Студопедия

КАТЕГОРИИ:

АвтоАвтоматизацияАрхитектураАстрономияАудитБиологияБухгалтерияВоенное делоГенетикаГеографияГеологияГосударствоДомЖурналистика и СМИИзобретательствоИностранные языкиИнформатикаИскусствоИсторияКомпьютерыКулинарияКультураЛексикологияЛитератураЛогикаМаркетингМатематикаМашиностроениеМедицинаМенеджментМеталлы и СваркаМеханикаМузыкаНаселениеОбразованиеОхрана безопасности жизниОхрана ТрудаПедагогикаПолитикаПравоПриборостроениеПрограммированиеПроизводствоПромышленностьПсихологияРадиоРегилияСвязьСоциологияСпортСтандартизацияСтроительствоТехнологииТорговляТуризмФизикаФизиологияФилософияФинансыХимияХозяйствоЦеннообразованиеЧерчениеЭкологияЭконометрикаЭкономикаЭлектроникаЮриспунденкция

Известные американские режиссёры, когда-либо снимавшие независимое кино





Араки, Грегг

Берман, Шэри Спрингер Моррисси, Пол

Мур, Майкл

Пульчини, Роберт

Смит, Джек

Содерберг, Стивен

Солондц, Тодд

Тарантино, Квентин

Уорхол, Энди

Уотерс, Джон

Фуллер, Сэмюэл

Харрон, Мэри

Хартли, Хэл

Хейнс, Тодд

Хоппер, Деннис

Энгер, Кеннет

Бигелоу, Кэтрин

Брекхедж, Стэн

 

Ван Сент, Гас

Дерен, Майя

Джармуш, Джим

Джост, Джон

Карпентер, Джон

Кассаветес, Джон

Корман, Роджер

Коэн, Джоэл

Коэн, Итен

Мекас, Йонас

Миллер, Ребекка


Знаменитые фильмы американского независимого кино

 

Восход скорпиона (1963)

Беспечный ездок (1969)

THX 1138 (1971)

Розовые фламинго (1972)

Злые улицы (1973)

Голова-ластик (1977)

Бойцовая рыбка (1983)

Более странно, чем в раю (1984)

Просто как кровь (1984)

Роджер и я (1989)

Секс, ложь, видео (1989)

 

Фильмы последних лет

Мой личный штат Айдахо (1991)

Бешеные псы (1992)

Клерки (1994)

Обычные подозреваемые (1994)

Криминальное чтиво (1995)

Поколение игры Doom (1995)

Добро пожаловать в кукольный дом (1995)

Странные дни (1995)

Мертвец (1995)

Я стреляла в Энди Уорхола (1996)

Фарго (1996)

Шоссе в никуда (1996)

Умница Уилл Хантинг (1996)

Связь (1996)

Липкие пальчики времени (1997)

Бархатная золотая жила (1998)

Счастье (1998)

Академия Рашмор (1998)

Выборы (1999)

Проект ведьма из Блэр (1999)

Быть Джоном Малковичем (1999)

Пёс-призрак: Путь самурая (1999)

Магнолия (1999)

Девственницы-самоубийцы (1999)

Реквием по мечте (2000)

Помни (2000)

Донни Дарко (2001)

Личная скорость: три портрета (2002)

Американское великолепие (2003)

Гарден Стейт (2004)

Вечное сияние страсти (2004)

Последние дни (2005)

Капоте (2005)

Доброй ночи и удачи (2005)

Пузырь (2005)

 


          


Film: Movies and Modern America

 

What is a "typical" American movie? People throughout the world are sure they know. A characteristic American film, they insist, has flamboyant special effects, each a reflection of America's nearly mythic affluence. Furthermore, American movies revel in fast-paced action and a celebration of individual ingenuity embodied in the heroics of an impeccably dressed, permanently youthful Hollywood star. And they feature love stories that lead, inevitably if often implausibly, to happy endings.

Yet over the past 15 years, for every high-tech, stunt-filled Mission Impossible, there are serious and even disturbing films such as American Beauty and The Hours. For every conventional Hollywood blockbuster apparently designed to appeal to the predilections of 12-year-old boys, there have been complex and sophisticated movies such as Traffic, Shakespeare in Love, Magnolia, and About Schmidt that are consciously made for grown-ups. What is therefore remarkable about contemporary American movies is their diversity, their effort to explore the social and psychological dimensions of life in modern America, and their ability to combine entertainment with artistry. The sweeping vistas of the Nebraska countryside outside the city of Omaha in the movie About Schmidt, and the hushed, stoic visages within the city itself, represent a homecoming of sorts for filmmaker Alexander Payne. The son of Greek parents who owned a prominent restaurant in Omaha, Payne left Nebraska after high school to study Spanish and history at Stanford University, with an eye toward becoming a foreign correspondent. His young adulthood took him to Spain, where he enrolled in a course in philology at the University of Salamanca, and later to Colombia, before pursuing a master of fine arts degree at the University of California at Los Angeles.

Payne's three feature films have focused on the terrain he knows so well -- the American Midwest, and specifically Omaha. His early audiences -- insiders and followers of low-budget, independent films -- have expanded to embrace the traditional American moviegoer.

Citizen Ruth, a 1996 movie, starred Laura Dern as a young, pregnant indigent who, unwittingly, becomes a pawn of both sides in the pro-life/pro-choice debate about abortion in the United States.

 

Three years later, Payne wrote and directed Election, an acerbic satire about American politics seen through the lens of a student council election in a midwestern high school. Payne received an Academy Award nomination for his screenplay, and the movie ignited the career of its young leading lady, Reese Witherspoon.

 

Most recently, Payne adapted About Schmidt, a novel by Louis Begley, for the screen. From the first moment, when Schmidt, played by actor Jack Nicholson, is revealed as a man on the verge of his retirement, the movie is compelling. By the creator's own description, this is a movie about "loneliness, contempt, anger, regret." And yet Payne has embedded elements of humor within Schmidt's journey, as well as a suggestion of a certain redemption. In the end, Schmidt finds a purpose in his life through his sponsorship, via an international organization, of an impoverished African child.For the self-described "restless" Payne, 41, who is preparing his next movie -- about two friends who take a wine-tasting tour just before one is to be married -- these are the best of times.

"I'm getting to make the films I want to make," he says.

Titanic and the Myths About American Popular Culture

Nevertheless, the stereotypes about Hollywood films are deeply ingrained. In 1998, while I was a visiting professor in Germany, I often gave lectures at various places in Europe on American movies. The reactions of my audiences were often the same. If, for example, I spoke to secondary school teachers in Brussels, Berlin, or Barcelona, I would ask how many had seen Titanic. Half the teachers in the room would raise their hands, reluctantly. They would then look around to see if others were joining them in this confessional. Their embarrassment at having surrendered to yet another Hollywood seduction was palpable.

When I asked them why they saw the movie, they usually said that they wanted to understand better the tastes, however vulgar, of their students or their own children. Or that they were curious to see what all the pandemonium was about, all the marketing and publicity and hype on behalf of a $200 million adolescent fantasy. Not one of the teachers would admit that they went to see Titanic because they had heard it was good, maybe even a work of art. The teachers did not know it, but they had internalized the criticisms of American mass culture, and especially of American movies, that have persisted for nearly a century. Since the 1920s, people both in the United States and abroad have been told that Hollywood's products are "bad" for them. According to the defenders of high culture, American movies are brash, superficial, inane, and infantile. Worst of all, they are commercial. Like everything else in American life, movies are regarded as just another item available for consumption, perpetually for sale, a commodity to be advertised and merchandised, no different from detergents and washing machines.  No wonder, then, that the teachers felt guilty at having gone to see Titanic. No wonder, too, that they acted is if they'd been temporarily slumming. They had not been bewitched by Leonardo DiCaprio, not them. They knew the film was preposterous. The very mention of the movie got a laugh from the audience; it was a guaranteed punch line with audiences everywhere. Indeed, it is this laughter that enables people to enjoy America's movies without suffering any pangs of conscience about wasting their time on such trivia.










Последнее изменение этой страницы: 2018-05-30; просмотров: 215.

stydopedya.ru не претендует на авторское право материалов, которые вылажены, но предоставляет бесплатный доступ к ним. В случае нарушения авторского права или персональных данных напишите сюда...