scholarly journals It’s show time! All that Jazz y el coreógrafo como personaje cinematográfico

AusArt ◽  
2019 ◽  
Vol 7 (2) ◽  
pp. 131-138
Author(s):  
Begoña Olabarria Smith
Keyword(s):  
Bob Fosse ◽  
Karel Reisz

La danza ha sido desde los orígenes del cinematógrafo un atractivo ingrediente para el séptimo arte. No obstante, las películas que presentan a sus creadores resultan la excepción. De entre estas excepciones caben destacar películas como Isadora (Karel Reisz, 1968) o Nijinsky (Herbert Ross, 1980), donde se impone una representación idealizada del genio creador que se enfrenta a los convencionalismos que le rodean. Frente a esta imagen poetizada del coreógrafo, la película All that Jazz (Bob Fosse, 1979), cercana temporalmente a las dos mencionadas, muestra un personaje absolutamente humano en sus imperfecciones. Por esta razón, la obra más personal de Fosse se convierte en un buen punto de origen para el estudio de la representación del coreógrafo en el cine y para entender la forma en la que la gran pantalla ha representado la danza y a sus creadores.

Dancin’ Solo

2018 ◽  
Author(s):  
Kevin Winkler
Keyword(s):  
Musical Comedy ◽  
Bob Fosse

This chapter focuses on Fosse’s show Dancin’, an evening of numbers performed to preexisting music from a variety of composers. Having dismissed all collaborators and untethered to a narrative, Fosse was free to create dances around his favorite music, which included classical, swing, rock, and pop. Dancin’ had moments of startling eroticism, and his ability to sculpt stage pictures with bodies, space, and light remained unmatched. But there were also cringeworthy attempts at comedy and moments of maudlin sentimentality. By now, Fosse’s choreographic style had shifted from traditional musical comedy with touches of antic vaudeville to a more lyrical, self-serious approach that he could not always support. A sameness crept into much of his work, with similar steps, patterns, and groupings carried over from one show or film to another. Choreographing for character seemed no longer important, and all his dancers appeared to be performing the role of Bob Fosse.

‘They wanted a bigger, more ambitious film’: Film Finances and the American ‘Runaways’ That Ran Away

2021 ◽  
Vol 18 (2) ◽  
pp. 176-197
Author(s):  
Llewella Chapman
Keyword(s):  
Case Studies ◽  
Film Industry ◽  
Financial Resources ◽  
Film Production ◽  
New Wave ◽  
Tom Jones ◽  
The 1960S ◽  
Karel Reisz

From the early 1960s, the British film industry was increasingly reliant on American studio financed ‘runaway’ productions. Alexander Walker identifies United Artists and Universal Pictures as two of the major players in the trend he dubbed ‘Hollywood England’. This article offers a close examination of the role of two studios in the financing of British film production by making extensive use of the Film Finances Archive. It focuses on two case studies: Tom Jones (1963) and Isadora (1968), both of which had completion guarantees from Film Finances, and will argue that Tony Richardson and Karel Reisz, two of the key British New Wave directors, lost their previous ability to direct films to budget and within schedule when they had the financial resources of American studios behind them. It will analyse how, due to a combination of ‘artistic’ intent and Hollywood money, Richardson and Reisz separately created two of the most notorious ‘runaways’ that ran away during the 1960s.

Introduction

2021 ◽  
pp. 1-16
Author(s):  
Kevin Winkler
Keyword(s):  
Large Scale ◽  
Special Effects ◽  
George Balanchine ◽  
Equal Importance ◽  
History Of ◽  
Bob Fosse ◽  
The Way

The Introduction juxtaposes the musicals of Tommy Tune during the 1980s with the large-scale British extravaganzas that dominated Broadway in the same decade. These imported “megamusicals,” featured lavish spectacle, special effects, cookie-cutter casting, and booming, pop-rock soundscapes. By contrast, Tune’s shows were simple, elegant, and filled with unique personalities (including Tune himself). The special effects in a Tommy Tune show were ingeniously staged singing and dancing. Tune coined the term “guzzintahs” to refer to the seamless melding of song, dance, and story, as in “this goes into that, and that goes into this.” The Introduction also offers a brief history of the director-choreographer, including George Balanchine, who integrated ballet into Broadway dance and Agnes de Mille, who established her choreographic authorship as of equal importance alongside a show’s book, score, and direction. The creative use of “guzzintahs” by later figures such as Jerome Robbins, Bob Fosse, Gower Champion, and Michael Bennett is explored, pointing the way toward Tune’s especially unified staging concepts.

Review: Morgan by Karel Reisz, Leon Clore

1966 ◽  
Vol 20 (1) ◽  
pp. 51-55
Author(s):  
David Paletz
Keyword(s):  
Karel Reisz

Review: This Sporting Life by Lindsay Anderson, Karel Reisz

1964 ◽  
Vol 17 (4) ◽  
pp. 45-48
Author(s):  
Ernest Callenbach
Keyword(s):  
Karel Reisz

The Technique of Film Editing Karel Reisz Gavin Millar

1969 ◽  
Vol 22 (3) ◽  
pp. 50-55
Author(s):  
C. Cameron Macauley
Keyword(s):  
Film Editing ◽  
Karel Reisz

scholarly journals The work of an invisible body

2014 ◽  
pp. 79-93
Author(s):  
Lucy Fife Donaldson
Keyword(s):  
Detailed Analysis ◽  
Film Theory ◽  
Functional Element ◽  
The Body ◽  
Physical Work ◽  
Physical Action ◽  
Expressive Performance ◽  
Bob Fosse

On-screen bodies are central to our engagement with film. As sensory film theory seeks to remind us, this engagement is sensuous and embodied: our physicality forms sympathetic, kinetic and empathetic responses to the bodies we see and hear. We see a body jump, run and crash and in response we tense, twitch and flinch. But whose effort are we responding to? The character’s? The actor’s? This article explores the contribution of an invisible body in shaping our responsiveness to on-screen effort, that of the foley artist. Foley artists recreate a range of sounds made by the body, including footsteps, breath, face punches, falls, and the sound clothing makes as actors walk or run. Foley is a functional element of the filmmaking process, yet accounts of foley work note the creativity involved in these performances, which add to characterisation and expressivity. Drawing on detailed analysis of sequences in Cabaret (Bob Fosse, 1972) and Die Hard (John McTiernan, 1988) which foreground exertion and kinetic movement through dance and physical action, this article considers the affective contribution of foley to the physical work depicted on-screen. In doing so, I seek to highlight the extent to which foley constitutes an expressive performance that furthers our sensuous perception and appreciation of film.

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