Academic literature on the topic 'Low budget films – Production and direction'
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Journal articles on the topic "Low budget films – Production and direction"
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Robinson, Kelly. "An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30." Journal of British Cinema and Television 17, no. 2 (April 2020): 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.
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The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure’ during this turbulent period in British film history. Sparkuhl indisputably contributed to this achievement, working as he did on eight feature films in just two years from around July 1928 to April 1930, as well as directing several BIP shorts. Sparkuhl's career embodies the international nature of the film industry in the 1920s and 1930s. In Germany he moved within very different production contexts, from newsreels to Ufa and the Großfilme; in Britain from big-budget films aimed at the international market to low-scale inexpensive films at BIP. As what Thomas Elsaesser has called an ‘international adventurer’, Sparkuhl cannot be contained within any single national cinema history. The ease with which he slipped in and out of different production contexts demonstrates not just his ability to adapt but also the fluidity between the different national industries during this period. In this transitional phase in Britain, Sparkuhl worked on silent, part sound and wholly sound films, on films aimed at both the international and the indigenous market, and in genres such as the musical, the war film and comedy. The example of Sparkuhl shows that German cameramen were employed not only for their aesthetic prowess but also for their efficiency and adaptability.
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an eun-jung and 이원덕. "A Study on Music Production for Low - Budget Films." journal of the moving image technology associon of korea 1, no. 25 (December 2016): 61–76. http://dx.doi.org/10.34269/mitak.2016.1.25.004.
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Sen, Aditi. "‘I Wasn’t Born with Enough Middle Fingers’: How low-budget horror films defy sexual m orality and heteronormativity in Bollywood." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 75–90. http://dx.doi.org/10.15388/aov.2011.1.3931.
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Queen’s UniversityIn the early 1980s the Ramsay Brothers gave Bollywood a new genre of monster flicks with blockbusters like Purana Mandir, Hotel, and Veerana. Following the work of the Ramsay Brothers, low-budget horror films that were made exclusively for the small towns and rural market increased in the decades of 1980s and 1990s. These films are primarily known for their unintentional humor owing to poor production and acting, but they have never been acknowledged for their actual content. This article argues that Bollywood low-budget films fulfilled the basic function of horror movies—that is, they subverted mainstream moral order and sexual morality. These films opened up space for dialogues that the mainstream cinema had totally neglected; particularly, in the areas of incest, female lust, ‘othering’ of male sexuality, and transgendered identities. On a different register, the relationship between low-budget horror films and mainstream Bollywood can be compared to folklore and canonical literature, where folklore repeatedly resists the conformities endorsed by the mainstream prescriptive texts.
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Scott, Jason. "From Local Roots to Global Screens: Shane Meadows’ Positioning in the Ecology of Contemporary British Film." Journal of British Cinema and Television 10, no. 4 (October 2013): 829–45. http://dx.doi.org/10.3366/jbctv.2013.0182.
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This article provides a case study of the ecology of British independent film, as illustrated through the continuing career of Shane Meadows. I focus on the intersection between the practices of economic independence and creative independence, ameliorated by low-budget, local films that exploit festival showcasing and critical buzz to achieve international exhibition in a range of markets. While Meadows’ earlier films exemplify the reliance on television funding that has characterised British and continental European cinema since the 1980s, and the emerging significance of regional and Lottery-based funding in the 1990s, they also correspond to the local/international model of much low-budget European realist art cinema, best identified with the Dogme 95 films or those of the Dardenne brothers. Yet since Once Upon a Time in the Midlands (2002), Meadows has deviated from the established trajectory of recognised British auteurs, Mike Leigh and Ken Loach, instead utilising co-production funding to reduce his budgets to ensure maintaining artistic control. Akin to post-Dogme rule-based production manifestoes such as ‘Industrial Film DK’, Meadows has developed and revisited his own rules: film what you know – focusing on a particular local community, localised identities, and restricted locations – in addition to improvisational approaches to acting. Consequently Meadows has achieved recognition as a local but global film-maker.
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Krutnik, Frank. "Chiller-Dillers for the Shiver-and-Shudder Set: The Whistler Film Series." Film Studies 17, no. 1 (2017): 49–72. http://dx.doi.org/10.7227/fs.17.0004.
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This article explores the serial dynamics behind and within the succession of B-films Columbia Pictures developed from the popular CBS radio programme The Whistler. It examines how this anthology series developed within Columbias on going strategy of low-budget production, while responding to specfiic industrial challenges facing 1940s B-films. Besides looking at broader synergies between radio and cinema during this period, the article also qualies the tendency to categorise the Whistler movies as films noir, suggesting it is more productive to view them as products of a broader pulp serialscape that is shaped by alternative cultural and industrial logics.
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Rublev, Vladimir Vladimirovich. "Development prospects of budget passenger air transportation market in Republic of Kazakhstan." Vestnik of Astrakhan State Technical University. Series: Economics 2020, no. 2 (June 30, 2020): 70–80. http://dx.doi.org/10.24143/2073-5537-2020-2-70-80.
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The article analyzes the activities of the budget airline Fly Arystan of the Republic
of Kazakhstan at the market of passenger air transportation in the low-cost segment. The pricing policies of Fly Arystan airline and the largest European low-cost airline EasyJet (Great Britain) are considered. The data of government support for the development of the budget passenger air transportation market are provided. Based on the Fly Arystan development concept and plans to expand the aircraft fleet there are presented the possible options for expanding the domestic and international route network. The experience of the Russian low-cost airline Pobeda (Aeroflot Group) related to the expansion of the route network is presented. The key factors of the development efficiency of the segment of budgetary passenger air transportation in the Republic of Kazakhstan are measures of state support for updating and expanding the aircraft fleet (subsidizing leasing), modernizing the ground air transport infrastructure, energy self-sufficiency due to the regional production and refining petroleum products, and a favorable geographical position. With the successful
of the development of the national system of passenger air transportation the Republic of Kazakhstan may become a leading regional market player. The development priority direction should be the concept of connecting flights through the main hubs (Nur-Sultan, Almaty) in the following areas: the Russian Federation (Southern Federal District, Volga Federal District, Ural Federal District, Siberian Federal District) – the Kyrgyz Republic, the Republic of Uzbekistan , The Republic of Tajikistan. Developing the geography of the budget passenger air transportation, the Republic of Kazakhstan creates favorable conditions for the competition. The development of a network of regional and international destinations supports the system of national and international tourism, the participants of which are enterprises of the small and medium-sized business segment, which contributes to an increase in tax payments to the regional and republican budgets.
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Fortuna Jr., Grzegorz. "Narrative Strategies in Contemporary Independent American Horror Movies." Panoptikum, no. 19 (June 30, 2018): 121–30. http://dx.doi.org/10.26881/pan.2018.19.09.
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The main aim of the article is to paint a picture of contemporary American horror film and mark the division between its mainstream and independent sides. The first part focuses on topics, subgenres and strategies connected with mainstream American horror films; the second part is dedicated to the renaissance of low-budget, but original and artistically fulfilled horror movies produced outside Hollywood and directors that achieved commercial success thanks to following their vision and thinking outside the box. In the article, Grzegorz Fortuna Jr. uses methods connected with production studies research to discover how the economy, changing tastes of audiences and artistic ideas influence contemporary independent American horror film.
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Cucco, Marco. "Blockbuster Outsourcing: Is There Really No Place Like Home?" Film Studies 13, no. 1 (2015): 73–93. http://dx.doi.org/10.7227/fs.13.0006.
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The outsourcing of film shoots has long been adopted by US producers to cut costs and improve box-office performance. According to the academic literature, outsourcing is exploited mainly for low- and middle-budget films, but this article aims to demonstrate that blockbusters are also migrating towards other states and countries to take part in an even more competitive film location market. It investigates 165 blockbusters released between 2003 and 2013. The collected data show that blockbuster shoots are not an exclusive to California, but are re-drawing the map of film production in favour of an even more polycentric and polyglot audiovisual panorama.
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Kaspari, S., D. A. Dixon, S. B. Sneed, and M. J. Handley. "Sources and transport pathways of marine aerosol species into West Antarctica." Annals of Glaciology 41 (2005): 1–9. http://dx.doi.org/10.3189/172756405781813221.
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AbstractSixteen high-resolution marine aerosol (Na+, SO42–) records from spatially distributed International Trans-Antarctic Scientific Expedition (ITASE) ice cores spanning the last ~200 years from the Pine Island–Thwaites and Ross drainage systems and the South Pole are used to examine sources (sea spray and frost flowers) and transport pathways of marine aerosols into West Antarctica. Factors contributing to the amount of marine aerosols transported inland include sea-ice extent, the presence of open-water features (polynyas, leads), wind strength and direction, and the strength and positioning of low-pressure systems. Analysis of SO42–/Na+ ratios indicates that frost flowers can contribute significantly (40%) to the Na+ budget of Antarctic ice cores. Higher Na+ concentrations in the Ross drainage system may result from greater production of marine aerosols related to frost flowers in the Ross Sea region in association with greater sea-ice extent and larger open-water areas. Significant positive correlations of sea-ice extent and the Na+ time series exist in some regions of West Antarctica. Higher wind speeds in winter and higher Na+ concentrations when sea-level pressure is lower indicate that intensified atmospheric circulation enhances transport and production of marine aerosols.
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Mbura, Issa. "Crux of the Bongo Movie from a Digital Disruption Lens." Umma: The Journal of Contemporary Literature and Creative Arts 9, no. 2 (January 31, 2022): 68–92. http://dx.doi.org/10.56279/ummaj.v9i2.4.
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This paper reports the findings of a study that had explored digital disruption as an analytical lens developed based on the constructs of two theories: the digital disruption theory and the disruptive innovation theory. The study had employed unstructured in-depth interviews, direct observation and virtual ethnographic to consult media experts, pioneer filmmakers, Bongo Movie’ producers, movies library’s keepers, movie retailers, movie translators (deejays) and social network sites (SNS) to collect data. Based on the study findings, the paper argues that the shift in technological paradigm, specifically from the use of expensive and inaccessible technologies used in filmmaking engendered the development and sustainability of the Bongo Movie genre in Tanzania. This technological paradigm shifts were twofold. To begin with, there was a transition from the use of celluloid film and analogue video cameras to digital video cameras in film production. Second, there was a shift from the use of optical prints and Vertical Helican Scan (VHS) tapes to optical discs such as Digital Versatile Discs (DVD) in the distribution of films. These changes in the technologies used in production and distribution of films provided entrants into the local film industry with necessary tools to produce low-budget films and service the low-end market of the country, which augured well with the country’s resource-poor context. Moreover, these Bongo Movies “disrupted” the erstwhile traditional, established, and stringent patterns of consumption of both locally-produced and foreign-imported films in local film markets. Overall, the Bongo Movie genre evolution appears to be a model of how digitally-motivated disruptions can occur in a local film market in a developing nation’s video-film industries and become a staple particularly among the low-end clientele.
Dissertations / Theses on the topic "Low budget films – Production and direction"
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Sutphin, Elizabeth Anne Hopkins. "The Last Two Years of David Brachman: Designing a Feature Film on a Micro Budget." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5523.
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This thesis documents my creative process as the Production Designer on the feature length micro budget film The Last Two Years of David Brachman, written and directed by Marc Casilli. The film is a dark comedy chronicling the life of David Brachman, a twenty-five year old with a stagnant life that is seemingly leading nowhere, as he pledges on his twenty-fifth birthday to change the path of his life in the next two years or commit suicide if he fails. The overall design concept of the film is rooted in realism, but allowed to contain elements that will remove the audience in order to lighten the load of the serious topic of death. With a nod to the 1950s family home and the nostalgia of decades past; David's world is created to show drastic shifts from his inert, routine life at home to the outside working world in to which he thrusts himself. The world outside of David's home is seen through a lens that exemplifies stereotypical social roles and thereby adds to his feelings of outcast and loneliness. Creating the versatile world of David Brachman presented challenges with the amount of locations, characters, and costumes changes; however, these challenges were further complicated by working on an overall micro budget of thirty-six thousand dollars, with approximately fifteen hundred dollars allocated to the art department and costuming. These challenges created a need for resourceful acquisition techniques and budgeting to ensure that the overall artistic vision was not sacrificed. Remaining true to the design aesthetic and the director's vision, my staff and I were able to overcome budgetary challenges, staffing changes that occurred during filming, and shifts in the production dynamic that created a sometimes chaotic filming environment. The careful planning and organization of each design element and their execution ensured the successful creation of David's world and a visual story to compliment the screenplay. Within this thesis I document my design process from my initial design proposal to the director through post production and final viewing of the completed film. Included here are specific details of my design process including script analysis, script breakdowns, location plots, budget tracking, stills from the film, a copy of the finished film, and all the paperwork generated in creating the film. A detailed journal of the filming process including obstacles I encountered as well as the solutions created throughout this process and a self evaluation and reflection on the final product of work are included.ID: 031001283; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes shooting script: The Last Two Years of David Brachman.; Title from PDF title page (viewed February 26, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 275-277).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Design
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Bowser, Alexander Jon. "Bad pixels challenges of microbudget digital cinema." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4852.
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Bad Pixels is a feature-length, microbudget, digital motion picture, produced, written, and directed by Alexander Jon Bowser as part of the requirements for earning a Master of Fine Arts in Film and Digital Media from the University of Central Florida. The materials contained herein serve as a record of the microbudget filmmaking experience. This thesis documents the challenges confronted by a first-time feature filmmaker; an evaluation of both the theory and application of a dynamic microbudget approach to digital content creation. From script development to digital distribution, the thesis aims to reflect on technical and procedural decisions made and assess their impact on the overall experience and final product.ID: 029810312; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes screenplay.; Thesis (M.F.A.)--University of Central Florida, 2011.
M.F.A.
Masters
Film
Arts and Humanities
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Taylor, Wayne T. "The use of domestic video cameras in the production of low budget drama for broadcast." Thesis, Queensland University of Technology, 1999.
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Just five years ago, the impact of changes that are now occurring in film and television, in the area of digital technology, could not have been foreseen. Production and post production techniques at the broadcast level have changed forever. The introduction of a small digital video format (miniDV), to domestic video production equipment, will impact on the next generation of filmmakers. New digital domestic video camera technology and its application in film and television industry is the area of my research.
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Tarrant-Willis, Tim. "Finding an audience : evaluating the production and marketing of low budget British films in the iFeatures production scheme, 2009-2014." Thesis, University of the West of England, Bristol, 2017. http://eprints.uwe.ac.uk/31722/.
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This thesis explores the first iteration of iFeatures, a grant-aided low budget production scheme in Bristol, UK, from 2009 – 2014. The scheme encouraged and trained filmmakers to develop digital marketing and distribution strategies to enable the three feature films, In the Dark Half (2012), Flying Blind (2013) and 8 Minutes Idle (2014) to compete in the market place against bigger budgeted films. Little original research on low budget marketing and distribution has been carried out which this thesis attempts to rectify. The research captured a specific period in history in which digital marketing and distribution was regarded by the UK Film Council (UKFC) and other stakeholders as techniques that would allow the low budget sector to find its audience, and overcame the century-long problems of how to sustain indigenous feature film production. The research findings are based on multiple data sources that collectively fill a gap in original research. Unprecedented access was obtained to major stakeholders including the iFeatures creative teams, BBC Films, the UKFC, sales agents and distributors. The in-depth interviews uncovered motivations and attitudes to marketing and these were analysed using Pierre Bourdieu’s framework (1986, 1996, 2001, 2003). In a separate chapter, conceptual approaches underpinning digital marketing and distribution, and the emerging strategies are also analysed. The three films are presented as case studies to show how each film adopted different strategies using digital and traditional marketing techniques. These case studies drew on unique data which captured the impact and scope of the online marketing, and over a thousand surveys from cinemagoers which showed the relative persuasiveness of both digital and traditional marketing. The thesis argues that iFeatures’ objectives were not achieved. Training filmmakers to become marketers did not account for their attitudinal dissonance nor the importance of symbolic capital. Also, coherent marketing strategies were lacking that understood and deployed the principles of marketing and emerging paradigms and logics. The case studies showed that digital marketing is only effective for defined audiences and when manipulated by expert personnel, and that traditional techniques should not be ignored. These results suggest that, as the commercial returns are so small, low budget filmmaking should exist to take creative risks and to develop talent and that its future may best be supported within a television business model.
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Ivanisevic, Paunovic Jelena. "From Low Budget to Big Business : Releasing Strategies for Indeoendent Films and Industry Division." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-181523.
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The objective of this thesis is observing the process of launching the small independent movie in the context of big film industry and its hegemony. We will observe the differences between low budget, independent, the auteur film and well known ’blockbuster' entertainment cinema products. In the analysis, we will not focus on the creative aspects of preproduction and production - such as script writing, film directing, casting, photography, and production design. We will observe the film from the pragmatic point of view in postproduction, film placement and distribution, from the last clip to the first introduction to the audience at film festivals. The complexity of the task is to make a distinction between defining free, independent, auteur film as a piece of art and expression, and everything else that auteur film is not, despite the pragmatism in realisation of each film. This research will focus on film as art and as a sum of artistic teamwork, following its marketing and placement. Our aim is to find the factors that influence the success of launching low budget films of the independent film production in the US. Analysing the literature and researching the adequate examples, accomplished results will give us an idea of forming a pattern or directions for successfully launching an Independent film in the US film market. The example given in this paper is the authors' low budget film Boys Don't Cry(1999)produced by Chrisitne Vachon, where we can clearly analyse the way of developing of the film and postproduction activities of the producer, from the utmost postproduction margin, to winning an Oscar for the best female role by Hilary Swank, in the year of 2000. This film was chosen as an example in this thesis for being a successful low budget film with a strong women's author's identity, which finds its path in media from a marginalized queerfilm to a highly ranked film with great market placement. We pay special attention to an important detail - that women are in the role of the director and the producer.
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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
Books on the topic "Low budget films – Production and direction"
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John, Randall. Feature films on a low budget. Boston: Focal Press, 1991.
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Harmon, Renee. Film producing: Low budget films that sell. Hollywood: Samuel French, 1988.
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Harmon, Renee. Complete guide to low budget film production. Dubuque, Iowa: Kendall/Hunt Pub. Co., 1985.
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Cheap scares!: Low budget horror filmmakers share their secrets. Jefferson, N.C: McFarland, 2008.
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Indie film producing: The craft of low budget filmmaking. Amsterdam: Elsevier/Focal Press, 2012.
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Brown, Robert Latham. Planning the Low-Budget Film. Chicago: Chalk Hill Books, 2009.
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The complete guide to writing, producing, and directing a low-budget short film. Montclair, N.J: Limelight Editions, 2011.
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Cable, Philip R. Make movies that make money!: The low-budget filmmaker's guide to commercial success. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2009.
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Producer to producer: A step-by-step guide to low-budget independent film producing. Studio City, CA: Michael Wiese Productions, 2010.
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Garvy, Helen. Before you shoot: A guide to low budget film production. 3rd ed. Los Gatos, CA: Shire Press, 1995.
Find full textBook chapters on the topic "Low budget films – Production and direction"
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McElhaney, Joe. "Falling Hard: The Sin of Harold Diddlebock." In Refocus: the Films of Preston Sturges. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474406550.003.0008.
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This chapter addresses The Sin of Harold Diddlebock, Preston Sturges’s independent production after leaving Paramount.Diddlebock is an idiosyncratic film that takes many of the implications of Sturges’s cinema in some new directions. An expensive film that nevertheless looks low budget, Diddlebock is a film in which American ideals of money and social and economic success are the targets of ruthless satire. In addition, Sturges is obsessed here with temporality, the film’s images dominated by stasis, decay, and decline. In the title role, the aging silent comedy star Harold Lloyd embodies this idea of decline with a particular clarity. The film, while self-consciously drawing upon the “Harold” myth of Lloyd’s classic silent period, relentlessly exposes the fact that Harold has aged, his words and gestures now reduced to the level of cliché.
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Turnock, Bryan. "The Birth of Modern Horror." In Studying Horror Cinema, 99–118. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0006.
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This chapter focuses on the birth of modern horror. The horror genre is ultimately concerned with the battle between good and evil. At times this can be very clearly delineated, but in real life this is not always the case. At the time of its release, Alfred Hitchcock's Psycho (1960) was truly ground-breaking in its approach to horror in everyday life. Shocking and controversial, it was initially denounced by critics yet became a worldwide box-office sensation and set the direction of the genre for the next fifty years. One of the most analysed and discussed films in cinema history, and arguably the single most influential film in the evolution of the horror genre, entire books have been written about every aspect of Psycho's production, reception and lasting influence. By contextualising the film in the environment of a Hollywood that found itself under mounting pressures, the chapter examines how Hitchock's low-budget film changed the face of horror forever.
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Barr, Charles. "1933 and after." In British Cinema: A Very Short Introduction, 53—C4.F1. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/actrade/9780199688333.003.0004.
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Abstract This chapter discusses 1933 as a pivotal year for British cinema. This period saw Britain slipping back to cinematic subservience to America, as low-budget quota quickies proliferated and Hollywood stepped up its own production line of ‘British’ films. The chapter then looks at the cinema of Alfred Hitchcock, considering his partnership with producer Michael Balcon, who launched his directing career so astutely. Another significant event of 1933 is the expansion of John Grierson’s documentary unit, increasing its scope and influence. The chapter examines films such as Alexander Korda’s The Private Life of Henry VIII, Noel Coward’s Cavalcade, and Balcon’s The Good Companions.
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Turner, Peter. "The Making of The Blair Witch Project." In The Blair Witch Project, 15–32. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733841.003.0002.
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This chapter details the making of The Blair Witch Project (1999). The stories that surround the production of The Blair Witch Project are as fascinating as the final product. The circumstances of the film's low-budget production are legendary with stories of the cast being filled with real fear by the ‘method’ directing techniques of the two directors. From developing the script and financing the film to the extensive post-production period and taking the finished product to the Sundance Film Festival, the entire process is an inspiring example of inventive independent filmmaking. Ultimately, The Blair Witch Project is a film that could not have been made without advancements in camera technology beyond the early days of cinema.
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Turnock, Bryan. "Body Horror." In Studying Horror Cinema, 203–24. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0011.
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This chapter describes Canadian film-maker David Cronenberg as one of the most highly regarded auteurs within the horror genre. During the 1970s and 1980s, from low-budget independents to high-profile studio productions, the viewing of a 'David Cronenberg film' usually promised horror audiences a unique and disturbing experience. Coinciding with advances in make up and special effects, and the rise in popularity of the artists who created them, Cronenberg's films spearheaded one of the most popular sub-genres of the 1980s in the form of 'body horror'. The chapter looks at how and why this sub-genre emerged, a product of technological, commercial, and cultural changes in the industry, and how it relates to the 'transformation' films that had gone previously. It also discusses how such a distinctive director as Cronenberg was able to produce a successful mainstream horror film (The Fly, 1986) while remaining true to his own world view, and the lasting influence of his work on the genre as a whole.
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LoBrutto, Vincent. "Fencers." In Ridley Scott, 29–44. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.003.0005.
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Ridley Scott sets out to make his first feature film. First selected is the 1605 Gunpowder Plot, for which he collaborated on a screenplay, but he couldn’t get funding. Then he was interested on a film of the American nineteenth-century paleontologist “Indian” Capwell but was told by Hollywood it was too intellectual. He turned next to two other projects, Castle Accident for the Bee Gees and Ronnie and Leo but couldn’t find funding for either. Scott turned to Joseph Conrad’s story “The Duel.” Producer David Puttnam was interested and the project, The Duellists, was sold to David Picker at Paramount. The production was low budget and an arduous shoot. The film deals with men’s obsession with battle and featured handsome production values, putting Ridley Scott on the map as a film director.
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Poole, Benjamin. "Production." In SAW, 13–18. Liverpool University Press, 2011. http://dx.doi.org/10.3828/liverpool/9781906733568.003.0002.
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This chapter traces the production history of SAW (2004). The film was initially conceived and filmed as a short by its creators, James Wan and Leigh Whannell, in order to create a 'calling card' for potential backers. However, backers were suitably impressed, and the two received enough capital to expand SAW into a full-length cinema release. It is interesting to consider how such an apparently humble text as SAW, one that propagates such abject, extreme imagery, has caught the public imagination. Like other game-changing horror successes, SAW's budget was, by Hollywood standards, very low. However, low-budget successes are familiar to horror, with fans expectant of, and even encouraged by, a film's lowly roots. The distributors of SAW were quick to capitalise on the film's genre appeal. Lionsgate released the film, and every subsequent sequel, on the weekend before Halloween. This savvy marketing strategy imbued each film with the aura of an 'event' release. The impact of SAW on the genre industry is discernible in the extreme horror films that followed on from its success, films that emphasised their gory content and focused on themes of pain and suffering.
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Gustafsson, Tommy. "Slasher in the Snow: The Rise of the Low-Budget Nordic Horror Film." In Nordic Genre Film, 189–202. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.003.0014.
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Arguably, the horror film is the most frowned upon film genre, perhaps only surpassed by the porn film. Historically, the horror film has often been seen by Nordic film critics and film censors since the 1930s as something foreign or as yet another sign of unlawful Americanisation. Although the production of genre films has been prominent among all Nordic film industries ever since the silent film period, these genre films have mostly consisted of comedies and, especially in recent years, crime and detective films. The Nordic horror film in all its shapes and forms has been an anomaly in the Nordic countries, and this argument does not include the somewhat anachronistic genre labelling of films such as The Phantom Chariot (Körkarlen, Victor Sjostrom, 1921) and The Vampire (Vampyr, Carl Theodore Dreyer, 1932).
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Dixon, Wheeler Winston. "Gainsborough." In The Films of Terence Fisher, 37–94. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325345.003.0002.
Full textAbstract:
This chapter mentions Portrait from Life from 1948, a low-budget production that was made for Gainsborough and represented another step up for the young Terence Fisher. It talks about how Gainsborough referred to Portrait From Life in their publicity materials as Fisher's first full-length feature that hit the 90-minute mark. It also discusses Louise Heck-Rabi's excellent Women Filmmakers: The Critical Reception, which provides an invaluable overview of the Gainsborough production process. The chapter recounts how Sydney Box joined Gainsborough in August 1945 as head of production after its independent success as the producers of the 1945 smash hit The Seventh Veil. It discusses how Gainsborough became associated with productions in two distinct film genres: starry-eyed soap opera romances and topical films that exploited recent events in the news.
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Barradas Jorge, Nuno. "Digital Filmmaking at the Interstices." In ReFocus: The Films of Pedro Costa, 53–68. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444538.003.0004.
Full textAbstract:
This chapter offers a comprehensive discussion of the making of In Vanda’s Room (2000). It contextualises Pedro Costa’s use of digital video to sustain a low-budget shooting process that merges personal and professional agency. This filmcan surely be considered the filmmaker’s most radical approach to filmmaking, particularly with regards to its shooting process. Unsurprisingly, it is commonly analysed as the result of a personal endeavour which privileges creative independence and artisanal practices steering away from film industry norms. As this chapter explains, however, the film is as much a result of a low scale digital video artisanal practice as it is of production negotiations commonly observed in European film co-productions. Examining this interstitial quality, this chapter offers a fresh insight into the making of In Vanda’s Room by also scrutinising its finance and post-production processes, overlooked in previous academic and non-academic literature about the film.