Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
A thief in Cannes: Stealing Şerif Gören’s Palme d’Or
The film Yol (The Road) is a landmark in Türkiye’s cinema history, not only because it shared the Palme d’Or with Missing by Greek-born French director Konstantinos Gavras at the 35th Cannes Film Festival in 1982, but also because it was the first film from Türkiye to receive the highly prestigious Golden Palm. Şerif Gören directed the film, but the award was given to Yılmaz Güney (Pütün), the screenwriter and one of the editors of the film, who was present at the festival. The award was given to Güney, not on behalf of Şerif Gören, but instead of the film’s director, and The Road was publicised both at the festival and in the following period as “a Yılmaz Güney film”....
Eşeğin Oğlu: Tunç Okan ile Sineması, Yaşamı ve Hayatın Anlamı Üzerine Bir Söyleşi
Kitap sizi, hafıza kayıtları ve belgeler düzleminde iki boyutlu bir sinema serüvenine davet ediyor. Öncelikle yönetmen kimliği ile kitabın odağında bulunan Tunç Okan'ın sinemasını tanırken, hatıraları ve benliğine ilişkin Izdüşümlerine de sıkça rastlayacaksınız. Sizler için hem tutarlı bilgilerden oluşan bir örüntü oluşturmaya hem de okuma hazzını yüksek seviyede tutacak bir akıcılık ve sohbet frekansı yakalamaya çalıştık. Ayrıca Türkiye'de edebiyat ve sinema açısından bu kadar önemli isimlere ilişkin olarak, kitabın gündeme getirdiği iddiaların sansasyon veya popüler bir ilgi amacıyla ortaya atılmış görülmesi bizi incitirdi. Bu ...
Yol’daki Yönetmen: Şerif Gören
Ne zaman ki Yol filmini seyrettim, 'Bravo Şerif!" dedim. O doğada, arkamızda, bir tane ağaç vardı. İkiye ayrılmış bir ağaç... Önünden biz de geçeriz... Şimdi, bu resmi bulan kişi yaratıcı kişidir işte. O, yönetmendir. Gerçek yönetmen de budur. O koca dağda o ağacı nasıl buldun be şerif Gören? Nasıl yaptın da onun önünden bizi geçirttin?” Tarık Akan Oradaydım: Altın Palmiyeli Yol, Engin Yıldız, 7 Ekim 2006 Yol'u ben çektim. O benim filmim. Afişte hala Güney filmi yazması bende bir ikilem yaratıyor. Yılmaz Güney'le aramda bir ağabey-kardeş ilişkisi olduğu doğru. Bu bağlamda filmi çekmemi istedi. Ama 82 şartlarının değiştiğini, o filmin Gören filmi olduğunu (...) tescil ettirmek kararındayım. Afişte sadece 'Yılmaz Güney filmi' yazıyor olması onurumu zedeliyor. Buna müdahale edeceğim. (...) Eskiden prodüktörlerin her türlü özgürlüğü vardı. Film üzerindeki tüm hakimiyet onlarındı. Yönetmene söz hakkı tanınmazdı. Bu gün ise şartlar değişti. Uluslararası arenada filmler yönetmenin adıyla anılıyor.” Şerif Gören
A Transboundary Cinema
Tunç Okan (Bay Okan) is an independent emigrant filmmaker born in 1942 in Turkey. He started his filmmaking career in 1974 with his debut film The Bus, which he made in Sweden, and partly in Germany. He completed the film some seven years after he quit his short but hectic acting career in Turkey’s popular commercial cinema industry, Yeşilçam. A dentist by training, Okan’s cinema career started in 1965 after winning an acting competition organised by a popular film magazine. Starring in thirteen films in a period of less than two years, he achieved considerable fame. In 1967, Okan quit his career in Yeşilçam, which he accused of anaesthetising society, and immigrated to Switzerland....
New Turkish Cinema
Victor Nunez writes and directs this noirish, Florida-set drama. Timothy Olyphant stars as Sonny Mann, an ex-con who is released early from a three-year prison sentence and returns to his home town in the hope of turning over a new leaf and putting the past firmly behind him. There he makes contact with his former best friend Dave (Josh Brolin), who is now a police officer married to Sonny's old flame Ann (Sarah Wynter). However, despite his resolution to lead a quiet life, Sonny soon finds himself in trouble once again as both his criminal past and his unresolved feelings for Ann catch up with him.
Writing a Screenplay
The recent explosion of unsolicited material written for the world's greatest, sexiest entertainment medium has largely produced a mountain of wasted paper. Truth is, the many who write from scratch, no matter how talented, have more chance of winning the lottery than creating an excellent script. The few who achieve success do so because they have shed the blood, sweat and tears necessary to master the elaborate art and craft of Screenwriting. This book explodes the myth that a screenplay is the easiest literary form to master, navigates a relatively painless path through the Screenwriting labyrinth, and offers an easy to digest step-by-step guide to writing a script from inception to completion. What's in it? The main areas covered are: Motivation; Research & Development; Genre; Idea; Story & Plot; Audience; Character; Action & Setting; Structure; Format; Dialogue; Synopses & Treatments; Drafts; Marketing & The Industry. There's also a glossary of commonly used jargon to further demystify the process.
Slapstick Comedy
From Chaplin's tramp to the Bathing Beauties slapstick comedy supplied many of the most enduring icons of American cinema in the silent era. This collection of fourteen essays by film scholars challenges longstanding critical dogma and offers new conceptual frameworks for thinking about silent comedy's place in film history and American culture.
Crossing New Europe
Although a long-established and influential genre, this is the first comprehensive study of the European road cinema. Crossing New Europe investigates this tradition, its relationship with the American road movie and its aesthetic forms. This movement examines such crucial issues as individual and national identity crises, and phenomena such as displacement, diaspora, exile, migration, nomadism, and tourism in postmodern, post-Berlin Wall Europe. Drawing on the work of Said, Hall, Shields, Urry, Bauman, Deleuze and Guattari and other critical theorists, Crossing New Europe adopts a broad interpretation of "Europe" and discusses directors and films who have long been associated with the road movie, such as Wim Wenders (Alice in the Cities, Lisbon Story) and Aki Kaurismäki (Leningrad Cowboys Go America!), and other more recent contributions such as Run Lola Run, Dear Diary and The Last Resort.
The Philosophy of Film Noir
A drifter with no name and no past, driven purely by desire, is convinced by a beautiful woman to murder her husband. A hard-drinking detective down on his luck becomes involved with a gang of criminals in pursuit of a priceless artifact. The stories are at once romantic, pessimistic, filled with anxiety and a sense of alienation, and they define the essence of film noir. Noir emerged as a prominent American film genre in the early 1940s, distinguishable by its use of unusual lighting, sinister plots, mysterious characters, and dark themes. From The Maltese Falcon (1941) to Touch of Evil (1958), films from this classic period reflect an atmosphere of corruption and social decay that attracte...
