Academic literature on the topic 'Auteur Cinema'
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Journal articles on the topic "Auteur Cinema"
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Karatay, Ali. "CINEMA OF MIYAZAKI AND AUTEUR THEORY." Idil Journal of Art and Language 4, no. 18 (October 20, 2015): 111–22. http://dx.doi.org/10.7816/idil-04-18-06.
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Burgin, Alice, Andrew McGregor, and Colin Nettelbeck. "Not dead yet: Three takes on auteurism in contemporary French and Francophone cinema." French Cultural Studies 25, no. 3-4 (August 2014): 396–407. http://dx.doi.org/10.1177/0957155814534146.
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Sixty years have passed since the term une politique des auteurs was first coined by François Truffaut in the pages of Les Cahiers du cinéma. Initially an approach to filmmaking reacting against its own socio-political context, la politique evolved into something of an ideological celebration of the personal worldview of the artist, and became a dominant element in determining a new canon of cinéma d’art. Since the fall of the French colonial empire, the end of the Cold War and the rise of a vastly transformed global order, the French cinema industry, including many historians and critics, seems to have largely maintained the auteur-based model in terms of its funding and self-projection on both a national and an international level. But is that not an anomaly? What is the real place and meaning of the auteur paradigm within the context of a diverse and fractured Francophone world? This article provides three different perspectives regarding the critical purchase of la politique des auteurs within the contemporary postcolonial Francophone cinematic landscape. Through these perspectives, we argue that while the auteur paradigm can claim relevance within the confines of the Franco-French film industry, its wider applicability as a model for Francophone filmmaking raises pertinent questions about the continuing influence of the metropolitan centre on how minority identities are constructed and received.
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Iordanova, Dina. "Women’s Place in Film History: the Importance of Continuity." Panoptikum, no. 23 (August 24, 2020): 10–23. http://dx.doi.org/10.26881/pan.2020.23.01.
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The author calls for continuity and continuation of the study of women’s cinema. Attention is drawn to the blurring of memory and even erasing women from the history of national film industries. They are not recognised as authors, while the history of cinema has been subject to the concept of the auteur film-maker. The filmmakers are made through the commitment and work of film critics and then cinema historians. The expert does not hide the fact that those relationships are strengthened by bonds of friendship, without the fear of being accused of having a lack of objectivity, and are often associated with the support of the author on the international festival circuit. The author calls for ‘watching across borders’, i.e. a supranational approach to the study of women’s cinema. Crossing the borders of national cinemas, in which the authors have not been recognised, allows a broader perspective to see the critical mass of the authors of world cinema. Politically, for the feminist cause, it is better to talk about European women’s cinema. Iordanova selects from the history of Central and Eastern European cinema, the names of authors who did not receive due attention. Moreover, she proposes specific inclusive and corrective feminist practices: the inclusion of filmmakers in the didactics, repertoires of film collections and festival selections; a commitment to self-study by watching at least one woman’s film a week.
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Rybina, P. "HAMLET’S APPROPRIATION IN AUTEUR AND INDEPENDENT CINEMA." Voprosy literatury, no. 2 (September 30, 2018): 38–53. http://dx.doi.org/10.31425/0042-8795-2018-2-38-53.
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The article focuses on the priorities in contemporary studies of cinematic adaptations. Looking at the various appropriations of this Shakespeare’s tragedy in art and indie movies, the researcher reveals how by underscoring the director’s visual imagination and the ‘power’ of a cinematic tradition one can revise the scope of adaptation studies. Concentrating on the signature elements of A. Kaurismäki’s and M. Almereyda’s cinematography, the author emphasizes the productivity of the audience’s ‘entrancement’ with the visual and sonic interpretation of the classical piece (through the use of the American film noir stylistics by Kaurismäki, and through Almereyda’s interplay of multiple on-screen realities). In the viewers’ memory, literary meanings are expelled rather aggressively by new cinematographic ones. Kaurismäki turns the tragedy into a tastefully stylized noir whodunit, while Almereyda went for a reflective narrative about neo-Hamletism at an age of expanding virtual realities. In her demonstration of how the directors achieved such effects, the author argues the priority of the cinematographic auteurship (including the case of collective auteurship) in the analysis of contemporary film adaptations.
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Van Belle, Jono. "Re-conceptualizing Ingmar Bergman’s status as auteur du cinema." European Journal of Cultural Studies 22, no. 1 (July 26, 2017): 3–17. http://dx.doi.org/10.1177/1367549417718211.
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Why is it that some film directors become and remain central in the reception of their works and others do not? Classical auteur theory suggests the answer lies in the personality of the director. In this article, we explore and re-conceptualize the status of auteur du cinema Ingmar Bergman, Swedish film director. In line with Dyer’s gap between the institution and the audience, we explore Bergman’s self-fashioning through his own published writings and compare this to what was written about him in the Swedish press between 1944 and 1983, his most active years as a film director. The result is an analysis of dominant and alternative cultural discourses concerning Bergman’s authorship that facilitates an exploration into the corresponding interpretative strategies located in the audience. Here, Bergman’s status as popular celebrity in Sweden contributes to a paradoxical image – and recognition – of the high-art auteur, not in the least through his own myth-making.
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Kempna-Pieniążek, Magdalena. "Niedokończona konkwista. O niezrealizowanym projekcie filmowym Wernera Herzoga." Prace Kulturoznawcze 22, no. 3 (May 7, 2019): 41–52. http://dx.doi.org/10.19195/0860-6668.22.3.4.
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Unfinished conquest. On Werner Herzog’s unmade film projectThe paper shows Werner Herzog’s unmade project The Conquest of Mexico in the context of the director’s complex relations with mainstream cinema. The film which was supposed to initiate closer Werner Herzog–Francis Ford Coppola cooperation with time became known as one of cinema’s “unfinished masterpieces”. Trying to pinpoint the causes of the project’s failure, the author of the paper analyses the status of European auteur in contemporary Hollywood. One of the main contexts of the analysis is Indiewood, where the influence of mainstream cinema meets the potential of independent cinema and where such directors as Werner Herzog may find their place without the necessity of abandoning their artistic visions.
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Smolev, Daniil D. "Video Aesthetics in Cinema and Video Art." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 109–18. http://dx.doi.org/10.17816/vgik73109-118.
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The article is devoted to the genesis and unique semantic characteristics of video aesthetics pertinent to both auteur cinema and modern art (video art, in particular). Being a kind of common denominator for these art forms, video aesthetics manifests itself differently in the art gallery and film theatre, in the duration of a video work and a feature film, in the mentality of a film director and an artist. The author makes an attempt to reveal the methods of reciprocal influence of the two art forms, their specific languages connected through video aesthetics illustrated by the work of Harmony Korine, Vincent Gallo, Philippe Grandrieux and Philippe Parreno.
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Menne, Jeff. "The Cinema of Defection: Auteur Theory and Institutional Life." Representations 114, no. 1 (2011): 36–64. http://dx.doi.org/10.1525/rep.2011.114.1.36.
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This essay identifies a genre of Hollywood film developed in certain peak years of poststudio reorientation, 1967–1974, the narratives of which might be deemed anticlassical for their tendency to depict protagonists—typically a defecting couple—as objects more than subjects. These films, significantly the work of those directors known as auteurs, can be taken as the aesthetic version of the New Left's political repudiation of institutional life.
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Tougouchi, Soso. "The Theme of War in the European Auteur Cinema." Contemporary Europe 67, no. 1 (February 1, 2016): 138–45. http://dx.doi.org/10.15211/soveurope12016138145.
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Алиева, Айзада. "ОТРАЖЕНИЕ ТЕОРИИ АВТОРСКОГО КИНО НА КИНЕМАТОГРАФ КЫРГЫЗСТАНА на примере фильмов Актан Арым Кубата." Vestnik Bishkek Humanities University, Issue 54 (December 21, 2020): 42–47. http://dx.doi.org/10.35254/bhu.2021.54.15.
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На сегодняшний день в кино режиссер играет большую и важную роль. Условно авторов фильма разделяют на два типа: коммерческие и авторские режиссеры. Второй тип режиссеров это те, у которых есть свое видение, свой стиль и почерк в кино. В этой статье будут рассматриваться фильмы кыргызского режиссера Актана Арым Кубата в контексте теории авторского кино, а также отражение этой теории на кыргызский кинематограф. Теория авторского кино является эффективной на западе, но в нашем кыргызском кинематографе отсутствуют конкретные исследования на эту тему. Исходя из этого тема является актуальной и статья будет полезной для студентов, магистрантов. Режиссер бүгүнкү күндө кинодо чоң жана маанилүү ролду ойнойт. Фильмдин авторлору шарттуу түрдө эки түргө бөлүнөт: коммерциялык жана автордук режиссерлор. Экинчи түрдөгү режиссерлор - бул кинодогу өзүнүн көз карашы, өзүнө таандык стили бар адамдар. Бул макалада кыргыз режиссеру Актан Арым Кубаттын тасмалары автордук кино теориясынын контекстинде изилденет. Ошондой эле бул теориянын кыргыз киносунда чагылдырылышы каралат. Автор теориясы Батышта эффективдүү, бирок биздин кыргыз киносунда бул темада атайын изилдөө жокко эссе. Ушунун негизинде, тема актуалдуу жана макала студенттер, магистранттар үчүн пайдалуу болот. In cinema, the director is the most important figure. The film authors are conventionally divided into two types: commercial director and director of auteur films. The second type of directors are those who have their own vision, their own style in cinema. This article will examine the films of the Kyrgyz director Aktan Arym Kubat in the context of auteur cinema theory. In addition, the reflection of this theory on the Kyrgyz cinema. The theory of auteur cinema is effective in the West, but there is no specific research on this topic in our Kyrgyz cinema. Based on this, the topic is relevant and the article will be useful for students.
Dissertations / Theses on the topic "Auteur Cinema"
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Murray, K. M. "Shakespeare and auteur cinema." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680231.
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This thesis offers a timely reappraisal of authorship in Shakespeare film adaptations. It analyses the films of nine auteur-directors, breaking new ground by using an interdisciplinary framework (drawn from literary, film and cultural studies) to resituate the auteur at the confluence of commerce. and cultural politics. Contesting still-normative paradigms that hold the auteur as either self-detelmining creativity or casualty of industry, I maintain that auteur Shakespeare is a plurally constituted, restlessly changing phenomenon whose every instance is constihlted by and through a unique meshing of material, social and intertextual processes. Chapter One surveys the histories of auteurist and Shakespeare on film criticism, drawing on each to argue for the necessity of an approach attentive to the auteur's roles both inside and outside cinema. Chapter Two demonstrates precisely the need for such a dual focus insofar as it assesses the persistent influence on the reception of Welles's Shakespeare films of a mythologised auteur persona. Chapter Three adopts a Bourdieu-inflected perspective on Laurence Olivier's and Kenneth Branagh's Shakespearean undertakings, uncovering in them aspirations towards legitimacy. Chapter Four conceptualises Franco Zeffirelli's work as middlebrow auteur cinema - ideologically safe and commercially orientated. Chapter Five, by contrast, suggests that Derek Jarman's films exemplify auteur Shakespeare's counter-hegemonic possibilities. Chapter Six also focuses on dissident articulations: it posits Julie Taymor's oeuvre as a feminist counter-point (though, finally, a problematic one) to auteur cinema's androcentrism. Chapter Seven uses close reading to delineate Akira Kurosawa's and Grigori Kozintsev's affiliations to art cinema. The final chapter examines Vishal Bhardwaj's adaptations in light of transnational theory, positing forms of exchange as a crucial interpretive concern. These analyses yield important evidence of Shakespeare's multidimensional significance to various filmic culhlres and subcultures. In tum, they newly illuminate the essential part that commercial and political formations have played in reauthoring past and present incarnations of auteur and Shakespeare.
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Leonard, M. P. "Irregular auteur : the cinema of Philippe Garrel." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678827.
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d has been described by Gilles Deleuze as one of 'the greatest modern auteurs, whose work, alas, may well develop its effects only in the long term, endowing the cinema with powers that are as yet not well known.' Despite this kind of endorsement, Garrel has remained a relatively elusive figure, and his cinematic oeuvre has received limited attention amongst scholars of-and commentators on - French cinema. This thesis contends that the marginalization of Garrel's films is due to the formal and ideological irregularity of an oeuvre that embraces artisanal modes of production, shifts between the avant-garde and the mainstream, and, although connected with several schools and film groupings, is never fully affiliated with any. It contends that his work is especially relevant to any consideration of film language and political transformations within France since the events of May '68. Garrel, who took part in these events as a young man, has produced a challenging and provocative body of work, that continues to offer an important contribution debates about the relations between art and politics, cinema and engagement, even if that contribution has been neglected.
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Basea, Erato. "Literature and the Greek auteur : film adaptations in the Greek cinema d' auteur." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cab79d67-f602-43f4-96b4-4f017b2b8efa.
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The focus of this thesis is to trace the dialogue between the Greek cinéma d' auteur and Greek literature focusing on film adaptations of Greek literature from 1964 to 2001. It is argued that film adaptations are a sensitive prism through which to examine the auteurs’ cultural politics regarding their work and, through that, understand the economy of the auteurist cultural production itself. The thesis consists of five chapters. Chapter One presents the history of the creation of the Greek cinéma d' auteur and traces its developments in relation to the concepts of national and high art. The principle argument is that Greek literature, endowed with notions of high art and national identity, played a key role in the gradual emergence, formation and consolidation of auteurism as a cinema that enunciates national identity and articulates high art values. The next four chapters examine four film adaptations each made by an acclaimed auteur. The chapters endeavour to investigate the identity politics of each director in relation to the categories of high and national art that defined the Greek cinéma d' auteur. Moreover, the chapters aim to study the politics involved in the validation or renegotiation of auteurism itself. The major contribution of the thesis is the exploration of film adaptations of Greek literature in the Greek cinéma d' auteur which has not been systematically discussed so far. Furthermore, the investigation of the two separate components that make up the subject of the thesis, namely cinema and literature, both from a theoretical perspective and within the framework of film studies, aligns the thesis with recent discussions in Modern Greek Studies and theoretical debates about authorship in films, film adaptations as well as peripheral cinemas.
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Wood, Mary Patricia. "Francesco Rosi : an auteur? : the cinema of Francesco Rosi." Thesis, University College London (University of London), 1994. http://discovery.ucl.ac.uk/1317565/.
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Auteurist approaches developed in the 1950s studied films as a means of personal expression, valuing those directors who could bring an individual quality to their films as 'auteurs' . More recent theories of subjectivity and textuality have displaced the centrality of the director as author of meanings in the film texts, but have had difficulty in explaining the continued importance accorded to directors in interviews and writing about their films. The interaction of directorial intention, film industry, and the use of other media to communicate the director's ideas to audiences is an area of continued theoretical concern. It is the aim of this work firstly to examine how Francesco Rosi has managed to constitute himself as an 'auteur' within the institutional structures of the Italian film industry, and the constraints which these impose. Between 1958 and today Rosi has made fifteen films, the majority of which to a greater or lesser extent engage with the reality of contemporary Italy. He works within the mainstream of the Italian film industry. His work can, however, be located within that narrow band of 1- 2% of films produced each season which can be designated 'art' or 'quality' cinema, as opposed to more or less formulaic genre products. This study aims to show that the institutional structures of the Italian film - and latterly media - industries have a primary influence both on the particular narrative patterns Rosi has at his disposal, and on the particular types of films which Rosi as director is financed to make. Secondly, I examine elements of Rosi's films which mark him out as an 'auteur'. Through close textual analysis, I identify recurring visual, rhetorical and narrative choices which can be shown to signal the presence of the 'auteur', Rosi, in the film texts, and to constitute his style.
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Wilmes, Justin A. "Projecting Social Concerns: Russian Auteur Cinema in the Putin Era." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431037346.
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Jubis, Oscar. "The Salta Trilogy of Lucrecia Martel." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/234.
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During the past decade, Lucrecia Martel has emerged as the most respected filmmaker from South America. This thesis is motivated by my conviction that Martel's films are worthy of serious engagement and critical scrutiny. It is also motivated by my curiosity about the seemingly inexhaustible pleasure and edification I derive from them. Martel describes her filmmaking as "cine de autor" (auteur cinema). Indeed, her films evidence a personal involvement in every aspect of filmmaking. This thesis will define and explore the characteristics and conditions of her authorship. This thesis constitutes an expression of the enduring usefulness of auteurist criticism. In this case, this critical approach is entirely appropriate and likely to yield the deepest insights into the films. The introduction to my thesis provides pertinent biographical information and the necessary socio-cultural context to set the stage for an intellectual immersion into her three features to date: The Swamp (2001), The Holy Girl (2004) and The Headless Woman (2008). I propose that these films constitute a trilogy that distills Martel's experience of growing up in the remote province of Salta and critiques the social and cultural forces at play in provincial Latin American life. However, no matter how specific the sense of place the films convey and how grounded they are in subjective experience, they illuminate universal aspects of being a person in the world and contain progressive prescriptions for living from which anyone can benefit. My research into the literature on the films of Lucrecia Martel failed to find any serious and thorough appraisal of Lucrecia Martelâ??s films as a trilogy. While my analysis benefits from familiarity with the available literature, the operative critical approach privileges my direct experience with the audiovisual material provided by the films. Each film will be subjected to a close reading illustrated with images from it. These readings focus sharply on certain sequences I deem crucial to the conveyance of characterization, meaning and ideology. These readings aim to think with the films rather than think against or about them. They explore the themes and issues that arise within the narratives of the films as well as the formal means by which they do.
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Marcello, Fabiana de Amorim. "Criança e imagem no olhar sem corpo do cinema." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/13262.
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Le sujet central de cette thèse concerne à l’analyse de l’image de l’enfant au cinéma. Ainsi, ce travail est, lui-même, soutenu par une image conceptuelle triptyque, dans laquelle les notions d’enfant, d’image et d’auteur se remettent structuralement aux trois axes de la thèse. L’objectif de cette recherche est de développer le concept d’enfant à partir d’une perspective qui privilégie décrire dans les analyses filmiques : 1) une volonté affirmative de puissance de l’enfant, soutenue par les concepts nietzschéens d’« oubli » et de « renouveau » ; 2) l’esthétique et l’image cinématographiques pas comme des éléments d’une représentation de l’enfant, mais, avant tout, comme des effets-superficie de sa production ; 3) la question de l’auteur, pas comme une unité totalisatrice, mais comme ce qui consiste à l’organisation de personnages (personae) (STEINER, 2003) et à la composition d’une « signature » (FISCHER, 2005). L’auteur (ou le directeur-auteur), en ce sens, a moins à voir avec l’instauration de vérités et plus avec des vibrations puissantes – parce que l’enfant, à condition de persona, est considéré surtout comme pratique, comme acte de création. Méthodologiquement, le corpus de l’analyse est constitué par deux groupes des matériaux filmiques. Le premier groupe a été sélectionné par le critère de ce qu’on comprend comme « cinéma d’auteur ». Le choix par ce critère – historique dans le domaine du cinéma – a permit qu’au lieu de prendre l’auteur comme une unité donnée, il a été possible de le problématiser à partir des contributions de Michel Foucault en ce qui concerne aux catégories d’«oeuvre » et d’« auteur ». Le deuxième groupe a été dégagé d’un vaste dénombrement cinématographique et les filmes ont été sélectionnés dans la mesure où ils mettaient en jeu d’une façon plus pertinente les discussions centraux de ce travail (discussions sur le « real » et le « fictionnel », la « pureté » et l’« impureté » de l’image). Les films choisis sont : The Kid (1921), de Charles Chaplin; Zéro de Conduite (1933), de Jean Vigo; Sciuscia (1946), de Vittorio De Sica; Bonjour (1959), de Yasujiro Ozu; Les 400 Cents Coups (1959) et L’enfant Sauvage (1970) de François Truffaut; Pixote, La Loi du Plus Faible (1981), de Hector Babenco; Fanny et Alexander (1983), de Ingmar Bergman; Où est la Maison de Mon Ami? (1987), de Abbas Kiarostami; Central do Brasil (1998), de Walter Salles, La Langue des Papillons (1999), de José Luis Cuerda; Promesses (2001), Justine Shapiro e B. Z. Goldberg; Camera Kids (2004), Ross Kauffman e Zana Briski. Finalement, en partant de l’idée du cinéma comme art et d’une non différenciation entre des films pour les enfants et des films pour les adultes, on propose quelques bases sur lesquelles on peut promouvoir un rencontre entre le cinéma et l’école. On comprend que c’est un travail éthique et politique à se faire, d’autant qu’en général l’école est le seul lieu où les enfants et les jeunes peuvent accéder à ce type d’expérience.O tema central desta tese é a análise da imagem da criança no cinema. Para tanto, este trabalho está alicerçado, ele mesmo, numa imagem conceitual tríptica, na qual as noções de criança, imagem, autoria remetem, estruturalmente, a seus três eixos fundamentais. Assim, o objetivo desta pesquisa é desenvolver o conceito de criança a partir de uma perspectiva que privilegia analisar, em imagens fílmicas: 1) uma vontade afirmativa de potência da criança, aliada, nietzschianamente, aos conceitos de “esquecimento” e “novo começo”; 2) a estética e a imagem cinematográfica não como elemento de representação da criança, mas, antes, como efeito-superfície de sua exata produção; 3) a questão da autoria, partindo não do princípio da unidade totalizadora “autor”, mas como processo que consiste, também por parte deste, na organização, sobretudo, de personagens (personae) (STEINER, 2003) e a partir de uma espécie de “assinatura” (FISCHER, 2005) para seus filmes: uma autoria que teria menos a ver com instauração de verdades e mais com meras (e potentes) vibrações, justamente porque a criança, na condição de persona, é tomada, acima de tudo, como prática de criação. Para tanto, dois conjuntos de materiais constituíram-se como corpus de análise. O primeiro conjunto de materiais foi selecionado a partir daquilo que se entende por “cinema de autor”. A escolha deste critério – histórico no campo do cinema – permitiu que, ao invés de tomar o conceito de autoria como dado, ele fosse problematizado a partir das contribuições de Michel Foucault sobre as categorias de “obra” e de “autor”. O segundo conjunto de filmes foi extraído de um amplo levantamento cinematográfico acerca da relação mais ampla entre criança, cinema e autoria e foi selecionado na medida em que se tratava de filmes que punham em operação de forma mais contundente as discussões essenciais neste trabalho (quais sejam, discussões sobre “real e “ficção”, “pureza” e “impureza” da imagem). Temos assim constituído o corpus de análise desta pesquisa: O Garoto (1921), de Charles Chaplin; Zero de Conduta (1933), de Jean Vigo; Vítimas da Tormenta (1946), de Vittorio De Sica; Bom Dia (1959), de Yasujiro Ozu; Os Incompreendidos (1959) e O Garoto Selvagem (1970) de François Truffaut; Pixote, a Lei do Mais Fraco (1981), de Hector Babenco; Fanny e Alexander (1983), de Ingmar Bergman; Onde Fica a Casa do Meu Amigo? (1987), de Abbas Kiarostami; Central do Brasil (1998), de Walter Salles, A Língua das Mariposas (1999), de José Luis Cuerda; Promessas de um Novo Mundo (2001), Justine Shapiro e B. Z. Goldberg; Nascidos em Bordéis (2004), Ross Kauffman e Zana Briski. Por fim, partindo de um entendimento do cinema como arte e da não diferenciação básica entre filmes para criança e filmes para adultos, apresento, propositivamente, algumas bases sobre as quais seria possível efetivar um encontro entre cinema e escola. Entendo que se trata de um trabalho ético e político a ser realizado, tendo em vista que, muitas vezes, a própria escola vem se configurando como o único espaço onde crianças e jovens têm acesso a esse tipo de experiência.
The main subject of this thesis is the analysis of children image in the cinema. As such, this work itself is founded on a tryptich conceptual image; on which the notions of child, image and authorship are its three fundamental axes. Therefore, the objective of this research is to develop the concept of child in a perspective that analyzes, in motion picture images: 1) an will of (affirmative) power of child, associated to the Nietzsche concept of forgetfulness and new beginning; 2) the aesthetics and the cinematographic image as surface-effects of its accurate production, not as an element of child representation; 3) the way some directors create a “signature” for their films: a signature more related to mere (and powerful) vibrations rather than an attempt to establish truth; precisely because here the child is viewed as a practice of creation – as understood by Steiner (2003). Two sets of materials were used to form the corpus for analysis. The first set was selected using the criterion of authorship, more specifically, what is understood as “cinema of author”. The choice of this criterion – historical in the field of cinematography – allowed the concept of authorship to be studied based on Michel Foucault contributions on the categories of “author” and “work”, rather than seen as pure data. The second set of movies was extracted from an extensive cinematographic research about the broad relation between child, cinema and authorship. They were selected for forcefully bringing the essential discussions of this work to surface (being, discussions about “reality” and “fiction”, image “purity” and “impurity” or even about the webs of visibility and enunciability of the cinematographic image). The movies are: The Kid (1923), Charles Chaplin; Zero for Conduct (1933), Jean Vigo; Shoeshine (1946), Vittorio de Sica; Good Morning (1959), Yasujiro Ozu; The 400 Blows (1959) and The Wild Child (1970), François Truffaut; Pixote (1981) Hector Babenco; Fanny and Alexander (1983), Ingmar Bergman; Where Is the Friend’s House? (1987), Abbas Kiarostami; Central Station (1998), de Walter Salles; Butterfly (1999), de José Luis Cuerda; Promises (2001), Justine Shapiro and B. Z. Goldberg; Born into Brothels: Calcutta’s Red Light Kids (2004), Ross Kauffman and Zana Briski. Finally, starting from the understanding of cinema as an art, and the basic non-difference between a movie for children and a movie for adults; I present some basis over which it would be possible to gather cinema and school. It is my understanding that this would be an ethic and politic work considering that, in many cases, the school has been the only space where children and youngsters had access to such movie experiences.
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Raines, Heather J. "Auteur direction, collaboration and film music: Re-imaginings in the cinema of Rodriguez and Tarantino." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28222.
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The theory of film music and its terms and categories have not yet been applied to or tested in more recent genres of film, and this study tests the application of the terms auteur and melomane in the films of Robert Rodriguez (Once Upon A Time In Mexico, Sin City and Planet Terror) and Quentin Tarantino (Kill Bill V. 1 and 2, Death Proof). Both directors have a distinct musical stance, and through an examination of the above-mentioned films, their influences and sonic impact are explored.
The working question of this thesis, in the abstract, is whether or to what extent the terms, concepts and directorial categories of film-music theory apply to this recent repertoire. This study explores the similarities and differences in the relationship between the music in the films of the auteur and melomane while exploring the fields of musical narrative present in contemporary film.
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Sann, Vanna. "Authorship in transnational cinema Pedro Almodovar, Wong Kar-wai, and the Star-Auteur /." CONNECT TO ELECTRONIC THESIS, 2007. http://dspace.wrlc.org/handle/1961/4270.
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Romao, Tico. "From auteur to filmmaking institution : a theory of meaning production in the Hollywood cinema." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327509.
Full textBooks on the topic "Auteur Cinema"
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Olinto, Domenichini, ed. Cinema italiano d'autore. Verona: Centro mazziano di studi e ricerche Sommacampagna (Verona), 2006.
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The global auteur: The politics of authorship in 21st century cinema. New York: Bloomsbury Academic, 2016.
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Silvia, Cantarini, ed. Free cinema, British renaissance: Due momenti del cinema d'autore in Inghilterra. Roma: Aracne, 2003.
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Un'idea di cinema: Itinerari d'autore fra eccesso e stupore. Alessandria: Falsopiano, 2010.
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Bernardet, Jean Claude. O autor no cinema: A política dos autores : França, Brasil anos 50 e 60. São Paulo, SP: Editora Brasiliense, 1994.
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Body double: The author incarnate in the cinema. New Brunswick, N.J: Rutgers University Press, 2012.
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L'incanto della visione: Cinema d'autore tra Jane Campion e Clint Eastwood. [Rome, Italy]: Prospettive, 2010.
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Il secolo della regia: La figura e il ruolo del regista nel cinema. Venezia: Marsilio, 1999.
Find full textBook chapters on the topic "Auteur Cinema"
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Heller-Nicholas, Alexandra. "Anti-auteur." In The Routledge Companion to Cult Cinema, 402–10. London; New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315668819-49.
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Pravadelli, Veronica. "Italian 1960s Auteur Cinema (and beyond)." In A Companion to Italian Cinema, 227–48. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119006145.ch14.
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Curi, Jimmy Trevejo, and Yasmin Sayán Casquino. "Digital Transformation in the Distribution and Exhibition Channels of Auteur Cinema." In Marketing and Smart Technologies, 273–84. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-9272-7_23.
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Kluge, Alexander, and Richard Langston. "“Happy Is the Last Man Standing!” From Independent Cinema to Auteur Television and Back Again." In The Poetic Power of Theory, 231–44. Göttingen: V&R unipress, 2019. http://dx.doi.org/10.14220/9783737010399.231.
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"The Cult Auteur." In Cult Cinema, 67–75. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396447.ch6.
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Nestingen, Andrew. "The Auteur." In The Cinema of Aki Kaurismäki, 18–54. Columbia University Press, 2013. http://dx.doi.org/10.7312/columbia/9780231165594.003.0002.
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Manavalan, Amutha. "Auteurs and Transitions in Cinema." In Handbook of Research on Social and Cultural Dynamics in Indian Cinema, 274–91. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3511-0.ch023.
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The chapter focuses on the transition in Tamil cinema and its subtle yet eloquent approach given by the auteurs in the recent past (from 2000-2018). An auteur film involves subjective and personalised filmmaking, rather than the mechanical transposition of a script onto film. An auteur film is about the filmmaking practices engaged in filming a script. Despite having two different ideologies in this industry, each auteur has managed to achieve and prove a point to the audience and the critiques. These directors were exposed to world cinemas at film institutes and motivated to make similar films in their mother tongue. Expression through cinema was the new identity each of them was seeking identical to that of the audience of Tamil cinema. Some auteurs use formulas of box office success to find it whereas some use innovative ways in cinema to find it.
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Barker, Thomas, and Nikki J. Y. Lee. "WHAT IS AN AUTEUR?" In Theorizing Colonial Cinema, 163–86. Indiana University Press, 2022. http://dx.doi.org/10.2307/j.ctv22wtqq6.12.
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"1. The Auteur." In The Cinema of Aki Kaurismäki. New York Chichester, West Sussex: Columbia University Press, 2013. http://dx.doi.org/10.7312/nest16558-002.
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Rodriguez Ortega, Vicente. "Trailing the Spanish auteur." In Contemporary Spanish cinema and genre. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141316.00009.
Full textConference papers on the topic "Auteur Cinema"
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González Cubero, Josefina. "Mirada objetiva y dimensión subjetiva del cine en Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.803.
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Resumen: Los contactos de Le Corbusier con el mundo cinematográfico se dilatan a lo largo de su trayectoria profesional y recorren un amplio espectro. Se concretan en la concepción y construcción de salas dedicadas a la proyección del cine, la participación en proyectos y realización de películas, así como la publicación de un esporádico escrito monográfico titulado "Esprit de vérité" (1933). Este trabajo aborda la singularidad de su pensamiento cinematográfico frente al de otros insignes arquitectos coetáneos y pone de relieve el cambio que experimenta éste entre la película L’Architecture d’Aujourd'hui (1930) y la obra multimedia Le Poème électronique (1958), mostrando un camino que parte de la consideración del cine como un medio donde la imagen se pone al servicio de la arquitectura, y nunca al revés, hasta llegar a utilizar el montaje soviético como mensaje subjetivo del realizador, en este caso también autor de la arquitectura. Abstract: Le Corbusier’s contacts with the world of cinematography spanned his entire career and cover a broad spectrum. They materialized in the conception and construction of screening rooms for cinema, the participation in projects and cinema-making, and the publication of sporadic features under the title "Esprit de vérité" (1933). This article covers Le Corbusier’s unique cinematographic thought standing apart from those of other distinguished architects of his generation and highlights the change he experienced between the film L’Architecture d’Aujourd'hui (1930) and the multimedia work Le Poème électronique (1958). It traces a path originating with the notion of cinema as a medium where images are at the service of architecture and never the other way around, and winding up with the use of soviet montage as a subjective message of the filmmaker who, in this case was also maker of the architecture. Palabras clave: Le Corbusier, arquitectura, película, cine, montaje. Keywords: Le Corbusier, architecture, film, movie, cinema, montage. DOI: http://dx.doi.org/10.4995/LC2015.2015.803
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Miasnikova, Marina, and Alexandra Trukhina. "Character, Author, Viewer of Documentaries in the Public Space of New Media." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-54.
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Any screen message usually comprises three components: life drama in the form of a story about a real person as the character; the author’s intention to create an artistic world containing footprints of the creative personality and the author’s concept; and the viewer’s mindset regarding this world. Thus, a screen document is created by three participants of communication: character, author, viewer, though each of them differently manifests itself in turbulent conditions of ongoing media-transformations. Under the new direction named ‘real’, ‘actual’, ‘horizontal’ cinema, the documentary screen is increasingly featuring a new hero: a private, ‘simple’ person who is easy to watch with a lightweight digital camera, and who himself, blurring the line between the personal and the public, does not mind picking up the camera for the purpose of self-presentation. The author has an opportunity to demonstrate his films on new media platforms. And the viewer participates in the creation of interactive documentaries. Thus, the article covers the essential and functional changes taking place with characters, authors, and viewers of modern documentaries as an open system at their transition (alongside this movie type itself) from the existence within the framework of old, conventional media (big-screen cinema and television) to relevant media platforms (social media, new media, mobile devices, etc.).
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"Author index." In 2015 International Conference on Computational Intelligence & Networks (CINE). IEEE, 2015. http://dx.doi.org/10.1109/cine.2015.48.
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"Author index." In 2016 2nd International Conference on Computational Intelligence and Networks (CINE). IEEE, 2016. http://dx.doi.org/10.1109/cine.2016.38.
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"Author index." In 2017 3rd International Conference on Computational Intelligence and Networks (CINE). IEEE, 2017. http://dx.doi.org/10.1109/cine.2017.34.
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Blas, Rafael. "A Compadecida: entre condições arquitetônicas e a cenografia cinematográfica." In V JORNADA DISCENTE DO PROGRAMA DE PÓS-GRADUAÇÃO EM ARQUITETURA E URBANISMO - FAU MACKENZIE. Universidade Presbiteriana Mackenzie, 2021. http://dx.doi.org/10.5935/2238-5037.20210021.
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Este trabalho versa sobre a experiência de Lina Bo Bardi na concepção e construção das ambiências de A Compadecida, longa-metragem dirigido por George Jonas, em 1968, lançado em 1969. Os espaços construídos, pré-existentes e os não edificados têm importância crucial na criação da visualidade fílmica, impingindo camadas de compreensão à narrativa. Discussões sobre a pós-modernidade, tropicalismo, repressão e identidade são ingredientes relevantes no caldo cultural que circunscreve a feitura da película. O artigo tem como claro objetivo destacar a importância material e imaterial do filme para as histórias da cinematografia e cultura brasileiras, além de evidenciar o trabalho de Bo Bardi no cinema, eclipsado por suas demais produções nos vários campos em que atuou. Como metodologia, o contato com fontes primárias se mostrou condição sine qua non. Entrevistas com personalidades ligadas ao filme, realizadas pelo autor, e revisão de material publicado à época pela imprensa, embasou esta escrita, costurada pelo referencial teórico e atenta análise do próprio corpo da obra. Sob esta perspectiva, o estudo procura identificar os procedimentos projetuais adotados pela arquiteta, sublinhando sua prática e pensamento crítico no exercício de uma cartografia nacional-popular.
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Ceylan, Yağmur. "Reflections of Epidemic Diseases in Dystopic Works: An Example of "An Trial of Blindness"." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.011.
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Throughout human history of mankind, many epidemics have arisen, and these diseases have been frequently the subject of novels and movies. The spread of the Covid-19 virus has caused the works on epidemic diseases to come back to the agenda and it has caused to be reconsidered for this issue in the new period works. One of these literary works, the novel “Ensaio Sobre a Cegueira” (Blindness) which is written by Saramago in 1995, is essentially a dystopian work that seeks an answer to “Well, what if all people suddenly went blind for no reason?”. While the author deals with the conflicts in the modern world, the collapse of conscience and moral values through the image of blindness, at the same time he is striving to give aesthetic pleasure to the reader. The work, which has also been adapted to cinema with the same name, maintains actuality even today. This study consists of comparison between the novel “Ensaio Sobre a Cegueira” (Blindness) and the movie Blindness (2008) which was originally adapted to the novel. Literature review, textual analysis and content analysis were used as methods. The comparison is based on the discussion of the social effects of the COVID-19 virus which emerged in 2020 and spread all over the world.
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Terezani, João Henrique Tellaroli, Myrna De Arruda Nascimento, Ralf José Castanheira Flores, and Luciana Chen. "En movimiento: las (im) posibilidades de las imágenes flagradas entre múltiples (im)previsibles." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9542.
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Como Primeiras Experiências com cinetismo aplicado como Artes Visuais ocorreu NAS décadas Primeiras do Século XX, Quando composições objetos COM e Estruturas Foram Móveis desenvolvidas que pretendem explorar, controle e multiplicai-vos Efeitos Desses elementos e gerados recursos para estética Uma ambientes vida e Espaços para Interações corpora Os espectadores que vivenciaram essas experiências, tiveram a coragem de memorizar os vestígios do jantar em movimento, sabiam que era uma imagem impossível de ser totalmente apreendida e nunca definitiva. Assim como as sensações viviam e reflexos germinavam sobre o que testemunharam, choque chocante, era impreciso e ambíguo. Entre OS Pioneiros Desse tipo de arte que encontramos ou artista Lazlo Moholy-Nagy, autor de Produções MUITAS você experimenta, cuja Abstrata Natureza serviu de referência para INTERESSADOS em explorar Manipulação dois Meios de Comunicação e Não convencionais técnicas, como Investigação estratégia Uma artístico e científico. Seus estudos sobre imagem incluíram o uso da luz como meio de gerar possíveis composições a serem apreendidas apenas em movimento. Portanto, ele explorou a fotografia eo cinema, não como um meio para produzir imagens, mas como áreas transdisciplinares, telhas, cuja altera a percepção sensorial dos observadores, o que lhes permite imaginar, através da desmaterialização de efeitos de iluminação sobreposição, como " Veja se movendo. " Este artigo apresenta dois produtos de pesquisa que os estudos tríade balé bauhausiano de Oskar Schlemmer, em diálogo com a produção de professores não ensino iniciativa centenária alemão. ELES discutidos à luz de curadores e teóricos da arte da, Taís como premissas e materialidades empirismo exploratório de Moholy-Nagy poluídas artistas contemporâneos como ou norte-americano Bill Viola, que investiga como Obter Percepção da da imprecisão tudo de Imagens em Movimento.
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Литвиненко, В. А. "The World Wars of the twentieth century in the teaching of the course of general history and the history of Russia: current problems and modern interpretations." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.31.64.053.
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в статье показано, что основная проблема преподавания истории студентам неисторических специальностей в современном вузе – отсутствие фоновых знаний у выпускников средней школы. Эта проблема относится и к такой ключевой теме новейшей истории как «Мировые войны ХХ столетия», в разной форме затрагиваемой в курсах «Всеобщая история» и «История России». Количество часов, выделяемых на эти темы, явно недостаточно, так как не позволяет объяснить студентам природу данного явления, заострить внимание на сходных чертах и отличительных особенностях двух мировых войн и тех последствиях, которые они оказали на дальнейший ход истории. Отсутствие фоновых знаний порождает и другую серьезную проблему. Речь идет о фактической утрате концептуального мышления, то есть способности понимать целостный текст и целостный видеоряд, вычленять ключевые моменты и выстраивать непротиворечивую картину происходящего. Все это осложняет коммуникацию между преподавателем и студенческой аудиторией, которая не способна освоить необходимый категориальный аппарат. Частичное решение данной проблемы видится в создании системы творческих заданий, которые студенты выполняют в рамках изучаемого курса. Речь идет о разработанной автором методике, в частности, о проведении сравнительно-исторического анализа произведений советского, российского и зарубежного кинематографа по изучаемым периодам, событиям и персоналиям, с акцентом на военную проблематику новейшего времени. the article shows that the main problem of teaching history to students of non-historical specialties in a modern university is the lack of background knowledge among young people after graduating from high school. This problem also applies to such a key topic of modern history as the "World wars of the twentieth century", which is covered in various forms in the courses "General History" and "History of Russia". The number of hours devoted to these topics is clearly not enough, since it does not allow students to explain the nature of this phenomenon, to focus on the similarities and distinctive features of the two world wars and the consequences that they had on the further course of history. The lack of background knowledge creates another, no less serious problem. We are talking about the actual loss of conceptual thinking, so the ability to understand a complete text and a complete video sequence, to isolate from it the main, key points and build a consistent picture of what is happening. All this complicates the communication relationship between the teacher and the student audience, which is not able to master the necessary categorical apparatus. A partial solution to this problem is seen in the creation of a system of creative tasks that students perform within the framework of the course being studied. We are talking about the methodology developed by the author about conducting a comparative historical analysis of the works of Soviet, Russian and foreign cinema by the studied periods, events and personalities-with an emphasis on the military problems of modern times.
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Martín, Sergio. "Ensayistas: cartografías de la experimentación y las experiencias fílmicas." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13236.
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El ensayo fílmico ha sido largamente subordinado como un destilado de otros géneros como el documental o la literatura. A pesar de que ello ha sentado las bases sobre las que comenzar a analizar estos formatos, otros han errado en olvidar el carácter audiovisual frente a la herencia literaria (Lopate, 2007). Por este motivo, cabe repensar la naturaleza de esta categoría, la cual excede las tipologías clásicas por su capacidad de experimentación en las formas, así como su maleabilidad plástica a la hora de trabajar con las imágenes en movimiento. Este hecho se refleja en cómo fluctua narratológicamente entre la ficción, la no-ficción y la experimentación (Weinrichter, 2007). Al crítico André Bazin se le ha considerado uno de los primeros en hablar de la posibilidad de lo ensayístico en el cine (García, 2006), idea pareja a la caméra-stylo que proponía Alexandre Astruc (Rascaroli, 2017) y coincidiendo en el mismo punto de inflexión: una representación de la capacidad del autor de representarse en pro de una propuesta íntima y de corte personal. Es por ello, que en su propia capacidad híbrida se le conozca como un hiper-género (Catala, 2005) capaz de explorar las complejidades de las relaciones rizomáticas del pensamiento, mediante el registro videográfico (Rodriguez, 2011), a la hora de enfrentarse a las decisiones de estructuración de los vídeos (Amiel, 2005). Por otro lado, esto es posible debido a su carácter asistemático, lo que provoca encuentros dialécticos que singularizan las discontinuidades y, de ese modo, se unifican mediante las rupturas que se abren en el proceso del montaje (Provitina, 2014). Así pues, este dispositivo ha demostrado ser una herramienta crítica, hereje del pensamiento (Adorno, 2003), que no se deja dogmatizar a la hora de enfrentarse al acto de cartografiar las diferentes economías visuales, las cuales suelen basarse en las experiencias personales y su vinculación con sus contextos culturales. Así pues, esta comunicación trata de acercar qué se consideraría un ensayo audiovisual y cómo funcionaría mediante la exploración de las identidades reflejadas sobre el montaje. Para ello, se tomarán como punto de partida diferentes propuestas que ahonden en estos paradigmas de la experimentación discursiva y formal. Por ende, este análisis se llevará a cabo a través de piezas que se mueven entre el videoarte y la práctica cinematográfica de autoras como Dara Birnbaum, María Cañas, el colectivo O.R.G.I.A. o Florencia Alberti.
Reports on the topic "Auteur Cinema"
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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.
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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.