Brian de palma

From its outer cover to its final paragraph, renowned picture editor Paul Hirsch's book, "A long time ago in a cutting room far, far away…."is a treasure. On a dust jacket featuring endorsements from the likes of J.J. Abrams, Taylor Hackford, and Mark Hamill, fellow editor Walter Murch entices readers inside the book with the praise, "Paul's invaluable tips and insights, hard won through experience, will brilliantly illuminate the creative process for aspiring filmmakers and enthusiasts alike." The 360+ pages within fully bear out Murch's acclaim. Hirsch takes readers on a journey through his extraordinary career with a writing style that is clear, entertaining, and rollicking. Seemingly no story is left untold, no craft secret is left unshared, and in his closing paragraph Hirsch creates a musical metaphor that is a dead-on description of editors' work. "Being an editor on a movie is like being in a band. We are certainly not the lead vocalist, nor perhaps even the brooding, mysterious solo guitarist. We are more like the bass player or the drummer. Our contribution is taken for granted, but we can make a huge difference. I've played in some terrific bands in my life, and it has been a blast." The tone of this statement captures not only Hirsch's writing style, but also the cultural underpinnings of a man in his twenties who cut his first theatrical feature in 1970, (Brian De

This book is devoted to study how the breakthrough representation of the connection between sexuality, criminality and sickness of Alfred Hitchcock’s “Psycho” (1960) has been being reworked for 50 years, according to changing cultural contexts and different personal and political agendas. The analysis focuses on eight case studies selected from the enormous number of works more or less closely inspired by “Psycho”: William Castle’s “Homicidal” (1961); Hitchcock’s “Frenzy” (1972); Brian De Palma’s “Sisters” (1973) and “Dressed to Kill” (1980); slasher horror movies from the 1970s and 1908s; Robert Bloch’s novel “Psycho II”; the three cinematic sequels produced in the 1980s; Gus Van Sant’s remake (1999); and Gary Orona’s pornographic version “Official Psycho Parody” (2010).
The download includes the introduction and the table of contents.

seconde édition. Armand Colin, avril 2017.
Cet essai est consacré au montage au cinéma. Outre un rappel de la façon dont il est envisagé par différents cinéastes (l' ouvrage propose une analyse de ses objectifs et de son langage. La « théorie du montage » développée ici est construite comme une théorie scientifique, avec comme postulat de départ l'existence d'une énergie de l'image, portée par les plans d'un film et polarisée par le montage. Cette approche originale permet de saisir toute l'essence du montage, au-delà des considérations syntaxiques, narratives et plastiques. L'auteur illustre son propos de nombreux exemples issus de l'histoire du cinéma.

Cette théorie propose de reconsidérer la problématique du montage (les liaisons comme les disruptions, la dépendance comme l’indépendance des plans) à partir d’un principe générateur. Il s’agit de saisir son essence au-delà des fonctions syntaxiques, sémantiques, narratives, discursives, rythmiques ou plastiques ; au-delà des contingences historiques, géographiques, des critères de genre et des politiques d’auteurs. Son horizon : comprendre ce qui se joue entre les images, quelles que soient les formes de montage, des plus communes aux plus singulières, des toutes premières aux plus contemporaines.
L’hypothèse de départ est simple et douée d’une force heuristique : les plans sont porteurs d’une énergie – dont les manifestations sont variées – que le montage prend en charge, actualise, active, polarise. Ceci implique l’analyse des forces en action dans les plans et les transformations et métamorphoses qui en découlent.

All’interno del panorama audiovisivo contemporaneo, la possibilità di attestare il reale sembra esposta a un duplice rischio. Da un lato, grazie alla diffusione delle tecnologie leggere, emerge l'illusione di una coincidenza tra immagine e realtà; dall’altro, a causa della manipolabilità completa di ogni riproduzione digitale, si manifesta uno scetticismo radicale nell'efficacia testimoniale dell'immagine. Questo paradosso mediale sembra aver generato due opposte strategie retoriche che attraversano in generale l’orizzonte audiovisivo del presente e che riattualizzano la grande dicotomia cinematografica tra “montaggio sovrano” e “montaggio proibito”: alla ripresa in continuità propria della maggior parte dei video amatoriali fruiti in rete si contrappongono quei processi di “autenticazione intermediale” (Montani) che definiscono la cifra peculiare di un nuovo rapporto tra le immagini.
A partire da alcuni esempi emblematici, cinematografici (ad esempio Redacted, La bocca del lupo, Vincere) e amatoriali caricati in rete, la presente proposta intende affrontare queste due grandi forme di mediazione tra mondo e immagine per interrogare i regimi di credenza (Deleuze) contemporanei. Rileggendo alcuni passaggi classici della teoria del cinema, su tutti Ejzenstejn e Bazin, l’obbiettivo è quello di delineare le principali modalità di costruzione di specifiche “autorità” discorsive (Foucault, Lincoln) che orientano l’esperienza mediale contemporanea e definiscono la possibilità per lo spettatore di credere al mondo e alle immagini che lo rappresentano.

Although the term adaptation is usually applied to cases of intermediality, it can be conceptualized also in intramedial terms, that is, as an adaptation of a work inside the same medium, as is the case with the film remake. Intramedial adaptation is a continuum between two poles: the first is that of the tacit reworking, which is so different from the original that makes the term remake inadequate (and it does not pose copyright issues); the second is that of the mould, that is, an extreme form of remake which reworks in a meticulous manner the narrative and stylistic features of the previous film. In this article we will address the matter by examining how Dressed to Kill (Brian De Palma, 1980) and Psycho (Gus Van Sant, 1998) relate to Psycho (Alfred Hitchcock, 1960). Dressed to Kill makes no explicit reference to Hitchcock's masterpiece; nevertheless, it is an evident, albeit tacit, reworking of the latter. On the contrary, Psycho (1998) is notorious for being an almost shot-for-shot remake of the original Psycho (both screenplays were written by Joseph Stefano). In other words, it is a narrative and stylistic mould of the previous film more than a new adaptation of Robert Bloch's namesake novel (1959). Dressed to Kill − which follows the structure of Psycho's plot while changing the story-updates the themes of the latter (the deadly sexual drive, the dissociative identity disorder) to a period following the sexual revolution, making clear what in Hitchcock's film was only allusive. Contrariwise, Psycho (1998) is such an extreme remake that it both looks like an adaptation of the story to the contemporary period and like an adaptation of the entire form of the original film, that is, as an almost identical occurrence of both the narrative and the stylistic features of the first Psycho.
Keywords: Intramedial Adaptation, Film Remake, Dressed to Kill (1980), Psycho (1960), Psycho (1998).

Si deseamos abjurar de un antiempirismo radical insostenible, sin precipitarnos en el infantilismo neoempirista ni involucionar hacia una teratología caótica !es decir: para tratar de mantener enfocados los árboles y el bosque!, un estudio de corte estadístico, ayudado de las herramientas digitales e informáticas de última generación, y más concretamente de la Average Shot Lenght !a la que en adelante nos referiremos por el acrónico de ASL!, o duración media del plano, nos parece un criterio objetivo !y, por ende, literalmente inobjetable!; seguramente tan reduccionista como sugestivo a la hora de llegar a conclusiones no definitivas, pero sin duda dignas de interés: porque frente a la subjetividad del análisis, y en el nivel general, macroscópico, de la película, se funden lo normativo, o estándar, y lo desviante, o excepcional.

Entrevista realizada por un alumno para un trabajo de la asignatura Documentación Audiovisual, curso 2014-2015. Hablo de algunos paralelismos sobre la película "Scarface" de 1932 y la de 1983, e incido en el esquema narrativo trágico del cine negro clásico.

Quattro comparazioni, quattro coppie di film organizzate in altrettante stazioni, ognuna delle quali propone una tipologia di riscrittura cinematografica. Riscrittura come: evocazione, rifacimento, eteroclonazione, autoclonazione.
Questo esercizio traduce una precisa concezione della teoria del cinema e del rapporto tra cinema e filosofia, declinato nei termini di una ermeneutica filosofica del testo filmico: un incontro con le opere che lasci emergere dalla stessa materia filmica ciò che essa dà da pensare.

Este trabajo aborda el estatuto de la imagen cinematográfica cuando es interpelada acerca de la construcción de la otredad. Se toma el caso emblemático del cine bélico, género que, por la naturaleza conflictiva de su narración, actualiza la mirada del sujeto dando vida, al mismo tiempo, a la mirada sobre la otredad. Se analizan dos películas dirigidas por el mismo director, Brian de Palma, y que narran de la ocupación militar estadounidense en Vietnam y en Irak. Ellas son Casualities of War (1989) y Redacted (2007). A partir de la comparación enunciativa entre ciertas secuencias de las dos películas, se entreabre un espacio para una mirada indócil con la que sondear las posibilidades del dispositivo cinematográfico en tanto dispositivo constructor de identidades.

This work deals with the statute of the cinematographic image when it is questioned about the construction of otherness. The emblematic case of the war film is taken, a genre that, due to the conflictive nature of its narrative, updates the subject's gaze, giving life, at the same time, a look at otherness. We analyze two films directed by the same director, Brian de Palma, and which narrate about the US military occupation in Vietnam and in Iraq. These are Casualties of War (1989) and Redacted (2007). From the enunciative comparison between certain sequences of the two films, a space is opened for an indocile look with which to probe the possibilities of the cinematographic device as an identity- building device.

This article discusses the thematic and structural proximities in the movie Sisters (1973), by Brian De Palma, and the short story « WM » (1977) by Lygia Fagundes Telles, especially regarding the splitting of personality, the result of a mental ruin marked by cuts, splits, fractures and losses. Essays on the phenomenon of the double, by Otto Rank, Sigmund Freud and Clément Rosset, and Anatol Rosenfeld’s essay on the correspondence between the arts are used as theoretical support. In « WM », Wlado assumes the identity of Wanda, in the same way that, in Sisters, Danielle assumes the identity of Dominique, the dead conjoined sister. In both narratives, the dead sisters work as splits in the ego of the protagonists, ghostly projections, double persecutors that prevent the protagonists of loving.

And of course I have worked recently on the Book of Revelation and there I met Elaine Pagels and I was shocked by a superficial work that is in no way academic: no bibliography, no reference at the end of each biblical quotation, as it is standard to do, and what’s more I have not been able to find a reference to the particular edition n of the Bible she uses.

Worse even the four horses of the Apocalypse are not correctly described and of course not properly identified or questioned.

In wat university does that professor work that cannot produce a decent book on the Book of Revelation that deserves better than a half digested piece of writing.

Luckily Steinbeck seems to use his Bible a little bit better and when he quotes he gives the version of the Bible he uses. Maybe after all Ms Pagels used the one we can find in a drawer in any hotel or motel room in the USA. Is it Gideon’s and is that one standard for academic quoting?

It is pathetic and she does not even know about Robert Eisenman and pretends James was stoned by a Jewish mob in Jerusalem. That must be some kind of humor, very black indeed. Or the book was written by some student of hers and she just put her signature on it, but then she should tell us who the sloppy student is.

Para Gilles Deleuze, el cine de Alfred Hitchcock culminaba el cine clásico (imagen-movimiento) al mismo tiempo que asentaba las bases de la modernidad (imagen-tiempo). ¿Qué ha ocurrido desde entonces? ¿En qué medida el vínculo sensoriomotor a partir del cual Deleuze fundamentaba ambos sistemas sigue siendo un mecanismo figurativo para el cine contemporáneo? El siguiente artículo considera que Mulholland Drive ha sustituido el canon estético que, en el cine moderno, fue representado por Vértigo. La hipótesis de este texto es que el film de David Lynch explora la imagen-cristal deleuziana desde lo que el mismo Deleuze, a partir de la pintura de Bacon, llamó una "lógica de la sensación". El desbordamiento de los afectos, la autodestrucción, la pérdida de la identidad, el poder subversivo del deseo o la creencia en un mundo que ya no se conforma con la realidad, son algunos de los elementos que transforman la mirada, la acción y la realidad, ejes principales de la teoría del cine de Deleuze.

Gilles Deleuze considered the work of Alfred Hitchcock as the culmination of classical cinema (movement-image) at the same time that he laid the foundations of modernity (time-image). What has happened since then? To which extent is the sensorimotor link on which Deleuze founded both systems remains a figurative mechanism for contemporary cinema? The following article considers that Mulholland Drive has replaced the aesthetic canon that, in modern cinema, was represented by Vertigo. The hypothesis of our work is that David Lynch's film explores the Deleuzian crystal-image from what Deleuze himself, based on Bacon's painting, called a "logic of sensation". The overflow of affections, self-destruction, loss of identity, the subversive power of desire or belief in a world that no longer conforms to reality, are some of the elements that transform the gaze, action and reality, the main axes of Deleuze's theory of cinema.

"ABSTRACT (engl): In the present study I will deal with the reception of the famous Odessa Steps Scene from the silent movie “Battleship Potemkin” (1925) by Sergej Eisenstein. After a short historical over-view I discuss the video “Steps” (1987) by Oscar winning experimental video artist Zbigniew Rybczyński’s, which is based on Eisenstein’s scene. The second part of this essay deals with the street artist Banksy’s reception of Eisenstein’s pram rolling down the steps of Odessa.

RESUMEN (span.): En el presente trabajo estudio la recepción de la famosa escena de la escalera de Odesa de la película muda “El acorazado Potemkin” (1925) de Sergej Eisenstein. Después de un breve repaso al contexto histórico de la película me centro en el video “Steps” (1987) del videoartista experimental y ganador de un Oscar, Zbigniew Rybczynski, el cual se basa en escena de Eisenstein. En la segunda parte del artículo estudio la recepción por parte del artista urbano Banksy de la imagen del carrito de bebé rodando abajo por las escaleras de Odessa.

Palabras clave: Arte urbano, Graffiti, Banksy, Eisenstein, Rybczyński, El Acorazado Potemkin, Los Intocables de Eliot Ness"

C’est sur la base d’une observation désormais répandue, à savoir que les médias modernes et le spiritisme apparaissent dans le même contexte socioculturel, que je propose de considérer la figure du médium spirite sous l’angle d’un média, et plus précisément d’un média cinématographique. Il est d’usage dans l’historiographie de considérer Friedrich Kittler comme le premier à avoir mis en évidence le double sens du terme « médium » en tant qu’intermédiaire humain et dispositif technique. Mais il établit ce lien via un modèle d’analyse qui accorde à la technologie la préséance sur les discours, car ce sont les médias qui auraient, selon lui, donné naissance au spiritisme et à l’occultisme, et non l’inverse. Prenant des distances vis-à-vis de cette grille de lecture, j’insiste pour ma part, dans la foulée de Jeffrey Sconce, sur les interactions réciproques entre hardware et software, entre l’histoire des technologies et les imaginaires qui les façonnent, entre le médium (technique) du cinéma et le médium (spirituel) du spiritisme. Car si le mouvement spirite est fasciné par les technologies, à leur tour les discours sur les pouvoirs surnaturels de ces dispositifs puisent leur origine dans l’imaginaire offert par les doctrines spirites. Estimant que la figure du fantôme ne suffit pas à penser la spectralité du cinéma, je propose donc de placer au centre de l’analyse la figure du médium entendue au double sens, technologique et spirite. L’article est basé sur une étude de cas tirée du film de Brian De Palma, Furie (The Fury, 1978).

In wat university does that professor work that cannot produce a decent book on the Book of Revelation that deserves better than a half digested piece of writing.

Luckily Steinbeck seems to use his Bible a little bit better and when he quotes he gives the version of the Bible he uses. Maybe after all Ms Pagels used the one we can find in a drawer in any hotel or motel room in the USA. Is it Gideon’s and is that one standard for academic quoting?

It is pathetic and she does not even know about Robert Eisenman and pretends James was stoned by a Jewish mob in Jerusalem. That must be some kind of humor, very black indeed. Or the book was written by some student of hers and she just put her signature on it, but then she should tell us who the sloppy student is.

Este artículo analiza el proceso de estigmatización de los exiliados cubanos pos-Mariel en Estados Unidos debido a su concepción como el otro, tanto para los exiliados pre-Mariel como para el resto de habitantes de la potencia norteamericana. Lo propio se realiza a través del análisis de los estereotipos construidos y difundidos en la película de Brian De Palma, Scarface (1983). Las fuentes primarias utilizadas son diálogos extraídos del guion y fotogramas que son analizados con especial atención al significado creado por su contenido formal. Lo propio se produce a través de diversas conceptualizaciones teóricas del pensamiento binario. El cuerpo del trabajo se divide en cuatro capítulos enfocados en cinco estereotipos: el enemigo interno, el vago, el soltero depredador, el ángel de la casa y el demonio de la calle.

Au milieu des années 1990, on a vu apparaître dans le cinéma américain quelques films de gangsters qui présentaient la particularité d'approfondir - à l'aide d'insistantes solutions narratives et formelles - la question de la romance homme/femme en général, et celle du vécu affectif masculin en particulier. En concentrant l'analyse sur deux films représentatifs de ce petit cycle - "Carlito's Way" (Brian De Palma, 1993) et "Casino" (Martin Scorses, 1996) - cet article montrera que la question amoureuse y fait l'objet d'un traitement singulier et inhabituel. Dans un dialogue constant avec la "dimension générique" du mélodrame, ces deux films seront analysés à travers la notion de "pathétique", qui désigne à la fois un registre thématique (le champ sémantique de la passion et de ses excès) et une opération esthétique (renvoyant aux possibilités intrinsèques du cinéma telles que dégagées par Eisenstein).

Du Dahlia noir (2006) à Passion (2012), le cinéma de Brian De Palma répète et déplace des motifs récurrents dans sa filmographie, en particulier la figure du double. Il propose surtout une construction fictionnelle que Passion pousse à son extrême : une linéarité narrative qui devient peu à peu moteur de dérèglement.