Проект Amos Gitai

#0 by vkarhu (Книгочей) (0 mesaje) at 2009-11-30 00:01:10 (783 săptămâni în urmă) - [Link]

Amos Gitai (born October 11, 1950 in Haifa, Israel) is an Israeli film director.

Amos Gitai was born in 1950 in Haifa. His father, Munio Gitai, was an architect of the pre-war Bauhaus movement in Germany. Amos studied architecture in Haifa and at the University of California Berkeley. He was called up to serve in the 1973 Yom Kippur War. As part of a helicopter rescue crew, he shot 8 mm footage of the fighting. Gitai has claimed that this served as his entry into the world of filmmaking. On his birthday, Gitai's helicopter was shot down by a Syrian missile on the Golan Heights. This experience had a great effect on his life and forms the basis of his film Kippur, an autobiographical depiction of his war service.

While highly acclaimed overseas, Gitai's films are not always popular with Israeli audiences. While Kadosh and Kippur were both major events in Israel, his other films have not always found an audience in his native country. Some Israeli critics see Gitai's style as too "European" for Israel, and believe he is more in the tradition of French cinema styles such as the Nouvelle Vague. This seems to be borne out by the fact that Gitai's films are considerably more popular in Europe and Gitai is seen as a major filmmaker in France whereas he is still something of an outsider on the Israeli scene. Israelis also complain that Gitai's presentation of Israeli political reality is often simplistic and one dimensional, an aspect of his films which is concealed from non-Israeli audiences.

Gitai has a very distinct and recognizable style influenced by European cinema and his own interest in architecture. His films tend to involve very long, unbroken shots matched with ambient music and long pauses in dialogue and action. As a result, his films move very slowly compared to today's popular style and tend to create a hypnotic effect rather than shocking the audience with rapid shifts in perspective and mood.

Gitai himself has stated that fictional filmmaking is like architecture, and that he seeks to create an allegorical or archetypal structure to his narrative films. This is very noticeable in films like Kippur and Alila in which long scenes play in a single shot, often without dialogue or music, turning the characters into part of the visual language of the film rather than setting them apart from it. Alila, in particular, only contains about 40 shots in total, an extremely low number for a feature length narrative film.

Gitai's films are highly political, something which is unusual in international cinema but not necessarily in Israel, which is a highly politicized society in which open and often harsh political statements are the norm. The major themes of his work tend to be intellectual and didactic, which is in contrast to his extremely visual and non-linear style of filmmaking. His films deal with issues like the existential experience of war (Kippur), the oppression of women by traditional religion (Kadosh), the relationship of the individual to the state contrasted with the relationship of the individual to the family (Alila), and the human cost of realizing political ideologies (Berlin/Jerusalem, Kedma). In many cases, such as Kadosh, Promised Land and Kedma, Gitai's films openly address very distinct political issues such as the division of religion and state in Israel, the exploitation of women by the Israeli sex industry, the historical debate over Israel's War of Independence, and the right of Israeli draftees to refuse military service. Gitai is openly left-wing in his politics and is sometimes accused of going too far in expressing his personal political positions and turning his films into polemics. This was a frequently expressed criticism of Kadosh.

Outside of politics, Gitai's films most frequently deal with the question of human relationships in a sociological context. He examines human groups, often in states of extremis, and their relationship to each other and their society. This fits Gitai's architectural interest, and he often depicts his characters struggling between their individuality and the structures (or strictures) of the society in which they exist.

Фильмография:

Bayit (1980)
Yoman Sadeh (1982)
Esther (1986)
Berlin-Yershalaim (1989)
Golem, the Spirit of the Exile (1992)
Zion, Auto-Emancipation (1998)
Yom Yom (1998)
Kadosh (1999)
Kippur (2000)
Eden (2001)
Kedma (2002)
Alila (2003)
Promised Land (2004)
Free Zone (2005)
Disengagement (2007)
Plus Tard (2008)

Editat de către vkarhu la 2009-12-05 09:09:14

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#1 by Zyper (Knight of TMD) (0 mesaje) at 2009-11-30 16:04:52 (783 săptămâni în urmă) - [Link]

#0 vkarhu, wtf? încă o temă pentru ai creat?

Editat de către Zyper la 2009-11-30 16:19:58

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#2 by vkarhu (Книгочей) (0 mesaje) at 2009-11-30 16:11:35 (783 săptămâni în urmă) - [Link]

#1 by Zyper
"Wtf?" Посмотри, кто создал оба проекта, и не лезь со своими советами.

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#3 by Zyper (Knight of TMD) (0 mesaje) at 2009-11-30 16:19:43 (783 săptămâni în urmă) - [Link]

#2 vkarhu, de ce ai creat 2?

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#4 by vkarhu (Книгочей) (0 mesaje) at 2009-11-30 16:24:14 (783 săptămâni în urmă) - [Link]

Девочка, у меня нет ни желания, ни времени отвечать на бессмысленные вопросы. Подумай хорошенько, ответ найдёшь сама. Всё намного проще, чем ты себе представляешь.
Тема закрыта, я к ней не возвращаюсь.

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