Wenders Travels with Ozu

2017 ◽  
Author(s):  
Mark Betz
Keyword(s):  
Close Attention ◽  
Wim Wenders ◽  
Feature Films ◽  
Critical Writings ◽  
Intercultural Analysis

The positioning of Wim Wenders as a filmmaker indebted to Ozu Yasujiro is not a new one. He has expressed his admiration for Ozu’s work on several occasions, in both his own critical writings and on film. But just what Wenders has taken from Ozu, and what that might mean for an understanding of a “traveling” film practice like that of Wenders, has yet to be explored in any real depth. This chapter pays close attention to four feature films, two for each director. The formal correspondences manifest themselves not in terms of style but at structural and dramaturgical levels, in a shared strategy of repeating, doubling, or twinning, and especially so for what the chapter calls the double climactic monologue. Examining Wenders’s borrowings and conversions from Ozu illuminates otherwise hidden corners for both artists and shows the benefits of a reflective form of intercultural analysis.

‘For the Dead Travel Fast’: The Transnational Afterlives of Dracula

2017 ◽  
Author(s):  
Iain Robert Smith
Keyword(s):  
Source Text ◽  
Close Attention ◽  
Cultural Contexts ◽  
Popular Cinema ◽  
Feature Films ◽  
Mexican Film ◽  
Transnational Film ◽  
The Uk ◽  
Global And Local ◽  
Dynamic Interplay

Since the publication of Bram Stoker’s novel Dracula in 1897, the character of Count Dracula has proven to be eminently adaptable, appearing in various guises in over 300 feature films – from FW Murnau’s Nosferatu (1922) through to Dario Argento’s Dracula 3D (2012). As with other iconic characters such as Sherlock Holmes and Batman, Dracula has been freed from his roots in a source text and entered what Will Brooker describes as ‘the realm of the icon’. Yet, while there has been a considerable amount of scholarship on the canonical adaptations of Dracula produced in Hollywood, the UK and Germany, very little has been written on the numerous adaptations of the Count Dracula character that have appeared in other film industries. This chapter considers examples of transnational film remakes, including the 1953 Turkish film Drakula İstanbul'da (Dracula in Istanbul), the 1957 Mexican film El Vampiro (The Vampire), and the 1967 Pakistani film Zinda Laash (The Living Corpse). Paying close attention to the variety of ways in which the character is utilised across different cultural contexts, this chapter interrogates the complex issues that this raises in relation to the dynamic interplay of global and local within international popular cinema.

scholarly journals Harmony of Senses – 3D Documentaries of Herzog and Wenders

2014 ◽  
Vol 8 (1) ◽  
pp. 97-111
Author(s):  
Katalin Turnacker
Keyword(s):  
New Technology ◽  
Sensory Experience ◽  
New Wave ◽  
Werner Herzog ◽  
Wim Wenders ◽  
Feature Films ◽  
German Cinema ◽  
Film Experience ◽  
The Way ◽  
New German Cinema

Abstract The two still active great artists of the new German cinema, Werner Herzog and Wim Wenders, presented their 3D documentaries on the 2011 Berlinale. This coincidence, not to be neglected in itself, is more than a mere experimentation with the new technology. Indeed, it much rather reveals the complexity of perceptions coming into action during the film experience and their relationship with the onlooker. It highlights the process in which the viewer involuntarily, thoughtlessly relates to their own sensory experience. Following their feature films grounded on the visuality of the cinema experience indicative of the German New Wave, the two directors now created a documentary which draws on the synthesis of various senses and a viewer’s position focusing on perception and interpretation. This paper proposes to analyze how the harmony of senses happens on various levels, from the application of visible, audible, tangible subject motifs and modes of expression asking for various forms of perception, and all the way to the directorial perspective focusing on the viewer’s engagement.

Undoing Violence: Politics, Genre, and Duration in Kathryn Bigelow's Cinema

2010 ◽  
Vol 64 (2) ◽  
pp. 33-43 ◽  
Author(s):  
Caetlin Benson-Allott
Keyword(s):  
Close Attention ◽  
Gender And Race ◽  
Feature Films

Kathryn Bigelow's eight feature films all seek a balance between progressive representations of gender and race and the demands of commercial filmmaking. Close attention to the filmmaker's experiments with duration and camera technology reveals her interest in reworking Hollywood conventions to critique conventionally masculinist genres.

2008 Update on the Medicare Exceptions Process

2008 ◽  
Vol 18 (1) ◽  
pp. 10-16
Author(s):  
Robert C. Fifer
Keyword(s):  
Close Attention ◽  
Submission Process ◽  
Final Rule ◽  
Fee Schedule

Abstract Since 1999 when Medicare caps first became effective, providers have had to pay close attention to the claims process. This article summarizes the Medicare Exceptions Process that, for 2007, underwent a number of changes. The Centers for Medicare and Medicaid Services (CMS) Physician Fee Schedule Final Rule of November 27, 2007 made three important changes. These changes addressed certification for patient plan of care, personnel qualifications for therapists, and a review of Part B policies and their application to Part A settings that are projected to go into effect in July of 2008. Particular attention was given to explanations of the manual submission process and the change in definitions of “complexities” and of a “therapist.”

Infections in Athletes Demand Close Attention

2008 ◽  
Vol 38 (19) ◽  
pp. 24
Author(s):  
SUSAN LONDON
Keyword(s):  
Close Attention

Apparitions of ‘Freedom’ (the Word)

Derrida Today ◽  
2012 ◽  
Vol 5 (1) ◽  
pp. 39-54 ◽  
Author(s):  
Marian Hobson
Keyword(s):  
Detailed Examination ◽  
Close Attention ◽  
Change Of Perspective

Derrida thematises his writing through a change of perspective which moves from very detailed examination of an argument to more general statements. This paper is a consideration of how Derrida anchors his close attention to the detail of an argument in a wider philosophical-historical and indeed social framework. In this paper, the word in question is ‘freedom’, discussed with the philosopher and psychoanalyst Elisabeth Roudinesco; this paper moves back chronologically to Force of Law, and finally to a passage in Of Grammatology to demonstrate that in Derrida's work from early to late there is a web of reflection about freedom.

The Formation of a Budding Man Alone: The God Boy (Murray Reece, 1976)

2018 ◽  
Author(s):  
Alistair Fox
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
New Zealand ◽  
Religious Beliefs ◽  
Coming Of Age ◽  
World War ◽  
Value System ◽  
Feature Films ◽  
The Family

This chapter analyses the earliest of the New Zealand coming-of-age feature films, an adaptation of Ian Cross’s novel The God Boy, to demonstrate how it addresses the destructive impact on a child of the puritanical value-system that had dominated Pākehā (white) society through much of the twentieth century, being particularly strong during the interwar years, and the decade immediately following World War II. The discussion explores how dysfunction within the family and repressive religious beliefs eventuate in pressures that cause Jimmy, the protagonist, to act out transgressively, and then to turn inwards to seek refuge in the form of self-containment that makes him a prototype of the Man Alone figure that is ubiquitous in New Zealand fiction.

Beyond Eastern Noir

2018 ◽  
Author(s):  
Anna Estera Mrozewicz
Keyword(s):  
Eastern Europe ◽  
Case Studies ◽  
Feature Films

This book addresses representations of Russia and neighbouring Eastern Europe in post-1989 Nordic cinemas, investigating their hitherto-overlooked transnational dimension. Departing from the dark stereotypes that characterise the hegemonic narrative defined as ‘Eastern noir’, the author presents Norden’s eastern neighbours as depicted with a rich, though previously neglected in scholarship, cinematic diversity. The book does not deny the existence of Eastern noir or its accuracy. Instead, in a number of in-depth case studies of both popular and niche feature films, documentaries and television dramas, it interrogates and attempts to add nuance to the Nordic audiovisual imagination of Russia and Eastern Europe. Tracing approaches of and beyond the Eastern noir paradigm across cinematic genres, and in relation to changing historical contexts, the author considers how increasingly transnational affinities have led to a reimagining of Norden’s eastern neighbours in contemporary Nordic films. Making the notions of border/boundary and neighbourliness central to the argument, the author explores how the shared geopolitical border is (re)imagined in Nordic films and how these (re)imaginations reflect back on the Nordic subjects.

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