Search Results for william-klein
1-20 of 74 Search Results for
Film Quarterly. 2012; 66150–61 doi: https://doi.org/10.1525/fq.2012.66.1.50
Published: 01 September 2012
...Des O’Rawe This essay examines the relations between documentary style and political sensibility in the cinema of William Klein. It is structured around cultural phenomena that have remained integral to his artistic career, and encourages a more thorough engagement with the work of this diverse...
Film Quarterly. 2018; 72255–66 doi: https://doi.org/10.1525/fq.2018.72.2.55
Published: 01 December 2018
... contributions by JLG, Joris Ivens, Alain Resnais, Claude Lelouch, and William Klein, finally, there was no room for Varda s sequence (though she appears cred- ited as a codirector). 66 WINTER 2018 ...
Film Quarterly. 2018; 72180–85 doi: https://doi.org/10.1525/fq.2018.72.1.80
Published: 01 September 2018
... and negligence. Dino Everett and Allyson Nadia Field presented the recently rediscovered Something Good Negro Kiss (Selig, 1898). Their attention to this African-American version of Edison s famed The Kiss (William Heise, 1896) was yet an- other stellar example of how to undertake this kind of re...
Film Quarterly. 2015; 69266–73 doi: https://doi.org/10.1525/fq.2015.69.2.66
Published: 01 December 2015
... not only a film about characters, love affairs, plot points, or mayhem. It is a musical with nonstop action, in dazzling 3D, staged on a stylized minimalist set of white lines and implied architectures designed by the brilliant William Chang (Wong Kar-Wai s art director). With a set dominated by a...
Film Quarterly. 2011; 64337–45 doi: https://doi.org/10.1525/FQ.2011.64.3.37
Published: 01 March 2011
.... Lenny, who suffers from anterograde amnesiac condition which means that he can t make new memories, is setting puzzles for himself that can t be solved so that he can always be pur- suing his wife s murderer, long after Lenny has killed him. But after repeated viewings, the critic Andy Klein in a piece...
Film Quarterly. 2010; 64272–73 doi: https://doi.org/10.1525/FQ.2010.64.2.72
Published: 01 December 2010
... reality they were the result of a profitable privatization of the state s emergency powers. Inside Job and Draquila are, on different scales, both investigations of what Naomi Klein calls disaster capitalism. In laying out their arguments, both films resort to a famil- iarly eclectic assortment of...
Film Quarterly. 2010; 63456–58 doi: https://doi.org/10.1525/FQ.2010.63.4.56
Published: 01 June 2010
... version of Raymond Queneau (especially as it s upgraded by William Klein s wide-angle grotesquerie) in Zazie André Dussolier in Micmacs © 2008 Bruno Calvi/epithète Films, Tapioca Films. Courtesy of sony Pictures Classics. 58 summer 2010 berlin notebooK EDWARD LAWRENSON dans le métro. And the heroes of...
Film Quarterly. 2010; 64123–28 doi: https://doi.org/10.1525/FQ.2010.64.1.23
Published: 01 September 2010
... Horizon oil catastrophe have venial, man- made explanations. As Iris (Joanne Wood ward) puts it in The Drowning Pool (1975) after witnessing a murderous grab of natural resources, You oil people ruined our town. In The Shock Doctrine, Naomi Klein developed the idea of disaster capitalism : mass fright...
Film Quarterly. 2009; 62354–64 doi: https://doi.org/10.1525/fq.2009.62.3.54
Published: 01 March 2009
... particularly 8½ , a film whose rich baroque and urban ironies became the perfect conduit to Blonde on Blonde replaced Pennebaker as the leading stylistic reference for that story (with some Richard Lester, Pennebaker, and William Klein thrown in, as well). Elsewhere the references are nearly as specific...
Film Quarterly. 2008; 62266–67 doi: https://doi.org/10.1525/fq.2008.62.2.66
Published: 01 December 2008
... tabloid material by ownership. The documentary extra, The Wire: The Last Word, pro- vides valuable insight via the observations of journalists such as Luxenberg, Joe Klein, and Jacob Weisberg (in addition to Simon himself), who have found themselves being forced to do more with less (a phrase that...
Film Quarterly. 2008; 62170–75 doi: https://doi.org/10.1525/fq.2008.62.1.70
Published: 01 September 2008
... Documentarian Declares War on the War on Terror Cineaste, winter 2007). Starting off with a discus- sion of televisual flow as described by Raymond Williams in 1973, Myerscough voices some misgivings about sensual overkill as well as intellectual shortcuts and simplifications, concluding at one point that I...
Film Quarterly. 2007; 61124–29 doi: https://doi.org/10.1525/fq.2007.61.1.24
Published: 01 September 2007
...William Johnson ABSTRACT A review of Philip Grööning's documentary about the Grande Chartreuse monastery in France. Particular attention is paid to the film's use of available light and speech (and other sounds) in its successful attempt, in a manner that arguably evokes Bresson and Dreyer, to...
Film Quarterly. 2006; 59464–65 doi: https://doi.org/10.1525/fq.2006.59.4.64
Published: 01 June 2006
... for the various authors included in Off the Planet. First of all, Larson argued that science-fiction and fan- tasy cinema has been vital to the aesthetic development of film music, and further, that many notable composers, such as Jerry Goldsmith and John Williams, did their finest and most...
Film Quarterly. 2006; 59465–66 doi: https://doi.org/10.1525/fq.2006.59.4.65
Published: 01 June 2006
.... other hand, deals with the symphonic science-fiction scores of John Williams for Star Wars and Close Encounters of the Third Kind. Both of these scores have received close musico- logical analysis in the literature on science-fiction film scores, but Lerner argues that this formalist approach overlooks...
Film Quarterly. 2006; 59423–34 doi: https://doi.org/10.1525/fq.2006.59.4.23
Published: 01 June 2006
... sword. Hearing the raised alarm, Shu Lien pursues Jen over peaked rooftops, giving the chase an undulating effect that 29 choreographs their contrasting relation to the tradi- tions and duties that bind present and future behavior to the past. As Christina Klein notes, whereas the duti- ful Shu Lien...
Film Quarterly. 2005; 59219–31 doi: https://doi.org/10.1525/fq.2005.59.2.19
Published: 01 December 2005
Film Quarterly. 2003; 56325–31 doi: https://doi.org/10.1525/fq.2003.56.3.25
Published: 01 March 2003
... the avant- garde. The city became a magnet for would-be lm- artists from all over Europe: from Vienna (Joseph von Sternberg), Paris (Robert Florey), and Budapest (Paul Fejos and Charles Vidor); from Russia (Boris Deutsch and Alla Nazimova), Germany (Charles Klein), and Yugoslavia (Slavko Vorkapich...
Film Quarterly. 1999; 5232–16 doi: https://doi.org/10.2307/1213821
Published: 01 April 1999
... University Press, 1991), 165 165 Representing Reality: Issues and Concepts in Documentary 1991 Sergei Eisenstein, Cesare Zavattini, and John Grierson Nichols, Raymond Williams, Richard Maltby 7 David Bordwell, Janet Staiger and Kristin Thompson, The Classical Hollywood Cinema: Film Style...
Film Quarterly. 1998; 52255–56 doi: https://doi.org/10.2307/1213279
Published: 01 December 1998
... should have been explored in the introduction, with reference to works by Charles Musser, Tom Gunning, Miriam Hansen, Janet Staiger, Roberta Pearson and William Uricchio, Ben Singer, Roy Rosenzweig, Kathy Peiss, Liza- beth Cohen, and Steven Ross, among others, to build an in- terpretive framework...