Libros de Cine, página 21 de 564

“La mayoría de directores son conocidos por una película, tal vezdos, Akira Kurosawa tiene ocho o nueve.”Francis Ford CoppolaConsiderado el emperador del cine japonés o el Shakespeare del cinecontemp

Son tres entrevistas. En la primera, de los años 60, Kurosawa repasa una a una todas sus películas hasta ese momento con el mayor experto occidental de cine japonés. La segunda es un concienzudo cuestionario sobre cómo se puede hacer cine en Japón, sus comienzos en la profesión, su vida y sus pensamientos, de la mano de Nagisa Oshima, el director de 'El imperio de los sentidos'. Cierra el volumen la entrevista que Gabriel García Márquez le hizo a Kurosawa en 1991, encuentro de dos maestros, en la que García Márquez se desvela como un rendido admirador del cineasta japonés.

Recopilación de los cortometrajes presentados en el I Concurso de Cortometrajes.

Concentrates on the analysis of cult movies how they are defined who defines them and the cultural politics of these definitions Raises issues about the perception of it as an oppositional form of cinema and of its strained relationships to mainstream cinema and the processes of institutionalisation and classification Claims that the history of academic film studies and that of cult movie fandom are inextricably intertwined and raises fundamental questions about both cult movies themselves and film studies as a discipline Updates work on cult movies at a time when cult films and TV have become a central part of contemporary culture Ranges over the full and entertaining gamut of cult films from Dario Argento Spanish horror and Peter Jackson s New Zealand gorefests to sexploitation kung fu and sci fi flicks as well investigations of Sharon Stone underground and trivia

Esta obra recoge el análisis de la obra de siete autores cinematográficos fundamentales: Murnau, Dreyer, Buñuel, Rossellini, Godard, Bergman y Lars Von Trier.

Les mémoires du plus grand acteur américain.

From one of the most iconic actors in the history of film, an astonishingly revelatory account of a creative life in fullTo the wider world, Al Pacino exploded onto the scene like a supernova. He landed his first leading role, in The Panic in Needle Park, in 1971, and by 1975, he had starred in four moviesThe Godfather and The Godfather Part II, Serpico, and Dog Day Afternoonthat were not just successes but landmarks in the history of film. Those performances became legendary and changed his life forever. Not since Marlon Brando and James Dean in the late 1950s had an actor landed in the culture with such force.But Pacino was in his mid thirties by then, and had already lived several lives. A fixture of avant-garde theater in New York, he had led a bohemian existence, working odd jobs to support his craft. He was raised by a fiercely loving but mentally unwell mother and her parents after his father left them when he was young, but in a real sense he was raised by the streets of the South Bronx, and by the troop of buccaneering young friends he ran with, whose spirits never left him. After a teacher recognized his acting promise and pushed him toward New Yorks fabled High School of Performing Arts, the die was cast. In good times and bad, in poverty and in wealth and in poverty again, through pain and joy, acting was his lifeline, its community his tribe.