Glimpses of a Place Spirituality in American Filmmaker John Sayles’ Limbo: Authenticity, Inauthenticity and Modes of Place Engagement

2019 ◽  
pp. 239-259
Author(s):  
David Seamon
Keyword(s):  
John Sayles

John Sayles

2012 ◽  
Author(s):  
David R. Shumway
Keyword(s):  
Personal Style ◽  
John Sayles ◽  
Popular Films ◽  
Critical Realist ◽  
Human World ◽  
The Way

John Sayles is the very paradigm of the contemporary independent filmmaker. By raising much of the funding for his films himself, Sayles functions more independently than most directors, and he has used his freedom to write and produce films with a distinctive personal style and often clearly expressed political positions. From The Return of the Secaucus Seven to Sunshine State, his films have consistently expressed progressive political positions on issues including race, gender, sexuality, class, and disability. This book examines the defining characteristic of Sayles' cinema: its realism. Positing the filmmaker as a critical realist, the book explores Sayles' attention to narrative in critically acclaimed and popular films such as Matewan, Eight Men Out, Passion Fish, and Lone Star. The study also details the conditions under which Sayles' films have been produced, distributed, and exhibited, affecting the way in which these films have been understood and appreciated. In the process, the book presents Sayles as a teacher who tells historically accurate stories that invite audiences to consider the human world they all inhabit.

“Matewan” Written and Directed by John Sayles

1989 ◽  
Vol 13 (1) ◽  
pp. 98-100
Author(s):  
Daryl Kelley
Keyword(s):  
John Sayles

The Borders of Time, Place, and People in John Sayles's Lone Star

2003 ◽  
Vol 37 (3) ◽  
pp. 365-374 ◽  
Author(s):  
ALAN P. BARR
Keyword(s):  
American Culture ◽  
John Sayles

John Sayles's Lone Star (1996) is the embodiment of a “frontier” film; he himself has described it as “a story about borders” (West, “An Interview with John Sayles,” 14). The film's genre, its locale, its incorporation of history, ethnicity, generations, and sexual proscriptions, and even its use of pans to cut across time all cohere around this perspective. Nor, as I will indicate, is this concern with borders new to Sayles's art; Lone Star, which taps a number of motifs and conventions familiar to American culture, bringing together a multitude of meanings of boundaries and margins and frontiers, intensifies a theme that exists in every one of his films.

scholarly journals CINE, ÉTICA Y ALTERIDAD. METÁFORAS DEL ENCUENTRO CON EL OTRO

2021 ◽  
Vol 30 ◽  
pp. 177
Author(s):  
Íñigo MARZÁBAL ALBAINA
Keyword(s):  
Emmanuel Levinas ◽  
Article Title ◽  
Combinatorial Game ◽  
John Sayles ◽  
The Relationship

Resumen: El título del artículo me va a permitir un juego combinatorio tomando sus términos por parejas. De tal manera que lo que viene a continuación constará de tres partes. Una primera sobre la relación entre el cine y la ética; una última, en torno al cine y la alteridad. Y, entre ambas, un breve exordio que, siguiendo el pensamiento de Emmanuel Lévinas, reflexiona sobre el vínculo entre la ética y la alteridad. Para ello me valdré del análisis de tres películas: El lector (Stephen Daldry, 2008), Rosetta (Jean-Pierre y Luc Dardenne, 1999) y Lone Star (John Sayles, 1996).Abstract: The article title will allow me a combinatorial game matching its terms in pairs. Thereby, what comes next will consist of three parts. The first one will address the relationship between cinema and ethics, while the last one will approach cinema and the otherness. In between both, there will be a brief exordium that, following the thought of Emmanuel Lévinas, reflects on the link between ethics and the otherness. All of this will be based on the analysis of three films: The Reader (Stephen Daldry, 2008), Rosetta (Jean-Pierre and Luc Dardenne, 1999) and Lone Star (John Sayles, 1996).

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