Regulated Immediacy

2021 ◽  
pp. 229-247
Author(s):  
Catriona Kelly
Keyword(s):  
Literary Adaptations ◽  
Sports Films ◽  
Genre Films

This chapter explores the work of Viktor Sokolov, a much-admired director at Lenfilm whose extensive work in genre films (production dramas, sports films, literary adaptations) made him relatively invisible to the critical establishment of his own day and later. Sokolov’s combination of emotional surges and a precise and critical eye for cinematic patterning made him difficult to classify at any time, and never more so than in A Day of Sunshine and Rain (1967), an unusual children’s film that explores the unexpected and fragile friendship of two young boys who have skipped school, but also the nature and purpose of art.

‘Play it Again, Sam’ – intertextuality, authorship and expectations in The Bloody Olive

2014 ◽  
Vol 4 (1) ◽  
pp. 95-98
Author(s):  
Nathan Shaw
Keyword(s):  
Pop Culture ◽  
Film Noir ◽  
Short Film ◽  
Literary Adaptations ◽  
Genre Films

Whether early literary adaptations or postmodern, pop culture stuffed millennium movies, cinema has continually showcased its penchant for intertextuality. Simultaneously, genre films have constructed a network of paradigms allowing discerning audiences to expect the previously unexpected. These interconnecting elements are prevalent, and toyed with, throughout short film noir pastiche The Bloody Olive.

Notes on cinematic space

2019 ◽  
pp. 106-116
Author(s):  
David MacDougall
Keyword(s):  
Orson Welles ◽  
Cinematic Space ◽  
Deep Focus ◽  
Genre Films

This chapter addresses the problem of portraying space in the cinema and the position the film viewer imagines himself or herself to occupy when watching a film. Beginning with the rendering of depth in early films, the author argues that this was never the important question; rather it was the question of how the viewer related to sensations of being included or excluded by the images on the screen. The sense of exclusion was partly resolved through editing techniques such as the shot/counter-shot technique that incorporated the viewer into the action and also by employing deep focus and proximity to close objects, as in the films of Orson Welles. Equally important were narratives that involved the viewer through identification with the characters, as well as the culturally-constructed ‘cinema of familiarity’ of genre films and the work of certain filmmakers such as Ozu. Although none of the methods employed fully succeeded in overcoming the problem of cinematic space, the author argues that at least in nonfiction cinema filmmakers can limit it by being more open about their own intentions and the limitations of the medium.

Asian Horror

2019 ◽  
pp. 119-138
Author(s):  
Bryan Turnock
Keyword(s):  
Cultural Differences ◽  
Film Industry ◽  
Distribution Channels ◽  
Horror Films ◽  
Asian Countries ◽  
Ghost Stories ◽  
The West ◽  
Worldwide Distribution ◽  
Production And Consumption ◽  
Genre Films

This chapter details how the mid-1990s saw a substantial increase in the number of horror films being produced in Asian countries, and in particular Japan and Korea. At the same time, globalisation and the introduction of worldwide distribution channels meant that such films became much more accessible to western audiences, with the surprise success of Hideo Nakata's Ringu (1998) bringing Japanese horror into the mainstream of western cinema. Often used to describe genre films from across Asia, so-called 'J-Horror' is now a recognised sub-genre in the west, with a number of scholarly books dedicated to its analysis. Although many of the more recent films feature modern trappings and a preoccupation with technology, they draw heavily from Japan's long tradition of folklore and ghost stories, while stylistically referencing the aesthetics of traditional Japanese theatre. The chapter considers Masaki Kobayashi's Kaidan (Kwaidan, 1964). It traces the evolution of Japan's unique national film industry and examines how cultural differences can affect genre production and consumption.

History in Literary Adaptations

2015 ◽  
pp. 109-150
Author(s):  
Elena Oliete-Aldea
Keyword(s):  
Literary Adaptations
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