Production House Cinema

Starting and Running Your Own Cinematic Storytelling Business

Author: Kurt Lancaster

Publisher: CRC Press

ISBN: 1135040362

Category: Performing Arts

Page: 222

View: 2005

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In Production House Cinema: Starting and Running Your Own Cinematic Storytelling Business, renowned video storyteller Kurt Lancaster offers both students and professionals a practical guide to starting their own video production company and creating cinematic, client-based video content. Utilizing practical know-how along with in-depth analysis and interviews with successful independent production houses like Stillmotion and Zandrak, Lancaster follows the logistics and inspiration of creating production house cinema from the initial client pitch all the way through financing and distribution. The book includes: An examination of the cinematic and narrative style and how to create it; A discussion of the legal procedures and documents necessary for starting and operating a production house; Advice on crafting a portfolio, reel, and website that both demonstrates your unique style and vision and attracts clients; A guide to the financial business of running an independent production house, including invoicing, accounting, and taxes—and how much you should charge clients; Tips for how to better communicate with clients, and how to develop and shape a client’s story; A breakdown of how to select the right gear and equipment for a shoot, on budget; Cinematic case studies that offer detailed coverage of several short films made for clients.
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Hong Kong Cinema

Coloniser, Motherland and Self

Author: Yingchi Chu

Publisher: Routledge

ISBN: 1135786267

Category: Performing Arts

Page: 208

View: 7531

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Examining Hong Kong cinema from its inception in 1913 to the end of the colonial era, this work explains the key areas of production, market, film products and critical traditions. Hong Kong Cinema considers the different political formations of Hong Kong's culture as seen through the cinema, and deals with the historical, political, economic and cultural relations between Hong Kong cinema and other Chinese film industries on the mainland, as well as in Taiwan and South-East Asia. Discussion covers the concept of 'national cinema' in the context of Hong Kong's status as a quasi-nation with strong links to both the 'motherland' (China) and the 'coloniser' (Britain), and also argues that Hong Kong cinema is a national cinema only in an incomplete and ambiguous sense.
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A Social History of Iranian Cinema, Volume 4

The Globalizing Era, 1984–2010

Author: Hamid Naficy

Publisher: Duke University Press

ISBN: 0822348780

Category: History

Page: 664

View: 2007

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In the fourth and final volume of A History of Iranian Cinema, Hamid Naficy looks at the extraordinary efflorescence in Iranian film and other visual media since the Islamic Revolution.
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Historical Dictionary of African American Cinema

Author: S. Torriano Berry,Venise T. Berry

Publisher: Scarecrow Press

ISBN: 9780810864641

Category: Performing Arts

Page: 448

View: 1178

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Historical Dictionary of African American Cinema includes everything from The Birth of a Nation to Crash. In addition to the films, brief biographies of African American actors and actresses such as Sidney Poitier, James Earl Jones, Halle Berry, Eddie Murphy, Whoopi Goldberg, Denzel Washington, and Jamie Foxx can be found in this reference. Through a chronology, a list of acronyms and abbreviations, an introductory essay, a bibliography, appendixes, black-&-white photos, and hundreds of cross-referenced dictionary entries on actors, actresses, movies, producers, organizations, awards, film credits, and terminology, this book provides a better understanding of the role African Americans played in film history.
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The Poetics of Iranian Cinema

Aesthetics, Modernity and Film After the Revolution

Author: Khatereh Sheibani

Publisher: I.B.Tauris

ISBN: 0857720449

Category: Literary Criticism

Page: 240

View: 3560

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In the wake of the Islamic Revolution, Iran experienced not only profound political and social changes, but also underwent a dramatic shift in its cultural and literary discourse. In The Poetics of Iranian Cinema, Khatereh Sheibani argues that Persian poetry, fiction, painting and other art forms all were influenced by the upheavals of the 1970s and 80s, but that this remarkable cultural revolution is best evidenced in Iranian films. In fact, she holds that film ultimately replaced poetry as the dominant form of cultural expression in Iran, and that post-revolutionary poetics evolved from a literary and written-based poetry into a visually-oriented form of moving images. She thus presents a comparative analysis of post-revolutionary Iranian cinema as an offshoot of Iranian modernity, and explains its connections with the themes present in traditional Persian poetry and conventional visual arts. Despite the initial clerical denunciations of cinema after the Revolution, by the late 1980s and in the aftermath of the Iran-Iraq war, Iranian cinema had regained its position as a form of cultural expression. Many new wave directors, like Darush Mehrjui and Abbas Kiarostami, began to become more active, and drew on the formal and thematic elements within Persian literature and conventions of performing arts to create an Iranian art cinema. Sheibani therefore examines the pre-revolutionary film industry - such as Iranian new wave and filmfarsi movies - its styles and themes, and its relation to the emerging cinema after 1978. By employing a close examination of Kiarostami’s body of work - films such as ‘Where is the Friend’s House?’, ‘Through the Olive Trees’ or ‘Ten’ - as well as the films of Bahram Bayzai - such as ‘The Crow’ or ‘Travellers’ - Sheibani reveals a close resemblance to the classical poetic sub-genre of the ghazal in both formal structure and context. Relating Hafiz’s lyrical poetry to a particular kind poetic cinema known as cinema-ye taghazzuli (or lyrical cinema), Sheibani offers a valuable and very original contribution to the scholarly literature on Iranian cinema, politics and culture.
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Iranian Cinema in a Global Context

Policy, Politics, and Form

Author: Peter Decherney,Blake Atwood

Publisher: Routledge

ISBN: 1317675193

Category: Social Science

Page: 258

View: 2263

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Iranian films have been the subject of much critical and scholarly attention over the past several decades, and Iranian filmmakers are mainstays of international film festivals. Yet most of the attention has been focused on a small segment of Iranian film production: auteurist art cinema. Iranian Cinema in a Global Context, on the other hand, takes account of the wide range of Iranian cinema, from popular youth films to low budget underground films. The volume also reassesses the global circulation of Iranian art cinema, looking at its reception at international festivals, in university curricula, and at the Academy Awards. A final theme of the volume explores the intersection between politics and film, with essays on post-Khatami reform influences, representations of ineffective drug policies, and the representation of Jewish characters in Iranian film. Taken together, the essays in this volume present a new definition of the field of Iranian film studies, one that engages global media flows, transmedia interaction, and a heterogeneous Iranian national cinema.
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Popular Italian Cinema

Author: L. Bayman,S. Rigoletto

Publisher: Springer

ISBN: 1137305657

Category: Performing Arts

Page: 249

View: 2984

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Exciting new critical perspectives on popular Italian cinema including melodrama, poliziesco, the mondo film, the sex comedy, missionary cinema and the musical. The book interrogates the very meaning of popular cinema in Italy to give a sense of its complexity and specificity in Italian cinema, from early to contemporary cinema.
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New Korean Cinema

Breaking the Waves

Author: Darcy Paquet

Publisher: Columbia University Press

ISBN: 0231850123

Category: Performing Arts

Page: 144

View: 8810

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New Korean Cinema charts the dramatic transformation of South Korea's film industry from the democratization movement of the late 1980s to the 2000s new generation of directors. The author considers such issues as government censorship, the market's embrace of Hollywood films, and the social changes which led to the diversification and surprising commercial strength of contemporary Korean films. Directors such as Hong Sang-soo, Kim Ki-duk, Park Chan-wook, and Bong Joon-ho are studied within their historical context together with a range of films including Sopyonje (1993), Peppermint Candy (1999), Oldboy (2003), and The Host (2006).
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Everything Is Cinema

The Working Life of Jean-Luc Godard

Author: Richard Brody

Publisher: Metropolitan Books

ISBN: 1429924314

Category: Biography & Autobiography

Page: 720

View: 9352

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A landmark biography explores the crucial resonances among the life, work, and times of one of the most influential filmmakers of our age When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.
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The South Korean Film Renaissance

Local Hitmakers, Global Provocateurs

Author: Jinhee Choi

Publisher: Wesleyan University Press

ISBN: 0819569860

Category: Performing Arts

Page: 264

View: 9215

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For the past decade, the Korean film industry has enjoyed a renaissance. With innovative storytelling and visceral effects, Korean films not only have been commercially viable in the domestic and regional markets but also have appealed to cinephiles everywhere on the international festival circuit. This book provides both an industrial and an aesthetic account of how the Korean film industry managed to turn an economic crisis—triggered in part by globalizing processes in the world film industry—into a fiscal and cultural boom. Jinhee Choi examines the ways in which Korean film production companies, backed by affluent corporations and venture capitalists, concocted a variety of winning production trends. Through close analyses of key films, Choi demonstrates how contemporary Korean cinema portrays issues immediate to its own Korean audiences while incorporating the transnational aesthetics of Hollywood and other national cinemas such as Hong Kong and Japan. Appendices include data on box office rankings, numbers of films produced and released, market shares, and film festival showings.
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