Showing 21 - 40 results of 113 for search 'Director (film)', query time: 0.15s Refine Results
  1. 21

    Transformation of Melodrama in Turkish Cinema from Yeşilçam to the Present: The Films Innocence and Destiny by Kemal Çelik

    Published 2024-04-01
    “…Content-wise, melodrama films often deal with tragedies like hopeless love stories. …”
    Get full text
    Article
  2. 22

    The Wandering Character in the Coen Brothers’ Films: When the Southern Gothic Meets the Western by Julie Assouly

    Published 2018-07-01
    “…The wandering character is a regular feature in the Coen Brothers’ films. Roaming the American South and West, two regions those directors have explored on various occasions, Coenian wanderers are mysterious, ominous characters, often grotesque, most of them undoubtedly having Gothic roots. …”
    Get full text
    Article
  3. 23

    Questions à Marie-Clémence Andriamonta-Paes sur le film-documentaire Fahavalo

    Published 2023-12-01
    “…Madagascar 1947, released in 2018, in the presence of Marie-Clémence Andriamonta-Paes, its director. This film is the result of a long work of research and collecting the memory of the last Malagasy witnesses of the uprising of 1947-1948 against the French colonial power. …”
    Get full text
    Article
  4. 24

    Reconstructing the Past and the Present: The Ethnographic Films Made by the Estonian National Museum (1961–1989) by Liivo Niglas, Eva Toulouze

    Published 2011-05-01
    “…Although the Museum's director, Aleksei Peterson, who developed this activity, was mainly interested in strictly ethnographic film, the legacy from this period consists mainly, but not only, of film monographs made both in Estonia and in the Finno-Ugric regions. …”
    Get full text
    Article
  5. 25

    In the Shadow of the “Indeterminate Speech-Act”: The Populist Politics of Rumor in Fritz Lang’s Early Sound Films by Florian Zappe

    Published 2020-12-01
    “…This interpretation of M―Eine Stadt sucht einen Mörder (Germany, 1931) and Lang’s first Hollywood production Fury (USA, 1936) will show that the shift from silent to sound cinema marks not only an aesthetic and technological innovation, but also coincides with an increased political awareness in the director’s oeuvre. While his films of the silent era remain politically ambiguous and have often been accused of foreshadowing fascist themes and aesthetics, the sound films produced shortly before and after Lang’s emigration to the United States take a clear political stand with regards to the toxic effects of rumors as expressions of populist sentiments and, in this, provide a gateway to the director’s integration into American liberalism.…”
    Get full text
    Article
  6. 26

    From the Banned Telefilm to the Feature Film: the Two Versions of Alan Clarke’s Scum (1977-1979) by Nicole Cloarec

    Published 2013-11-01
    “…Alan Clarke’s Scum, originally made for the BBC’s Play for Today series in 1977, has become a cause célèbre in the history of film censorship. Although the film had already been scheduled, it was eventually banned and only broadcast in 1991, a year after the director’s death. …”
    Get full text
    Article
  7. 27

    Galicia ¿escuela de subalternidad? by Marta Álvarez, Laureano Montero

    Published 2024-06-01
    “…María Ruido has become one of the most recognized video artists and filmmakers (in a broad sense of the word) of the contemporary Spanish scene. Her films question power relations, with a viewpoint shaped by her marxist and feminist theoretical bases. …”
    Get full text
    Article
  8. 28

    Acting Styles, Nuances and Linguistic Aesthetics: A Case Study of Ibrahim Chatta in Yoruba Films by Adejoke Adetoun Fadirepo, Adeyemi Oluwadamilare Oresanya

    Published 2022-01-01
    “…This study thereby concludes that directors, producers and casting directors should be more creative by developing a sense of professionalism, making preference for quality over quantity in the Yoruba films. …”
    Get full text
    Article
  9. 29
  10. 30

    Representing 9/11: Alejandro González Iñárritu’s short film in 11'09"01: September 11 by Marie-Christine CLEMENTE

    Published 2011-09-01
    “…Stressing the fact that the film uses images of the ‘jumpers’ that were widely censored by the media in the aftermath of the 9/11 attacks, it analyses how the director transcends the sphere of representation by deconstructing the viewers’ habitual cinematic experience. …”
    Get full text
    Article
  11. 31

    DeMille and Danger: Seven Heuristic Taxonomic Categories of His Hollywood (Mis)Adventures by Anton Karl Kozlovic

    Published 2014-03-01
    “…The legendary producer-director Cecil B. DeMille1 was an unsung auteur, a master of the American cinema, and a seminal cofounder of both Hollywood and Paramount Pictures who was professionally enamoured with the pursuit of sensationalism, authenticity and realism for his crowd-pleasing productions. …”
    Get full text
    Article
  12. 32
  13. 33
  14. 34

    Dances with Westerns in Poland’s Borderlands by Piotr Skurowski

    Published 2019-01-01
    “…This article deals with the influence of American Westerns on the work of the Polish film directors who chose to adapt the language of the film Western to construct their narrations about Poland’s postwar borderlands, including the so-called Recovered Territories and the Bieszczady region. …”
    Get full text
    Article
  15. 35
  16. 36

    An analysis of the meaning constructed by woman gaze through cinematic instruments in Yeşim Ustaoğlu’s film Clair Obscur (2016) by Beril Uğuz

    Published 2024-09-01
    “…To this end, the film Clair Obscur (Tereddüt, 2016), directed by Yeşim Ustaoğlu, which focuses on the viewpoints, and experiences of women characters, is examined through textual film analysis with a holistic approach. …”
    Get full text
    Article
  17. 37
  18. 38
  19. 39
  20. 40

    ‘Run, Forrest, run!’ … or not? The Remarkable Migration of Forrest Gump from Winston Groom’s 1986 Novel to Robert Zemeckis’ 1994 Film. by Isabelle ROBLIN

    Published 2015-12-01
    “…In this paper, I shall be concentrating on some of these obvious differences in the characterisation of Forrest without making value judgments on the perceived quality of the film or the novel, but by attempting to find out the reasons why the screenwriter and the director chose that very particular reading.…”
    Get full text
    Article