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Topsy-Turvy (1999)

Mike Leigh

Born in Salford, Manchester, in 1943, Mike Leigh has developed a unique method of creating films through controlled improvisations. After his debut Bleak Moments (1971) he made a succession of admired TV plays, including Abigail's Party and Nuts in May. He then returned to feature films: High Hopes (1988), Life is Sweet (1990), Naked (1993). Secrets and Lies won the Palme d'Or at Cannes in 1996. Topsy-Turvy (1999) won two Oscars. All or Nothing followed in 2002. Since then he has made the Oscar-nominated Vera Drake (2004), which won the Golden Lion at the Venice Film Festival, Happy-Go-Lucky (2008) and Another Year (2010). He also did Two Thousand Years for the National Theatre in 2005. Author affiliation details are correct at time of print publication.

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Amy Raphael

Amy Raphael was born in London in 1967. She has worked on The Face, NME, Elle and Esquire and now freelances for the Guardian, the Observer and The Times. Her first book, Never Mind the Bollocks: Women Rewrite Rock, was published by Virago in 1995. She conducted the conversations and edited Mike Leigh on Mike Leigh, which was published by Faber in 2008. She has also contributed to the The Rolling Stone Book of Women in Rock and Perfect Pitch, a series of books about football. Author affiliation details are correct at time of print publication.

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Mike Leigh on Mike Leigh

Faber and Faber, 2008

Book chapter

...London, January 1884. Writer W. S. Gilbert ( Jim Broadbent) and composer Sir Arthur Sullivan ( Allan Corduner) have enjoyed ten hit operas in a row. Their comic operas, produced by impresario Richard D’Oyly Carte (Ron Cook),...

A Comparative Schematic Analysis of the Automated Narrative and its Mechanical Logic in Vertov’s The Man with a Movie Camera (1929) and Michael Snow’s De La (1969–72)

David Tomas

David Tomas is a Professor at the School of Visual Arts, University of Quebec, Montreal, Canada. Author affiliation details are correct at time of print publication.

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Vertov, Snow, Farocki : Machine Vision and the Posthuman

Bloomsbury Academic, 2014

Book chapter

...In Chapter 1, I explored some of The Man with a Movie Camera’s salient sociopolitical characteristics from an anthropological point of view. I demonstrated that Vertov’s film is structured and its content is organized and presented in a way...

De La (1969–71)

David Tomas

David Tomas is a Professor at the School of Visual Arts, University of Quebec, Montreal, Canada. Author affiliation details are correct at time of print publication.

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Vertov, Snow, Farocki : Machine Vision and the Posthuman

Bloomsbury Academic, 2014

Book chapter

...La Région Centrale’s distinctiveness as experimental “cosmic” experience and posthuman rite of passage was based on its sophisticated mechanical and electronic infrastructure (the camera activating machine and its console), a fluid...

Manufacturing Vision and the Posthuman Circa 1929

David Tomas

David Tomas is a Professor at the School of Visual Arts, University of Quebec, Montreal, Canada. Author affiliation details are correct at time of print publication.

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Vertov, Snow, Farocki : Machine Vision and the Posthuman

Bloomsbury Academic, 2014

Book chapter

...The Man with a Movie Camera (Chelovek s kinoapparatom), a six-reel silent film, was released in 1929 under the auspices of the Ukrainian Film and Photography Administration (VUFKU). As credited on the film, Vertov was the “author-supervisor...

A Posthuman Future in the Age of the Algorithm

David Tomas

David Tomas is a Professor at the School of Visual Arts, University of Quebec, Montreal, Canada. Author affiliation details are correct at time of print publication.

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Vertov, Snow, Farocki : Machine Vision and the Posthuman

Bloomsbury Academic, 2014

Book chapter

...In this final chapter I will focus on two other rite of passage structures, which are different from the ones I have previously discussed. These others are implicated in Farocki’s Eye/Machine trilogy (2001–3) and Counter-Music (2004). What...

La Région Centrale

David Tomas

David Tomas is a Professor at the School of Visual Arts, University of Quebec, Montreal, Canada. Author affiliation details are correct at time of print publication.

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Vertov, Snow, Farocki : Machine Vision and the Posthuman

Bloomsbury Academic, 2014

Book chapter

...Michael Snow terminated the final version of his 180-minute, 16mm color film La Région Centrale in May 1971.See Michael Snow Fonds 1933–96, gift of Michael Snow, E. P. Taylor Library and Archives, Art Gallery of Ontario, Toronto, Box 47...

La Région Centrale

David Tomas

David Tomas is a Professor at the School of Visual Arts, University of Quebec, Montreal, Canada. Author affiliation details are correct at time of print publication.

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Vertov, Snow, Farocki : Machine Vision and the Posthuman

Bloomsbury Academic, 2014

Book chapter

...The November 1973 issue of Artforum contained the first of a detailed two-part analysis of Snow’s landscape film. Its author, John W. Locke, saw La Région Centrale during a New York screening on May 27, 1971, at the recently opened...

La Région Centrale

David Tomas

David Tomas is a Professor at the School of Visual Arts, University of Quebec, Montreal, Canada. Author affiliation details are correct at time of print publication.

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Vertov, Snow, Farocki : Machine Vision and the Posthuman

Bloomsbury Academic, 2014

Book chapter

...Initial reactions to La Région Centrale suggest that it was experienced as a powerful “mind trip.” In this chapter I would like to demonstrate how it functioned in this way and how it introduced viewers to the possibility of a posthuman...

Toward a Cosmic Rite of Passage

David Tomas

David Tomas is a Professor at the School of Visual Arts, University of Quebec, Montreal, Canada. Author affiliation details are correct at time of print publication.

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Vertov, Snow, Farocki : Machine Vision and the Posthuman

Bloomsbury Academic, 2014

Book chapter

...La Région Centrale did not explore daily urban life or a city’s transportation and communication infrastructure. Nor was it committed to systemic sociopolitical analysis like The Man with a Movie Camera. It was, however, engaged...

Introduction

David Tomas

David Tomas is a Professor at the School of Visual Arts, University of Quebec, Montreal, Canada. Author affiliation details are correct at time of print publication.

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Vertov, Snow, Farocki : Machine Vision and the Posthuman

Bloomsbury Academic, 2014

Book chapter

...Occasionally one encounters a metaphor that not only captures the essence of an individual practice but also summarizes in a provocative manner the functions and historical significance of a dedicated technology at a specific period in its...