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Archive for the ‘Directors’ Category

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In the beginning… (Mondo Poster for Jaws)

It’s beach time again!  Every summer, mediateacher.net has featured discussions of the ever-evolving — or oh-so-static — world of the summer blockbuster and the ways in which movie studios work lots of angles to prop up their tent poles, for better or worse.  We have discussed super-hero fare and Soderbergh talks, studio pitches, summer classics, and evolving tastes with tech and fx, among many other topics.

The ingredients...

The ingredients…

As students think about how stories are constructed and how studios approach the moviemaking process, for this month we recommend a revealing article that discusses Why Matt Damon and Paul Greengrass Couldn’t Quit Jason Bourne.”  One of the high priests of jump cut acrobatics, director Paul Greengrass, and the versatile actor / writer / producer /etc. Matt Damon have returned to the Bourne series after it had begun so many years ago with Doug Liman at the helm. (Hey! You should click that Doug Liman link — it’s an exceptional interview about Edge of Tomorrow and he also talks about The Bourne Identity.  Great reading about his work as a director and working in Hollywood.  And Limania.)

 

 

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Soderbergh shooting handheld from a dolly

Soderbergh shooting handheld from a dolly

In an earlier post — Soderbergh Raids the Ark — I shared Steven Soderbergh’s very revealing experiment in which he turned Steven Spielberg’s Raiders of the Lost Ark into a black & white silent movie.  Right now I would like to highlight two recently published articles about these two very different and undoubtedly masterful directors.  In Steven Spielberg on the Cold War and Other Hollywood Front Lines, Spielberg discusses his new historically based movie, Bridge of Spies, and many other topics with Cara Buckley of the New York Times.  In The Binge Director (in New York magazine), Matt Zoller Seitz visits with Soderbergh on the set of his show The Knick.  There are many interesting points for young filmmakers and media literacy educators in both of these superb articles.

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Khadija-Al-SalamiOne of the featured films for study in Chapter 6 of Moving Images is the short A Stranger in her Own City by filmmaker Khadija Al-Salami (who, when contacted about using an image from her movie for Moving Images, graciously offered it gratis since it was for an educational publication).  This exceptional short documentary portrays Nejmia, a 13-year-old girl in Yemen who does not feel she should wear a veil, as she walks freely about the capital city of Sana’a and interacts with other children, various men who harass her for her choices and behavior, and the imam of the great mosque of Sana’a, who embraces and supports her.  The movie is available on issue 3 of the DVD magazine Wholphin.  Since making that movie, Al-Salami, who lives in Paris and has received the Légion d’Honneur, has made a number of other documentaries, including Killing Her Is A Ticket To Paradise, about a female journalist who displeases hardline fundamentalists, and The Scream, about women’s roles in the 2011 uprising against President Ali Abdullah Saleh of Yemen.

Al-Salami recently won a major award for her feature I Am Nujoom, Age 10 And Divorced, about a Yemeni child bride, which won the top prize at the Dubai International Film Festival, whose jury was headed by American director Lee Daniels.  Here is an interview with Al-Salami about this movie and her work as a female filmmaker working in France and the Middle East.

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As a follow-up to yesterday’s post about the news of Orson Welles’s The Other Side of the Wind, it is worth posting news of a contemporary movie that shows the fragile state of film and the highly volatile and transitory condition of motion picture media that has continued to build over the past two decades.  David Riker, the director (The Girl) and writer (Dirty Wars) who is the featured Close-Up interviewee of Chapter 5 of Moving Images, has recently initiated a Kickstarter campaign to bring his universally praised first film La Ciudad back into circulation.

Director David Riker, third from right, working with garment workers to develop La Ciudad

Director David Riker, third from right, working with garment workers to develop La Ciudad

In only 15 years, this important movie that features a series of stories about undocumented immigrants in the United States – “a treasure,” according to Roger Ebert, “simply a great film,” from the Washington Post, and compared with neo-realist classics by Variety – became virtually unseeable, with a few worn prints in circulation and the DVD release out of print, its company having folded.  This particular story is a highly valuable one for media educators and students to explore, because it touches on many issues of great importance to 21st century mediamakers: newly developing funding resources and methods, direct pitches to audiences, film preservation, and social issues addressed in movies. Another important corollary to this story is that it ties in with one issue that media teachers have to deal with constantly: reminding students of the necessity to carefully preserve and archive their own work.  Are you making copies and keeping track of them?  Do you control the formats and have access to them?  I find that often enough, the answer is no.  Students often do not pay enough attention to this, and from time to time, former students contact me asking if I have copies of their work.  “Well, I’ll be happy to check,” I say, wanting to add, “and do you remember the first things I went over when we started class?  And telling you that there’s a decent chance you will be creating treasures that will be priceless to you in years to come…”

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Empty Reels

Discovering Lost Reels (photo Carl Casinghino)

An important theme in the study of motion pictures, from the long gestation that led to the first projected movies to today’s dazzling array of effects and sensory enveloping platforms, is the preservation and restoration of lost classics of the cinema.  In earlier posts, such as Treasure Troves from a few months ago, new discoveries by film preservationists and scholars were highlighted in these pages.  Now it appears that, in addition to Too Much Johnson, another of Orson Welles’s lost or unreleased works may see the light of day: The Other Side of the Wind.  The complex tale of its fate is discussed in a new article in the New York Timesinvolving family members of the shah of Iran, 1083 hidden reels of film in storage, an artist drawing on decades of life for inspiration, a director stealing movie prints and escaping in an unmarked van, and much more.  Producer Frank Marshall (a cofounder of Amblin Entertainment with Steven Spielberg) and director Peter Bogdanovich (The Last Picture Show, Paper Moon, What’s Up Doc and a great supporting role on The Sopranos) are working on completing the unfinished edit of the movie.  Among the movies highlighted for study with Moving Images are Touch of Evil and Citizen Kane; whether The Other Side of the Wind will be or not, in whole or part, remains to be seen, while the full cut of The Magnificent Ambersons can remain the lost treasure that will always be lost…

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