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pro vyhledávání: '"Sarah Kozloff"'
Autor:
Sarah Kozloff
Since the birth of cinema, film has been lauded as a visual rather than a verbal medium; this sentiment was epitomized by John Ford's assertion in 1964 that,'When a motion picture is at its best, it is long on action and short on dialogue.'Little ser
Autor:
Sarah Kozloff
'Let me tell you a story,'each film seems to offer silently as its opening frames hit the screen. But sometimes the film finds a voice—an off-screen narrator—for all or part of the story. From Wuthering Heights and Double Indemnity to Annie Hall
Autor:
Sarah Kozloff
Publikováno v:
Directing
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::092a72c0d1df428f6dadd8cfa802b89d
https://doi.org/10.36019/9780813564319-005
https://doi.org/10.36019/9780813564319-005
Autor:
Sarah Kozloff
When Roland Barthes and Michel Foucault proclaimed the'death of the author'fifty years ago, they did so in the name of freedom. They could never have foreseen that its indiscriminate embrace by many film theorists would turn the anti-authorship stanc
Autor:
Sarah Kozloff
Publikováno v:
Cinema Journal. 55:159-164
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::6f2f78d3979109e7099c7da497adf341
https://doi.org/10.1353/cj.2016.0034
https://doi.org/10.1353/cj.2016.0034
Autor:
Sarah Kozloff
Publikováno v:
Projections. 7:1-40
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::69b1465089fe5d865beaea2af2f8ae45
https://doi.org/10.3167/proj.2013.070202
https://doi.org/10.3167/proj.2013.070202
Autor:
Sarah Kozloff
Publikováno v:
Film History: An International Journal. 20:456-473
This essay concentrates on William Wyler’s films made before, during, and after World War II. Using archival sources, it seeks to tell the full story of Wyler’s political engagement and the ways in which his beliefs affected such films as Mrs. Mi
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::831fb773355a75df046ef003f23e8532
https://doi.org/10.2979/fil.2008.20.4.456
https://doi.org/10.2979/fil.2008.20.4.456
Autor:
Sarah Kozloff
This chapter compares three Sturges-authored films, The Good Fairy (Wyler, 1935), Easy Living (Leisen, 1937) and Remember the Night (Leisen, 1940), against Sturges’s scripts. Sturges, who started in Hollywood as a script doctor and scriptwriter, co
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::36a50bfcd155b8680faad08b6fb2e59d
https://doi.org/10.3366/edinburgh/9781474406550.003.0003
https://doi.org/10.3366/edinburgh/9781474406550.003.0003
Autor:
Sarah Kozloff
Compared to other directors of Classical Hollywood films, Sturges has faded from view. This chapter illustrates his continued influence on contemporary cinema’s general penchant toward wordplay, verbosity, irony, and postmodern pastiche. Joel and E
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::ef431d5003d00ec4dbf7ba6540779d0c
https://doi.org/10.3366/edinburgh/9781474406550.003.0014
https://doi.org/10.3366/edinburgh/9781474406550.003.0014