5,715 research outputs found
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Coming to America
No full textForeign films achieved a high level of distinction and visibility in the United States this year, but the international movie scene has been long in development. The author traces the roots of this phenomenon and discusses the reasons for “the increasingly accented cinema seen in America.” Timothy Corrigan is a professor of English and director of cinema studies at the University of Pennsylvania in Philadelphia and the author of several books, including most recently The Film Experience (2004), written with Patricia White
Nora M. Alter and Timothy Corrigan. Essays on the Essay Film. Columbia UP, 2017.
No full textReview of Nora M. Alter and Timothy Corrigan. Essays on the Essay Film. Columbia UP, 2017. 371 pp
Sobre la historia del cine ensayo: de Vertov a Varda
No full textTraducción al castellano de un capítulo del libro de Timothy Corrigan, The Essay Film. From Montaigne, after Marker. New York: Oxford University Press, 2011. Traducción: Florencia Llarull.https://hyperborea-labtis.org/es/-labtis.org/es/paper/paper/sobre-la-historia-del-cine-ensayo-de-vertov-varda-24
“Auteurs” and the New Hollywood
No full textCorrigan analizuje kwestię autorstwa w amerykańskim kinie doby tzw. Nowego Hollywood. Wraz z nadejściem nowej generacji reżyserów (Corrigan przywołuję nazwiska m.in. Coppoli, Spielberga, Lucasa, Scorsese) politykę autorską zaczęto postrzegać w całkiem nowy sposób, a samo nazwisko twórcy filmowego niejednokrotnie było utożsamiane ze znakiem towarowym czy marką pozwalająca dobrze sprzedać konkretną produkcję. Nazwiska „wielkich” reżyserów stały się swoistym remedium w sytuacji, kiedy zaczął podupadać amerykański system studiów filmowych. Zgodnie z tak rozumianym marketingiem filmowym instytucja autora miała być zatem gwarancją porozumienie między publicznością a filmem. Sam autor przestał już być jakąś mglista obecnością (na wzór autora literackiego czy nawet na wzór autora, jakiego promowano w kinie europejskim), ale stał się przedstawicielem wielkiego biznesu. Co więcej, biznesem stało się samo „bycie auteur”. Timothy Corrigan zwraca również uwagę na to, że na ukształtowanie się współczesnego auteur w kręgu Nowego Hollywood miały wpływ trzy istotne zmiany w kulturze filmowej: wzrost produkcji przebojów realizowanych w połączonych studiach filmowych, pojawienie się filmów produkowanych w hollywoodzkich studiach mini-major, a także znaczenie technologii domowego wideo. W analizie polityki autorskiej Nowego Hollywood Corrigan wskazuje też na charakterystyczną figurę auteur-star (auteur definiowany przez swój komercyjny status gwiazdy), w obrębie której można wyróżnić dwie znaczące grupy twórców: auteur komercyjny (commercial „auteur” – np. Mel Gibson czy Robert Redford) i auteur produktów komercyjnych („auteur” of commerce – np. Steven Spielberg czy Brian de Palma). Nawiązując do eseju Barthes’a, Corrigan konkluduje, że funkcjonując w tak skomercjalizowanej formie, auteurs są dalecy od śmierci, a nawet są dziś żywotniejsi niż w jakimkolwiek innym momencie historii kina. Tekst jest tłumaczeniem jednego z rozdziałów z antologii The New American Cinema, red. Jon Lewis, Duke University Press, Durham 1998. © 1998 by Duke University Press.Corrigan examines authorship in the so-called New Hollywood. With the arrival of a new generation of directors (i.a. Coppola, Spielberg, Lucas, Scorsese) the policy of authors (la politique des auteurs) came to be perceived in an entirely new way whereas the filmmaker’s name alone was frequently identified with a trademark or a brand, which enabled the film distributors to sell a specific production at a good price. Names of the “great” directors served as a kind of remedy in the era of the waning American studio system. In line with such a definition of film marketing, the institution of the author was to serve as the guarantee of communication between the audience and the film. The author alone ceased to be a vague presence (like the literary author or like the author promoted in European films) but became a representative of big business. What’s more, “being the auteur” turned into a business. Corrigan also points out that the emergence of the contemporary auteur in the New Hollywood was influenced by three major changes in the film culture: the increase in the number of blockbusters made by syndicated film studios, the emergence of films made by the mini-major studios and the importance of the technology of home video. Corrigan also points to the characteristic figure of the auteur-star (auteur defined by his commercial star status) in which two significant groups of authors can be distinguished: commercial “auteur” – e.g. Mel Gibson or Robert Redford and “auteur” of commerce – e.g. Steven Spielberg or Brian de Palma. Citing Barthes’s essay, Corrigan closes his tekst by concluding that as auteurs “function” in such a commercialised form, they are far from being dead – on the contrary, they are more vital today than ever. The text is a translation of the chapter from the volume The New American Cinema, ed. Jon Lewis, Duke University Press, Durham 1998. © 1998 by Duke University Press
Introduction: Leaving the Cinema
No full textHow have modern advertising techniques, the widespread use of VCRs, conglomerate takeovers of studios and film archives, cable TV, and media coverage of the Vietnam war changed the ways we watch movies? And how, in turn, have those different habits and patterns of viewing changed the ways in which films address their viewers? Drawing on a wide variety of American and European films and on many theoretical models, Timothy Corrigan investigates what he calls a cinema without walls, taking a close look at particular films in order to see how we watch them differently in the post-Vietnam era. He examines cult audiences, narrative structure, genre films (road movies, in particular), and contemporary politics as they engage new models of film making and viewing. He thus provides a rare, serious attempt to deal with contemporary movies. Corrigan discusses filmmakers from a variety of backgrounds and cultures, including Martin Scorsese, Raoul Ruiz, Michael Cimino, Alexander Kluge, Francis Ford Coppola, Stephen Frears, and Wim Wenders. He offers detailed analyses of films such as Platoon; Full Metal Jacket; 9-1/2 Weeks; The Singing Detective; Choose Me; After Hours; Badlands; The King of Comedy; Paris, Texas; and My Beautiful Laundrette. Orchestrating this diversity, Corrigan provides a critical basis for making sense of contemporary film culture and its major achievements
Perceptions of COPD patients of the proposed withdrawal of inhaled corticosteroids prescribed outside guidelines: a qualitative study
No full textGlobal Initiative for Chronic Obstructive Lung Disease guidelines support the prescription of fixed combination inhaled corticosteroids (ICS) and long-acting β-agonists in symptomatic COPD patients with frequent or severe exacerbations, with the aim of preventing them. ICS are frequently also prescribed to COPD patients with mild or moderate airflow limitation, outside guidelines, with the risk of unwanted effects. No investigation to date has addressed the views of these milder COPD patients on ICS withdrawal. The objective is to assess the views of COPD patients with mild or moderate airflow limitation on the staged withdrawal of ICS prescribed outside guidelines. One-to-one semi-structured qualitative interviews exploring COPD patients’ views about ICS use and their attitudes to proposed de-prescription were conducted. Interviews were audio-recorded and transcribed verbatim. Thematic analysis was completed. Seventeen eligible COPD patients were interviewed. Many participants were not aware they were using an ICS. None was aware that prevention of exacerbations was the indication for ICS therapy or the risk of associated side effects. Some were unconcerned by what they perceived as low individual risk. Others expressed fears of worsening symptoms on withdrawal. Most with mild or moderate airflow limitation would have been willing to attempt withdrawal or titration to a lower dosage of ICS if advised by their clinician, particularly if a reasoned explanation were offered. Attitudes in this study to discontinuing ICS use varied. Knowledge of the drug itself, the indications for its prescription in COPD and potential for side effects, was scant. The proposed withdrawal of ICS is likely to be challenging and requires detailed conversations between patients and respiratory healthcare professionals.</p
Money piece by Timothy P. Agnew, chief executive officer of the Finance Author
No full textMoney piece by Timothy P. Agnew, chief executive officer of the Finance Authority of Maine, about the increased availability of credit for Maine\u27s small businesses
Ecocriticism on the Edge: The Anthropocene as a Threshold Concept by Timothy Clark
No full textReview of Timothy Clark\u27s Ecocriticism on the Edge: The Anthropocene as a Threshold Concept
- …
