Orson Welles na Perspectiva do World Cinema

Ícone ◽  
2009 ◽  
Vol 11 (1) ◽  
Author(s):  
Samuel Paiva
Keyword(s):  

É objetivo deste trabalho compreender em que medida o cinema de Orson Welles poderia ser inscrito no chamado “World Cinema”. Em pauta de discussão teórica na contemporaneidade, ou seja, em um contexto de globalização, esse cinema, ainda que não esteja definido precisamente, vem sendo cogitado como algo que diz respeito a um “multiculturalismo policêntrico”. Nesse sentido, a figura da “viagem”, perseguida como elemento propulsor de um deslocamento internacional, será o ponto a partir do qual aspectos da vida e obra de Orson Welles serão observados como indicadores de um cinema que sinaliza uma perspectiva mundial.

2019 ◽  
Vol 22 (3) ◽  
pp. 13-26
Author(s):  
Małgorzata Kozubek

The last side of Citizen Kane History of cinema does not consist merely of masterpieces, but also of films that are unfinished, as well as scripts that were supposed to serve as the basis for films which ultimately never came into being or were transformed into completely different works completed by another filmmaker. Welles’ case is very interesting in this context as, on the one hand, he was a star of the “author’s policy”, a universally known celebrity, a legend of world cinema, who contributed significantly to its history, but on the other hand he was also an unaccomplished figure. Yet, his unfulfillment was different from what is often described, for instance, in autobiographical interpretations of Citizen Kane: “he had everything and lost everything”. We may rather say that his oeuvre forms a sinusoid that comprises both completed, artistically accomplished works and films that were rejected by viewers and critics, as well as more than a dozen very interesting unfinished projects. In this paper I’m analysing the case of Orson Welles’ last unfinished movie — The Other Side of the Wind 2018.


Author(s):  
Mark Thornton Burnett
Keyword(s):  

World Cinema and the Essay Film examines the ways in which essay film practices are deployed by transnational filmmakers in specific local and national contexts, in an interconnected world. The book identifies the essay film as a political and ethical tool to reflect upon and potentially resist the multiple, often contradictory effects of globalisation. With case studies of essayistic works by John Akomfrah, Frances Calvert, José Luis Guerín, Jonas Mekas, David Perlov, Apichatpong Weerasethakul and Zhao Liang, amongst many others, and with a photo-essay by Trinh T. Minh-ha, the book expands current research on the essay film and presents transnational perspectives on what is becoming a global film practice.


1998 ◽  
Vol 51 (4) ◽  
pp. 64-65
Author(s):  
Martin Stollery
Keyword(s):  

GEOgraphia ◽  
2018 ◽  
Vol 20 (42) ◽  
pp. 89
Author(s):  
Rejane Cristina de Araujo Rodrigues

Resumo: Filmes do Cinema de Hollywood são representativos de um imaginário geopolítico hegemônico. A este imaginário contrapõe-se uma antigeopolítica identificada nas representações de filmes do Cinema do Terceiro Mundo. Partindo de importantes contribuições da geografia política crítica que apontam para articulações entre as representações geopolíticas e os filmes, analisamos três filmes que retratam a América Latina em um dos períodos mais conturbados da sua história. Sua análise nos revela elementos característicos de uma geopolítica de resistência durante as ditaduras civil-militares implantadas no Brasil, no Chile e na Argentina.Palavras-chave: Antigeopolítica. Cinema. América Latina. Ditadura. THE THIRD WORLD CINEMA UNDER THE ANTIGEOPOLITICS VIEW: DICTATORSHIP AND RESISTANCE IN LATIN AMERICAAbstract: Hollywood film movies are representative of a hegemonic geopolitical imaginary. This imaginary contrasts with an antigeopolitics identified in the Third World Cinema representations. Based on important contributions from critical political geography that points to articulations between geopolitical representations and movies, we analyze three cinema productions that portray Latin America in one of the most troubled periods of its history. That analysis reveals elements of a geopolitics of resistance related to the civil-military dictatorships implanted in Brazil, Chile and Argentina.Keywords: Antigeopolitics. Movies. Latin America. Dictatorship. EL CINE DEL TERCER MUNDO BAJO LA VISIÓN ANTIGEOPOLÍTICA: DICTADURA Y RESISTENCIA EN AMÉRICA LATINAResumen: Películas del Cine de Hollywood son representativas de un imaginario geopolítico hegemónico. A este imaginario se contrapone una antigeopolítica identificada en las representaciones de películas del Cine del Tercer Mundo. A partir de importantes contribuciones de la geografía política crítica que apuntan para articulaciones entre las representaciones geopolíticas y las películas, analizamos tres películas que retratan la América Latina en uno de los períodos más revueltos de su historia. Su análisis nos revela elementos característicos de una geopolítica de resistencia durante las dictaduras implantadas en Brasil, en Chile y en Argentina.Palabras clave: Antigeopolítica. Cine. América Latina. Dictadura.


2019 ◽  
Author(s):  
Charlotte P. Tierney ◽  
◽  
Joe D. Collins ◽  
Henrique Momm
Keyword(s):  

Author(s):  
Samuel Crowl

As Kenneth Branagh turns sixty, he finds himself honoured by the English theatrical world as the restored heir to its tradition of the actor-manager, having created a theatre and film career unlike any other. He is an actor-manager-film director who builds on the tradition he inherits from Laurence Olivier, Orson Welles, and Franco Zeffirelli even as he revises it. This overview of his career reveals that he can do small and tidy, but his cinematic imagination first feasts on Hollywood movie genres – noir thrillers, murder mysteries, Disney classics, Superhero fantasies, spy films, musicals, and bio-pics – then feeds his lasting legacy to Shakespeare on film.


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