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Despite an output of only 7 feature films in 20 years, Andrei Tarkovsky has had a profound influence on international cinema. Famous for their spiritual depth and incredible visual beauty, his films have gained cult status among cineastes and are often included in ranking polls and charts dedicated to the 'best movies ever made.' Beginning with the late 1980s, Tarkovsky's highly complex cinema has continuously attracted scholarly attention by generating countless hermeneutic challenges and possibilities for film critics. This book provides a fresh look at the director's legacy, with critical essays by both world-famous and early-career film scholars. It examines Tarkovsky's cinematic techniques and his treatment of genre, landscape and sound and offers highly original interpretations of his oeuvre in the context of film aesthetics, psychoanalysis, philosophy, cultural studies and art history.
A director reveals the original inspirations for his films, their history, his methods of work, and the problems of visual creativity
Ever since his first feature film I Killed My Mother premiered at Cannes, every film from the 29-year-old director Xavier Dolan has generated significant critical interest. A recipient of numerous awards, Dolan has recently taken his career to an international level with The Death and Life of John F. Donovan. As the first book-length study about Dolan, with case studies of key films like Mommy (2014), Tom at the Farm (2013) and It's Only the End of the World (2016), this volume explores the global reach of small national and subnational cinemas. In particular, it uses Dolan's cinema as a departure point to reconsider the position of Qubec film and cultural imaginary within a global cinematic culture, as well as the intersections between national, millennial and queer filmmaking.
"Johnson and Petrie have produced an admirable book. Anyone who wants to make sense of Tarkovsky's films—a very difficult task in any case—must read it." —The Russian Review "This book is a model of contextual and textual analysis. . . . the Tarkovsky myth is stripped of many of its shibboleths and the thematic structure and coherence of his work is revealed in a fresh and stimulating manner." —Europe-Asia Studies "[This book,] with its wealth of new research and critical insight, has set the standard and should certainly inspire other writers to keep on trying to collectively explore the possible meanings of Tarkovsky's film world." —Canadian Journal of Film Studies "For Tarkovsky lovers as well as haters, this is an essential book. It might make even the haters reconsider." —Cineaste This definitive study, set in the context of Russian cultural history, throws new light on one of the greatest—and most misunderstood—filmmakers of the past three decades. The text is enhanced by more than 60 frame enlargements from the films.
Examines François Ozon, one of France’s most prolific and best known international (queer) directors.
Using an auterist lens to challenge the notions of taste, genre and aesthetics that are commonly used to form the cinematic canon, this book explores the twelve films Veber directed between 1976 and 2008. These include Le Jouet (1976), Les fugitifs (1986) and L'emmerdeur (2008).
The phenomenon of time was a central preoccupation of Tarkovsky throughout his career. His films present visions of time by temporal means - that is, in time. Tarkovsky does not represent time through coherent argument, Nariman Skakov proposes, rather he presents it and the viewer experiences the argument. This book explores the phenomenon of spatio-temporal lapse in Tarkovsky's cinema - from Ivan's Childhood (1962) to Sacrifice (1986). Dreams, visions, mirages, memories, revelations, reveries and delusions are phenomena which present alternative spatio-temporal patterns; they disrupt the linear progression of events and create narrative discontinuity. Each chapter is dedicated to the discussion of one of Tarkovsky's seven feature films and in each, one of these phenomena functions as a refrain. Skakov discusses the influence of the flow of and lapses in space and time on the viewer's perception of the Tarkovskian cinematic universe. He opens and closes his original and fascinating book on Tarkovsky's cinema by focusing on the phenomenon of time that is discussed extensively by the filmmaker in his main theoretical treatise Sculpting in Time, as well as in a number of interviews and public lectures.
Featuring essays from both recognized and up-and-coming scholars in Scandinavian, transnational and feminist film and media studies, this book also includes an original interview with Bier, addressing some of the provocative readings of her films advanced by the volume's contributors.
Chion analyzes imaginative uses of the human voice by directors like Lang, Hitchcock, Ophuls, Duras, and de Palma.
In this book, a range of international scholars offers a comprehensive study of this significant and influential figure, covering his French and English-language films and videos, and framing Gondry as a transnational auteur whose work provides insight into both French/European and American cinematic and cultural identity.