steven Soderbergh and Rebecca Miller to studies of horror genre production at the more 'disreputable' end of the independent spectrum. Examples of the limits of independence available in some cases within Hollywood, including studies of the work of Stanley Kubrick and Hal Ashby. Case studies of under-researched areas in the margins of American independent cinema, including the Disney nature films and Christian evangelical filmmaking. A number of wider overview chapters that examine contemporary American independent cinema from a number of perspectives. Together, the chapters in the collection offer a unique contribution to the study of independent film in the United States. Contributors: Warren Buckland, Philip Drake, Mark Gallagher, Geoff King, Peter Krämer, Novotny Lawrence, James MacDowell, Claire Molloy, Michael Z. Newman, Alisa Perren, James Russell, Thomas Schatz, Michele Schreiber, Janet Staiger, Yannis Tzioumakis, Sarah Wharton

Indie Science Fiction Cinema Today

Comic books were dominant in their rewriting of history, with X-Men: First Class and X-Men: Days of Future Past taking ... The indie film arena saw an opportunity to use alternate histories to observe our own under a microscope, ...

Author: Kathleen Fernandez-Vander Kaay

Publisher: McFarland

ISBN: 9781476669335

Category: Performing Arts

Page: 260

View: 978

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Much of 20th century science fiction foretold technological and social developments beyond the year 2000. Since then, a key theme has been: what happens when the future no one anticipated arrives faster than anyone expected? Focusing on 21st century independent science fiction films, the author describes a seismic shift in subject matter as society moves into a new technological age. Independent films since the millennium are more daring, incisive and even plausible in their depiction of possible futures than blockbuster films of the same period. Twenty-one chapters break down today's subgenres, featuring interviews with the filmmakers who created them.

Memory Subjectivity and Independent Chinese Cinema

In other words, this fin-de-siècle rewriting of the past is an effort to restore human agency against the inhuman power of modern political economy and technology. Such is the situation, as well as opportunity, that the filmmakers and ...

Author: Qi Wang

Publisher: Edinburgh University Press

ISBN: 9780748692347

Category: History

Page: 264

View: 270

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Memory, Subjectivity and Independent Chinese Cinema provides a historically informed examination of independent moving image works made between 1990 and 2010 in China. Showcasing an evolving personal mode of narrating memory, documenting reality, and inscribing subjectivity in over sixteen selected works that range from narrative film and documentary to experimental video and digital media (even including a multimedia avant-garde play), this book presents a provocative portrait of the independent filmmakers as a peculiarly pained yet active group of historical subjects of the transitional, post-socialist era. Through a connected investigation of cultural and cinematic concepts including historical consciousness, personal memory, narrative, performance, subjectivity, spatiality, and the body, Wang weaves a critical narrative of the formation of a unique post-socialist cultural consciousness that enables independent cinema and media to become a highly significant and effective conduit for historical thinking in contemporary China. Covering directors such as Zhang Yimou, Chen Kaige, Jia Zhangke, Jiang Wen, Lou Ye, Meng Jinghui, Wang Bing, Wang Guangli, Duan Jinchuan, Cui Zi'en, Shi Tou, and Tang Danhong, this book is essential reading for all students and scholars in Chinese film.

The Cinema Book

Sirk, Douglas,, French cinema since the 1980s, Selected Reading, Problems of definition, The two voices of melodrama, ... Valerie,, Independent cinema Solás, Humberto,, Rewriting the past, Selected Reading Soldiers of the Cross,, ...

Author: Bloomsbury Publishing

Publisher: Bloomsbury Publishing

ISBN: 9781838718688

Category: Performing Arts

Page: 450

View: 797

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The Cinema Book is widely recognised as the ultimate guide to cinema. Authoritative and comprehensive, the third edition has been extensively revised, updated and expanded in response to developments in cinema and cinema studies. Lavishly illustrated in colour, this edition features a wealth of exciting new sections and in-depth case studies. Sections address Hollywood and other World cinema histories, key genres in both fiction and non-fiction film, issues such as stars, technology and authorship, and major theoretical approaches to understanding film.