1. TSPDT - Jean-Jacques Beineix - They Shoot Pictures
... Shoulder Arms (GF-3155) T. 1918 - The Sinking of the Lusitania (GF-3932). 1918 - ○ Tih Minh (GF-1032) R. 1918 - Les Travailleurs de la mer (GF-6946). 1918 ...
They Shoot Pictures, Don't They? is dedicated to the art of motion picture film-making and most specifically to that one particular individual calling the shots from behind the camera - the film director.
2. Review: Jean-Jacques Beineix's Betty Blue on Cinema Libre Studio Blu-ray
16 mei 2011 · We remain at arm's length while Beineix indulges in his own perverse game of dollhouse, using anatomically correct versions of Ken and Barbie.
Introducing the world to the galvanic, incomparable Béatrice Dalle constitutes the only noteworthy facet of Betty Blue.
3. Lessons in Dressing and Decorum from Cult Heroine Betty Blue
14 okt 2016 · If Betty isn't completely naked, she's either wearing an apron and nothing more, or an off-the-shoulder scarlet dress revealing the entirety of ...
Hannah Tindle examines the aesthetic codes that define the spectacular yet sinister 1986 film: from colour palette consistency to the abundant baring of flesh
4. Diva | 4Columns
29 apr 2022 · An iconic work from the late Jean-Jacques Beineix, pioneering French director of the '80s cinéma du look movement.
Diva Melissa Anderson
5. Jean-Jacques Beineix (75) overleden, regisseur van cultfilm ...
Bevat niet: shoulder | Resultaten tonen met:shoulder
De Franse regisseur Beineix is vooral bekend van de broeierige liefdesfilm “37°2 le matin” met Béatrice Dalle en Jean-Hugues Anglade.
6. What is Cinema Du Look? (Definition and Examples) - Indie Film Hustle
13 nov 2021 · Jean-Jacques Beineix, born in Paris, and according to his IMDB ... All things considered, the Cinema du Look movement rested on the shoulders ...
The Cinema du Look film movement, which originated in France in the 1980’s and lasted for approximately the next decade or so, was more of a feast for the e ...
7. Diva (1981) in: Jean-Jacques Beineix - Manchester Hive
In the middle of the sequence, his respectful distance will change into a timid touching of the diva's shoulder, as he quite literally, moving one chair at a ...
After making Le Chien de Monsieur Michel in 1977 and winning the first prize for it at the Festival de Trouville, Jean-Jacques Beineix decided to stop work as an assistant director and prepare a script with Olivier Mergault whom he had met on set. This was the story of a honeymoon gone wrong, with the newly-weds grounded in Paris by a strike. Diva was released in March 1981. Many reviewers pointed out the newness of Diva's style, which was felt to reflect a contemporary aesthetic. Diva is the only film by Beineix to have solicited considerable scholarly attention. Partly no doubt because of the film's success in the USA, it drew the attention of one of the foremost theorists of the postmodern, Fredric Jameson. He points out that the film marks a turn which corresponds to the accession to power of the left for the first time in thirty-five years.
8. Jean-Jacques Beineix's Sensual Neo-Noir 'Diva' Debuts 35mm Re ...
5 apr 2022 · Exclusive: The first feature from Beineix, who died this year at 75, will be presented in 35mm at New York City's Film Forum.
Exclusive: The first feature from Beineix, who died this year at 75, will be presented in 35mm at New York City's Film Forum.
9. Diva (Jean-Jacques Beineix, 1981) - Florence Oussadi - Panodyssey
19 jan 2022 · Côté Carné, le film met en avant des décors de studio et une galerie d'acteurs typés inconnus à l'époque mais que le film allait hisser au rang ...
Je ne suis pas spécialement fan de Jean-Jacques Beineix et de l‘esthétique années 8...
10. La Lune dans le caniveau (1983) in: Jean-Jacques Beineix
On the other hand, I set up the camera for my films myself, and am therefore the first to see my actors at work, and I often work with the camera on my shoulder ...
More than any of the films of the cinéma du look, La Lune dans le caniveau exemplifies the characteristics Bassan enumerates: a mise en scène which privileges exuberance, light, movement, especially the curves and curls of the camera, and an emphasis on sensation. This chapter explores the language and the way it generates a particular type of nostalgia unanchored in the real, unlike, say, heritage cinema. It locates the film's visual style and its narrative concerns in a genre which reviewers have on the whole not mentioned in relation to La Lune dans le caniveau. The chapter explains why the main interest of the film beyond its re-articulation of melodrama is the way in which Depardieu-as-star is reconfigured in the film, his iconicity questioned: he is de-iconised and re-iconised by the film in a gesture towards an impossible authenticity.