Film Studies

Download E-books Film Sequels: Theory and Practice from Hollywood to Bollywood PDF

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By Carolyn Jess-Cooke

The movie sequel has been maligned in pop culture as a vampirish corporative workout in profit-making and narrative regurgitation. Drawing upon a variety of examples from early cinema to the twenty-first century, this quantity finds the expanding approval for, and experimentation with, movie sequels as a imperative dynamic of Hollywood cinema. Now creeping into global cinemas and self sustaining movie gala's, the sequel is repeatedly hired as a car for cross-cultural discussion and as a constitution wherein stories and cultural narratives might be circulated throughout geographical and old destinations. This ebook goals to account for many of the significant severe contexts during which sequelisation operates through exploring sequel creation past field place of work figures. Its account levels from sequels in contemporary mainstream cinema, art-house and 'indie' sequels, non-Hollywood sequels, the results of the family marketplace on sequelisation, and the influence of the game on Hollywood.

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Mayshark, Post-Pop Cinema, 2. Biskind, Down and soiled images, 1. Levy, Cinema of Outsiders, 504. http://www. filmfestivaltoday. com/dailies_item. asp? ID=792; quoted in Anderson, ‘We known as it a pageant, however it turned a Market’. http://film. father or mother. co. uk/features/featurepages/0,,1993650,00. html Quoted in Levy, Cinema of Outsiders, 503. Goldberg, ‘Snow, Swag, Sparkle problem Sundance’s Indie Spirit’. O’Hehir, ‘Beyond the Multiplex’. http://www. dailybruin. ucla. edu/news/2006/jan/19/unraveling-sundance/ http://manhattan. approximately. com/od/artsandculture/a/tribecafilm2006. htm http://www. tiffg. ca/content/divisions/tiff. asp adventures in indiewood sixteen. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. forty. forty-one. forty two. forty three. forty four. forty five. forty six. forty seven. forty eight. forty nine. 109 http://2007. sxsw. com/film/press/ffaq/ See additionally King, American self sufficient Cinema, 32. Null, ‘An Interview with Shane Meadows’. Macdonald, A serious Cinema five, 281. Ibid. , 287. Ibid. , 288. Mekas, ‘Independence for Independents’ , 32. Ibid. , 31. http://www. mania-akbari. com/10plus4movie. htm http://www. nextwavefilms. com/bluevinyl/sundance. html Plasse, ‘Everything’s Cool at Sundance’. Ibid. Goldsmith, own verbal exchange, 29 November 2007. Levy, Cinema of Outsiders, 513. Ibid. , 513. Zimmerman, ‘Digital Deployment(s)’, 220. Ibid. http://www. blogher. com/using-film-change-world-interview-shalini-kantayya http://www. rediff. com/movies/2007/mar/26murali. htm Jack Nicholson, the celebrity of either films, makes this declare: ‘We sought after all of it to be tied into elemental issues. Chinatown is clearly water. the 2 Jakes is fire and effort. And the 3rd film was once intended to be approximately Gittes’ divorce and relate to air. ’ Quoted in Horowitz, ‘Jack Nicholson Talks! ’ http://www. electricsheepmagazine. co. uk/features/2007/05/29/interview-with-melvinand-mario-van-peebles/ Perkins, ‘Remaking and the movie Trilogy’. http://www. kamera. co. uk/interviews/a_quick_chat_with_lucas_belvaux. Hypertext Preprocessor http://www. koyaanisqatsi. org/films/film. personal home page http://www. indiewire. com/people/int_Reggio_GOD_021018. html Pearce and Luhrmann, William Shakespeare’s ‘Romeo and Juliet’, nine, 152, 154. Elsaesser, eu Cinema head to head With Hollywood, 23. Anderson offers one other example during which the bounds among autonomous and mainstream filmmaking are relatively blurred. even if his first film, Bottle Rocket (1994), was once independently financed, Disney got here up with the $50 million price range for The existence Aquatic. regardless of relocating in the direction of greater budgets, Anderson continues to be considered as an ‘indie’ filmmaker. http://www. mamapop. com/mamapop/2007/02/a_fun_music_lis. html; Tucker, ‘The existence tested with Wes Anderson’. For extra at the subject matter of paternal conflict in Anderson’s films, see Gooch, ‘Making a cross of It’, 26–48. http://www. notcoming. com/features/tragiccomedy/ Quoted in Sanders, ‘Coming Soon’. Zimmerman, ‘Digital Depbyment(s)’, 227. Holmlund, ‘Introduction’, four. http://www. nytimes. com/2008/01/17/movies/17sund. html? _r=1&oref=slogin chapter five Signifying Hollywood: Sequels within the worldwide financial system t the 2007 Federation of Indian Chambers of trade and conference (known as FICCI-Frames), a dialogue among representatives of overseas film industries marked a significant switch of angle in the direction of the film sequel.

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