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...A NIGHT IN THE LIFE Credit sequence: New York by night. John LeTour nestles in back of a blue car-service sedan, face reflected in the window. Neon mixes with steam, street people with tourists, young dates: each with a different agenda...
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...Cocktail Lounge ‒ Night We only see his face, speaking through the shadows. He brushes his index finger lightly across his lips as he speaks. He knows: his lips are his most sexual organ. Julian You know who I...
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...TRAVIS GETS A JOB Film opens on exterior of Manhattan cab garage. Weather-beaten sign above driveway reads: ‘Taxi Enter Here.’ Yellow cabs scuttle in and out. It is winter, snow is piled on the curbs, the wind is howling. Inside the garage...

‘You Can See What Species I Belong to, but Don’t Treat Me Lightly’

Animal Life and the Moving Image

British Film Institute, 2015

Book chapter

3

... an essential animality and humanity, which, as director Paul Schrader has suggested, ‘recall some greater primal knowledge that is less available to us in the modern urban world’.Personal interview with the author, June 1987....

Paul Schrader

Projections 4½ : In association with Positif: Film-makers on Film-making

Faber & Faber Limited, 1995

Book chapter

6

...I can pin-point the moment my film sensibility was galvanized: April 1969, when I, as a film critic, saw Robert Bresson's Pickpocket (it had just been released in Los Angeles). I wrote about it for two consecutive issues, then went...

Ozu and the Nation

Kathe Geist

Kathe Geist is an art and film historian, she has written extensively on the films of Ozu. She lives and writes in Brookline and Charlemont, Massachusetts. Author affiliation details are correct at time of print publication.

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Theorising National Cinema

British Film Institute, 2006

Book chapter

1

... to Buddhism and traditional arts, see Burch (1979), Geist (1994 and 1997), Richie (1974), Schrader (1972), Vasey (1980), Yamamoto (1987) and Zeman (1972). For a detailed analysis of the liberties he takes with conventional Hollywood cutting...

Reconceptualising National Cinema/s

Stephen Crofts

Stephen Crofts is an independent scholar and Honorary Research Associate at the Centre for Critical and Cultural Studies, University of Queensland, Australia. He has taught film and media studies at universities in Britain, Australia and New Zealand. He has published some sixty articles, book chapters and monographs in the USA, the UK and Australia, as well as the books Identification, Gender and Genre: The Case of Shame (Samuel French, 1998), and, with Philip Bell and Kathe Boehringer, Programmed Politics (Sable, 1982), on televisual constructions of politics. Forthcoming is a book comparing the Australian and New Zealand cultural formations. He has worked on the editorial boards of five film and media studies journals. Author affiliation details are correct at time of print publication.

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Theorising National Cinema

British Film Institute, 2006

Book chapter

1

... melodrama and gangster genres and the adoption by such directors as Schlöndorff and Hauff of Hollywood genres and modes of character identification to deal with nationally specific West German issues. Penn, Altman, Schrader and Allen...