By Rosanna Maule
Conceal -- initial Pages -- Contents -- checklist of Illustrations -- record of Tables -- Acknowledgments -- advent -- half One: The 'Death of Cinema' and the Institutionalization of the writer -- bankruptcy 1: The movie writer and the Survival of eu Cinema -- bankruptcy 2: the center iteration -- bankruptcy three: The tough Legacy of the Nouvelle obscure -- half : The movie writer within the New Audio-visual process -- bankruptcy four: For an Impure Cinema -- bankruptcy five: a special kind of Cinephilia -- bankruptcy 6: Made in Europa -- half 3: the feminine writer within the period of Post-feminism -- bankruptcy 7: Auteurism and Women's Cinema in France, Italy and Spain -- bankruptcy eight: lady Authors and Gendered id in movie -- bankruptcy nine: female concerns -- end -- Bibliography -- Index -- again disguise
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Additional resources for Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain since the 1980s
US Share in European Markets. en. 50 | beyond auteurism Marbœuf, Michel Soutter, Paul Vecchiali, Benoît Jacquot, and André Téchiné; television director and union representative Raoul Rossi; film critic Jean Collet; and René Bonnell, an executive from the television network Canal+, the French pay-television channel launched in 1984 with a strong involvement in film production. Serceau’s short survey focuses on two, interrelated concerns: stylistic specificity and exchange among audio-visual media (for example, editing, subject matter, and techniques); and the professional requirements involved in switching from one medium to the other.
Their interpretation of neo-realism came from an anti-fascist perspective that inspired many Italian film-makers to claim their derivation from neo-realism, down to the present generation of film-makers. , my translation). 6 The peculiarity of Italian film authorship also derives from another tradition in the national film industry: the involvement of famous intellectuals and artists. Since the early 1910s, these figures brought an aura of cultural prestige to Italian cinema and contributed to the representation of European cinema as the homeland of art film.
Many of them showed an interest in new audio-visual technologies, which they considered to be an inevitable development in the field, yet remained quite ambivalent regarding the possibility of personally adopting any of the new devices. Europe’s financial endorsement of authorial cinema was mostly concentrated in production and did not resolve a fundamental issue for European cinema: the viability of authorial cinema within the theatrical, as well as the video and broadcasting circuits of film exhibition.
Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain since the 1980s by Rosanna Maule