The Big Picture : September/October 2012

Transcription

thebigpicture
There's more to film than meets the eye...
The
Small
Screen on
The Big
Screen
www.thebigpicturemagazine.com September/October 2012
Film International
Published as a bi-monthly, Film
International covers all aspects of
film culture in a visually dynamic
way. This new breed of film
magazine brings together
established film scholars with
renowned journalists to provide an
informed and animated commentary
on the spectacle of world cinema.
WWW.FILMINT.NU
***
DIALOGUE
AROUND
G
THE MOVIN
IMAGE
***
contents
Issue Seventeen. September/October 2012
Features
14
0 6 | Spotlight
Here's Looking At You:
TV on Film
1 4 | Widescreen
Flash Forward:
Future Film and the
Evolution of Moviegoing
1 8 | Architecture & Film
Scene Setter:
The Spatial Genius of
Scenographer Ken Adam
2 2 | 1000 Words
On Your Marks:
Killer Gameshows
Regulars
0 4 | Reel World
The Eyes of Tammy Faye
20 | Four Frames
cover image the truman show ( © 1998 Paramount Pictures, Scott Rudin Productions)
The Truman Show
'I just keep wishing I could
think of a way to show them
that they don't own me. If I'm
gonna die, I wanna still be
me. Does it make any sense?'
Peeta Mellark
2 6 | On Location
Mebourne, Australia
3 1 | Screengem
Kermit's Bicycle in
The Muppet Movie
3 4 | Parting Shot
Comin' Atcha:
Breaking free from TV
3 8 | Listings
22
A Roundup of this Issue's
Featured Films
The Big Picture ISSN 1759-0922 © 2012 intellect Ltd. Published by Intellect Ltd. The Mill, Parnall Road. Bristol BS16 3JG / www.intellectbooks.com
Editorial office Tel. 0117 9589910 / E: [email protected] Publisher Masoud Yazdani Chief Editor & Art Direction Gabriel Solomons Editor Neil Mitchell
Contributors Jez Conolly, Nicola Balkind, Chris Rogers, Rob Beames, Neil Mitchell, Leon McDermott, Helen Cox, Scott Jordan Harris, Dean Brandum, Alexandra Heller-Nicholas
Please send all email enquiries to: [email protected] / www.thebigpicturemagazine.com
Published by
intellect
| www.intellectbooks.co.uk
September/October 2012
3
reel world
f i l m b e yo n d t h e b o r d e r s o f t h e s c r e e n
Seeing
Double
Fenton Bailey and Randy Barbato's
documentary The Eyes of Tammy Faye was,
if nothing else, revealing of a troubled life.
Nicol a balkind takes a closer look.
n o wadays, th e mentio n
of Christian broadcasting is
likely to bring to mind a certain
degree of notoriety. Where
Tammy Faye Messner and
her ex-husband Jim Bakker's
names are concerned, infamy
is the first thing that springs to
mind. Hagiographies like this
one have no business calling
themselves documentaries,
and there's a distinct MTV
Behind the Music feel to this
aspirational film directed by
Fenton Bailey and Randy
Barbato.
The Bakkers rose to fame
within Christian television
programming in the mid-60s
with shows on Pat Robertson's
Christian Programming
Network, before moving on
to launch their own PTL
Television Network. They
sparked the revolution of TV
evangelism that we recognise
today. Avoiding almost all talk
of Jim Bakker's adultery and
money-scheming scandals
4 www.thebigpicturemagazine.com
- including telethons to
fund a multi-million dollar
resort - The Eyes of Tammy
Faye (2000) is a personal
odyssey of the woman whose
life was left in tatters. But
its reverential narration
from famous drag queen
RuPaul never touches on the
motivations of Faye.
The title is inspired by
Tammy Faye's heavily-lined
lids that would stream black
during broadcasts in moments
of penitent rapture. Her eyes
are also an apt symbol for
suffering, and this film extolls
her victim status with attempts
at confrontations with those
who wronged her, skimming
history while packing it with
painful pinches of failure
along the way.
While The Eyes of Tammy
Faye proves that TV
personalities are people too, it
also demonstrates the harms of
the spotlight that are strikingly
prevalent in today's reality
televisual society. There Will
Be Tears. [tbp]
Her eyes are an apt symbol
for suffering, and this film
extolls her victim status with
attempts at confrontations
with those who wronged her.
above © 2000 Cinemax, FilmFour, World of Wonder
gofurther
[web ] www.tammyfaye.com [book ] Questioning Evangelism by Randy Newman
5
spotlight
c i n e m a ' s t h e m at i c s t r a n d s
Images: © 1957 Newtown Productions
cover
feature
Y
Here's
Looking
At you
Cinema and television have for some time been
uncomfortable bedfellows, but the power and influence
of the small screen has long been prime source material
for the big screen. Ro b bea mes and h e le n cox settle
into their seats and grab their remotes.
A face in the Crowd
(1957)
Dir. Elia Kazan
above
ANDY GRIFFITHS
Kazan’s gripping
polemic examines how
the power to influence
people can become an
extremely dangerous
force in the hands
of unscrupulous
and egocentric
individuals.
Unfairly overlooked upon its
original release, this dark and
disturbing chronicle of the media –
as a mass manipulator with undue
influence over political affairs – is
now regarded as something of a
prescient classic. In it Andy Griffith
portrays a drunken, abusive drifter
who, after becoming a national
radio and television celebrity,
comes to represent the film’s highly
cynical view of the media as he
maintains an affable public persona
whilst actually having nothing but
contempt for his audience. After
“Lonesome” Larry Rhodes gains
this sudden fame and fortune
as a charismatic singer, Kazan’s
gripping polemic examines how
this power to influence people can
become an extremely dangerous
force in the hands of unscrupulous
and egocentric individuals. For
instance, not long after referring to
the American people as his “flock
of sheep”, Rhodes delivers perhaps
the film’s key lines at the climax
of a snarling tirade volleyed at his
visibly frightened mistress (Patricia
Neal): “they’re even more stupid than
I am, so I gotta think for ‘em... I’ll be
the power behind the president and
you’ll be the power behind me.”
[Rob Beames]
7
➜
Image: © 1976 Metro-Goldwyn-Mayer (MGM)
Image: © 1983 Canadian Film Development Corporation (CFDC)
Network (1976)
Dir. Sidney Lumet
“I’m mad as hell, and I’m not going to
take this anymore!” So rants veteran
primetime news anchor Howard Beale
(Peter Finch) in this most enduringly
relevant of movies: a dark-hearted
cross-examination of the state of
television, in which producers eagerly
broadcast a crass public spectacle
in pursuit of higher ratings. After
Beale states on air that he is going
to kill himself, the clearly unhinged
broadcaster is re-branded as the “mad
prophet of the airwaves” and – in a
move that seems to foreshadow the
coming of Glenn Beck – becomes
an overnight sensation watched by
millions of Americans eager to witness
the next meltdown and, potentially, his
live suicide. Perhaps the seminal film
about television, Paddy Chayefsky’s
Oscar winning screenplay is a satirical
masterpiece and incisive piece of
social commentary that only seems
to improve with age. A sign of its
increasing relevance and power decades
later can be seen in the fact that it’s
often still self-consciously imitated and
referenced – most obviously in the pilot
of Aaron Sorkin’s ill-fated Studio 60 on
the Sunset Strip (with Judd Hirsch filling
in for Finch) and a recent episode of
Charlie Brooker’s Black Mirror.
[Rob Beames]
Perhaps the seminal
film about television,
Paddy Chayefsky’s Oscar
winning screenplay is a
satirical masterpiece and
incisive piece of social
commentary that only
seems to improve with age.
above
JAMES WOODS
top left
PETER FINCH
spotlight here's looking at you
Videodrome (1983)
Dir. David Cronenberg
The choice of Renn as a
protagonist was no mistake, he
is so deeply desensitised that
when he initially watches a tape
in which a desperate woman is
tortured his only focus is on the
production values.
“Do you think erotic and violent
TV shows lead to desensitisation? To
dehumanisation?” This question is
posed not fifteen minutes into David
Cronenberg’s classic body horror
movie, the query underlines every
second of the remaining runtime.
Seedy TV programmer Max Renn
(James Woods) is physically disfigured by his quest to uncover the truth
about snuff TV show Videodrome;
becoming less than human to the
point that his stomach eventually
accepts a carefully-placed Betamax
tape. The choice of Renn as a protagonist was no mistake, he is so deeply
desensitised that when he initially
watches a tape in which a desperate
woman is tortured his only focus is
on the production values. To further
desensitise Renn, Cronenberg bends
and removes him from reality. Is it coincidence that the movie was released
at a time when increasingly gruesome
scenes were playing out on tape recorders across the western world? Or
that, within the narrative, Videodrome
was produced in Pittsburgh, home
to Romero’s inhuman flesh-eaters?
Given that it is David Cronenberg
playing God here, it’s highly unlikely
that anything was left to chance.
[Helen Cox]
9
Image: © 1992 Morgan Creek Productions
To Die For (1995)
Dir. Gus Van Sant
Stay Tuned highlighted
the epidemic of
couch potato-ism in
contemporary America,
comparing Murdoch to
the devil himself...
Stay Tuned (1992)
Dir. Peter Hyams
On its release Time Out described
Stay Tuned as a 'pointless 'satire' with
the 'emotional depth of a 30-second
soap commercial.' Clearly, they had
missed the social relevance of this
quirky fantasy comedy in which John
Ritter plays Roy Knable – a plumbing
salesman who is sucked into a hell
dimension inside his TV set. In the
late 1980s Rupert Murdoch started
Sky TV, making satellite dishes
one of the most desirable home
commodities of all time. According
to the commercials, there was no itch
30+ channels couldn’t scratch. Stay
Tuned highlighted the epidemic of
couch potato-ism in contemporary
America, comparing Murdoch
to the devil himself as John Ritter
signs away his soul to Jeffrey Jones'
demonic Mr Spike in exchange for
the ultimate TV package. Only when
Knable realises how much he has to
lose by tuning out of reality is he able
to save himself and his wife from an
untimely televised doom. Even though
it contains lame puns on well-known
pop-culture greats such as 'Duane’s
Underworld' and 'I Love Lucifer’, Stay
Tuned should still be recognised for its
critique of an over-dependence on TV
culture and commercialism as a whole.
[Helen Cox]
In To Die For, Nicole Kidman
plays ruthless TV wannabe
Suzanne Stone, the dark
side to Curley’s Wife in John
Steinbeck’s Of Mice and Men.
America, home to Hollywood,
has always deemed movie star
status more significant than any
other (perhaps save presidency).
In the 90s, with television an
established, ubiquitous household
necessity, small screen celebrities
became equally as adored and
often transitioned to film (Will
Smith and Melissa Joan Hart
for example). This obsession
with being seen is something
that director Gus Van Sant
keenly explores, hinting that
people generally believe that
being watched somehow lends
our actions a greater substance.
'What’s the point of doing something
good if nobody’s watching?' Stone
asks in the opening sequence,
breaking the fourth wall;
communing with the audience
and coercing them to consider
why we watch people and why
they like to be watched. Given
the glut of Reality TV shows that
have dominated schedules for the
past 15 years, the question of why
people urgently crave recognition
is more relevant to popular culture
than it has ever been.
[Helen Cox]
right
nicole kidman
Given the glut of Reality TV
shows that have dominated
schedules for the past 15 years,
the question of why people
urgently crave recognition
is more relevant to popular
culture than it has ever been.
Image: © 1995 Columbia Pictures Corporation / The Rank Organisation
11
Quiz Show (1994)
Dir. Robert Redford
A star-powered account of a
real life 1950s television scandal,
Redford’s well-liked drama looks
at the TV set’s place of reverence
in the average American living
room and how public trust in it
can be exploited by corrupt forces.
While following Rob Morrow’s
congressional investigator – a man
who excitedly declares he’s 'going to
put television on trial' – it recounts
how the game show Twenty One
was rigged, with the programme’s
producers and sponsor giving their
preferred contestant the questions
in advance in the name of ratings.
In the screen version, John
Turturro’s gawky schlemiel, a longrunning champion on the quiz,
is found to be a less photogenic
and aspirational figure than Ralph
Fiennes’ handsome challenger,
a clean-cut college intellectual,
and is forced by those in charge
to 'take a dive' live on air. His
replacement and subsequent fall
into obscurity enables the film to
explore the superficial and fleeting
nature of celebrity, something
which resonates even stronger in
contemporary times.
[Rob Beames]
opposite
ralph fiennes, Christopher McDonald
and john turturro
gofurther
[book] The Spectacle of the Real: From Hollywood to ‘Reality’ TV and Beyond (www.intellectbooks.com)
Image: © 1994 Baltimore Pictures / Hollywood Pictures
Redford’s well-liked drama
looks at the TV set’s place
of reverence in the average
American living room and
how public trust in it can be
exploited by corrupt forces.
13
WIDESCREEN
Flash
Forward
film in a wider context
Since 2003, Future Cinema have been transforming how people watch
films. This summer, they staged their biggest spectacular yet – taking
over an entire music festival with an immersive live movie experience.
Founder and creative director Fabien Riggall explains how they did it.
INTERVIEW BY L e o n M c D e r mo t t
La Haine
Asian Dub Foundation providing
the score for The Other Cinema
at Broadwater Farm
Photos Sandra Ciampone (botoom)
Future Cinema started as the
Future Shorts film festival, in
2003. Can you give us an idea
of why you set it up in the first
place?
I was a film-maker, going to
a lot of film festivals, but also
to lots of clubs and music
festivals. With Future Shorts,
we wanted to create an
experience-led film festival –
combining a gig or a club with
a film festival, which allowed
people to experience films
in another way. We wanted
it to be about the collective
experience, because I truly
believe that – however much
technology takes us away from
connecting – people do want
to connect and feel part of a
community. Future Shorts
started as that, and from that
one event has spawned into
300, in over 50 countries.
It’s this global community,
who can connect online and
through social media, who
are looking for something
different. They want to be
shaken, as it were, rather than
just have a passive experience.
Disruption is my favourite
thing in the world – it’s what
makes me happy, and when
you see something unusual, it
flips your mind from its daily
routine and I think that’s what
people are looking for today,
when everything is so laid out:
you know where you’re going,
what’s happening, you’ve read
the reviews and so on. Short
films can be incredibly good at
breaking with that; they’re little
bursts of creativity, and we
thought, if we can bring them
into a non-theatrical setting
and build things around that,
why can’t we do it with feature
films?
Bugsy Malone
Transfroming East End's Troxy
into Fat Sam's Grand Slam in
April 2012
Top Gun
A screening and immersive
event at Canary Wharf
summer 2011
15
widescreen future cinema
Photos Jeff Moore
In 2007, you put on a screening of
One Flew Over The Cuckoo’s Nest
which took this idea even further,
keeping the film itself secret until the
event. How did that work?
That was really about building a
parallel world for the film before
it screened, so you have this gang
or community who are engaged
in what the film might be, in
actually entering the narrative and
becoming characters. With One
Flew … we worked with Mind, the
mental health charity. We created
the Oregon State hospital and
took the audience around there;
we had actors playing the doctors,
who knew every member of the
audience because we got them to
fill out profiles beforehand. We
took them on a surreal fishing trip,
had them play basketball on the
roof, and got them to break out of
the hospital. This all culminated
in a screening, and the audience
watches the film having spent two
hours experiencing that. So they’re
more engaged with the film than
with any other film they’ve ever
been to.
You took over the Wilderness festival,
in Oxfordshire, this August, with
screenings of Bugsy Malone, La
Haine and one secret film. What are
the challenges there?
It was kind of crazy. Bugsy Malone
was such a nostalgic hit when we
staged it in London; it was such
a happy, positive project. So we
talked to the Wilderness organisers,
and thought about the idea of
taking over the whole festival – so
you have Fat Sam being the biggest
guy in town, and essentially turning
the whole festival into New York,
but over the course of the day,
Dandy Dan started taking back
the territory. And we worked with
all the festival partners – the other
stages, the food stalls, everyone
– taking over the festival for one
day and turned it into this Bugsy
Malone wonderland, where we
had splurge fights, gambling,
shakedowns, everything.
The screening of La Haine had a live
soundtrack by Asian Dub Foundation.
What were your aims with taking
such an urban, inner city film into the
countryside?
We screened La Haine in
Broadwater Farm in London
Bugsy Malone
More shenanigans and tomfollery
of the cream pie kind at East End's
Troxy. April 2012
Photo Melanie Gow
earlier this year. We’re very
passionate that cinema can
have a big part to play in giving
young people an opportunity to
experience something different,
and this film – which is a witness
and a mirror to the riots which
happened in London last year
– gave them that opportunity.
And we wanted to practice what
we preach, by giving a chance to
some of the people who the film is
about to do something different,
so we had some of the people from
Broadwater Farm who came with
us, working with us, at Wilderness.
We created a show around the
film: we had breakdancers, a boxer,
and even a cow. And Asian Dub
Foundation were just phenomenal
– they lifted the film on to another
level, and created yet another way
of engaging with it.
Do you think that what you’re doing
– creating this broad, immersive,
total experience - is a more
fruitful direction for the future of
cinema than just selling it on the
technological advances like 3D?
I think that what we’ve tapped in
our audiences is that there could be
another way of experiencing film,
beyond 3D. We’ve just finished an
event with Prometheus in 3D, and
the 3D experience is fantastic but
I do think that we’re taking it up
a level. I think that in combining
film with music, with theatre,
to create a multi-layered thing,
we’ve genuinely created another
way for film. We’re not going to
replace what’s already there – the
traditional exhibition is the heart of
cinema – but we’re asking people
to do something different – to dress
up, to take part, to become part of
the world we’re creating. That, for
me, is our mission: to find a new
format. And the fact that we’re
doing it at Wilderness – disrupting,
in a good way, this amazing festival
with a crazy, fun movie we all
saw when we were kids, and then
with another about disadvantaged,
inner-city youth – I think is a good
sign. I genuinely think that this
could be the future.
gofurther
The Wolf Man (©2008)
4-color screenprint
Part of the 'Universal Series'
'...however much technology
takes us away from connecting
– people do want to connect
and feel part of a community.'
[web ] www.futurecinema.co.uk [web ] theothercinema.org
17
architecture & film
a dv e n t u r e s t h r o u g h t h e b u i lt a n d f i l m e d e n v i r o n m e n t s
Monsters, Inc. [Variant] (©2011)
5-color screenprint
size: 18" x 24"
Paul (©2010)
4-color screenprint
produced for the US premiere
of the film at the SXSW festival
Scene
Sette�
Responsible for creating some of the most iconic and
memorable sets in the history of film, production designer
Ken Adam knows a thing or two about dreaming on a
grand scale. chri s rog ers takes us on a brief tour.
“ Y o u k n o w, w e n e e d
a set for that”. This reminder
from director Terence Young
to production designer Ken
Adam during the making of
Dr No not only resulted in a
hastily-conceived yet brilliant
solution from Adam for the
‘spider room’ – a small space
dominated by a disquietingly
sloping, forced-perspective
roof whose circular grille casts
ominous shadows – but also
laid the foundations for a series
of designs that, if realised
in bricks and mortar, would
surely have seen the Germanborn artist crowned a post-war
architect of some talent.
By 1962 Adam was already a
seasoned professional, having
designed for the cinema since
the late 1940s when he left
the Royal Air Force. Though
he worked across genres, it
is the very particular look he
developed for seven Bond films
that is his legacy in film.
Below
Pentagon War Room designed for
Stanley Kubrick's Dr. Strangelove
Undoubtedly informed by
study of architecture and
employment in a British
practice before the war and
his experiences piloting the
snarling Typhoon fighterbomber during it, Adam’s
philosophy blended extravagant
technology with a dramatic
and often unsettling use of
geometric forms. Rightly
celebrated for audaciously
grand constructs, whether
Blofeld’s volcano, Stromberg’s
tanker or the vaults of Fort
Knox, each film also contains
more intimate spaces that are
equally worthy of attention.
Common elements such as
ramps, bridges and open-tread
staircases and a concern for
finishes tie all these projects
together.
The offices of Osato
Chemicals in You Only Live
Twice are an exquisite nod to
traditional Japanese architecture
updated for Western tastes, with
sliding screens, finely-crafted
woods and clean lines, all in a
sympathetic palette of colours.
Willard Whyte’s penthouse
in Diamonds are Forever is
a carefully-orchestrated
symphony in chromed steel
and glass with activity in every
plane, from the chandelier
in the ceiling to the picture
window and eye-like wall safe
to the model landscape set into
the transparent floor. Circles
feature heavily.
Adam’s work here shows
a real sympathy for the
Panavision frame, although
he has admitted to the current
writer a preference for films
shot in Academy. In fact his
Bond sets tend to fit the picture
space perfectly, regardless of
its proportion. Ceilings are
low and often canted; floors
separate into layers, reflecting
the ‘60s fashion for split-level
living and conversation pits;
end walls are usually shown,
often defined by a window.
Adam has an intelligent
eye for actual architecture as
both inspiration and location.
Goldfinger’s rumpus room,
with its angled structural
members, rubble walls and
exposed timber, is clearly
influenced by the great Frank
Lloyd Wright’s Taliesin West
home and studio. In Diamonds
are Forever the Las Vegas
Hilton is extended by a matte
painting to become The Whyte
House, whilst the wonderfully
sculptural desert dwelling in
which Bond does battle with
Bambi and Thumper may
appear to be classic Adam but
is in fact the Elrod house by
noted California architect and
Wright disciple John Lautner.In
The Spy Who Loved Me, the soft
curves of Stromberg’s Atlantis
have affinities with the organic
1970s designs of Luigi Colani.
These spaces exist between
reality and fantasy, thrusting
Expressionism into the
Swinging Sixties to generate
a world perfectly matched to
an aspirational audience and
the new architecture they saw
emerging around them.
‘Designing 007: Fifty Years of
Bond Style’ is at the Barbican
Art Gallery, London until 5
September 2012. The new James
Bond film Skyfall is released in
the UK 28 October.
Above
Sketches of the modified Lotus Espritas
seen in The Spy Who LOved Me
Opposite
Volcano set design as seen in
You Only Live Twice
© 1967 Danjaq, LLC & United Artists
Corporation. All rights reserved
gofurther
[book ] Ken Adam Designs the Movies: James Bond and Beyond
19
four frames
t h e a r t o f a b b r e v i at e d s t o r y t e l l i n g
T HE SKY IS FALLIN G
1
3
The Truman Show, Dir. Peter Weir, 1998
2
4
The moment of
revelation comes with
a bang. Je z Conolly
sidesteps the falling
debris to delve deeper.
i n m i l d - m a n n e r e d insurance
salesman Truman Burbank (Jim Carrey)
is unwittingly the star of a perpetual
reality TV show. His world, the town of
Seahaven, is a Norman Rockwell-inspired
idyll of heart-warming dependability,
a saccharine stasis that Truman never
thinks to doubt – until the sky falls in on
him. Exiting his perfect house on another
perfect sunny morning, he waves to his
smiling neighbours and prepares to take
the short drive to work when from out of
the blue drops ‘Sirius (9 Canis Major)’,
a television stage lamp that smashes onto
the road before him. Truman investigates
but when he looks up in the direction it
has come from all he can see is clear blue
sky. Sirius, the falling ‘star’ is Truman’s
first clue as to the reality of his existence
(Seahaven is a huge, elaborate television
sound stage) and despite being passed
off later by a radio announcer as a
piece of space junk it is the catalyst that
sparks Truman’s process of questioning
everything that he has come to know.
Read More f o u r f r a m e s online at
www.thebigpicturemagazine.com
Images: © 1998 Paramount Pictures, Scott Rudin Productions
21
1000 words
m o m e n t s t h at c h a n g e d c i n e m a f o r e v e r
On you�
Marks...
Image: © 2012 Color Force, Larger Than Life Productions, Lionsgate
Let's hope the future of televised entertainment is
nothing like it is in the movies, where death, conspiracies
and ratings go hand in hand. ne il m itche ll channel
surfs the world of killer gameshows.
above/below
Jennifer Lawrence as Katniss Everdeen
w i t h g a r y r o s s ' adaptation
of Suzanne Collins' Young Adult
novel, The Hunger Games, a new
generation of cinema-goers were
introduced to the concept of a future
world in which watching people
being killed live on television is
a national pastime. Collins' postapocalyptic narrative was inspired
by graphic footage of the Iraq War
and Reality TV and drew from
the Greek myth of Theseus and
Shirley Jackson's 1948 short story,
The Lottery. The Hunger Games'
vision of lethal televised violence
is a neat entry point into the world
of killer gameshows in the movies.
Gladiatorial combat, war, sport
and violence dominate gameshows
within movies that address,
satirize and deconstruct themes
of suppression, lowest common
denominator entertainment,
voyeurism, commercialism and
celebrity culture in the name
of political power and ratings.
Existing Reality TV and gameshow
formats, aesthetics and emotionally
manipulative, constructed narratives
have been taken to their (il)logical
end point in this and a number
of other cinematic, televisual and
literary antecedents.
The Ur-texts for the killer
gameshow movies came from
American author Robert Sheckley.
His short stories Seventh Victim
(1953) and The Prize of Peril
(1958) anticipated Reality TV
and gameshows during which
contestants kill or attempt to
avoid being killed for a big cash
prize. Seventh Victim was loosely
adapted in 1965 by Elio Petri as
The Tenth Victim, a gaudy, camp
exercise in satire starring Marcello
Mastroiannii and Ursula Andress as
contestants in The Big Hunt, a show
broadcast worldwide and devised
to allow the violent tendencies of its
bored, bourgeoisie contestants to
be released. The Prize of Peril was
adapted as the German TV movie
Das Millionspiel (Tom Toelle, 1970)
and again as Le Prix du Danger
(Yves Boisett, 1983). The tale of
an ordinary Joe with the habit of
winning dangerous reality television
shows, The Prize of Peril – in both
23
➜
1000 words on your marks...
above
ARNIE IN THE RUNNING MAN
above opposite
Gérard Lanvin IN Le prix du danger
go further...
its official, downbeat adaptations
– sees its central figure uncover a
conspiracy behind a popular televised
manhunt. If that scenario sounds
familiar, it should. The team behind
Paul Michael Glaser's The Running
Man (1986), were successfully sued
by those behind Le Prix du Danger
for liberally remaking their movie
while ostensibly adapting Stephen
King/Richard Bachman's novel of the
same name. The cartoonish Arnold
Schwarzenegger action movie, with
its ads for other killer gameshows
– Climbing For Dollars anyone? catchphrases, audience participation,
political oppression, underground
revolutionaries and lethal violence
brought killer gameshows, and the
themes explored via them, to a
mainstream Hollywood audience
in wildly bombastic fashion. Paul
Bartel's earlier Death Race 2000
(1975) similarly saw a revolutionary
front attempting to destabilize
a dictatorship via sabotaging an
ultra-violent, televised event – the
annual staging of the murderous
Transcontinental Road Race. British
director Peter Watkins' The Gladiators
(1969), is an under-seen vision of
a near future world in which wars
are averted and national security
maintained by The International
Peace Games; a series of televised
military games, based on Roman
gladiatorial events, sponsored by a
Pasta company. Orwell may have
written that sport was war minus
the shooting but for Watkins war
will become sport endorsed by your
favourite brands. Concerns regarding
a perceived degradation of moral,
ethical and spiritual values in the real
world have been addressed through
these fictional visions of killer
gameshows; standing as reflective,
self-reflexive and pointedly critical
works that themselves are often as
hyper-violent and sensationalist as
the fake gameshows they imagine.
Some killer gameshow movies
eschew a future-world environment,
playing out in a recognisable here
and now. Daniel Minahan's lo-fi
Series 7: The Contenders, which,
like The Hunger Games, uses a state
controlled lottery to throw unwitting
citizens into a life or death situation,
takes the killer gameshow aesthetic
one step further by playing out
entirely as an episode of the titular
programme. Shot and edited to
[book] 'You Couldn't Ignore Me If You Tried: The Brat Pack, John Hughes, and Their Impact on a Generation'
Images: (opposite) © 1987 Braveworld Productions, Home Box Office (HBO) / (Below) © 1983 Avala Film / Swabie Production
closely resemble actual reality TV
shows – with onscreen narration,
highlights packages, to camera
interviews, viewer discretionary
warnings and episode recaps –
Series 7: The Contenders places
'real people in real danger' and
enthusiastically reminds us
that 'these cats don't have nine
lives'. Symbolically climaxing
on an American Football field
– the modern gladiatorial arena
– and in a cinema – heavily
implicating the viewer in the
action – Minahan's low budget
satire takes aim at the form
itself; its addictive, emotionally
manipulative construction and
base, schedule filling vacuity. Bill
Guttentag's mockumentary, Live!
(2007), follows Eva Mendes'
ambitious TV exec, Katy, as
she brings a Russian Roulette
gameshow to the airwaves. With
its 'One Shot. $5 million. Killer
Ratings' tagline, Live! presents
itself as a movie seeking to court
the controversy that Katy's killer
gameshow achieves within the
narrative by using a format – the
fake documentary – that aims
to add a level of televisual
realism to its fictional
cinematic tale.
As Glaser's The Running Man
did, Mark Pirro's Deathrow
Gameshow (1987) places
condemned prisoners in the
limelight. This time as they
compete in the quiz-show
'Live or Die', hoping to win a
reprieve or, failing that, prizes
for their next of kin in lieu of
their live executions. A crude,
comedic and outrageous
vision of television it may be
but, with Reality TV shows
such as Cell Block 6: Female
Lock Up and JAIL appearing
on American television, an
appetite for following the
lives of incarcerated citizens
for entertainment is evident.
Prisoners again feature in
Scott Wiper's The Condemned
(2007), starring Stone Cold
Steve Austin and Vinnie
Jones. Appealing to lovers of
graphic, knuckle-headed action
movies, The Condemned, in
The team behind Paul
Michael Glaser's The
Running Man (1986),
were successfully
sued by those behind
Le Prix du Danger for
liberally remaking
their movie while
ostensibly adapting
Stephen King/Richard
Bachman's novel of
the same name.
which purchased criminals
fight to the death, is primarily
of interest as its murderous
action is broadcast online.
Unscrupulous TV producer
Breckel (Robert Mammone),
airs his killer gameshow to
anyone with a credit card,
across the globe and free of
television's boundaries of
acceptability. In this vision
of murder as entertainment,
the constrained nature of
television is the obstacle to
be circumvented, with the
internet the brave new frontier
for unrestricted, uncensored
and unedited Reality TV.
The recurring viewpoints of
the majority of these movies
are that life is becoming
increasingly cheap, television
is the mouthpiece of the state,
the general public will watch
anything and that an Orwellian
fate awaits us all. According to
the movies, in the future Big
Brother is watching you die...
and so is everybody else. [tbp]
[book] 'John Hughes and Eighties Cinema' by Thomas A. Christie [web] www.thebratpacksite.com
25
on location
Melbourn�
t h e p l a c e s t h at m a k e t h e m o v i e s
Chopper (2000)
Dir. Andrew Dominik
AUS, 94 minutes
Starring: Eric Bana, Simon
Lyndon and David Field
left
penridge prison as seen
in chopper
Chopper begins with a disclaimer
that the narrative to follow is a
dramatization and not a biography.
Functioning as an exploration on the
notion of myth, the film recreates
various infamous set-pieces from the
criminal life of notorious stand-over
man, Mark ‘Chopper’ Read and then
leaves the veracity of his claims open
to dispute. For the purposes of the
exercise two infamous Melbourne
landmarks are also recreated – the
maximum security H division of
Pentridge Prison in the northern
suburb of Coburg (where the blood
of Chopper and his enemies flows
freely) and the vice-rife Bojangles
nightclub in the bayside St. Kilda
(in which Chopper more than once
drew his gun against a backdrop of
harsh lighting, big hair, bad jewelry
and hard 80s rock). In both cases the
filmmakers use the original locations,
yet the former is now home to
upmarket apartments and the latter
a lifestyle complex. The facades
of each still stand as their histories
are kept alive in the mythology of
Melbourne’s dark past.
It may not be one of the first cities that springs
to mind as a hotbed of cinematic creativity, but
Melbourne has a long, rich history of evocative,
striking movie-making. Melburnian De an Br andum
takes us on a journey around its multicultural
suburbs, criminal underbelly and tram lined streets.
opposite
eric bana in chopper
below
Ben Mendelsohn in animal kingdom
Images: (opposite) © Australian Film Finance Corporation (AFFC) / (Below) © 2010 Porchlight Films, Screen Australia
ANIMAL KINGDOM (2010)
Dir. David Michôd
AUS, 113 minutes
Starring: James Frecheville, Guy
Pearce and Joel Edgerton
The notorious Pettingill crime
family was a staple of tabloid
reportage in the 1980s, especially
due to their involvement in the
revenge killing of two young police
officers in 1988. The unraveling
of the family is the inspiration
for Michod's film, which eschews
the regulation crime beat of
inner-Melbourne for the city’s
nondescript northern suburbs. The
post-war brick veneer of Ivanhoe
features prominently, including
its church, shopping strip and
restaurants. The anonymity of the
suburban setting offers a stark
contrast to the ruthless violence
inherent within the dysfunctional
clan. An early view of St. Kilda
offers false promise that familiar
landmarks will permit a sense
of inclusion for local viewers,
but although certain places are
name-checked, there is little visual
evidence of this being a Melbourne
story. The one establishing shot
within the Central Business
District (in Little Collins St) is
from an area rarely traveled, yet
the prominent “Victoria Hotel”
signage slyly alludes to the state
where this drama unfolds.
27
on location
t h e p l a c e s t h at m a k e t h e m o v i e s
malcolm (1986)
Dir. Nadia Tass
AUS, 90 minutes
Starring: Colin Friels, John
Hargreaves and Lindy Davies
Although the inner suburbs of
Melbourne were riddled with
murderous thugs, crooked cops,
drugs and vice in the 1980s,
Malcolm utilized Collingwood
for a more genteel crime caper
narrative in which a likeable
ne’er-do-well and his partner team
with a socially awkward (possibly
autistic) tram lover to pull off a
heist involving a charming array
of mechanical devices. One has
a vague sense of an Antipodean
Ealing comedy at play in which
the antiquated eccentrics of
an anachronistic working class
community overcome the hightech measures of the big city
finance companies. Malcolm
depicts a vanishing world of
terraced housing, faded pubs
and milkbars, bluestone streets
and trams. Lots of trams. The
final Melbourne shots (prior to
an international coda) show a
tram disappearing over “The
Hump” of Thornbury, an oddly
charming little linking section of
track (over a train-line) that was
decommissioned from passenger
use several years ago – the ideal
homage to the inner suburban
milieu and its characters.
Malcolm depicts a vanishing
world of terraced housing, faded
pubs and milkbars, bluestone
streets and trams. Lots of trams.
go further... [book ] To order your copy of World Film Locations: Melbourne
right
Graeme Blundell is alvin purple
below
Colin Friels in malcolm
Images: (opposite) © 1986 Cascade Films, Film Victoria / (Below) © 1973 Bi-Jay, Hexagon Productions
alvin purple (1973)
Dir. Tim Burstall
AUS, 95 minutes
Starring: Graeme Blundell,
Abigail and Lynette Curran
The introduction of the
‘R-certificate’ in 1971 was
intended to usher in a new era of
cinema for liberated Australian
adults; yet the initial result was a
bevy of boobs and bums across
the screens to the delight of both
audiences and, in turn, theatre
owners. Getting in on this action
was the sex romp Alvin Purple,
which would become the then
highest grossing Australian film
of all time. For locals this offered
the combined attractions of seeing
a number of popular television
actresses unclothed and familiar
surroundings including both
Bourke Street (in a lovely nighttime montage) and Swanston
Street (during a Benny Hill style
chase sequence) and the banks of
the Yarra river (including a rare
backdrop shot of Flinders Street’s
detested Gas and Fuel buildings).
Most notable is the capturing of
the south eastern suburbs, from
leafy Caulfield to the emerging
Moorabbin : areas seldom
captured on film for footage
perhaps of more value to historians
than to Alvin Purple’s narrative.
head on (1998)
Dir. Ana Kokkinos
AUS, 104 minutes
Starring: Alex Dimitriades,
Paul Capsis and Julian Garner
Ari (Alex Dimitriades), the young,
gay, Greek-Australian protagonist
of Head On is always on the move,
whether by foot, tram or car his is
a constant strive to escape from
the suffocating pressure of his
strict family and his community’s
cultural expectations. Thus we
are provided with many location
shots of the western suburbs,
with Footscray most prominently
featured. An area that was settled
with many Greeks and Italians
after the post war migration influx,
Head On also acknowledges the
later influence of the Vietnamese
migration which has characterized
the suburb. In one striking
sequence the aural and visual
cacophony of the Footscray
Market is used to relate Ari’s
anxiety and confusion; in another,
Victoria Dock overlooking the city
lends itself to reminding us of the
transport many Greek immigrants
used to travel to Melbourne, but
for Ari the now disused precinct
offers no means of escape.
Simply visit www.Intellectbooks.com for further information [web ] 'Like' World Film Locations on Facebook
29
WORLD
FILM
LOCATIONS
exploring
the city
onscreen
A new film book series from Intellect / www.intellectbooks.com
MELBOURNE
Edited by NEIL MITCHELL
ISBN 9781841506401
Paperback £9.95
Tracing cinematic depictions of life in Melbourne from the Victorian
era to the present day, World Film Locations: Melbourne serves as an
illuminating and visually rich guide to films set wholly or partially in one of
Australia’s most diverse and culturally important cities. In a series of short
analyses of iconic scenes and longer essays focusing on key directors,
recurring themes, and notable locations, the contributors examine the
city’s relationship to cinema from a variety of angles. Covering everything
from sporting dramas to representations of the outlaw Ned Kelly to the
coming-of-age films of the 1980s and beyond, this accessible trip around
the birthplace of Australian cinema validates Melbourne’s reputation
as a creative hotbed and reveals the true significance of the films and
filmmakers associated with the city. Illustrated throughout with full-color
film stills and photographs of the locations as they are now, World Film
Locations: Melbourne also contains city maps for those wishing to explore
Melbourne’s cinematic streets with this volume’s expert guidance.
Berlin
Edited by susan Ingram
ISBN 9781841506319
Paperback £9.95
£9.95
Y
PAPERBACK
ALSO
available
New york
London
paris
VIENNA
£9.95
Y
PAPERBACK
One of the most dynamic capital cities of the twenty-first century, Berlin
also has one of the most tumultuous modern histories. A city that came of
age, in many senses, with the cinema, it has been captured on film during
periods of exurberance, devastation, division, and reconstruction. World
Film Locations: Berlin offers a broad overview of these varied cinematic
representations. Covering an array of films that ranges from early classics
to contemporary star vehicles, this volume features detailed analyses of
46 key scenes from productions shot on location across the city as well as
spotlight essays in which contributors with expertise in German studies,
urban history, and film studies focus on issues central to understanding
Berlin film, such as rubble, construction sites, and music, and controversial
film personalities from Berlin, such as Marlene Dietrich and Leni Riefenstahl.
With the help of full-color illustrations that include film stills and
contemporary location shots, World Film Locations: Berlin cinematically
maps the city’s long twentieth and early twenty first century, taking
readers behind the scenes and shedding new light on the connections
between many favorite and possibly soon-to-be-favorite films.
for further
information
about the WFL
series visit
www.intellectbooks.com
Intellect is an independent academic publisher of books and journals, to view our catalogue or order our titles visit www.intellectbooks.com
or E-mail: [email protected]. Intellect, The Mill, Parnall Road, Fishponds, Bristol, UK, BS16 3JG. | Telephone: +44 (0) 117 9589910 | Fax: +44 (0) 117 9589911
Image: © 1979 Henson Associates (HA), ITC Films, Walt Disney Productions
screengem
e vo c at i v e o b j e c t s o n s c r e e n
Kermit's
Bicycle
The Muppet Movie (1979)
In the 1970s, a puppet’s bicycle created more
of a sensation among cinemagoers than
anything in The Exorcist or Emmanuelle.
Scot t Jordan Harr is takes off his stabilisers.
n owa day s ,
it’s impossible
to understand how much of a
commotion was caused by Kermit
the Frog’s bicycle. Its appearance
was the main event of The Muppet
Movie, the 1979 film debut of Jim
Henson’s iconic creatures. Roger
Ebert’s review began: ‘Jolson
sang, Barrymore spoke, Garbo
laughed, and now Kermit the
Frog rides a bicycle.’ He wasn’t
being funny. The bicycle was big
business. People bought tickets
just to see it. And, having seen it,
they argued about how it could
possibly exist.
When Kermit hopped from the
small screen to the big, he needed
to do something he couldn’t do
on TV to entice his fans to follow
him into cinemas. Something
like ride a bicycle. The bicycle’s
first appearance is not built up
within the film: Kermit simply
needs to cycle somewhere, and so
he does. The bicycle, too, is not
in itself extraordinary: it looks
like a bicycle you or I might ride.
And that is the point of it: it is a
bicycle you or I might ride that,
through the magic of the movies,
is being ridden by a Muppet. I’ve
never been sure it is true that
once you learn to ride a bike you
never forgot – but I am certain
that once you’ve seen Kermit the
Frog ride a bike you will always
remember it. [tbp]
31
Directory of World
Cinema: France
Edited by Tim Palmer
and Charlie Michael
ISBN 9781841505633
Price £15.95, $25
DIRECTORY OF
WORLD
CINEMA
To view our catalogue or order our books and journals visit www.intellectbooks.com.
EXPERIENCE GLOBAL CULTURE
THROUGH THE MAGIC OF FILM
The Directory of World Cinema aims to play a part in moving
intelligent, scholarly criticism beyond the academy. Each volume
of the Directory provides a culturally representative insight into a
national or regional cinema through a collection of reviews, essays,
resources, and film stills highlighting significant films and players.
Over time, new editions are being published for each volume,
gradually building a comprehensive guide to the cinema of each
region. To contribute to the project or purchase copies please visit
the website.
WWW.WORLDCINEMADIRECTORY.ORG
,
Comin
parting shot
i m i tat i o n i s t h e s i n c e r e s t f o r m o f f l at t e r y
Atch�
The television set may be a window into different worlds, but for
some directors it is also a dangerous portal for all manner of evil.
Al exa nd ra Hel l er-N ichol as can't look away as a number of
supernatural entities give new meaning to interactive viewing.
f r o m t h e e a r l i e s t days of
silent actuality films, the screen
has functioned as a gateway
to other places. In Sherlock
Jr. (1924), the self-referential
capacity of the diegetic screen to
act as a portal into the fantastic
became clear as Buster Keaton
was transported through the
cinema screen into an alternate
world ruled by his imagination.
Horror’s signature dark twist
has shared this fascination
and screens have often acted
as windows into sinister and
supernatural worlds in films
including Videodrome (David
Cronenberg, 1983), TerrorVision
(Ted Nicolaou, 1986), Remote
Control (Jeff Lieberman, 1988),
Nightmare on Elm Street III:
Dream Warriors (Chuck Russell,
1987) and Poltergeist (Tobe
Hooper, 1982).
The television screen in
particular functions as a liminal
space between the private sphere
of domestic viewing and the world
beyond. Nowhere is this clearer
than in the Japanese horror film
Ringu (Hideo Nakata, 1998),
and the ease with which ghostly
Top ringu above demons 2
Sadako shifts through the screen
from terrifying video abstraction
into the ‘real’ world to enact
her revenge is as frightening as
the violence she commits upon
the cursed itself. In Lamberto
Bava’s Demons 2 (1986), a demon
escapes from a TV horror film,
and approaches his prey from
a first person point-of-view
perspective as he walks down a
long dark corridor toward the
screen. Unlike Sadako, however,
he struggles to break through
before he can attack. While in
Ringu and Demons 2 this ghastly
transformative ability lies in the
ability of the monsters to utilise
the screen as a transport system,
in The Video Dead (Robert
Scott, 1987) it is one particular
television set that contains the
capacity to send forth killers and
ghouls from its fantastic realm
into that of the protagonists
through the screen. Whatever
the specific contexts from which
these gruesome otherwordly
figures manifest, the image of
the television screen as a portal
into darkness is a familiar one in
horror, demonstrating the genre’s
fundamental self-reflexivity. [tbp]
Images: (Below) © 1924 Buster Keaton Productions (Bottom) © 1987 Interstate 5 Productions, Highlight Productions
The television screen in
particular functions as a
liminal space between the
private sphere of domestic
viewing and the world beyond.
Top sherlock jr. / above the video dead
go further...
Parting Shot: The Dance of the Bread Rolls by Scott Jordan Harris on www.thebigpicturemagazine.com
35
Backpages
Getting involved with...
thebigpicture
Go Further
www.thebigpicturemagazine.com
would you like to contribute
to The Big Picture magazine?
We’re always on the lookout for
enthusiastic film-lovers with a
passion and flair for the written
word. So, if this sounds like
you, then simply send us a few
examples of your writing along
with a short personal bio to:
Gabriel Solomons, Senior Editor
[email protected]
download
issues you
may have
missed
A complete back issue archive
Print issues of The Big Picture
get snapped up pretty fast, so if
you missed out simply visit the
downloads section of the website
to catch up on all content from
past issues.
join
the big
picture
family
read
our latest
articles
The writing’s on the wall
Read some of the finest
writing on film by our growing
team of ridiculously talented
contributors, with regular posts
satiating even the most avid of
film-loving appetites.
visit: www.thebigpicturemagazine.com
Intellect
publishers of original thinking | www.intellectbooks.com
Europe and Love in Cinema
Studies in Eastern European Cinema
Edited by Jo Labanyi and Luisa Passerini
and Karen Diehl
Principal Editor: John Cunningham
ISBN 9781841503790 | Paperback | Price £19.95, $35
ISSN: 2040350X Online ISSN: 20403518
Europe and Love in Cinema explores the relationship between
love and Europeanness in a wide range of films from the 1920s
to the present. A critical look at the manner in which love - in
its broadest sense - is portrayed in cinema from across Europe
and the United States, this volume exposes constructed notions of ‘Europeanness’ that both set Europe apart and define
some parts of it as more ‘European’ than others. Through the
international distribution process, these films engage with
ideas of Europe from both outside and within, while some,
treated extensively in this volume, offer alternative models of
love. A bracing collection of essays from top film scholars, Europe and Love in Cinema demonstrates the centrality of desire
to film narrative and explores multiple models of love within
Europe’s frontiers.
In the years since the collapse of the Berlin Wall and the political changes of 1989/90, there has been a growing interest in
the cinemas of the former countries of the Eastern Bloc. There
is a growing community of scholars, including a number of
students working for post-graduate qualifications, who are
engaged with film but also media, culture, and art (of one form
or another) from the region. This is not a community existing
on the margins of academia but one which is nationally and
internationally recognised for the centrality and high quality
of its scholarship.
Studies in Eastern European Cinema provides a dynamic, innovative, regular, specialised peer-reviewed academic outlet
and discursive focus for the world-wide community of Eastern
European film scholars, edited by a board of experienced,
internationally recognised experts in the field.
Sheffield Hallam University: [email protected]
Intellect is an independent academic publisher of books and journals, to view our catalogue or order our titles visit
www.intellectbooks.com or E-mail: [email protected]. Intellect, The Mill, Parnall Road, Fishponds, Bristol, UK, BS16 3JG.
Backpages
Film Index
So you’ve read about the
films, now go watch ‘em!
The Eyes of Tammy Faye
(2000)
Dirs. Fenton Bailey
and Randy Barbato
Plublishers of this here magazine...
Each issue of The Big Picture is produced
by Bristol based publisher, intellect.
Le Prix Du Danger (1983)
Dir. Yves Boisset
g see page 25
g see page 4/5
Chopper (2000)
Dir. Andrew Dominik
A Face in the Crowd (1957)
Dir. Elia Kazan
g see page 26
g see page 6/7
Animal Kingdom (2010)
Dir. David Michôd
Network (1976)
Dir. Sydney Lumet
g see page 27
g see page 8
Malcolm (1986)
Dir. Nadia Tass
Videodrome (1983)
Dir. David Cronenberg
g see page 28/29
g see page 9
Alvin Purple (1973)
Dir. Tim Burstall
Stay Tuned (1992)
Dir. Peter Hyams
g see page 29
g see page 10
Head On (1998)
Dir. Ana Kokkinos
To Die For (1995)
Dir. Gus Van Sant
g see page 29
g see page 10/11
The Muppett Movie (1979)
Dir. James Frawley
Quiz Show (1994)
Robert Redford
g see page 31
g see page 12/13
Ringu (1998)
Dir. Hideo Nakata
The Truman Show (1998)
Dir. Peter Weir
g see page 34
g see page 20/21
Demons 2 (1986)
Dir. Lamberto Bava
The Hunger Games (2012)
Dir. Gary Ross
g see page 34
g see page 22/23
Sherlock Jr. (1924)
Dir. Buster Keaton
The Running Man (1987)
Dir. Paul Michael Glaser
g see page 35
g see page 24
intellect
The Video Dead (1987)
Dir. Robert Scott
g see page 35
publish
original
thinking
Intellect is an independent academic publisher
in the fields of creative practice and popular
culture, publishing scholarly books and journals
that exemplify their mission as publishers of
original thinking. Theyaim to provide a vital
space for widening critical debate in new and
emerging subjects, and in this way they differ
from other publishers by campaigning for the
author rather than producing a book or journal
to fill a gap in the market.
Intellect publish in four distinct subject areas:
visual arts, film studies, cultural and media
studies, and performing arts. These categories
host Intellect’s ever-expanding topics of enquiry,
which include photography, drawing, curation,
community music, gaming and scenography.
Intellect titles are often multidisciplinary,
presenting scholarly work at the cross section of
arts, media and creative practice.
For further information about the company and
to browse their catalogue of titles simply visit:
www.intellectbooks.co.uk
thebigpicture disclaimer
The views and opinions of all texts, including
editorial and regular columns, are those of the
authors and do not necessarily represent or
reflect those of the editors or publishers.
9;B;8H7J;I*,O;7HIE<9?D;C79EL;H7=;
FkXb_i^[ZX_#cedj^boXo
j^[_dj[hdWj_edWbboh[demd[Z
<_bcIeY_[joe\B_dYebd
9[dj[h"<?BC9ECC;DJ
fhel_Z[i]beXWbYel[hW][e\
Y_d[cW_dYbkZ_d][nYbki_l[
_dj[hl_[mi"_d#Z[fj^h[l_[mi"
Z_iYkii_edie\d[mh[b[Wi[i
WdZYbWii_YÒbci"Wkj^eh_jWj_l[
fheÒb[iedbkc_dWh_[i_dj^[
_dZkijho"WdZZ[l[befc[dji
’’
_dj^[Whje\ÒbccWa_d]$
’’
<_bc9ecc[djh[]kbWhbofkXb_i^[iiec[e\j^[X[ijmh_j[hi_dj^[mehbZWdZ
j^[ofheX[WdZfWhi[Y_d[cW_dj^[mWoj^WjZ[[f[diekh[nf[h_[dY[e\_j
Å K J D ;? D : ; F; D : ; D J F H ; I I 8 ; IJ 7 HJI 9EL ; H7= ;
<?BC9ECC;DJ$9EC '$...$)')$,&.+KI'$/-)$,(-$+',(
?dj[hdWj_edWb<_bc9ecc[djFE8en)&&&":[dl_bb[D@&-.)*KI7
IK8I9H?8;0'oh,_iik[iIWl[))e\ekhijWdZWhZhWj[KI'/$/+ki[YeZ[(<<:</m^[dehZ[h_d]$
Prepared by MagCloud for Alessandra Rimoli. Get more at gabsol.magcloud.com.

The Big Picture : September/October 2012

Transcription

Similar documents

tierney gearon - Zeitgeist Films

CARPRO 1 DAY. ENTRY LEVEL

Naqsh Short Films

Film quiz 12 May 2011

NCFD – Trivia! () - National Canadian Film Day

Bandyke Moving Pictures

ergophobia - Student Cuts

Visual Story for Ambassadors Cinema I am going to see a film at the

Join us for a free screening of First Generation —

presents - Program in Arts of the Moving Image