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Metteur En Scène
''Metteur en scène'' (literally "scene-setter") is a phrase that refers to the '' mise en scène'' of a particular film director. It suggests that the director has technical competence when it comes to film directing, but does not add personal style to the aesthetic of the film. The term was coined by ''Cahiers du cinéma'' co-founder André Bazin, and the expanded meaning of the term was introduced by the French New Wave filmmaker and film critic François Truffaut in his 1954 essay "A Certain Tendency of the French Cinema", in which he contrasted the inferior products of the ''metteur en scène'' with the work of the great director or auteur. The term was adopted and given a new meaning by the American film critic Andrew Sarris's writings on 'the auteur theory' in the early 1960s, in which ''metteur en scène'' is the second of the three categories that define a director as an auteur. The term is meant to imply that an auteur's aesthetic style can be consistently detected in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Film Director
A film director controls a film's artistic and dramatic aspects and visualizes the screenplay (or script) while guiding the film crew and actors in the fulfilment of that vision. The director has a key role in choosing the cast members, production design and all the creative aspects of filmmaking. The film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized or noticed. Directors need to be able to mediate differences in creative visions and stay within the budget. There are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, producers, film editors or actors. Other film directors have attended a film school. Directors use different approaches. Some outline a general plotline and let the actors improvise dialogue, while others control every aspect and demand that the actors and crew follow instructions precisely. Some directors also write thei ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cahiers Du Cinéma
''Cahiers du Cinéma'' (, ) is a French film magazine co-founded in 1951 by André Bazin, Jacques Doniol-Valcroze, and Joseph-Marie Lo Duca.Itzkoff, Dave (9 February 2009''Cahiers Du Cinéma Will Continue to Publish''The New York TimesMacnab, Geoffrey (7 April 2001''Pretentious, nous?''''The Guardian'' It developed from the earlier magazine ''Revue du Cinéma'' ( established in 1928) involving members of two Paris film clubs Objectif 49 (Robert Bresson, Jean Cocteau, and Alexandre Astruc, among others; ) and Ciné-Club du Quartier Latin (). Initially edited by Doniol-Valcroze and, after 1957, by Éric Rohmer (aka, Maurice Scherer), it included amongst its writers Jacques Rivette, Jean-Luc Godard, Claude Chabrol, and François Truffaut, who went on to become highly influential filmmakers. It is the oldest French-language film magazine in publication. History The first issue of ''Cahiers'' appeared in April 1951. Much of its head staff, including Bazin, Doniol-Valcroze, Lo Duca, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
André Bazin
André Bazin (; 18 April 1918 – 11 November 1958) was a renowned and influential French film critic and film theorist. Bazin started to write about film in 1943 and was a co-founder of the renowned film magazine '' Cahiers du cinéma'' in 1951, with Jacques Doniol-Valcroze and Joseph-Marie Lo Duca. He is notable for arguing that realism is the most important function of cinema. His call for objective reality, deep focus, and lack of montage are linked to his belief that the interpretation of a film or scene should be left to the spectator. This placed him in opposition to film theory of the 1920s and 1930s, which emphasized how the cinema could manipulate reality. Life Bazin was born in Angers, France in 1918. He met future film and television producer Janine Kirsch while working at Labour and Culture, a militant organization associated with the French Communist party during World War II and eventually they married in 1949 and had a son named Florent. He died in 1958, age 40, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
François Truffaut
François Roland Truffaut ( , ; ; 6 February 1932 – 21 October 1984) was a French film director, screenwriter, producer, actor, and film critic. He is widely regarded as one of the founders of the French New Wave. After a career of more than 25 years, he remains an icon of the Cinema of France, French film industry, having worked on over 25 films. Truffaut's film ''The 400 Blows'' (1959) is a defining film of the French New Wave movement, and has four sequels, ''Antoine et Colette'' (1962), ''Stolen Kisses'' (1968), ''Bed and Board (1970 film), Bed and Board'' (1970), and ''Love on the Run (1979 film), Love on the Run'' (1979). Truffaut's 1973 film ''Day for Night (film), Day for Night'' earned him critical acclaim and several awards, including the BAFTA Award for Best Film and the Academy Award for Best Foreign Language Film. His other notable films include ''Shoot the Piano Player'' (1960), ''Jules and Jim'' (1962), ''The Soft Skin'' (1964), ''The Wild Child'' (1970), ''T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Auteur
An auteur (; , 'author') is an artist with a distinctive approach, usually a film director whose filmmaking control is so unbounded but personal that the director is likened to the "author" of the film, which thus manifests the director's unique style or thematic focus. As an unnamed value, auteurism originated in French film criticism of the late 1940s, and derives from the critical approach of André Bazin and Alexandre Astruc, whereas American critic Andrew Sarris in 1962 called it auteur theory. Yet the concept first appeared in French in 1955 when director François Truffaut termed it ''policy of the authors'', and interpreted the films of some directors, like Alfred Hitchcock, as a body revealing recurring themes and preoccupations. American actor Jerry Lewis directed his own 1960 film ''The Bellboy'' via sweeping control, and was praised for "personal genius." By 1970, the New Hollywood era emerged with studios granting directors broad leeway. Pauline Kael argued, howev ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andrew Sarris
Andrew Sarris (October 31, 1928 – June 20, 2012) was an American film critic. He was a leading proponent of the auteur theory of film criticism. Early life Sarris was born in Brooklyn, New York, to Greek immigrant parents, Themis (née Katavolos) and George Andrew Sarris, and grew up in Ozone Park, Queens. After attending John Adams High School in South Ozone Park (where he overlapped with Jimmy Breslin), he graduated from Columbia University in 1951 and then served for three years in the Army Signal Corps before moving to Paris for a year, where he became a friend of Jean-Luc Godard and François Truffaut. Upon returning to New York's Lower East Side, Sarris briefly pursued graduate studies at his alma mater and Teachers College, Columbia University before turning to film criticism as a vocation. Career After initially writing for ''Film Culture'', he moved to ''The Village Voice'' where his first piece—a laudatory review of '' Psycho''—was published in 1960. Later he re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scenography
Scenography (inclusive of scenic design, lighting design, sound design, costume design) is a practice of crafting stage environments or atmospheres. In the contemporary English usage, scenography is the combination of technological and material stagecrafts to represent, enact, and produce a sense of place in performance. While inclusive of the techniques of scenic design and set design, scenography is a holistic approach to the study and practice of all aspects of design in performance. Etymology and cultural interpretations The term scenography is of Greek origin (''skēnē'', meaning 'stage or scene building'; ''grapho'', meaning 'to describe') originally detailed within Aristotle's ''Poetics'' as 'skenographia'. Nevertheless, within continental Europe, the term has been closely aligned with the professional practice of scénographie and is synonymous with the English-language term 'theatre design'. More recently, the term has been used in museography with regards to the curati ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
