The link was not copied. Is particularly informative about strategies for getting her films produced within a male-dominated studio system and the concrete obstacles she faced. “Kathryn Bigelow.” In Women Film Directors: An International Bio-Critical Dictionary. “Kathryn Bigelow.” In The St. James Women Filmmakers Encyclopedia: Women on the Other Side of the Camera. Kathryn Bigelow does not make feminist films. The concept of FBI vs. a group of robbers called the Ex-Presidents with fitting masks already packs a punch, on top of Bigelow’s brilliant directing. True film art is collaborative, not the work of individual geniuses. Kathryn Ann Bigelow (San Carlos (Californië), 27 november 1951) is een Amerikaans filmregisseur.In 2010 won ze als eerste vrouw ooit een Oscar in de categorie Best Director (voor haar regie van The Hurt Locker).. Biografie. According to Hamburg and Zahedi 1989 and Smith 2003 (both cited under Interviews), she viewed film as a social tool powerful enough to enact genuine change in the world. ... As Pam Cook would likely argue, this desire to find the director’s gender in a film’s content and style is not necessarily a productive means of reading a film (228). Interview with Ana Maria Bahiana, in Cinema Papers (Melbourne), January 1992. For many critics, Kathryn Bigelow meets the criteria for the auteur. https://www.nyfa.edu/student-resources/directors-essentials-kathryn-bigelow © 2021 EVOI Productions. Emphasizes the filmmaker’s ambivalence about her status as a female director and finds a feminist angle in her “capacity to underline the limitations of thinking about certain kinds of genres as ‘masculine.’” (p. 56). Hurd 2007 examines many of her films in depth, providing a useful model for close textual analysis. Edited by Gwendolyn Audrey Foster, 41–43. Kathryn Bigelow, American film director and screenwriter, noted for action films that often featured protagonists struggling with inner conflict. You could not be signed in, please check and try again. Ransley 2002 provides a useful survey of her work. Director: Kathryn Bigelow | Stars: Jeremy Renner, Anthony Mackie, Brian Geraghty, Guy Pearce Votes: 424,368 | Gross: $17.02M A well-acted, intensely shot, action filled war epic, Kathryn Bigelow's The Hurt Locker is thus far the best of the recent dramatizations of the Iraq War. Kemp, Philip. Astutely summarizes the director’s career through Strange Days, with a critical examination of her style. Detroit: Visible Ink, 1999. n.a 1981 The Loveless n.a. Her frequent and notable action sequences are unique because of her use of "purpose-built" camera equipment to create unique mobile shots that are very distinctive and indicative of the physicality of her work. Westport, CT: Praeger, 2007. Hurd, Mary G. “Kathryn Bigelow.” In Women Directors and Their Films. Starting at 0:40 in the clip above, Bigelow's classic slow motion shot gives viewers a prolonged and more detailed look at the landscape and explosion. Kathryn Bigelow. Typical for a Kathryn Bigelow movie. Her first theatrical film, The Loveless (1982), was a post-postmodern biker flick inspired by Kenneth Anger followed by a vampire Western Near Dark (1987) and the surf heist picture Point Break. Here are some of Bigelow's favorite films: Lawrence of Arabia (dir. Edited by Yvonne Tasker, 54–60. Despite one of her recent releases, Detroit, being in the same sort of genre as the aforementioned movies, her emphasis on the quiet moments makes this recap of the 1967 Detroit riots an emotional rollercoaster as well as an intense action-packed film. Dark also packs some great makeup FX and occasional gore the scene the Terminator ( dir these... 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