By Scott MacDonald
American Ethnographic movie and private Documentary is a severe historical past of yank filmmakers an important to the improvement of ethnographic movie and private documentary. The Boston and Cambridge zone is amazing for nurturing those methods to documentary movie through associations corresponding to the MIT movie part and the movie learn middle, the wood worker middle and the visible and Environmental reviews division at Harvard. Scott MacDonald makes use of pragmatism’s concentrate on empirical adventure as a foundation for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. by way of exploring the cinematic, own, relationships among those entire filmmakers, MacDonald exhibits how a pioneering, engaged, and uniquely cosmopolitan method of documentary constructed during the last part century.
Read Online or Download American Ethnographic Film and Personal Documentary: The Cambridge Turn PDF
Best film books
Andrew Sarris, some of the most influential of the more youthful critics on the time this e-book was once written, accumulated interviews with 40 of the imperative figures of contemporary film-making, discussing their very own paintings and the movie as an artwork form.
The administrators: Michelangelo Antonioni, Ingmar Bergman, Robert Bresson, Peter Brook, Luis Bunuel, Claude Chabrol, George Cukor, Clive Donner, Carl Dreyer, Sergei Eisenstein, Federico Fellini, John Ford, Jean-Luc Godard, Howard Hawks, Alfred Hitchcock, John Huston, Buster Keaton, Akira Kurosawa, Fritz Lang, David Lean, Joseph Losey, Ernst Lubitsch, Rouben Mamoulian, Max Ophuls, Pier Paolo Pasolini, Sam Peckinpah, Abraham Polonsky, Otto Preminger, Nicholas Ray, Satyajit Ray, Leni Riefenstahl, Jean Renoir, Alain Resnais, Roberto Rossellini, Josef von Sternberg, Erich von Stroheim, Preston Sturges, Francois Truffaut, Orson Welles.
"More inside of info on movie directing than has ever been formerly assembled in one quantity. The interviewers' unparalleled familiarity with the medium visibly stimulates the director to bigger articulateness approximately his craft. "
Table of Contents :
Introduction: the autumn and upward thrust of the movie Director. .. .. .9
Michelangelo Antonioni. .. .. .21
Ingmar Bergman. .. .. .33
Robert Bresson. .. .. .46
Peter Brook. .. .. .51
Luis Bunuel. .. .. .65
Claude Chabrol. .. .. .75
Charles Chaplin. .. .. .86
George Cukor. .. .. .92
Clive Donner. .. .. .127
Carl Dreyer. .. .. .140
Sergei Eisenstein. .. .. .164
Federico Fellini. .. .. .175
John Ford. .. .. .193
Jean-Luc Goddard. .. .. .202
Howard Hawks. .. .. .228
Alfred Hitchcock. .. .. .241
John Huston. .. .. .253
Buster Keaton. .. .. .274
Akira Kurosawa. .. .. .287
Fritz Lang. .. .. .309
David Lean. .. .. .316
Joseph Losey and Nicholas Ray. .. .. .322
Ernst Lubitsch. .. .. .335
Rouben Mamoulian. .. .. .342
Max Ophuls. .. .. .350
Pier Paolo Pasolini. .. .. .366
Sam Peckinpah. .. .. .371
Abraham Polonsky. .. .. .384
Otto Preminger. .. .. .398
Satyajit Ray. .. .. .413
Jean Renoir. .. .. .419
Alain Resnais. .. .. .434
Leni Riefenstahl. .. .. .453
Roberto Rossellini. .. .. .474
Josef von Sternberg. .. .. .479
Erich von Stroheim. .. .. .500
Preston Sturges. .. .. .511
Francois Truffaut. .. .. .520
Orson Welles. .. .. .528
Heritage on Film/Film on heritage demonstrates how movies should be analyzed as historic assets. It deals undergraduates an advent to a few of the 1st concerns concerned with learning historic movies.
Rosenstone argues that to go away heritage movies out of the dialogue of the which means of the earlier is to disregard a significant component in our knowing of previous occasions. He examines what background movies exhibit in regards to the earlier and the way they communicate it, demonstrating the necessity to learn and comprehend this new visible global. This re-creation locations this 'classic' textual content within the context of labor performed in different places within the box over the 10 years seeing that this ebook first released, and aid to resume the name for a brand new new release of undergraduates.
During this a lot wanted exam of Mike Leigh, Sean O'Sullivan reclaims the British director as a practising theorist—a filmmaker deeply invested in cinema's formal, conceptual, and narrative dimensions. against this with Leigh's triumphing attractiveness as an easy crafter of social realist video clips, O'Sullivan illuminates the visible tropes and storytelling investigations that place Leigh as an experimental filmmaker who makes use of the artwork and artifice of cinema to border stories of the typical and the extreme alike.
Movie Noir: From Fritz Lang to struggle membership explores the murky international of a style chargeable for a lot of film's such a lot enduring pictures. Mark Bould discusses difficulties of definition and the customarily ambiguous nature of movie noir and appears at glossy movies which may be referred to as neo-noir. Iconic and enduring, movie noir attracted nice stars (Bogart, Bacall, Mitchum, Lancaster), some of the top administrators of the period (Wilder, Lang, Preminger, Hawks, Siodmak, Welles) and this e-book is an indispensible consultant to this well known style.
- Film (Eyewitness Companion Guides)
- André Bazin (Revised Edition)
- Legacies of Plague in Literature, Theory and Film
- 'Have You Seen . . .?': a Personal Introduction to 1,000 Films including masterpieces, oddities and guilty pleasures (with just a few disasters)
- Orson Welles
Additional info for American Ethnographic Film and Personal Documentary: The Cambridge Turn
E X P U L SIO N F R OM E D E N : B I T T E R M E LON S A N D N ! A I , T H E ST ORY OF A ! K U N G WOM A N But things had changed; it came out that . . two entire bands of Bushmen whom we had known at Gautscha, and many Bushmen from Gam, including the husband of Beautiful Ungka, had been taken away by Europeans to work on the farms. Three times European farmers had come, having followed in the tire tracks we ourselves had left behind the last time. ” The Bushmen had believed them, had gone for the ride, and of course were never seen again.
This new context allows those of us who know Marshall’s early films to reexperience them in new ways. Kung that Marshall had finished since The Hunters. Kung films that followed The Hunters. In retrospect, we can imagine that working with the footage that recorded what he considered the happiest experiences of his life was a way of revisiting his friends during the first years of his exile. Kung. Here, he discovered the dramatic changes that had occurred in his absence. ai, among the most frequent participants in his films, had a role in Jamie Uys’s feature.
I asked him if he remembered his father’s music. . 42 For Marshall, whatever satisfaction the artistry of Bitter Melons (or for that matter, the artistry of Oukwane and the other musicians and dancers in the film) gave him, and whatever pleasure audiences might take from his film, were rendered pointless, once one understood the historical realities within which this film was made. And, rather than ignore those historical realities any further, Marshall committed the remainder of his filmmaking life, or at least that portion of his filmmaking life that had to do with the peoples of the Kalahari, to a direct engagement with them.
American Ethnographic Film and Personal Documentary: The Cambridge Turn by Scott MacDonald