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Tuesday, January 4, 2011

Studio independent from

Carter Maples, known for many hikayeli films, independent cinema, Robert Altman took the name of the key

70s American cinema, perhaps the most significant in Europe, adopting the name of the tendencies of modern cinema excretion. Robert Altman, is now the "Player", "Short Cuts Human Landscapes," works a lot like the model hikayeli movie director known as a pioneer in this field started in that period produced "Nashville" Fellini and Bergman and effective "Three Women" and "Imagination and the Image" of the trail has built a filmography. 40-year career, an important political and social events, rest periods not exceeding sub-texts, that breaks the tradition of Hollywood's identification with the wishy-washy style of the home, emphasizing the loneliness and alienation and the general direction of a quiet, calm and cold-blooded world of independent cinema has developed into one of the most important representatives. And most of the '70s working in studios ...

Robert Altman died in 2006, strangling law yumarak cinema, American cinema is an important figürdü. For this reason, in 1957, "Criminals" in ("The Delinquents") wins the admiration of Alfred Hitchcock pulled be met at all abnormal. So much so that since the end of the 60s in the new Hollywood trend of 'hidden' as the director, under the influence of European cinema has attracted the works.

A career shaped by the influence of modern cinema excretion

Its out in the same period, Peter Bogdanovich, Mike Nichols, Martin Scorsese, as a lover of modern cinema, watching parallel yönetmelerle breaking even can be said that the traditions of Hollywood. In fact, even we can put the point in this regard with complacency. So much so in fact in 1968, "Feza Race" ("Countdown") entered into with the director's essential stance of studios 'independent spirit' course. In this respect, the character drama in the tradition of John Cassavetes imposed bend near the stops and all the films, although these species 'tissue in the drama' knows to pull.

However, it is possible classification of the works produced mainly in the 70s. Federico Fellini's "8 ½" una (1963) The answer to "Imagination and the Image" ("Images", 1972), "Sweet Life" İnin ("La Dolce Vita", 1960) differentiation can be seen as an effort "Nashville" (1975) , Bergman's "Persona," the (1965) U.S. adaptation of one to one "Three Women" ("3 Women", 1977), the key evidence in this case. Already in 1970, led by the director in Turkey more "front Fun" ("MASH") and has been known, has shaped his career by taking the back trail of the three.

Very hikayeli, alienated, and the reality of the universe has an uncertain

In particular, "Nashville" is an example of creating a now ', Robert Altman model' of what we may be Gregorian. In this respect, especially in the director's career from the 90s 70s period of the course of an experiment by putting the canvas shifted in that direction. In fact, the "Three Women" is a trail of 'alienated, and the subjective world of the imaginary' innovative approach to the tradition of portrait of the effect of the aesthetics of theater, "freakin love" ("Fool for Love", 1985) as released with the obvious face may also occur.

However, "Imagination and the Image" and "Three Women", the director of works for a while more 'real-dream' to come back and forth between focused functional terms. Western grinding "Buffalo Bill and the Indians" in ("Buffalo Bill and the Indians, or Sitting Bull's History Lesson", 1978), even the scene with the world of reality, so that the jam is important.

Very hikayeli movies or characters can be divided into two

Of course, here in Altman's "Nashville" and enters the 'very hikayeli movie model' transition experiments can be done. In fact, it is possible to address these two areas. First, as shown in this work a stage performance or art show, observing the lives of the characters gathered for the films.

The second is "The Player" ("The Player", 1992) by starting with the Hollywood grinding "Short Cuts Human Landscapes" ("Short Cuts", 1994), "fortune cookie" ("Cookie's Fortune", 1999), "Dr. T & the Women "(." Dr. T and the Women ", 2000) and" Gosford Park "(2001) with the peak of the real sense, developed characters and films that address their problems in a metaphoric vision. Each one is different from the motivation of genres.

Away from the logic of identification, aiming to break the perception of the audience movies

In fact, the first of these formulas can be said that the director put forward the vision of the '70s. So that would give people from the longer plans to start his career, the shift of intense, minimal music, crane and zoom lens with a continuous approach to the role of judge, or has the director away had a progressive aesthetic. Trail riding, rather than a main character in this direction, it's up to the side and rear elements chooses to break the perception of audiences through the characters intertwined.

Opposed to the phenomenon of Hollywood's identification with, calm, quiet and close to minimale handles the kind of movies during this period. This is in fact "at the front entertainment" characters, such as living in a hospital in the Korean War through the director's works have started a stoned the military. The film, American soldiers sex, drugs and violence-oriented structure yozlaşmasıyla interested, in fact, the director explaining the sensitivity of the systemic political and brings a political face grinding. Rather than the classical account of contents of the text reveals an interest.

General ideology, the dominant system or the political situation there are always troubles

In addition, the American soccer scene in the finals 'figüranlı sequences to produce plenty of' put forward by the pleasure of Altman said. Already working with the director the players 'in the film did not have the majority of my shots' are also quite a large number of those who say.

Continuation of that work, "Nashville" and "Buffalo Bill and the Indians" still a little bit like biting the director's films come. Even though this works in front of extraction stage performances such as Buffalo Bill Injun as a leader, or his making, that is a real focus on dolandırıcıya. At the end of this magnificent 'show' is an important part of the cornerstone for Altman.

Films of every kind of music were found to be material

Of course all of these works, the audience side of the characters with their lives, yalnızlıklarından, yabancılaşmalarından and sevgisizliklerinden tanırlarken chance to make observations, do not neglect to reveal the identity of the director's intellectual. So that's "Nashville" from the "Kansas City" (1996) and "Country House friend of" ("A Prairie Home Companion", 2006) also found in the central position of managing many work.

Determined based on the identity of the European cinema of the 70s, Altman's Hollywood's next to break the traditional patterns of species concept. So much so that during this period, "McCabe and Mrs. Miller" ("McCabe and Mrs.. Miller, 1970) the process started with the black in the film adaptation of Raymond Chandler free" UzunVeda "(" The Long Goodbye ", 1972), gangster film, re-cycle" Our Like Thieves "(" Thieves Like Us ", 1974) and fraudulent character drama into the movie" Gamblers "(" California Split ", 1974) has continued with.

Anti-Western stance of the revolutionary movement within species

Director at each of the anti-heroes out of criminals seeking society, loneliness and explains the almost told screaming. Do not give a character flaw rather than into the hands of audience have attended, will choose to enter the world of suspects outside of the building.

Following this period, as did those in the Western, Sam Peckinpah'ın tissue by providing an innovative, it leaves aside tiplemeleri magnificent towns and stereotypes. "McCabe and Mrs. Miller", a stranger coming to a town under construction in a way to endear himself out there and takes the effort of holding on to life. Western time zone, a further withdrawal of realism in the present vaccines. Gangster film closer to the fabric of the film.

Altman, the director of the contribution of intense stylized images of music, where the final scene of conflict in the cold-blooded 'village alienated man' completes the portrait of a pessimistic way. Bergman and Antonioni, the influence of European cinema handles almost any other work. Structure of the founding of an anti-western mood makes cinema and into the hands of the audience does not expect the structure of the story.

Minimal and silent running when needed characters tend crime drama films

In fact, this state, "Long Farewell," the cat in the house of Elliott Gould's Philip Marlowe character, emotional and criminal broker to put into practice director, here on the table in psychology, rather than murder. Chooses to analyze the subtle and long-kaydırmalarıyla a spiritual detective. "We Like Thieves" and then again a minute of the first 20 days of the silent zone of the characters from the emotional world of gangsters bezer a pessimistic ending.

Of course, in the same year led by Altman's "Gamblers" The fact that added to the drama of a typical independent character. Fraud film is transferred to disrupt the drama. Casino scenes use the limited purpose of selecting the true activates.

Innovative experiments in the period film duramamışlardır Crime types

In fact, this period, a general 'crime dramas refresh' tendency to do that Altman's "Belalılar" ("The Sting", 1973), "Road Of No Return" ("Point Blank", 1967), "Taxi Driver" ("The Taxi Driver ", 1976)," Dogs "(" Straw Dogs ", 1971)," Bonnie and Clyde "(" Bonnie & Clyde ", 1967)," Chinatown "(" Chinatown ", 1974), rather than being as effective as the director's style aimed to demonstrate the benefits.

For this reason, currently the director of "Nashville" put in the track of heritage film "Friend of Rural House" (2006), "Jimmy Dean, Jimmy Dean" ("Come Back to the Five, Jimmy Dean, Jimmy Dean", 1982), "Stock Clothing "(" Pret-a-Porter ', 1994), such as viewing a central event in the light of psychology and usually kısımsal' Values forgotten films deposited on the table or the formula of modernizing the "Player" is referred to later films.

"Three Women" and "Imagination and the Image" are still classics ankle bükülememiş

Fellini's influence on this situation from Rodrigo Garcia, Paul Thomas Anderson, Jill Sprecher, Carl Bessa, Rose Troche, Neil LaBute, directors such as Spike Lee said it leaps. In addition, Bergman's "Persona" is a classic lightweight tensile structure of American society that have achieved and adapting the "Three Women" of the followers of the three central characters of this issue because of the dramatic structure with üreyememesi "Imagination and the Image" interpretation of the motifs in the minds of the psychology of creativity schizophrenic film of the period of shallow market crisis Altman's career, the most important details.

Career Rene Auberjonois, Shelley Duvall, Elliott Gould, Keith Carradine as the players give up the director, more interested in the period of political and social issues, often leading to loneliness and alienation on the psychological analysis has attracted attention. Proceed at this point of 'old values' it is possible to witness the intensity of the sub-texts.

Period and keeps up with the field

Of course, in 1987, the independent-spirited romantic comedy, "Therapy" ("Beyond Therapy") and the 'same-sex relationship the film' shrinkage in the period up to adapt to what proves that a film maker. So much so that many years' of homosexuals, Themes, and become active, Gus Van Sant, Gregg Araki likes of 'the new gay cinema' (the New Queer Cinema) initiated by the flow circuit. At the same time "Therapy", Altman revealed that the sensitivity of the 80 people against a very theatrical adaptations.

While it is difficult to focus on his movie character, this is more than a three-dimensional position brings tiplemenin. 'Popeye' version of "Popeye" in ("Popeye", 1980), even the aesthetics of cartoons designed by oturturken originality of the island, calm mind is still not be drawn from the alienation of nature and the world. Altman's style has spread to every area of the proofs of this and makes him a unique position of director. Some speeches or 'auteur' is known as leads.

5, Robert Altman's best film:

1-Imagination and Image (Images) (1972)
2-Player (The Player) (1992)
3-3 Women's (3 Women) (1977)
4-Short Cuts Human Landscapes (Short Cuts) (1994)
5-McCabe and Mrs. Miller (McCabe & Mrs.. Miller) (1971)

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