Gus Van Sant: His Own Private Cinema (Modern Filmmakers) by Vincent LoBrutto

By Vincent LoBrutto

This incisive publication presents an in-depth serious and biographical examine of the inventive variety of movie director Gus Van Sant.

Drugstore Cowboy, my very own deepest Idaho, stable Will looking, discovering Forrester, Elephant, and Milk are only the various works wherein the realm understands Oscar-nominated movie director Gus Van Sant. Van Sant's particular interpretation of arguable material maintains to draw proficient actors and craftspeople of the top quality. What drives this master's artistic vision?

Arranged chronologically, Gus Van Sant: His personal deepest Cinema offers a complete evaluation of the existence and paintings of this proficient director, overlaying his mainstream, advertisement, and avant-garde tasks. greater than a biography, the e-book examines Van Sant's enormously assorted physique of labor, exploring the effect of his open homosexuality; of good artwork, literature, and tune; and of the variety of cinema kinds to which he has been exposed.

Stressing Van Sant's wide-ranging content material, style, variety, and cinematic presentation, writer Vincent LoBrutto information the filmmaker's autobiographical trends and the way he makes use of the movie craft, literature, renowned song, and wonderful arts to create his videos. The publication dissects ways that every one of his movies displays Van Sant's sexual orientation, no matter if the person movie has a homosexual topic or now not. as a result of its significance to Van Sant's motion pictures, the booklet additionally bargains a background of homosexual tradition, previous and current, masking its impression on artwork, track, theater, and dance, in addition to neighborhood, activism, and prejudice.

Show description

Read or Download Gus Van Sant: His Own Private Cinema (Modern Filmmakers) PDF

Best film books

Cinema and Spectatorship (Sightlines)

Cinema and Spectatorship is the 1st booklet to concentration fullyyt at the heritage and position of the spectator in modern movie stories. whereas Seventies movie concept insisted on a contrast betweeen the cinematic topic and film-goers, Judith Mayne means that a truly actual friction among "subjects" and "viewers" is actually important to the examine of spectatorship.

Bride of Frankenstein (Movie Monsters Series)

Whereas the wounded and anxious Monster he created spreads terror during the state part, Dr. Frankenstein is persuaded via a colleague to create a girl to be the Monster's bride.

Leonard Maltin's Family Movie Guide

Well-known as one of many top professionals on American movie, Leonard Maltin is usually a mother or father who's conscious of the diversities among a child's and critic's viewpoint on motion pictures. each one movie indexed contains its MPAA ranking, a proof of that score, class, and the author's personal score method of even if a movie is nice, undesirable, or ok for either older and more youthful little ones.

Knockout: The Boxer and Boxing in American Cinema

Knockout: The Boxer and Boxing in American Cinema is the 1st book-length research of the Hollywood boxing movie, a well-liked motion picture leisure because the Thirties, that incorporates such classics as "Million greenback Baby," "Rocky," and "Raging Bull. " The boxer stands along the cowboy, the gangster, and the detective as a personality that formed America's rules of manhood.

Extra info for Gus Van Sant: His Own Private Cinema (Modern Filmmakers)

Sample text

3 There is a scratch on the record, a ploy Scorsese used in Mean Streets (1973), when he couldn’t afford a new copy. The song was written by Fred Carlin,4 Robb Wilson, and Arthur James, was published in 1970, and won the Academy Award that year for best song sung in a film (Lovers and Other Strangers [1970], directed by Sy Howard, Every Little Crook and Nanny [1970]). It was sung in the film by Larry Meredith. Another effective use of music and image occurs in a driving scene as the tribe passes by a bridge, cows, and a dirt field seen from an aerial view.

Streeter puts a piece of plastic wrap over his face to depict either smothering himself or his becoming a monster. He smiles all through this—he is a funloving guy, not in the same way as Walt Curtis, whose idea of fun, according to the Plympton documentary, is having sex with dogs and masturbating to all-boy magazines. Mexican music plays over the credits. The actors go through a Beatles/Monkees-type running around, doing silly actions routine to a punk/New Wave song. Van Sant continues to shake the camera like an amateur making his first movie, imitating those two popular pop groups.

Structural filmmakers take up the concern of structure within the frame. Here Van Sant experiments with editorial structure. Later in his experimental period, especially on Elephant (2003), he would bring the influence of structural film20 into his directorial vision, inspired by a lifetime of watching experimental films. Van Sant also skillfully integrates Hollywood cinematic grammar with the handheld style seen in documentaries and by using the language of the experimental film. These converge to form his personal style.

Download PDF sample

Rated 4.42 of 5 – based on 45 votes