Greta Garbo and Clarence Brown: An Analysis of their Professional Relationship in the Context of Classical Hollywood Cinema

2020 ◽  
Vol 32 (3) ◽  
pp. 715-735
Author(s):  
Carmen Guiralt
Keyword(s):  
Professional Relationship ◽  
Hollywood Cinema ◽  
Clarence Brown ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

Este artículo consiste en un estudio de la relación profesional de Greta Garbo y Clarence Brown, su realizador más habitual en Hollywood, quien la guio en siete largometrajes —ningún otro cineasta la dirigió en más de dos— y al que la crítica y la historiografía han señalado invariablemente como su “director favorito”. Aunque a finales de los años veinte y durante la primera mitad de los años treinta el tándem Garbo-Brown se consideró el equipo más exitoso de actriz y realizador de la época, a día de hoy su asociación es prácticamente desconocida. ¿Fue Brown realmente su “director favorito”? ¿A qué se debió la reticencia de Garbo a repetir más de dos veces con un mismo cineasta? ¿Por qué permitió, en cambio, que Brown la guiará en siete films? ¿Cuál fue su éxito al dirigirla? ¿Era Garbo una actriz técnica o instintiva? ¿Fue una gran intérprete o simplemente un rostro magnífico dotado de una fotogenia excepcional? Para desvelar estos interrogantes, se han analizado de forma cronológica y en profundidad sus siete películas conjuntas, realizadas a lo largo de once años de colaboración, y se han consultado abundantes documentos del periodo y actuales, así como una entrevista inédita con el director.

Rewriting Ibsen for the big screen

2021 ◽  
Vol 11 (2) ◽  
pp. 177-193 ◽  
Author(s):  
Audun Engelstad
Keyword(s):  
Silent Film ◽  
Film Adaptations ◽  
Henrik Ibsen ◽  
Hollywood Cinema ◽  
Contemporary Cinema ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

Henrik Ibsen is regarded as the champion of realist theatre. In the early days of cinema, there were several silent film adaptations of Ibsen’s plays. One would think, given his standing as a playwright, that there would be a continuous interest in Ibsen’s work after the conversion to sound. This article examines how the realist theatre – heralded by Ibsen – relates to classical (Hollywood) cinema and how Ibsen in various ways has been rewritten and has recently re-emerged within contemporary cinema.

Classicism and Deviation in His Girl Friday and Double Indemnity

2017 ◽  
Author(s):  
Todd Berliner
Keyword(s):  
Hollywood Cinema ◽  
Cognitive Challenge ◽  
Classical Hollywood Cinema ◽  
Double Indemnity ◽  
Classical Hollywood

Chapter 2 illustrates an aesthetically productive balance between easy understanding and cognitive challenge in classical Hollywood cinema with extended analyses of His Girl Friday and Double Indemnity. These films combine classical narrative, stylistic, ideological, and genre properties with artistic devices that complicate formal patterning and thwart audience expectations.

An Aesthetics of Aggression: German Fascist vs. Classical Hollywood Melodrama

2017 ◽  
Author(s):  
Laura Heins
Keyword(s):  
Third Reich ◽  
Hollywood Cinema ◽  
Aggressive Form ◽  
Mise En Scene ◽  
The Face ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood

This chapter attempts to delineate the generic and aesthetic differences between film melodrama in Third Reich and classical Hollywood cinema, and to a lesser extent, between German and Italian Fascist film. Hollywood cinema's greater emphasis on the communicative codes of mise-en-scène, dynamic editing, and camera movement was countered in Nazi cinema with a greater stress on bodily displays and a theatrical acting style that subordinated the intimacy of the face in close-up to the authority of the actor's voice and scripted dialogue. Subtle formal and narrative differences in the Nazi melodrama also encouraged a more aggressive form of voyeurism than was common in the Hollywood melodrama. Instead of the masochistic aesthetic of many Hollywood melodramas, therefore, the Nazi melodrama distinguished itself by its formally encoded appeals to spectatorial sadism and by the masculinity of its pathos.

The Classical Hollywood Cinema

2003 ◽  
Author(s):  
David Bordwell ◽  
Janet Staiger ◽  
Kristin Thompson
Keyword(s):  
Hollywood Cinema ◽  
Classical Hollywood Cinema ◽  
Classical Hollywood
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