Media International Australia Read more. Film narratives put linear temporalities into play, through repetitions, elisions, flashbacks, anachronisms and non-chronological plot structures, slowing, accelerating or stopping time. This paper was delivered on 15th March 2014 at Screening Style: Costume, Cinema and Performance, a symposium on costume design I organised with Dr Catherine Spooner Dept. As a result, Gurevitch argues, the Transformers series acts as a requiem for both the American automobile and American visual effects industries, each of which have been hollowed out by the forces of neo-liberal global capital, and each of which constitute the ruinous backdrop against which the franchise is played out. Series Title: Responsibility: Bruce Bennett. Indeed, while his work traverses the generic territory associated with British cinema, individual films correspond only loosely to the types of film that have come to represent however inaccurately archetypes of British filmmaking.
In his watchful silence he remains a critical presence and as a surrogate spectator, offers us a point of identification at once within and outside the narrative. Drawing out the tensions, contradictions, and border-crossing strategies of these films, The Cinema of Michael Winterbottom highlights the complex political aesthetic that structures the work of this singular director. They are films that elicit ambiguous responses from viewers and that show us figures traversing and becoming stranded in unfamiliar, alienating and disorienting spaces and landscapes. Over the course of the film we learn that he has returned to this town, Haven, after serving eight years of a prison sentence for murdering the father of his under-age lover, hairdresser Helen. The critique is centered on Winterbottom's collaborative working practices, political and cultural contexts, and critical reception. Other publications include articles on celebrity culture, photography, Georges Bataille, the cinema of James Cameron and the Hollywood blockbuster, and the war on terror in film and television.
Revolutionary Films: The Cinematic History of Cycling is a unique historical survey of cinematic representations of cycling that runs from the first hand-cranked films of cyclists in the 19th century through to the hyper-mediated screen cultures of the 21st century. The director is represented as a forceful and almost inevitably masculine individual, often working in a frequently hostile or unsupportive context, whose work is marked by a signature style, intellectual complexity or thematic bias. A second Michael Winterbottom, the publicly visible figure, is generated through the circuits of publicity and marketing. Welcome to Sarajevo: television, 'documentary fiction' and border-crossing; 2. Instead, the film employs this stylistic disjunction to render an aspect of contemporary immigrant experience — alienated, marginalised consigned to the border-zone of the beach , experiencing difficulty in communication, situated at a voyeuristic distance. An innovative and exciting director here receives the kind of thoughtful and thought-provoking attention he deserves in a thoroughly excellent contribution to the Directors' Cuts series. Katarzyna Marciniak, Ohio University Bruce Bennett's book provides an excellent introduction to the work of one of Britain's most intriguing and impressive current filmmakers, fully acknowledging the breadth and variety of Winterbottom's body of work while also making a persuasive case for its underlying ideological and aesthetic coherence.
The book argues that what is evident in Winterbottom's oeuvre is the search for an adequate means of narrating inequality, injustice, and violence. Rather than simply adopting and refining the formal and narrative conventions of mainstream film and television, this body of work displays a restless, playfully heterogeneous and experimental audio-visual style in its representation of this world as well as a variety of fictional and dystopian worlds such as the technologically advanced and socially unequal future depicted in Code 46. Indispensable for anyone interested in contemporary British film. Borders and Terror; Conclusion; Filmography; Bibliography; Index. In this book I will argue that this stylistic promiscuity is not gratuitous or empty — although it is sometimes deployed lightly and to ambiguous or comic effect — but that it is a sign that Winterbottom and his collaborators are casting around for modes of expression that are adequate and appropriate to the themes explored in the films.
It seeks to situate changes in, for instance, film stock, animation, the depiction of robots and the development of 'synthespians', fire regulations in cinemas, or neurological accounts of spectatorship within more broadly defined technocultural processes around cinema. Seducing his readers with eloquence and methodological rigor, Bennett analyzes the complexity of Winterbottom's cinema through a careful look at the interrelated themes of borderlands, abject border zones, ideologies of race and violence, intimacy, the politics of mobility, and the War on Terror. Even British humor — that very understatement on which so many of the good crime comedies are hinged — is somehow a deterrent to strong emotion. Situating the action at a literal and metaphorical distance from the setting of the novel enables the film to tell the story of immigrant experience, of European settlers trying to establish a home for themselves in a hostile environment in which almost all relationships and decisions are negotiated or weighed in financial terms. Summary This comprehensive study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through his eclectic and controversial body of work. Leon is an Associate Editor of Animation journal and has published his work, amongst others, in The Journal of Television and New Media 2010 , Continuum Journal 2015 , The Journal of the Royal Society New Zealand 2015 , Senses of Cinema 2011 , Convergence Journal 2014, 2013 and The Journal of Popular Narrative Media 2009. A motif associated with Honda is the unfocused image suggesting that he has a confused, distorted or alienated relationship with his surroundings, one that is managed by mediation.
Bruce Bennett is Director of Film Studies at Lancaster University. The critique is centered on Winterbottom's collaborative working practices, political and cultural contexts, and critical reception. This paper was delivered on 15th March 2014 at Screening Style: Costume, Cinema and Performance,. To some extent the critical themes explored in these three chapters in relation to each group of films might be traced across other films and, by way of illustration, the first chapter examines the way that the thematic, formal and stylistic features explored throughout the book intersect in a single film, through an analysis of Welcome to Sarajevo 1997. This analysis is grounded in a consideration of Winterbottom's collaborative working practices, the political and cultural contexts of the work, and its critical reception. This chapter asks what the function of comedy is in the face of the atrocities and quotidian horrors of the war on terror, and whether comedy offers a platform for subversion and criticism in its refusal to take seriously and reproduce the liberal anxieties, melodramatic urgency and ideological conservatism and earnest documentary realism of dramas such as Generation Kill, Occupation and Britz, or documentaries such as Armadillo: Frontline Afghanistan Pedersen, 2010 , Our War and Restrepo Hetherington, Junger, 2010. Register a Free 1 month Trial Account.
The E-mail message field is required. It is necessary to stress that there are several Michael Winterbottoms under discussion here. He concludes that, apart from Hitchcock, with regard to international cinema the only other historically significant British filmmaker was Charlie Chaplin. This comprehensive study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through the whole of his eclectic and controversial work. Schematically, this story of fatal love, violence and Oedipal desires, a femme fatale and a love-struck dupe in the context of a small town corresponds well to the framework of the neo- noir film. He is the author of the monographs Toward a New Film Aesthetic Continuum, 2008 and The Orientation of Future Cinema: Technology, Aesthetics, Spectacle Bloomsbury, 2013. His status is left unclear, although the fact that he does not appear to attend school may indicate that he is an illegal immigrant, and his origin is only revealed obliquely through a brief glimpse of a letter addressed to Yugoslavia that he keeps in a suitcase along with old family photographs and a scrap of Yugoslavian newspaper.
It is revealed at the end of the film that in fact it was Helen who murdered her own father when he discovered the two lovers, and that Martin took the blame to protect her. It seems that Bay regards the contemporary Hollywood film set similarly, as a giant playroom, but he approaches it like a destructive child, gleefully smashing and setting fire to his toys and scribbling over the walls. Many contemporary writers describe these technological shifts as alarmingly disruptive, threatening either to destroy or disfigure cinema. Indispensable for anyone interested in contemporary British film. Winterbottom in Gilbey 2004: 31 Among other things, what is excluded from and effaced by such accounts is the collective labour of many people, their knowledge and experience, and the complexity of the creative processes that go into making a film; the industrial infrastructures from which even an avant-garde film must emerge, and the systems of distribution by which films are broadcast and circulated tend to be marginalised or disregarded.
Seducing his readers with eloquence and methodological rigor, Bennett analyzes the complexity of Winterbottom's cinema through a careful look at the interrelated themes of borderlands, abject border zones, ideologies of race and violence, intimacy, the politics of mobility, and the War on Terror. In this respect it is clear that a close examination of Michael Bay and his films is crucial for our understanding of the changing aesthetic, cultural and industrial status of cinema as we move into the post-cinematic era. Intimacy is the figure through which these films and programmes explore the borders between individuals and the variously violent, intense, moving and erotic transgression of these boundaries. From there he got a job in television as an assistant editor before working as a researcher on a documentary by director Lindsay Anderson on British cinema. An innovative and exciting director here receives the kind of thoughtful and thought-provoking attention he deserves in a thoroughly excellent contribution to the Directors' Cuts series. The weather itself is anticinematic.
This is a brilliant, highly readable book that offers an insightful commentary on the intricacies of the political climate we live in. This comprehensive study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through his eclectic and controversial body of work. Arguing that Winterbottom's work comprises a 'cinema of borders', it examines its treatment of sexuality, class, ethnicity, national and international politics. On the basis of this experience he was able to direct several television films and documentaries of varying lengths. This Book was ranked at 30 by Google Books for keyword Television Performers. Media International Australia Reseña del editor This comprehensive study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through his eclectic and controversial body of work.