1,721,271 research outputs found
Paddy the Cope, Michael Powell and the story of the unmade film
No full text20 minute presentation on the unmade Michael Powell film about Paddy the Cope
Camera machine. Leo Marks, Michael Powell and Peeping Tom
No full textCamera / Machine is built on an audio interview with ‘Peeping Tom’ [1960] scriptwriter Leo Marks. In the interview Marks discusses Michael Powell and their working relationship before, during and after 1960’s ‘Peeping Tom’. Mark’s interview was candid, at times salacious, and at times funny but what really interested me was his discussion of the working relationship between writer and director.
The exploration of this relationship is at the heart of the film and provides a platform for academic investigation into the collaborative process between the film’s director and its scriptwriter. Marks is candid about his influence on the final version of the film, stating that Powell ‘didn’t object to an author putting in the shots as the author saw them…’ This assertion openly problematises the traditional accepted authority of the director as visual storyteller and when juxtaposed with Marks reputation for paranoia and his suspicion that his words might be used inappropriately or out of context, presents Marks as a questionable and possibly unreliable narrator. Using both archive and footage shoot specifically for the project, the film challenges traditional spectator expectations through its structure, its audio/visual composition and its editing strategy. Through the nature of the original audio recording, the use of an unexplained note taking ‘tape operative’ and a considered and abstracted image, viewers are encouraged to ‘lean into’ the film to fully grasp the significance and implications of Mark’s words and the insights offered through the connections presented. The film is designed to ask for active participation through a pro-active engagement with the material articulating the significance of the writer/director dichotomy and the reliability or not of a paranoid narrator
Michael Powell. À la lisière du monde
No full textVolume dirigé par Yann Calvet et Jérôme Lauté.International audienceRedécouvert au début des années 2000 grâce au travail de quelques passionnés (notamment les cinéastes Martin Scorsese et Bertrand Tavernier), Michael Powell est aujourd’hui considéré comme un créateur hors normes et l’un des cinéastes les plus doués de sa génération. Le sublime technicolor des films « Archers » (la société qu’il fonde avec son collaborateur et scénariste Emeric Pressburger), la stupéfiante beauté des cadrages du Naricisse noir (1947), le sens aigu du découpage, l’utilisation des effets spéciaux dans Le Voleur de Bagdad (1940), la virtuosité opératique des Chaussons rouges (1948), constituent des exemples d’un perfectionnisme qui semble ne plus exister.Mais au-delà de cette soudaine visibilité, concentrée surtout sur la période de 1943 à 1948 et sur son film Le Voyeur (1960), une partie très importante de sa filmographie reste cependant à explorer. A n’en pas douter, l’œuvre de Michael Powell est, par bien des aspects (esthétique, historique, culturel), d’une richesse exceptionnelle.Au moment où se combinent l’édition DVD d’un certain nombre de films moins connus du cinéaste et la ressortie en Blu-Ray de la plupart de ses chefs-d’œuvre d’après-guerre, la revue Eclipses réinvestit l’univers inclassable de ce cinéaste, à la fois tellement britannique et si universel
Fenêtre sur ville : l'influence du Peeping Tom de Michael Powell sur le cinéma de Martin Scorcese
No full textKruth Patricia. Fenêtre sur ville : l'influence du Peeping Tom de Michael Powell sur le cinéma de Martin Scorcese. In: Caliban, n°32, 1995. CINEMA – CINEMA. Discours Critique Filmique. pp. 55-64
Director Michael Powell and actor Walter Chiari on the set of They're a Weird Mob, Bondi, New South Wales, 1963 /
No full textTitle from acquisitions documentation.; Part of the collection: Robert McFarlane collection of photographs.; Inscriptions: "Director Michael Powell (R) Actor Walter Chiari (L) Bondi 1963, 'They're a Weird Mob' Robert McFarlane"--In pencil on reverse.; Also available online at: http://nla.gov.au/nla.pic-vn6615427
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“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
The cinema of Michael Powell: international perspectives on an English film-maker
No full textThe films of Michael Powell (1905-90) and Emeric Pressburger (1902-88), among them I Know Where I'm Going! (1945), A Matter of Life and Death (1947) and The Red Shoes (1948), are landmarks in British cinema, standing apart from the realist and comic mainstream with their highly stylised aesthetic and their themes of romantic longing and spiritual crisis. Powell and Pressburger are revered by film lovers and film-makers (Martin Scorsese has called them 'the most successful experimental film-makers in the world'). In this first-ever collection of essays on Powell, an international group of critics and scholars map out his film-making skills, providing new readings of individual films, analysing recurrent techniques and themes, and relating them to contemporary debates about gender, sexuality, nationality and cinematic spectacle. Powell, with and without Pressburger, emerges as a film-maker of lasting originality and significance
- …
