Film Studies (Pocket Essential series)
Andrew M. Butler
Language: English
Pages: 160
ISBN: 1904048439
Format: PDF / Kindle (mobi) / ePub
What They Don't Teach You at Film School: 161 Strategies For Making Your Own Movies No Matter What
The Wonderful World of Oz: An Illustrated History of the American Classic
Documentary Film: A Very Short Introduction (Very Short Introductions)
Must We Kill the Thing We Love? Emersonian Perfectionism and the Films of Alfred Hitchcock
The X List: The National Society of Film Critics' Guide to the Movies That Turn Us On
Jean-Luc Godard, Cinema Historian
the history of contradictions and counter-positions.You get a basic idea which comes into conflict with its opposite, and the original idea is therefore modified: thesis – antithesis – synthesis. Of course, it does not stop at synthesis, but moves on to a new antithesis.This idea is known as dialectics, and Marx’s application and modification of the idea to the way the real, material, solid world operates is known as dialectical materialism. From Marx’s knowledge of contemporary and historical
nation-state by multinational corporations. The American academic, Fredric Jameson, was one of several to label the era of the postindustrial as the postmodern age. For Jameson, the postmodern was to be viewed with a certain amount of suspicion – other theorists would celebrate it. These aesthetics celebrated the copy or simulacrum over the original, style over substance, demonstrated a failure of emotion and individualism, and frequently would be characterised by pastiche or nostalgia for an
Australian situation, but first a brief word on some others. France has been through a number of periods of filmmaking, with the most significant period being the 1960s and the Nouvelle Vague (or New Wave). Many of the critics who had been working on the film journal Cahiers Du Cinéma, from which the auteur theory had emerged, began to make their own films, most notably Jean-Luc Godard, François Truffaut and Claude Chabrol.This generation of filmmakers was attempting to make a distinct break from
Smith, Murray, eds., 1998. Contemporary Hollywood Cinema. London and New York: Routledge. Odell, Colin and Le Blanc, Michelle, 2001. Horror Films. Harpenden: Pocket Essentials. Odell, Colin and Le Blanc, Michelle, 2001. John Carpenter. Harpenden: Pocket Essentials. Odell, Colin and Le Blanc, Michelle, 2000. Vampire Films. Harpenden: Pocket Essentials. Perkins, V. F., 1972. Film As Film. Harmondsworth, Middlesex: Pelican. [Decent common sense approach to film] Pierson, John, 1997. Spike, Mike,
Hitchcock and Howard Hawks. An auteur was a person, usually a director, who was able to stamp his own identity upon a film despite the commercial pressures within the studio system – compare the way that aspects of David Fincher’s vision can be traced in Alien3 (1992), despite the pressures from the studio for a product that would draw in and expand upon audiences for Alien (1979) and Aliens (1986). The auteur is to be contrasted with the metteur en scène, the director for hire who was thought by