Screen Studies: Bloomsbury and Faber Screenplays and Criticism - Searc
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“Black in white”: Language, world-making and the American contract in the cinema of Quentin Tarantino

John Pitseys

John Pitseys

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book chapter

...Quentin Tarantino’s cinema is a cinema of words and transactions. Speech is often literally mise-en-scène in his films, as in the fabled dialogues of Pulp Fiction (1994). It is sometimes doubled by camera placement, movements, and editing...

The “D” Is Silent, but Human Rights Are Not: Django Unchained as Human Rights Discourse

Kate E. Temoney

Kate E. Temoney

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

...Life, liberty, and the pursuit of vengeanceWe hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit...

Kill Bill: Volume 1 (US, 2003): Violence as Art

Philip Gillett

Philip Gillett is an independent film critic and writer and author of The British Working Class in Postwar Film. Author affiliation details are correct at time of print publication.

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Movie Greats : A Critical Study of Classic Cinema

Berg, 2008

Book chapter

...Production companies: A Band Apart / Miramax FilmsProducer: Lawrence BenderDirector/ Screenplay: Quentin TarantinoPhotography: Robert RichardsonProduction design: Yohei Taneda, David WascoArt Director: David BradfordEditor: Sally MenkeCast:...

Abderrahmane Sissako: On the politics of African auteurs

Rachel Gabara

Rachel Gabara

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book chapter

...Abderrahmane Sissako is in many ways the epitome of the film director as auteur as the term is commonly used in both academic and cinephilic circles. One of few African filmmakers whose films have circulated widely on the international...

Godard’s stereoscopic essay: Thinking in and with Adieu au langage

Rick Warner

Rick Warner

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book chapter

...The auteur as essayist Speaking to a sold-out audience at the US premiere of Jean-Luc Godard’s Goodbye to Language (Adieu au langage, 2014) at the New York Film Festival, Amy Taubin credited the legendary eighty-three-year-old director...

Fatih Akin’s moral geometry

Dudley Andrew

Dudley Andrew

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book chapter

...Does anyone doubt that auteur films played a serious role in aesthetic, political, and philosophic discussions of the postwar period until 1968, 1975, or maybe 1989? What about in our era? Is there anything left of the “classic art cinema...

Contemporary Romanian auteurs: Politics, irony, and reflexivity

Dominique Nasta

Dominique Nasta

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book chapter

...At the beginning of the twenty-first century, Romania, an East European country from which only a few isolated auteurs had previously gained international visibility, unexpectedly produced one of the few coherent New Waves in the context...

Michael Winterbottom: A self-effacing auteur?

William Brown

William Brown is Senior Lecturer in Film at the University of Roehampton, UK. He is the author of Supercinema: Film-Philosophy for the Digital Age (2013), Moving People, Moving Images: Cinema and Trafficking in the New Europe (2010), with Dina Iordanova and Leshu Torchin, and co-editor, with David Martin-Jones, of Deleuze and Film (2012). Author affiliation details are correct at time of print publication.

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book chapter

...In this chapter, I shall argue that Michael Winterbottom is a paradoxical auteur who qualifies more as an artist than as a commercial director, not just in spite, but also because, of what I shall call his “self-effacement.” I shall also...

Exploding cinema, exploding Hollywood: Inglourious Basterds and the limits of cinema

Imke Meyer

Imke Meyer

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...“Greetings, Jerusalem, I am deeply sorry.” These are the words Hitler speaks—in Hebrew—in a video the artist Boaz Arad created in the year 2000. Arad spliced together many “very short film clips from Hitler’s propaganda speeches to produce...

Body Genres III: The Horror Genre and the Holocaust

Aaron Kerner

Aaron Kerner is an Associate Professor in the Cinema Department at San Francisco State University. Author affiliation details are correct at time of print publication.

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Film and the Holocaust : New Perspectives on Dramas, Documentaries, and Experimental Films

Continuum, 2011

Book chapter

...Introduction: the Blood and Guts of It Given the heinous nature of the Nazi genocide one would imagine that it was ripe for the horror genre. But very few films in the horror genre proper (as separate and distinct from the exploitation...