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In an era when many businesses have come under scrutiny for their environmental impact, the film industry has for the most part escaped criticism and regulation. Its practices are more diffuse; its final product, less tangible; and Hollywood has adopted public-relations strategies that portray it as environmentally conscious. In Hollywood's Dirtiest Secret, Hunter Vaughan offers a new history of the movies from an environmental perspective, arguing that how we make and consume films has serious ecological consequences.Bringing together environmental humanities, science communication, and social ethics, Hollywood's Dirtiest Secret is a pathbreaking consideration of the film industry's environmental impact that examines how our cultural prioritization of spectacle has distracted us from its material consequences and natural-resource use. Vaughan examines the environmental effects of filmmaking from Hollywood classics to the digital era, considering how popular screen media shapes and reflects our understanding of the natural world. He recounts the production histories of major blockbusters-Gone with the Wind, Singin' in the Rain, Twister, and Avatar-situating them in the contexts of the development of the film industry, popular environmentalism, and the proliferation of digital technologies. Emphasizing the materiality of media, Vaughan interweaves details of the hidden environmental consequences of specific filmmaking practices, from water use to server farms, within a larger critical portrait of social perceptions and valuations of the natural world.

Environmental protection. Environmental technology --- Film --- Motion picture industry --- Motion pictures --- Environmental aspects. --- Production and direction --- Industrie du cinéma --- Aspect environnemental. --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Production and direction. --- Direction

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Cinema's most successful director is a commercial and cultural force demanding serious consideration. Not just triumphant marketing, this international popularity is partly a function of the movies themselves. Polarised critical attitudes largely overlook this, and evidence either unquestioning adulation or vilification—often vitriolic—for epitomising contemporary Hollywood. Detailed textual analyses reveal that alongside conventional commercial appeal, Spielberg's movies function consistently as a self-reflexive commentary on cinema. Rather than straightforwardly consumed realism or fantasy, they invite divergent readings and self-conscious spectatorship which contradict assumptions about their ideological tendencies. Exercising powerful emotional appeal, their ambiguities are profitably advantageous in maximising audiences and generating media attention.

Motion picture producers and directors --- Producteurs et réalisateurs de cinéma --- Film catalogs --- Filmographie --- Spielberg, Steven, --- Criticism and interpretation. --- Producteurs et realisateurs de cinema --- Producteurs et réalisateurs de cinéma --- Film catalogs. --- Motion pictures. --- Motion pictures --- Production and direction. --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Production and direction --- Direction --- Spielberg, Steve, --- Spielrock, Steven,

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A film tells its story not only through dialogue and actors' performances but also through the director's control of movement and shot design. Figures Traced in Light is a detailed consideration of how cinematic staging carries the story, expresses emotion, and beguiles the audience through pictorial composition. Ranging over the entire history of cinema, David Bordwell focuses on four filmmakers' unique contributions to the technique. In-depth chapters examine Louis Feuillade, master of the 1910s serial; Kenji Mizoguchi, the great Japanese director who worked from the 1920s to the 1950s; Theo Angelopoulos, who began his career as a political modernist in the late 1960s; and Hou Hsiao-hsien, the Taiwanese filmmaker who in the 1980s became the preeminent Asian director. For comparison, Bordwell draws on films by Howard Hawks, Michelangelo Antonioni, Yasujiro Ozu, Takeshi Kitano, and many other directors. Superbly illustrated with more than 500 frame enlargements and 16 color illustrations, Figures Traced in Light situates its close analysis of model sequences in the context of the technological, industrial, and cultural trends that shaped the directors' approaches to staging.

Film --- Motion pictures --- Auteur theory (Motion pictures) --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Politique des auteurs (Motion pictures) --- Production and direction --- Direction --- #SBIB:309H1323 --- #SBIB:309H1320 --- Films met een amusementsfunctie en/of esthetische functie: auteurs --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Auteur theory (Motion pictures). --- Production and direction.

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A pioneering comparison of the director Ingmar Bergman's theatre and film productions.

Directing --- Bergman, Ingmar --- Motion pictures --- Radio --- Theater --- Production and direction. --- Motion pictures. --- Radio. --- Theater. --- Music, Dance, Drama & Film --- Film --- Production and direction --- Direction of radio programs --- Production of radio programs --- Radio direction --- Radio production --- Radio program production --- Radio programs --- Directing (Theater) --- Play direction (Theater) --- Play production (Theater) --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Direction --- theater --- stage presentations --- motion pictures --- film

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This book examines a set of theoretical perspectives that critically engage with the notion of postmodernism, investigating whether this concept is still useful to approach contemporary cinema. This question is explored through a discussion of the films written and directed by Quentin Tarantino, largely regarded as the epitome of postmodern cinema and considered here as theoretical contributions in their own right. Each chapter first presents key ideas proposed by a specific theorist and then puts them in conversation with Tarantino’s films. Jacques Rancière’s theory of art is used to reject postmodernism’s claims about the ‘death’ of the aesthetic image in contemporary cinema. Fredric Jameson’s and Slavoj Žižek’s dialectical thinking is mobilized to challenge simplistic, ideological readings of postmodern cinema in general, and Tarantino’s films in particular. Finally, the direct influence of Carol Clover’s psychoanalytical approach to the horror genre on Tarantino’s work is discussed to prove the director’s specific contribution to a theoretical understanding of contemporary film aesthetics. .

Motion pictures—Production and direction. --- Motion pictures. --- Directing. --- Film Theory. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Motion pictures --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Production and direction. --- Production and direction --- Direction --- Postmodernism. --- Tarantino, Quentin --- Criticism and interpretation.