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The Cinematic Real: Image, Text, Culture

Bruce Isaacs

Bruce Isaacs is a Lecturer in Film Studies at the University of Sydney, Australia. He has published widely on film history and theory. Author affiliation details are correct at time of print publication.

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Toward a New Film Aesthetic

Continuum, 2008

Book chapter

...The Spectacle Aesthetic, Or the Cinematic Real In talking about cinema, I have been talking about life as well; however, I do not want to make too many claims. I am not arguing that this perspective offers in some sense a better view...

Toward a Theory of Popular Culture

Bruce Isaacs

Bruce Isaacs is a Lecturer in Film Studies at the University of Sydney, Australia. He has published widely on film history and theory. Author affiliation details are correct at time of print publication.

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Toward a New Film Aesthetic

Continuum, 2008

Book chapter

...Culture as Functionality If we are asked to believe that all literature is “ideology,” in the crude sense that its dominant intention (and then our only response) is the communication or imposition of “social” or “political” meanings...

A Notion of Film Aesthetics

Bruce Isaacs

Bruce Isaacs is a Lecturer in Film Studies at the University of Sydney, Australia. He has published widely on film history and theory. Author affiliation details are correct at time of print publication.

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Toward a New Film Aesthetic

Continuum, 2008

Book chapter

...Engaging the Aesthetic Impulse Contemporary cultural formations have been theorized through postmodern ideas of fragmentation, distillation, and a “politics of difference” that has questioned fixed notions of identity and subjectivity. How...

Text and Spectacle in The Matrix Franchise

Bruce Isaacs

Bruce Isaacs is a Lecturer in Film Studies at the University of Sydney, Australia. He has published widely on film history and theory. Author affiliation details are correct at time of print publication.

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Toward a New Film Aesthetic

Continuum, 2008

Book chapter

...Conceptualizing the Spectacle Aesthetic Understood in its totality, the spectacle is both the outcome and the goal of the dominant mode of production. It is not something added to the real world—not a decorative element, so to speak....

What to do with a diva (what it means when an actor ‘acts out’)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...I have learned over the years to recognise signs of apparent ‘breakdown’ in actors (i.e. tears, rage, etc.) as the necessary consequence of an attempt to move beyond personal limits. By shedding the defence mechanisms that contribute...

Finding the ‘look’ (hair, make-up and costume)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...Appearance is mysterious. In the surface of things we can find both truth and lies; appearance can reveal or it can camouflage. The way someone looks, including what they wear, contains a wealth of detailed information that cannot...

Looking for happiness on set (an unreliable goal?)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...A film shoot, however exhilarating it may be, is often also a stressful, exhausting process for everyone concerned. The constant pressure of time – as time costs money – means little sleep and no rest. What I’ve come to realise...

Money (and other exchanges)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

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Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...Once the casting choices have been made in principle, the producers start to work on the deals with the actors’ agents. At this point, the distorting demon of money starts to come into play, too. Money is a live issue at every stage...

Rewrites during pre-production (and beyond)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

Search for publications

Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...If you are a writer/ director you have – at least – one enormous advantage: you can change things when they don’t work without referring to anyone else. You don’t have to turn to a writer, either in rehearsal or on the set, and say...

The art of collaboration (being inclusive, taking responsibility)

Sally Potter

Sally Potter is the award-winning writer/director of The Goldiggers, Orlando, The Tango Lesson, The Man Who Cried, Yes, Rage, and Ginger and Rosa. Author affiliation details are correct at time of print publication.

Search for publications

Naked Cinema : Working with Actors

Faber & Faber, 2014

Book chapter

...Film-making is always a collaborative art-form, but if you are the director you can’t remind yourself too often that it is your responsibility – and yours alone – to keep in mind the vision of the film as a whole. You really are the only...