There Will Be Blood. Directed by Paul Thomas Anderson. Paramount, 2007. DVD. 158 min. $34.99

2008 ◽  
Vol 13 (2) ◽  
pp. 367-368
Author(s):  
B. Black
Keyword(s):  
Paul Thomas Anderson

Composite Interview

2017 ◽  
Author(s):  
George Toles
Keyword(s):  
The Real ◽  
Feature Films ◽  
Paul Thomas Anderson

This concluding chapter illustrates segments of various interviews Paul Thomas Anderson has given about his feature films, and interviews with actors, such as Philip Seymour Hoffman on The Master. Ultimately, one of the main strands of argument in this book is that Anderson continues to guard the story of his mother that “he might tell;” and yet, the story is always working its way into his narratives about fathers, and carries the real burden of the narrative mystery. The motivation of Anderson's male protagonists in the three films—Punch-Drunk Love, There Will Be Blood, and The Master—becomes increasingly deformed, and in each case the mangling pressure derives from the protagonist's inability to secure a crucial lost balance and alignment with absent maternal shades.

Paul Thomas Anderson

2016 ◽  
Author(s):  
George Toles
Keyword(s):  
Romantic Comedy ◽  
Deep Knowledge ◽  
The People ◽  
Central Characters ◽  
Paul Thomas Anderson ◽  
New Millennium

Since his explosive debut with the indie sensation Hard Eight, Paul Thomas Anderson has established himself as one of contemporary cinema's most exciting artists. His 2002 feature Punch-Drunk Love radically reimagined the romantic comedy. Critics hailed There Will Be Blood as a key film of the new millennium. In The Master, Anderson jarred audiences with dreamy amorphousness and a departure from conventional story mechanics. The book approaches these three films in particular, and Anderson's oeuvre in general, with a focus on the role of emergence and the production of the unaccountable. Anderson, the book shows, is an artist obsessed with history, workplaces, and environments but also intrigued by spaces as projections of the people who dwell within. The book follows Anderson from the open narratives of Boogie Nights and Magnolia through the pivot that led to his more recent films, Janus-faced masterpieces that orbit around isolated central characters—and advance Anderson's journey into allegory and myth. Blending penetrative analysis with a deep knowledge of filmic storytelling, the book tours an important filmmaker's ever-deepening landscape of disconnection.

scholarly journals Aproximación al trabajo de Paul Thomas Anderson. Una revisión sobre The Master (2012)

2015 ◽  
Author(s):  
Juan Caravaca Mompeán
Keyword(s):  
Critical Reception ◽  
Religious Movement ◽  
Media Reception ◽  
First Time ◽  
Paul Thomas Anderson ◽  
New View

El presente trabajo es un acercamiento a la película The Master. Esta obra de Paul Thomas Anderson vio la luz en el año 2012 y tanto su estreno como su producción estuvieron unidas a un rumor: la película hablaba sobre un movimiento religioso, la Cienciología. Esta sospecha ha comprometido su recepción por parte de la crítica especializada y ha afectado a su mensaje final. Desde aquí planteamos acercarnos a la recepción crítica de la película y recoger las ideas que se han planteado en torno ella para, y a través de esas premisas, realizar un análisis fílmico.Abstract:The work herein presented is an approach to the film The Master. This Paul Thomas Anderson movie released for the first time in 2012, and both, its premiere as its production, were joined by a rumor: the plot of the film was about a religious movement, Scientology. This rumor has committed its critical reception and its final message. In this paper, we approach to this media reception to collect the ideas that have emerged around the movie. And, from these ideas, we will propose a new view about this Paul Thomas Anderson work.Palabras clave:The Master; Paul Thomas Anderson; crítica; medios; CienciologíaKeywords:The Master; Paul Thomas Anderson; Critics; Media; Scientology

scholarly journals Sobre corpos isolados na imagem: a mise en scène em Sangue negro, de Paul Thomas Anderson

Intexto ◽  
2020 ◽  
pp. 178-198
Author(s):  
Thiago Da Silva Rabelo ◽  
Rosana Maria Ribeiro Borges
Keyword(s):  
Mise En Scene ◽  
Paul Thomas Anderson

O artigo possui como temática o estilo no cinema independente norte-americano. O objetivo é investigar elementos de mise en scène presentes no filme Sangue negro (2007), dirigido por Paul Thomas Anderson, associando-os às funções do estilo cinematográfico descritas por Bordwell (2008). De abordagem qualitativa e utilizando como método a análise fílmica, a pesquisa foi delineada com base em três momentos do longa-metragem, escolhidos a partir do interesse em estudar como Anderson conduz o posicionamento e o movimento dos atores dentro do quadro. Como resultado, observou-se que o cineasta, a partir de um constante interesse pelos aspectos mínimos da imagem bidimensional, aposta num recorrente jogo de velar e desvelar em que não apenas corpos e rostos são ocultados e assumidos, mas também representações subjetivas importantes para uma compreensão ampla da narrativa.

Words and Music: The Magnolia Crisis

2017 ◽  
Author(s):  
George Toles
Keyword(s):  
The Real ◽  
Material Reality ◽  
Paul Thomas Anderson

This chapter describes a considered, thematic, and stylistic account of the viewing experiences of three films by Paul Thomas Anderson and their backgrounds—Punch-Drunk Love (2002), There Will Be Blood (2007), and The Master (2012). Writer Geoffrey O'Brien, in his essay on The Master, captures the feel of Anderson's recurring landscape of disconnection. He goes on to speak of the expressionist treatment of milieu in the films, as though in each narrative there is an attempt both to acknowledge the claims of material reality and at the same time to reconfigure the real. The chapter also examines the contradictory pressures at work in the avowedly autobiographical, densely verbal Magnolia, which may have necessitated a change in Anderson's method and technique in the films that followed.

scholarly journals Linguagem esquemática no cinema: uma abordagem analítica

2010 ◽  
Vol 5 (1) ◽  
pp. 1-11
Author(s):  
Isabella R. Aragão ◽  
Solange G. Coutinho
Keyword(s):  
Lars Von Trier ◽  
Paul Thomas Anderson

O propsito deste artigo evidenciar o uso da linguagem esquemtica em filmes narrativos de longa metragem, predominantemente de fico, produzidos em poca recente. Mais especificamente, o objetivo observar seus elementos, utilizando a classificao proposta por Arago (2006), onde so definidas dez categorias sintticas e semnticas presentes na literatura do design e do cinema. Trs configuraes grficas cinematogrficas de trs filmes diferentes foram escolhidas: a trajetria de um suicdio de Magnlia (Paul Thomas Anderson, 1999), a partitura do ltimo concerto de Tnica dominante (Lina Chamie, 2000) e o cenrio de Dogville (Lars Von Trier, 2003). Nelas, os elementos esquemticos possuem contedo informacional, ou seja, so determinantes na significao da configurao grfica. Aps as anlises, apresentamos algumas consideraes qualitativas acerca desses elementos no cinema, objetivando estabelecer algumas ligaes entre as categorias e, principalmente, trazendo algumas questes para debate. [ Download ]

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