Losing Sight, Finding Vision: One‐Eyed Film Directors in Artistic Perspective

2021 ◽  
Author(s):  
Kathy Merlock Jackson
Keyword(s):  
Film Directors

: Japanese Film Directors . Audie Bock.

1979 ◽  
Vol 32 (4) ◽  
pp. 41-41
Author(s):  
Sybil Thornton
Keyword(s):  
Japanese Film ◽  
Film Directors

Geraldine Chaplin

2020 ◽  
Author(s):  
Steven Rybin
Keyword(s):  
Film Performance ◽  
Film Directors ◽  
The Gift

The most distinguished actor among Charlie Chaplin’s children, Geraldine Chaplin has created a striking performative presence across international cinema. In shifting cinematic contexts and through collaborations with major film directors, she playfully evokes the memory of her iconic father, while establishing her own distinctive screen art. Geraldine Chaplin: The Gift of Film Performance is a long-overdue appreciation of Chaplin’s remarkable screen achievements, and includes close readings of her performances in films such as Doctor Zhivago, Peppermint Frappé, Cría cuervos, Nashville, Welcome to L.A., Remember My Name, Noroît, Chaplin, Talk to Her, and more.

scholarly journals The works of Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s

2021 ◽  
pp. 19-29
Author(s):  
Mariya Vladimirovna Kalenichenko
Keyword(s):  
Social Life ◽  
Popular Science ◽  
Time Period ◽  
Film Directors ◽  
Archival Documents ◽  
Art And Culture ◽  
History Of ◽  
Film Texts ◽  
Scientific Achievements

This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.

Mahjong, Chinese diaspora cinema and identity construction

2020 ◽  
Vol 7 (2) ◽  
pp. 223-240
Author(s):  
Xiangu Qi
Keyword(s):  
Comparative Study ◽  
Identity Construction ◽  
Mainland China ◽  
Chinese Diaspora ◽  
Dynamic Nature ◽  
Female Protagonists ◽  
Film Directors

Through a comparative study of two films, The Joy Luck Club and Crazy Rich Asians, the article elaborates how Chinese diaspora films use Mahjong’s cinematic symbolism and cultural significations to negotiate Chineseness in different ways. In particular, three differences between the two films are analysed. The first one is the different attitudes of the female protagonists towards Mahjong as well as the Chineseness embodied by it. The second concerns the disparate presences of Mahjong in films made by mainland China-based filmmakers and Chinese diasporic filmmakers due to Mahjong’s differed historical trajectories and sociocultural implications. The last one is about the distinct goals the two film directors set when they employ Mahjong to (re)construct their identity and Chineseness on the part of the Chinese diaspora. This article concludes that Chineseness is not a monolithic and rigid category, but rather a chameleonic formation that is contextually and individually determined; moreover, in the age of globalization when coexistence and interdependence are valued more than mutual-resistance, the dynamic nature of Chineseness necessitates a more hybrid and critical identity framework: in-betweenness.

Introduction

2019 ◽  
pp. 1-22
Author(s):  
Maryann Erigha
Keyword(s):  
Civil Rights ◽  
Racial Inequality ◽  
Jim Crow ◽  
White Americans ◽  
Culture Industries ◽  
Cultural Preferences ◽  
Film Directors ◽  
The Everyday ◽  
Racial Progress ◽  
Post Civil Rights

Jim Crow Hollywood describes how Hollywood insiders consider race when making decisions about moviemaking. Movies by and about white Americans are said to be worthy investments, while movies by and about Black Americans are said to be risky investments. This way of thinking has profound effects on the way movies and people move through the Hollywood system—shaping their production budgets, determining who directs lucrative tent pole blockbuster franchise movies, and creating stigma around race and moviemaking. This chapter gives an overview of the book’s approach, a summary of prior research on race in culture industries, and a preview of the book’s chapters. Quotes from film directors, statistics on over a thousand movies, and emails between Hollywood insiders reveal that race is back in the forefront regarding how decision-makers in American culture institutions rationalize inequality. Except now understandings about race are mixed with talk about economic investments and cultural preferences, making racial inequality more palatable to the everyday observer and further entrenching racial divisions that counteract post-Civil rights narratives of racial progress.

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