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Which clippings match 'Auteur' keyword pg.1 of 2
20 JULY 2014

Jonathan Ross Presents for One Week Only: Aki Kaurismäki

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1990 • Aki Kaurismaki • alcoholAmerican English • Ariel (1988) • auteurauthorial signatureblack comedyblack humour • bleakness • boredom • Calamari Union (1985) • Channel 4 • comedy (genre) • cool • Crime and Punishment (1983) • dark comedydeadpan expressiondirecting styleEstoniaEuropean cinemafilm directorfilmmakerFinlandFinnish • For One Week Only (1990) • Hamlet liikemaailmassa (1987) • happinessHelsinki • I Hired a Contract Killer (1990) • indie cinemainternational film festival • Jonathan Ross • Leningrad Cowboys Go America (1989) • Margi Clarke • Midnight Sun Film Festival • modestyquirky • Shadows in Paradise (1986) • social realism • Sodankyla • The Match Factory Girl (1990)

CONTRIBUTOR

Simon Perkins
18 DECEMBER 2012

Eraserhead Stories: David Lynch on the Making of His Famously Nightmarish First Film

"Not only does the documentary Eraserhead Stories offer as much information as you'll find anywhere on the making of David Lynch's first feature film, it has a few Lynchian qualities of its own. For almost an hour and a half, David Lynch sits down behind a microphone and reminisces about the six years his ragtag team spent putting the movie together. But he does it in black–and–white, in front of a curtain, smoking, like something out of an early–1950s television broadcast. The ambient dull roar of an ill wind appears, intermittently and inexplicably, on the soundtrack. Photographs flash by, supporting some of Lynch's inspiring, arduous, and bizarre recollections. Many of his stories deal with the nuts and bolts of bringing one's financially impoverished but creatively overflowing early movies into reality."

(Colin Marshall, 17 December 2012, Open Culture)

David Lynch (2001). "Eraserhead Stories".

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2001American cinemaAmerican independent cinemaart and design practitionersauteurblack and whiteblack humour • Charlotte Stewart • cult classic • cult filmDavid LynchdocumentaryEraserhead (1977) • Eraserhead Stories • famous peoplefilmfilm directorfilmmakergrotesqueindependent cinemaindependent filmindie cinemainfluentialinfluential creatorsinfluential director • interviews with famous people • Jack Nance • landmark film • Laurel Near • low budgetlow-budget filmmaking ofmovienightmarevisual spectacle

CONTRIBUTOR

Simon Perkins
05 AUGUST 2012

Jane Campion: A Girl's Own Story (short film)

"Jane Campion has been a dominant force in world cinema for nearly two decades. Shot delicately in black–and–white, A Girl's Own Story is an early short film that traces the stories of three suburban teenage girls (Pam, Gloria and Stella) in 1960's Australia. It deals with the difficulties of burgeoning sexuality, incest, friendship and family against the backdrop of Beatlemania and an era that valued the isolating notions of purity and wholesomeness over honesty and acceptance."

(Anton de Lonno 11 July 2010, Senses of Cinema)

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1960s1984 • A Girls Own Story • An Angel at My Table (film) • AustraliaAustralian cinemaAustralian short filmauteur • Beatlemania • black and whiteboys • burgeoning sexuality • chiaroscurocold • Cut (film) • David Lynchdesiredoll play • eery • effigyexpressionistic • expressionistic conventions • familyfemale sexualityfemininityfriendship • Gabrielle Shornegg • gender performance culture • Geraldine Haywood • haunting moment • honesty and acceptance • humour • I Feel the Cold • ice-skating • incest • Ingmar Bergman • inky suburban subconscious • intimate sexualityisolationJane Campion • lustful embrace • Marina Knight • New Zealand filmmakerparentspathos • Peter Weir • Piano (film) • puritySenses of Cinema (journal)sexual agencyshort filmsuburbanteenage girls • tenderness • The Beatles • The Portrait of a Lady (film) • wholesomeness • world cinema

CONTRIBUTOR

Simon Perkins
30 NOVEMBER 2011

Narratives for Europe: Launderette

"Imagine that you have just got home late from a long day of work only to be confronted by an endless list of chores. You drag yourself and an old bag of dirty clothes to the laundromat around the corner. Suddenly some young film–maker is putting a camera in your face and asking you about your laundry, your life and your ever–fading childhood dreams. At first you want to be left alone–get out of my face! But after a while you relax. It feels good to talk and it feels good to listen. On your way home, you keep thinking about the stories you told and the ones you heard. Your mind just keeps on spinning...

The scenario of the short film 'Laundrette' transforms an anonymous public space into a dynamic one where stories are swapped and strangers are given faces. The film also acts as a remarkable metaphor for what Narratives for Europe wants to become: an open space where significant stories can be voiced, echoed and debated. Selected from the media collection of ECF's Youth and Media programme, 'Laundrette' was awarded 'Best Documentary' at the BFI Futures Film Festival 2011 in London. You can watch this film and other shorts on ECF's VIMEOchannel.

The BFI recruited this video and is one of the 6 partners of the Doc Next Network. This network functions as the core of the Youth & Media Programme of the European Cultural Foundation (ECF). Doc Next is a unique movement of independent cultural and media organisations working with young people and media in the UK, Spain, the Netherlands, Poland, Turkey and Scandinavia."

(European Cultural Foundation)

"Launderette": Director – Bertie Telezynski, Producer – Johnny Orme, Producer – Mark Davies, Cinematographer – Alex Nevill, Cinematographer – Rachel Lewis, Editor – Louis Rossi, Sound – Liam Cook

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2011 • ambition • anonymous public space • auteurBFI • BFI Futures Film Festival • broken relationships • camera in your face • childhood • childhood dreams • childhood memories • chores • confrontational stories • desolate space • Doc Next Network • documentaryECFEuropeEuropean Cultural Foundationexistential insightfilmfilmmaker • fragmented memories • human conditionimaginative stories • independent cultural and media organisations • late night • launderette • laundrette • Laundrette (film) • laundroma • laundromat • laundry • long day of work • lost family • mediamemorymoments • moments of personal insight • Narratives for Europe • Netherlandsopen spacePolandpublic spacereflection • reflexive documentary • Scandinaviashort film • significant stories • Spainstoriesstrangersstring theory • swap • TurkeyUK • young film-maker • young people • your life • Youth and Media • Youth and Media Programme

CONTRIBUTOR

Simon Perkins
08 APRIL 2011

The typography of Jean-Luc Godard

"To me watching the films of Jean–Luc Godard is like watching a white Rauschenberg painting or listing to John Cage's '4:33': it isn't something I do for entertainment. They're historically significant because he broke all the rules in the book, but I just don't enjoy watching them. Since I only add titles from films I've seen myself there weren't many Godard films present in the Movie title stills collection.

On december 3rd, Atelier Carvalho Bernau released a free typeface to celebrate Godard's 80th birthday. The typeface was inspired by the title sequences of Godard's 'Made in U.S.A' (1966) and '2 ou 3 choses que je sais d'elle' (1967). When I started googling I found surprisingly few stills or videos from Godard's films, that's why I decided to add the most interesting ones to the Movie title stills collection.

I've located almost all films from the earlier part of Godard's career and took all stills containing typography: titles from the opening title sequences, intertitles and end ('Fin') titles. Like silent films Godard used lots of intertitles, which make his films much more typographic than other films from the '60s and 70's.

It's quite interesting to see the designs evolve. In this digital age it's refreshing to see type that isn't made on a computer: the imperfect and handmade look of the letterforms, the bad kerning, the large gaps between letters and words, the justified blocks of text, the awkwardly dotted capital I's. Even when he used an existing typeface – like Antique Olive in 'Week end' (1967) – the letterforms look as if they were cut out with an Exacto knife.

Sauve qui peut (la vie) (1980) is the last film featuring custom typefaces. In his later films Godard used existing typefaces like Futura, Univers, Helvetica and Garamond."

(Christian Annyas, 16 December 2010)

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CONTRIBUTOR

Simon Perkins
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