Key Tendencies of Auteur Cinema in the Putin Era or Sleep, Dear Country!

2021 ◽  
Vol 63 (3) ◽  
pp. 32-42
Author(s):  
Larisa Maliukova
Keyword(s):  
Auteur Cinema

Cruising

2020 ◽  
Author(s):  
Eugenio Ercolani ◽  
Marcus Stiglegger
Keyword(s):  
Identity Crisis ◽  
Male Sexuality ◽  
Horror Film ◽  
Film Festival ◽  
Distorted Image ◽  
New Hollywood ◽  
Unique Approach ◽  
Academy Award ◽  
Auteur Cinema

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.

The Neosurrealist Musical and Tsai Ming-Liang’s the Wayward Cloud

2013 ◽  
Author(s):  
John Richardson
Keyword(s):  
Cultural Memory ◽  
Mainland China ◽  
Hard Core ◽  
Cultural Meanings ◽  
Found Objects ◽  
Popular Songs ◽  
New Development ◽  
Reparative Reading ◽  
Film Musicals ◽  
Auteur Cinema

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter theorizes an important new development in auteur cinema, the neosurrealist metamusical, through Jan Assman’s idea of “figures of memory,” which are aspects of cultural memory that are differentiated from everyday experiences by their ritualized and temporally displaced nature. Musical numbers in this view become figures of memory that highlight reflectivity. Tsai Ming-Liang’sThe Wayward Cloud (Tian bian yi duo yun, 2005) is a classic example of a neosurrealist metamusical, a surrealist sensibility manifesting itself in the film’s collage-like assemblage of genres-art house cinema, film musicals, and hard-core pornography-combined with an element of absurdism. The use of vintage popular songs as found objects is central in negotiating cultural meanings, including tensions between local Taiwanese culture and mainland China, the mediatized West and the local everyday. Although the film contains potent critical messages, its dominant modality is playful camp aestheticism, which is theorized by means of Eve Kosofsky Sedgwick’s idea of “reparative reading.”

1001: Filming the Odyssey

2017 ◽  
Vol 21 (1) ◽  
Author(s):  
Gernot Waldner
Keyword(s):  
Economic Crisis ◽  
Scientific Knowledge ◽  
Machine Intelligence ◽  
Eternal Life ◽  
Cybernetic Model ◽  
Utopian Vision ◽  
Space Race ◽  
Auteur Cinema ◽  
Logical Process

AbstractThe article discusses how cybernetic models of learning shape the development of filmic means in Stanley Kubrick’s 2001: A Space Odyssey. I first outline the historical conditions that allowed for an adaption of scientific knowledge in film: auteur cinema, the space race, and the economic crisis of Hollywood studios. Then I introduce the major principles of this cybernetic model of learning, as it is palpable in the film. In this model, intelligence is simultaneously viewed as logical process inside a machine and as non-predictable behavior of a machine. When human and machine intelligence are in competition with each other, this twofold model serves as culmination point and interpretative cue for the film as a whole. In this interpretation, every signal of the monolith instigates new filmic means, which blur the boundaries between on-screen and off-screen vision, sound, and speech. As filmic adaption, the utopian vision of cybernetic intelligence thus portrays the search for eternal life.

scholarly journals Directing models of author cinema in the context of intercultural dialogue. Part 1. Co-production as a way to implement the producing and directing models

2021 ◽  
Author(s):  
Galyna Pogrebnyak
Keyword(s):  
Comprehensive Analysis ◽  
Intercultural Dialogue ◽  
Cultural Aspects ◽  
System Method ◽  
Film Directors ◽  
Production And Distribution ◽  
International Projects ◽  
History Of ◽  
Training Courses ◽  
Auteur Cinema

The purpose of the article is to identify problems of intercultural cooperation in the production and distribution of films directed by auteur cinema and to identify scientific guidelines that will contribute to a comprehensive analysis of the phenomenon of Ukrainian auteur cinema in the intercultural space. Methodology. An analytical method was used to study the topic, which is necessary to study the art history and cultural aspects of the problem. In addition, the researcher used methods of systematization and generalization, which were useful to argue the identity of the phenomenon of directing auteur cinema, its place in modern cultural processes, as well as to determine the objective patterns that characterize auteur cinematographic practices in modern intercultural space. A cross-cultural method was also used, which helped to identify the peculiarities of production and distribution of films directed by auteur films in the system of international cooperation. In turn, the culturological approach led to a generalized socio-cultural orientation of the study of the author's cinema of postmodern and postmodern culture. The scientific novelty of the study is that the problem of intercultural cooperation in the production and distribution of auteur cinema in Ukraine and abroad in the context of the functioning of international support programs has first become the subject of a special study; the content of the concepts "intercultural dialogue", "co-production" as certain specific integrity and unity of interconnected elements are argued; the works of Ukrainian film directors-authors, whose films were created as international projects, are singled out and characterized; the expediency of using the system method in studying the peculiarities of the international filmmaking process is proved; a comprehensive analysis and features of production and distribution of films by directors-authors in co-production projects in Ukraine and abroad. Conclusions. Acquaintance with the materials presented in the article expands the arsenal of knowledge on the specifics of production and distribution of films of directorial models of auteur cinema within intercultural projects and allows their use in training courses on the theory and history of cinema and directing. Key words: intercultural dialogue, director-author, producer, Ukrainian author's cinema, co-production, director's model of authorship.

Multiculturalism in Cinema in the Context of Popular Culture

2019 ◽  
pp. 230-245
Author(s):  
Eda Arisoy
Keyword(s):  
Popular Culture ◽  
Cultural Heritage ◽  
Cultural Wealth ◽  
Thin Line ◽  
Universal Space ◽  
Auteur Cinema ◽  
The Masses

The presentation of what the viewer wants and expects has turned cinema into a mass consumer industry, spreading into a universal space. Cinema is not merely to please the masses, but has been transformed into a multicultural business that carries a different intellectual meaning which is named as narrative or auteur cinema. As an auteur director, Ferzan Özpetek stands in highly unique place in the name of cultural wealth as a director. His cinema draws up in the thin line between being a popular cultural product and being a narrative, spiritual cinema product, and is considered as the most important feature that differentiates the concept of auteur from other cinema genres by focusing on the cultures of both countries. If the cinema industry returns to a differentiation between commercial and narrative types, film should create its audience by presenting its own cultural heritage, rather than exposing the same culture to the masses. It is the factor that nourishes the cultural variety.

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