Heralded as a playwright, screenwriter, and director, Sir David Hare has enjoyed a professional career that has stretched across more than 40 years. His time in the theater has been marked by several triumphs, including Plenty, The Blue Room, and Stuff Happens, and in 2011 he was awarded the PEN Pinter Prize for his thought-provoking and politically engaging oeuvre. Hare’s transition to film began in earnest in the 1980s when he wrote and directed Wetherby (1985), which won the Golden Bear at the Berlin Film Festival, Paris by Night (1988), and Strapless (1989). But a growing dissatisfaction with his films inspired him to refocus on theater, where he wrote his celebrated trilogy of plays about British life—Racing Demon, Murmuring Judges, and The Absence of War—in the early 1990s. Thankfully, Hare returned to screenplays with his terrific script for Louis Malle’s Damage (1992), a portrait of obsessive, doomed love based on Josephine Hart’s novel. More recently, he has received Academy Award nominations for his adapted screenplays for The Hours (2002) and The Reader (2008), which won, respectively, Nicole Kidman and Kate Winslet the Oscar for Best Actress. He also worked to adapt author Jonathan Franzen’s 2001 novel, The Corrections, into a feature film. His plays Plenty and The Secret Rapture have been adapted into films, and in 2011 he wrote and directed the conspiracy thriller Page Eight, which starred Bill Nighy, Rachel Weisz, and Michael Gambon.

2013 ◽  
pp. 107-108
Author(s):  
Eugenio Ercolani ◽  
Marcus Stiglegger

When William Friedkin’s psycho thriller Cruising was shown at the Berlin International Film Festival and hit cinemas worldwide in 1980 it was mainly misunderstood: the upcoming gay scene dismissed it as an offence to their efforts to open up to society and a distorted image of homosexuality, prompting the distributors to add a disclaimer that preceded the picture: Genre audiences were confused about the idea of a sexualized cop thriller with procedural drama that frequently turns into a horror film with the identity of the killer changing with each murder. Seen from today’s perspective, Friedkin’s film turned out to be an enduring cult classic documenting the gay leather scene of the late 1970s as well as providing a stunning image of identity crisis and an examination of male sexuality in general. In the fading years of the New Hollywood era (1967–1976), William Friedkin—the ‘New Hollywood Wunderkind’, with an Academy Award for his cop drama, The French Connection (1971), and following the tremendous success of his horror film, The Exorcist (1973)—proves once more the strength of his unique approach in combining genre and auteur cinema to create a fascinating film that turns 40 in 2020. This book dives into the phenomenon that is Cruising: it examines its creative context and its protagonists, as well as explaining its ongoing popularity.


1991 ◽  
Vol 22 (1) ◽  
pp. 33-62 ◽  
Author(s):  
John Charlot

Vietnamese cinema has only recently become known outside of the East Bloc countries. The first public showing of a Vietnamese feature film in the United States was that of When the Tenth Month Comes at the 1985 Hawai'i International Film Festival in Honolulu. At the 1987 Festival, a consortium of American film institutions was formed with Nguyen Thu, General Director of the Vietnam Cinema Department, to organize the Vietnam Film Project — the first attempt to introduce an entire new film industry to America. The purpose of this article is to provide a brief description of Vietnamese cinema along with an appreciation of its major characteristics and themes. I base my views on my two visits to the Vietnam Cinema Department in Hanoi — for one week in 1987 and two in 1988 — on behalf of the Hawai'i International Film Festival. During those visits, I was able to view a large number of documentaries and feature films and to discuss Vietnamese cinema with a number of department staff members. I was able to obtain more interviews during the visits of Vietnamese to the Hawai'i International Film Festival in Honolulu. This article cannot claim to be an adequate introduction to the history of Vietnamese cinema, a task I hope will be undertaken with the aid of my informants and the sources I list as completely as possible.


Author(s):  
Marcelline Block ◽  
Jennifer Kirby

In the introduction to this volume, “Michel Gondry as Transcultural Auteur,” editors Marcelline Block and Jennifer Kirby present an overview of Gondry’s career as well as this volume’s approaches to Gondry’s oeuvre. Born in Versailles, France in 1963, Gondry is an Academy Award-winning transnational (France-USA) and transcultural (French-American) auteur whose body of work as a writer, director, and producer spans multiple genres—including feature film, short film, television, documentary, music video, big budget superhero film, romantic comedy, the road movie, advertisements—and languages (English, French, Japanese). In this respect, Gondry can be considered a contemporary globalized auteur whose films and other works display continuities and eclecticism. In addition, this introduction presents an overview of each of this volume’s sections and chapters in terms of how they identify connections and continuities between Gondry’s films while placing Gondry’s oeuvre in dialogue with French and American cinematic traditions and socio-cultural contexts. The introduction puts forth this volume’s main contention, namely that “Gondry is emblematic of transnational auteur filmmaking…crossing aesthetic and cultural borders between national film industries as well as between art and popular cinema and between media” and how Gondry’s oeuvre defies classification according to traditional conceptions of European art cinema.


Author(s):  
Krzysztof Zanussi ◽  
Ewa Ciszewska

The paper presents an interview with Krzysztof Zanussi (born 17 June 1939), one of the most renowned award-winning Polish film directors. Some of his numerous films for television and cinema have been made in co-operation with German producers, including Manfred Durniok. His film Roads in the Night (Wege in der Nacht, 1979) was presented in 1980 in Cannes as part of the section “Un certain regard”. In Germany, Zanussi filmed not only some of his own screenplays, such as Imperative (Imperativ, 1982 – Special Jury Prize at the Venice International Film Festival in 1982), but also adaptations of Polish and German literature, for example House of Women (Haus der Frauen, 1977) based on a play by Zofia Nałkowska and Bluebeard (Blaubart, 1983) based on a novel by Max Frisch. In addition to those productions, he concurrently made films in Poland. Director of the TOR Film Studio since 1979. He produced films by such directors as Krzysztof Kieślowski and Agnieszka Holland. He currently works on a feature film entitled Ether.


2021 ◽  
Vol 12 (2) ◽  
pp. 165-178 ◽  
Author(s):  
Shahryar Sadeqy ◽  
Masoud Naghashzadeh

In this article, we discuss the importance of unity in the feature film script and the mechanism of its development based on the two elements of dramatic action and theme. We investigate the consequences of prioritizing theme over the action on the foundation of the dramatic structure of the screenplay, considering one of the most famous Iranian films, Asghar Farhadi’s The Salesman (2016), the winner of the best screenplay at the 2016 Cannes Film Festival. In any form of drama, the chain of actions leads to a specific theme, and the theme in turn directs this chain. Therefore, to create an organic structure, the balanced development of action and theme is essential. Manipulating this balance in favour of highlighting the theme, and understanding the chain of actions based on the theme weakens the logical relationship of the actions as well as the dramatic structure, ultimately turning some actions into redundancies that can be eliminated. The study shows that in The Salesman’s screenplay, through prioritizing the theme over the action and disrupting the natural process of perceiving the theme from the chain of actions, a structure is created in which the presence of some actions are only justified by referring to the theme. Therefore, a number of events/scenes in the screenplay can be omitted without interfering with the unity of the narrative and the formation and expression of the theme. As a result, prioritizing the theme over the action in the foundation of the script inevitably leads to a flawed structure.


Author(s):  
Claudia Costa Pederson ◽  
Patricia R. Zimmermann

In this chapter, Pederson and Zimmerman, programmers for the Finger Lakes Environmental Film Festival, a multi-disciplinary, multi-arts, cross-platform festival, examine women’s new feminist media environments, ventures and practices that reject the goal of producing a fixed object such as an analog feature film. Practitioners work within relational and participatory models, with the role of director yielding to that of designer or convener within place-based encounters and workshops. Highlighting intersectional connections between feminism and other issues, these projects range across media platforms as in The Lunch Love Community Project (2010-2014, an online mosaic promoting healthful food in schools) and Children of Srikandi (2012, a collaborative multimedia LBGT project in Indonesia).


AKADEMIKA ◽  
2017 ◽  
Vol 11 (1) ◽  
pp. 78-91
Author(s):  
Nur Iftitahul Husniyah

Popular culture broadcast from electronic media in this paper is aimed at introdution children to the importance of good moral messages in addition to being a medium of Islamic religious education transfer in the matters of worship or moral and social values. Animated Upin Ipin film produced in Malaysia, the business management, creative ideas, and quality of the image could deliver the Upin & Ipin film in getting some awards. In 2008, Upin & Ipin was awarded International Achievement Appreciation Award, Best of Media Entertainment Category-Merit Award (MSC Malaysia APICTA 2008), and President's Award (Malaysia-Canada Business Council Business Excellence 2008). Meanwhile, in 2009, it was awarded Winner of MSC-Malaysia Management Game 2009, IT Frank 2009 (Global Emerging Innovative Enterpreneur), First 3D Animation Feature Film (Malaysia Book of Records), Viewer Choice Award (Kids Film Festival), Anugerah Khas Juri  and Anugerah Box Office (Malaysia Film Festival), Best on Screen Chemistry Awards (Shout Awards), and Best Editing and Best Music (MSC Creative Digital Contents Conference). These awards have once again marked the high quality of Upin & Ipin series and Upin & Ipin technology innovation in Malaysia.


2020 ◽  
Vol 73 (4) ◽  
pp. 75-81
Author(s):  
Lawrence Carter-Long

Thirty years after the passage of the Americans with Disabilities Act, are festivals like Sundance ready to move beyond basic access to embrace a new disability aesthetic? In search of an answer, Lawrence Carter-Long attends his first Sundance Film Festival, with a goal of assessing Sundance's commitment to disability access and inclusion beyond the branding and rhetoric. He reviews the Festival's disability-focused programming, participation, panels, and planning, much of which was supported by the Festival's new partnership with the Ruderman Family Foundation, whose philanthropy focuses on disability rights. Carter-Long discusses audience favorites Crip Camp and The Reason I Jump, both of which received audience awards, as well as the Festival's efforts to provide closed-captioning (CC) via individual CaptiView devices and Feature Film Captioning Service, concluding that the Festival set a new standard for disability inclusion and access.


Author(s):  
Brandon Wee

HIGHLIGHTS FROM THE TORONTO INTERNATIONAL FILM FESTIVAL 2015 The print ads and trailers for Toronto's 40th edition (10-20 September 2015) showed a striking motif of a powdered explosion at reduced speed varying only by colour scheme - a nice metaphor for the celebratory blast of diversity that any healthy entity turning forty ought to enjoy. But far from being complacent, Toronto humbly adapted to a competitive festival circuit by tweaking key strategies (all but retreating from 2014's decision permitting only world premieres to screen on its opening weekend), while also launching new ideas (the inauguration of a juried feature film competition eponymously named after Jia Zhangke's 2000 film Platform). On a related note, Sinophone content dominated this year's skinny selection of about two dozen Asian films, about half of which came from China, Hong Kong and Taiwan. Elsewhere, the Philippines and...


French writer Jean-Claude Carrière’s creative life has encompassed novels, plays, cartoons, poems, and short films. But it is his screenplays that have most assuredly cemented his position as one of the century’s great writers. Receiving his start in cinema in the mid-1950s by writing book adaptations of director Jacques Tati’s Mr. Hulot’s Holiday (1953) and Mon Oncle (1958), Carrière eventually teamed up with comic filmmaker Pierre Étaix on two short films, including the Oscar-winning Happy Anniversary (1962). From there, he began a long and fruitful collaboration with director Luis Buñuel, a 13-year partnership that resulted in six films: Diary of a Chambermaid (1964), Belle de Jour (1967), The Milky Way (1969), The Discreet Charm of the Bourgeoisie (1972), The Phantom of Liberty (1974), and That Obscure Object of Desire (1977). He has proved equally confident with original screenplays and adapted works, and he has received three Academy Award nominations for his scripts. Highlights of his filmography include The Tin Drum (1979), which won the Best Foreign Language Film Oscar, The Return of Martin Guerre (1982), which earned him and co-writer Daniel Vigne a César for Best Original Screenplay, his adaptation of The Unbearable Lightness of Being (1988), and his acclaimed Cyrano de Bergerac (1990) with Gérard Depardieu. A recipient of the Laurel Award for Achievement from the Writers Guild Of America, Carrière remains a prolific writer, contributing to the screenplays of both Birth (2004) and The White Ribbon (2009), which won the Palme d’Or at the Cannes Film Festival. “I’m writing every day,” he says at age 80. “When I’m not working on a script or on a play or on a book, I’m writing notes in the subway or in taxis. I’m working constantly.”

2013 ◽  
pp. 61-62

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