scholarly journals Film zakulisowy jako gatunek i zwierciadło społeczne

2022 ◽  
pp. 190-212
Author(s):  
Wojciech Świdziński
Keyword(s):  
Bob Fosse ◽  
Krzysztof Kieslowski ◽  
Alejandro Gonzalez Inarritu

Artykuł jest próbą charakterystyki nieopisanego dotąd zjawiska – filmu zakulisowego. Jego schemat fabularny opiera się na śledzeniu procesu powstawania spektaklu teatralnego od castingu po udaną premierę, do której dochodzi pomimo licznych perypetii. Ważną jego cechą jest przedstawienie zespołu teatralnego jako mikrospołeczności o potencjale metafory społecznej. Za prototyp gatunku można uznać backstage musical Busby’ego Berkeleya. W kolejnych dekadach nawiązywali do niego lub dekonstruowali jego struktury między innymi John Cassavetes, Bob Fosse, Carlos Saura, a ostatnio Alejandro González Iñárritu. Krzysztof Kieślowski i Agnieszka Holland w filmach należących do nurtu moralnego niepokoju w autorski sposób wykorzystali formułę filmu zakulisowego, by opowiedzieć o utracie złudzeń i zakwestionować ideę zespołu. Sugerowali przy tym, by ich filmy odczytywać nie jako krytykę instytucji teatru, lecz uniwersalne metafory społeczne.

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.

Behind the money: Alejandro González Iñárritu as career director

2021 ◽  
Vol 18 (1) ◽  
pp. 9-18 ◽  
Author(s):  
Paul Julian Smith
Keyword(s):  
Mass Culture ◽  
Television Drama ◽  
Feature Film ◽  
Feature Films ◽  
Primary Materials ◽  
Alejandro Gonzalez Inarritu

This article is presented in two halves. The first analyses little known interviews with Iñárritu before he made his career in feature films that document his practice in radio, advertising and television drama. These interviews focus on his early conception of the relation between art and commerce and his views on the Mexican media scene in the 1990s. The second half of the article analyses the rare primary materials themselves: radio commercials, television idents and, at much greater length, his first feature-length fiction film, an experimental drama made for Televisa in 1995 called Detrás del dinero/Behind the Money. The conclusion argues that even as Iñárritu has more recently distanced himself from broadcasting, his later career as an artistic and commercially successful feature film director embodies a precarious balance between artistic innovation and mass culture and a focus on the audience which he first learned in his early work in advertising, radio and television.

Shifting conceptions of Alejandro González Iñárritu: Interpreting the auteur

2021 ◽  
Vol 18 (1) ◽  
pp. 3-8
Author(s):  
Dolores Tierney
Keyword(s):  
Virtual Reality ◽  
Latin American ◽  
American Identity ◽  
Special Issue ◽  
American Cinema ◽  
Feature Films ◽  
Latin American Cinema ◽  
Alejandro Gonzalez Inarritu

This introduction to a Special Issue of Studies in Spanish and Latin American Cinema charts the shift in Alejandro González Iñárritu's directorial persona from transnational auteur to mainstream figure over the course of his six feature films and virtual reality installation: Amores perros (2000), 21 Grams (2003), Babel (2006), Biutiful (2010), Birdman or (The Unexpected Virtue of Ignorance) (2014), The Revenant (2015) and the installation Carne y arena (Virtually Present, Physically invisible) (2017). It argues that this shift into a (predominantly Anglo) mainstream is reflected in the different ways in which his last names (apellidos) are used, abbreviated or even excised altogether, and in the differing approaches to him as auteur employed by the authors of the different articles, but that Iñárritu’s persona and creative collaborators continue to be primarily determined by his Mexican and Latin American identity.

O significado da cor azul no filme Bleu de Kieslowski.

2021 ◽  
Author(s):  
Raquel de Araujo Roble
Keyword(s):  
Blue Color ◽  
Krzysztof Kieslowski

The objective of this study is to analyze the significance of the color blue in the film “Liberty is Blue”, by the Polish director and screenwriter Krzysztof Kieslowski and the imagetic result reached through the interface between cinema and arts. This is the first film of the Three Colors Trilogy.In order to develop this analysis, semiotic concepts will be used, for the understanding of image as icon and color as symbol. The methodology consists in selecting images to analyze the meaning of the blue color in certain moments of the work where color gains relevance. The theoretical from of reference includes concepts of Charles Sandres Peirce, Lucia Santaella and Luciana Martha Silveira.

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