L. A. Confidential (BFI Modern Classics) by Manohla Dargis PDF

L. A. Confidential (BFI Modern Classics) by Manohla Dargis PDF

By Manohla Dargis

From Amazon: "Manohla Dargis explores the careers of director Curtis Hanson and author James Ellroy, in keeping with interviews with either males, to dig deep into the film's obsession with the twinned, both bothered histories of the Hollywood studio method and town of Los Angeles." Manohla Dargis is the motion picture reviewer for the hot York instances.

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Extra resources for L. A. Confidential (BFI Modern Classics)

Sample text

But it was not an untroubled vision. The Matthews films were intended, as Gaumont-British’s bookings manager Arthur Jarrett suggested, to counteract ‘the cheap and shoddy and realism of so many film dramas’. However, they took on an increasingly acrid tone as the cycle developed, in a way which seemed to mirror the wider circumstances within the production company. 17 Junge’s Lime Grove Deco was really an amalgam of elements borrowed from art deco, the Bauhaus, Le Corbusier and wider elements from the Modern Movement in architecture and interior design.

14 Throughout this career, Hepworth saw design as a necessary evil. George Pearson took an entirely different attitude. This former teacher started making films in 1912, following a brief stint as a scriptwriter. B. indb 17 2/1/2010 6:07:41 PM BRITISH FILM DESIGN Hall and Gaumont at Lime Grove, before making films for his own company – Welsh-Pearson Ltd – at his own studios at Craven Park, Harlesden and elsewhere. At every stage, Pearson asserted that film should be treated as a medium in its own right, which should not feel any obligation towards the stage or literature.

As Laurence Irving enthused, they [German designers] were beginning to think of the camera as a servant rather than as a capricious master – as a machine, like a lithographic press, to reproduce the conceptions of the artist rather than as a snapper of accidental trifles. They united architecture, light and actors in controlled compositions. Such ideals were bound to appeal strongly to a new generation of designers who saw the fresh economic circumstances of British films as the opportunity to assert more progressive models of design.

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