By Barry Keith Grant
This reference offers a accomplished and obtainable advent to movie and picture stories, masking such facets as construction, nationwide traditions, studios, genres, serious concept and movie heritage. nearly 2 hundred entries disguise particular subject matters, together with performing, censorship, enhancing, lighting fixtures and others. additionally incorporated are greater than 230 profession profiles, putting person achievements within the context of particular issues (for instance, Robert Altman is featured within the article on "Sound"). extra good points comprise a entire index; a listing of extra studying assets; 350 black-and-white and a hundred and fifty complete colour photos; and extra.
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Extra info for Schirmer Encyclopedia of Film
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The most celebrated British version of this stricken Ireland is Carol Reed’s equally expressionistic Belfast in Odd Man Out (1947). In the 1970s and 1980s, when political violence in Northern Ireland escalated, this image appeared with more regularity, sometimes merely as a plot device in otherwise conventional thrillers, such as Patriot Games (Phillip Noyce, 1992) or The Devil’s Own (Alan J. Pakula, 1997). That indigenous filmmaking developed slowly meant that these two dominant traditions went largely unchallenged in cinematic terms and therefore tended to circulate as markers of a general Irish identity.
This criticism, however, was confined to a narrow and melodramatic moral resentment, reflecting the overall paralysis of the left in its dead-end conception of reality. Most films SCHIRMER ENCYCLOPEDIA OF FILM Israel Dana Katz and Arnon Zadok in Uri Barbash’s Beyond the Walls (1984). /COURTESY EVERETT COLLECTION. REPRODUCED BY PERMISSION. offered a similar story line: a Palestinian Arab and an Israeli Jew, driven by a vague idea that solidarity between the two peoples is possible, decide to act accordingly.
Makhmalbaf has established a production company that allows him to coproduce films with France, and it was under this production house that he produced the directorial debut of his daughter, Samira Makhmalbaf (b. 1980), Sib (The Apple, 1998). Makhmalbaf’s Safar e Ghandehar (Kandahar, 2001), one of his most popular films, tells the story of Nafas, an Afghan journalist who is exiled to Canada and returns to Afghanistan to find her sister, who is fed up with the Taliban regime. Like many of Makhmalbaf ’s films, Kandahar is a combination of documentary and fiction, using a hand-held camera and other techniques associated with documentaries to give it a greater emotional power.
