“As we plunge into the second century of cinema, this terrific collection of essays reckons with not only the persistence of auteurism but its resurgence in the context of global cinema. Covering a range of global auteurs such as Lars von Trier, Lav Diaz, Lee Chang-dong and Abderrahmane Sissako, The Global Auteur provides a much-needed reassessment of the film auteur for the global age. Yet, as the contributors show, a new world calls for a new cinema, and thus for new auteurs. They can be still seen leading a fight that their glorious predecessors seemed to have abandoned in the face of global capitalism and the market economy. Bringing established as well as emergent figures of world art cinema to the fore, The Global Auteur shows how politics and philosophy are present in the works of these important filmmakers.
Once heralded and defined by the likes of François Truffaut and Andrew Sarris as a romantic figure of aesthetic individualism, the auteur is reinvestigated here through a novel approach. Finally, the direct influence of Carol Clover’s psychoanalytical approach to the horror genre on Tarantino’s work is discussed to prove the director’s specific contribution to a theoretical understanding of contemporary film aesthetics. Fredric Jameson’s and Slavoj Žižek’s dialectical thinking is mobilized to challenge simplistic, ideological readings of postmodern cinema in general, and Tarantino’s films in particular. Jacques Rancière’s theory of art is used to reject postmodernism’s claims about the ‘death’ of the aesthetic image in contemporary cinema. Each chapter first presents key ideas proposed by a specific theorist and then puts them in conversation with Tarantino’s films. This question is explored through a discussion of the films written and directed by Quentin Tarantino, largely regarded as the epitome of postmodern cinema and considered here as theoretical contributions in their own right. Then there was that time last year when Woody Harrelson, while presenting him with a humanitarian award, told a wild story about that time Fox puked up a cocktail of cobra blood.This book examines a set of theoretical perspectives that critically engage with the notion of postmodernism, investigating whether this concept is still useful to approach contemporary cinema. He makes appearances now and then, including a Back to the Future reunion with Christopher Lloyd earlier this year. That doesn’t mean he’s retired from the public eye. “It was peaceful.”įox’s last onscreen acting credit was in a 2020 episode of The Good Fight. Instead of making him feel worse, Fox said the scene gave him the strength to do what was necessary. I had this moment where I was looking in the mirror and thought, ‘I cannot remember it anymore.’” “He goes back to his dressing room and he’s screaming at himself in the mirror. “There’s a scene where Leonardo DiCaprio’s character can’t remember his lines anymore,” Fox explained. In an interview with Empire (in a bit caught by Deadline), Fox - who’s spoken about how his condition made remembering lines difficult - said a scene in Quentin Tarantino’s Once Upon a Time in Hollywood really resonated with him. In a recent interview, he revealed what made him go through with the difficult decision. A few years ago he formally retired from the profession that made his name, citing escalating health concerns. It finds the beloved actor reflecting on his life and career, especially how it was impacted by Parkinson’s disease. Fox has a new film out: a documentary about his life called Still: A Michael J.
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