When screenwriter, novelist, and director Guillermo Arriaga was 10 years old, he practiced giving acceptance speeches with a Coke bottle. The reason, he explained to his parents, was because he was convinced he would win an Oscar, a Nobel Prize, or an award at the Cannes Film Festival. He’s already achieved one of those goals—he was honored at Cannes with Best Screenplay for The Three Burials of Melquiades Estrada (2005), which also won Best Actor for director Tommy Lee Jones—and he’s been nominated for the Academy Award for Best Original Screenplay for Babel (2006). Born in Mexico City, Arriaga is at the forefront of Mexican artists who have brought his country’s cinema to the attention of worldwide audiences in the 21st century. With director Alejandro González Iñárritu, he wrote the screenplays for Amores Perros (2000), 21 Grams (2003), and Babel, films that were praised for their unflinching view of humanity’s darkness while at the same time offering hope in the form of community and individual compassion. Arriaga directed his first feature in 2008: The Burning Plain—which starred Charlize Theron, Kim Basinger, and Jennifer Lawrence— and continued his passion for nonlinear stories and complicated, compelling characters. Throughout his work, Arriaga has explored how different languages, cultures, and borders can divide people—but as well how those divisions can be broken down in unexpectedly moving or terrifying ways. A celebrated short-story writer and sports enthusiast, he is also the author of the novels The Night Buffalo and A Sweet Scent of Death.

2013 ◽  
pp. 25-27
Literator ◽  
2007 ◽  
Vol 28 (3) ◽  
pp. 91-108 ◽  
Author(s):  
D.A. Barker

Novelist, playwright, short-story writer, polemicist and activist, Nadine Gordimer (1929), received the Nobel Prize for literature in 1991. She is an implacable opponent of apartheid, which she opposed through her imaginative writing as well as through essays and polemics. The end of apartheid was heralded by the release of Nelson Mandela in 1990, and officially ended with the first democratic elections that were held in April of 1994. Gordimer has produced fourteen novels to date: ten falling clearly within the apartheid period, and four novels that can be classified as falling within the postapartheid period. There is evidence of several general and interrelated shifts in her novels since the demise of apartheid. The previous emphasis on the community and communal responsibility has to some extent been replaced by a relatively greater emphasis on the individual, that is, a move from a stress on public identity to private identity. Local, South African concerns are succeeded by more global concerns. This article discusses these developments, with a specific focus on “Occasion for loving” (1963) and “The pickup” (2001).


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

Stephen Gaghan’s writing career started quite promisingly, publishing a short story in The Iowa Review before he was even 26. He also impressed the writing staff of The Simpsons with a spec episode entitled “Family Wheel of Jeopardy,” as well as producer and talent agent Bernie Brillstein with a collection of Saturday Night Live sketches he’d written. But a career in television writing in the 1990s— including stints at New York Undercover, The Practice, American Gothic, and NYPD Blue (where he shared an Emmy for Outstanding Writing for a Drama Series)—soon gave way to screenwriting. His first produced film credit was Rules of Engagement (2000), which starred Samuel L. Jackson and Tommy Lee Jones, but he received much acclaim for his next film, Trafc (2000), which was based on the 1989 British miniseries Trafk. Trafc went on to win four Academy Awards, including a Best Adapted Screenplay Oscar for Gaghan. Around the same time as Trafc’s release, Gaghan revealed that he had himself been a longtime drug addict, finally getting clean in 1997. Subsequently, he made his feature directing debut with Abandon (2002) and was one of three credited writers on the historical drama The Alamo (2004). His next great triumph occurred in 2005 with the release of Syriana, a multi-character drama he wrote and directed that examined the danger of the world’s addiction to oil. The film earned Gaghan his second Academy Award nomination, this time for Best Original Screenplay, and George Clooney won the Oscar for Best Supporting Actor. More recently, he’s one of the writers (uncredited) on the 2013 big-budget sci-fi film After Earth, which stars Will Smith and his son Jaden. “I’m in the adult-serious ghetto,” Gaghan says about his niche in Hollywood. “That’s my pigeonhole. I made it, I dug it out, I climbed in the hole—it’s dark and airless. But I dug it, you know? And no other hole exists.”

2013 ◽  
pp. 85-89

2019 ◽  
Vol 6 (2) ◽  
Author(s):  
Zinia Mitra ◽  
Jaydeep Sarangi

Malay Roychoudhury (1939) is an Indian Bengali poet, playwright, short story writer, essayist and novelist who founded the Hungryalist movement in the 1960s which changed the course of avant-garde Bengali literature and painting. His best-known poetry collections are Medhar Batanukul Ghungur, Jakham and Matha Ketey Pathachhi Jatno korey Rekho; and his novels Dubjaley Jetuku Proshwas and Naamgandho. He has written more than hundred books. He was given the Sahitya Academy award, the Indian government's highest honour in the field, in 2003 for translating Dharamvir Bharati's Hindi fiction Suraj Ka Satwan Ghora. However, he declined to accept this award and others. This interview has been executed by the exchange of e mails with the activist-author.


1976 ◽  
Vol 31 (1) ◽  
pp. 26-47
Author(s):  
Donald D. Stone
Keyword(s):  

2007 ◽  
Vol 52 (3) ◽  
pp. 434-449
Author(s):  
Albert Waldinger

Abstract This article evaluates the function of Yiddish-Hebrew creative diglossia in the work of Yosl Birshteyn, a prominent Israeli novelist and short-story writer, particularly in the “first Kibbutz novel” in Yiddish, Hebrew-Yiddish fiction based on the Israeli stock market crash, and the future of Yiddishism in Hebrew and Yiddish. In short, Yiddish acts as a layer of all texts as a fact of communal pain and uncertainty in past, present and future. Birshteyn’s Hebrew originals were translated back into Yiddish and his Yiddish work was translated into Hebrew by famous and representative hands with stylistic and linguistic consequences examined here.


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.


2021 ◽  
Vol 11 (10) ◽  
pp. 1197-1202
Author(s):  
Mohammed Abdullah Abduldaim Hizabr Alhusami

The aim of this paper is to investigate the issue of intertextuality in the novel Alfirdaws Alyabab (The Waste Paradise) by the female Saudi novelist and short story writer Laila al-Juhani. Intertextuality is a rhetoric and literary technique defined as a textual reference deliberate or subtle to some other texts with a view of drawing more significance to the core text; and hence it is employed by an author to communicate and discuss ideas in a critical style. The narrative structure of Alfirdaws Alyabab (The Waste Paradise) showcases references of religious, literary, historical, and folkloric intertextuality. In analyzing these references, the study follows the intertextual approach. In her novel The Waste Paradise, Laila al-Juhani portrays the suffering of Saudi women who are less tormented by social marginalization than by an inner conflict between openness to Western culture and conformity to cultural heritage. Intertextuality relates to words, texts, or discourses among each other. Moreover, the intertextual relations are subject to reader’s response to the text. The relation of one text with other texts or contexts never reduces the prestige of writing. Therefore, this study, does not diminish the status of the writer or the text; rather, it is in itself a kind of literary creativity. Finally, this paper aims to introduce Saudi writers in general and the female writers in particular to the world literature.


2020 ◽  
Vol 8 (7) ◽  
pp. 167-176
Author(s):  
Ms. Shikha Sharma

Doris Lessing, the Nobel Laureate (1919-2007), a British novelist, poet, a writer of epic scope, playwright, librettist, biographer and short story writer. She was the “most fearless woman novelist in the world, unabashed ex-communist and uncompromising feminist”. Doris has earned the great reputation as a distinguished and outstanding writer. She raised local and private problems of England in post-war period with emphasis on man-woman relationship, feminist movement, welfare state, socio-economic and political ethos, population explosion, terrorism and social conflicts in her novels.


2021 ◽  
Vol 40 (64) ◽  
pp. 37
Author(s):  
Claudia Barbieri

Resumo: Gervásio Lobato (1845-1895) foi um proeminente dramaturgo português, além de romancista, contista, tradutor e jornalista. Há, contudo, dissonâncias entre a expressiva recepção crítica que sua obra teatral recebeu enquanto o escritor ainda era vivo e o subsequente apagamento de seu nome e de sua dramaturgia nos volumes de história do teatro português publicados a partir de 1960. O artigo tem por objetivos formular algumas hipóteses para explicar este descompasso entre recepção e crítica, além de discorrer sobre a organização do espólio do escritor, pertencente ao Museu Nacional do Teatro e da Dança, em Lisboa. A dificuldade de acesso aos arquivos, a ausência de reedições das peças, a variedade de suportes são alguns entraves que podem ser elencados e que precisam ser resolvidos ao longo do processo de resgate do teatro gervasiano.Palavras-chave: Gervásio Lobato; teatro português; organização de espólio.Abstract: Gervásio Lobato (1845-1895) was a prominent Portuguese playwright, as well as a novelist, short story writer, translator and journalist. There are, however, dissonances between the expressive critical reception that his theatrical work received while the writer was still alive and the subsequent erasure of his name and dramaturgy in the volumes of Portuguese theater history published since 1960. The article aims to formulate some hypotheses to explain this mismatch between reception and criticism, in addition to discussing the organization of the writer’s estate, belonging to the Museum of Theater and Dance, in Lisbon. The difficulty of accessing the archives, the absence of reissues of the plays, the variety of supports are some obstacles that can be listed and that need to be resolved throughout the process of rescuing the Gervasian theater.Keywords: Gervásio Lobato; Portuguese theater; theatrical collection organization.


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