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“Positif” a publié le premier entretien avec Tarkovski en France. Cette anthologie de textes parus dan la revue rassemble études, critiques, entretiens avec le cinéaste et témoignages de ses collaborateurs. Elle est illustrée de 70 photographies.

https://nitroflare.com/view/FAD099F2A4944A0/ARCHIVES_TARKOVSKI.rar

Language(s):French

The post Andrei Tarkovsky – Archives Cinéma Andrei Tarkovsky (1989) first appeared on Cinema of the World.

One of the most distinguished filmmakers working today, David Lynch is a director whose vision of cinema is firmly rooted in fine art. He was motivated to make his first film as a student because he wanted a painting that ‘would really be able to move’. Most existing studies of Lynch, however, fail to engage fully with the complexities of his films’ relationship to other art forms. “The Film Paintings of David Lynch” fills this void, arguing that Lynch’s cinematic output needs to be considered within a broad range of cultural references. Aimed at both Lynch fans and film studies specialists, Allister Mactaggart addresses Lynch’s films from the perspective of the relationship between commercial film, avant-garde art, and cultural theory. Individual Lynch works – “The Elephant Man”, “Blue Velvet”, “Twin Peaks”, “Lost Highway”, “The Straight Story”, “Mulholland Drive”, and “Inland Empire” – are discussed in relation to other films and directors, illustrating that the solitary, or seemingly isolated, experience of film is itself socially, culturally, and politically important. “The Film Paintings of David Lynch” offers a unique perspective on an influential director, weaving together a range of theoretical approaches to Lynch’s films to make exciting new connections among film theory, art history, psychoanalysis, and cinema.

Paperback: 224 pages
Language: English
ISBN-10: 1841503320
ISBN-13: 978-1841503325

http://nitroflare.com/view/0620BB6BFA8A1BA/Allister_Mactaggart_-_Film_Paintings_of_David_Lynch.pdf

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The post Allister Mactaggart – The Film Paintings of David Lynch Challenging Film Theory (2010) first appeared on Cinema of the World.

The aim of this book is to examine the multifarious placements of the pop song in contemporary cinema through a series of short essays from a variety of perspectives-each looking at the use of ONE pop song in a particular movie. These writings offer the opportunity for in-depth discussion of a cinematic moment(s), rationalising function, condition, method, theory, and practice -by academics, authors & professionals from relevant disciplines. All approaches to deconstructing the relationship of pop song to film- psychological, political, semiotic, theological, post-modern and post-mortem etc., are invited, with an extraordinary collection of interpretations expected. Given that the pop song is no longer the exception but the norm within much mainstream cinema there are surprisingly few books analysing this relationship. There are major works by both Anahid Kassabian, who in ‘Hearing Film’ posits a new, genderised theory, comparing & contrasting song placement with bespoke composition, and Jeff Smith, ‘The Sounds Of Commerce’ dissecting some early song placements from detailed economic and stylistic positions. The earlier “Celluloid Jukebox” is a thematic account, written from a music journalist perspective compiling many films and songs simultaneously but without substantial focus on ‘audio-visual moments’ or theoretical-‘listening’.

http://nitroflare.com/view/D6A7A7E5869FDE9/Pop_Fiction__The_Song_in_Cinema.eBook-EEn_%282005%29.pdf

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The post Steve Lannin & Matthew Caley – Pop Fiction: The Song in Cinema (2005) first appeared on Cinema of the World.

A collection of Wenders essays discussing all his film work up to Until the End of the World. Imaginative, very accessible, never dry, Wenders reveals a lot of interesting background to his films. Definitely a treat if you’re a Wenders fan.

http://www.nitroflare.com/view/85BA70C9659064B/The_Logic_of_Images_.pdf

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The post Wim Wenders – The Logic of Images (1992) first appeared on Cinema of the World.

Something Like an Autobiography
by Akira Kurosawa

Published by Vintage | 1983 | 205 pages

Description:

Quote:
Among Japanese film makers, no one is perhaps as universally known as Akira Kurosawa.

“Something like an Autobiography” is an account of the legendary director’s early life. It is only a partial account, encompassing his childhood, adolescenct years, the early years of his film career, up to the point of Rashomon. Nonetheless, the book benefits anyone keen for understanding the man behind such remarkable films as Seven Samurai, Ikiru, Rashomon, and Dersu Uzala among others. Kurosawa’s films were – Stuart Galbraith IV writes in the introduction to his book “The Emperor and the Wolf” – first and foremost, deeply humanist pictures, films which effortlessly transcend cultures and centuries. Something like an Autobiography helps one understand the evolution of the artist Kurosawa, the influences that shaped his vision.

http://www.nitroflare.com/view/FB73E483AA42799/something-like-an-autobiography.pdf

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The post Akira Kurosawa – Something Like An Autobiography (1983) first appeared on Cinema of the World.

Here`s a long Godard interview from 1968 where he not only gives interesting insides into his La Chinoise but also talks about Foucault, Roland Barthes, Bergman`s Persona,
Pasolini and much more.

Here are some quotes:

Quote:

That’s precisely why we’re
trying to make movies so that future Foucaults
won’t be able to make such assertions with quite
such assurance. Sartre can’t escape this reproach,
either.

Quote:

And what did Pasolini say?
That I was a stupid ass. Bertolucci agreed

on Barthes

Quote:

But we’re the sons of a filmic language; there’s
nothing in the Nazism of linguistics we have any
use for.

http://www.nitroflare.com/view/798F8EC42962997/a-conversation-with-jean-luc-godard.pdf

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The post Jean-Luc Godard – A Conversation with Jean-Luc Godard (1968) first appeared on Cinema of the World.

Reviews
‘ . . .the greatest living cinematic artist, the wisest, most transformative, most original agent provocateur at work in the fields of cinema? The short answer: sans doute. Godard is to his medium what Joyce, Stravinsky, Eliot, and Picasso were to theirs: rule-rewriting colossi after whom human expression would never be quite the same.’
The Village Voice

‘It’s possible to hate half or two-thirds of what Godard does – or find it incomprehensible – and still be shattered by his brilliance.’ Pauline Kael

Godard on Godard
‘I’m trying to change the world.’
‘Photography is truth and cinema is truth twenty-four times a second.’
‘I don’t think you should feel about a film. You should feel about a woman, not a movie. You can’t kiss a movie.’
‘All you need for a movie is a gun and a girl.’
‘The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t.’
‘Art attracts us only by what it reveals of our most secret self.’
‘Cinema is the most beautiful fraud in the world.’
Book Description
Cinema is quite simply a unique book from one of the most influential film-makers in the history of cinema. Here, Jean-Luc Godard looks back on a century of film as well as his own work and career in the industry. Born with the twentieth century, cinema became not just the century’s dominant art form but its best historian. Godard argues that – after the century of Chaplin and Pol Pot, Monroe and Hitler, Stalin and Mae West, Mao and the Marx Brothers – film and history are inextricably intertwined. Against this backdrop, Godard presents his thoughts on film theory, cinematic technique, film histories, as well as the recent video revolution. As the conversation develops, Godard expounds on his central concerns – how film can ‘resurrect the past’, the role of rhythm in film, and how cinema can be an ‘art that thinks’. Cinema: the archaeology of film and the memory of a century is a dialogue between Godard and the celebrated cinphile Youssef Ishaghpour. Here Godard comes closest to defining a lifetime’s obsession with cinema and cinema’s lifelong obsession with history.

About the author(s)
Jean Luc Godard started making films in the late 1950s and is still making them. From his first feature, A Bout de Souffle (Breathless), Godard changed the way movies were made. Godard has always taken film-making seriously, treating it – from his days on the famous review, Cahiers du Cinema, to the extraordinary collage of his Histoires du Cinema – as an art form worthy of analysis. Today, his influence extends across such key contemporary film-makers as Robert Altman, Martin Scorsese, Jim Jarmusch, Wim Wenders, Steven Soderbergh and Quentin Tarantino.

Jean Luc Godard started making films in the late 1950s and is still making them. From his first feature, A Bout de Souffle (Breathless), Godard changed the way movies were made. Godard has always taken film-making seriously, treating it – from his days on the famous review, Cahiers du Cinema, to the extraordinary collage of his Histoires du Cinema – as an art form worthy of analysis. Today, his influence extends across such key contemporary film-makers as Robert Altman, Martin Scorsese, Jim Jarmusch, Wim Wenders, Steven Soderbergh and Quentin Tarantino.

Youssef Ishaghpour is Professor at the University Rene Descartes, Paris V. His writings on cinema, painting, philosophy and literature have been widely translated.

Translated by John Howe
John Howe, is a translator, journalist and writer. His many translations include Godard’s voiceover for the complete soundtrack edition of Histoire(s) du cinema.

Contents
Constellation and Classification * The Angle and the Editing * The Urgency of the Present and the Redemption of the Past * History and Recall * Video as a Way of Telling the Story of Cinema * Only Cinema can Tell its Own History * Quoting and Editing * History/ies of Cinema * History and Archaeology * History of Love, of the Eye, of the Look * The Loss of the Magic of Cinema and the New Wave * After and Before Auschwitz * What Cinema Can Do * Only Cinema, Telling its Own Story, Can Recount History * Cinema as Christianity… the Image and the Resurrection * Images and Editing * Towards the Stars
Appendix: Jean Luc Godard: Modern Life, Poetry and History by Youssef Ishaghpour

http://www.nitroflare.com/view/44C40027BF6235A/cinemagodard002.pdf

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The post Jean-Luc Godard and Youssef Ishaghpour – Cinema: The Archaeology of Film and the Memory of a Century (2005) first appeared on Cinema of the World.