Annotated Bibliography
“Ang Lee Wants to Go from 3D Novice to ‘Trailblazer’.” Variety. N.p., 28 Mar. 2013. Web. 03 Apr. 2013.
The article explains how due to Ang Lee’s recent success with his latest movie, Life of Pi, Lee plans to hopefully work with animation in more of his films. Lee explains that he believes that not only does he need to learn more about the growing technology used to create 3D movies, but he believes that Hollywood also needs too. In the article, Lee agrees with David Attenborough who stated, “The essence of 3D is wonderful imagery. If you lower the quality you’re defeating the point of the enterprise.” After working with 3D technology, Lee believes that he is ready to learn more considering technology is always advancing.
Chaney, Jen. Ang Lee Takes “Life of Pi” From the Bookshelf to the Big Screen. Washington Post. November 16, 2012. Newspaper Article.
This article talks about how ‘Life of Pi’ was originally a book written by Yann Martel in 2001 before Ang Lee did am impressive job directing it into a cinematically genius film. The director of a book like this needs to be about to mirror the experience of being out at sea with not much else other than a boat, tiger and a boy. Ang Lee needed to grasp the psychological struggle between the characters and turn them into something visual. This all can be difficult for some directors to deal with while making a film with young actors and “potentially untamable animals.” Ang Lee was also will and capable of creating this film in 3-D something he had never done until ‘Life of Pi’.
“Cinema Interactive: Directing“ http://www.learner.org/interactives/cinema/directing.html Web. 1 Apr 2013 (NOT BEING USED)
This web article talks about the film directors and their abilities to have a specific vision and be able to turn that creative feeling into something visually real. The directors are the ones who create the scene from the words within the script. The director is the center of the film with all of the other important aspects of the film surrounding him or her. The great importance resting in the director’s hands is not usually seen or thought about by many film viewers. The actors and writers draw most of the attention to their roles. “Many Talented film directors with long lists of feature film credits are so skilled at being “invisible” that they are little known by the movie-going public.” The director plans out how a script will look on screen by imagining the characters come to life, see the changes or light, and hear the surroundings of each setting. This article also explains that once the director has a vision it also needs to assemble a case and crew. The film will have little success if the crew and cast of people working aside the director fail to perform at high levels. Therefore the director has strong input towards what will assist in making the best film possible.
Dilley, Whitney Crothers. The Cinema of Ang Lee: The Other Side of the Screen. London: Wallflower, 2007. Print.
In the book, The Cinema of Ang Lee, author Whitney Crothers Dilley introduces the award winning director Ang Lee and investigates his success in the world of film. The book takes a closer look into why Lee chooses each of his films as well as, discovers the common themes that are seen in Lee’s films. Dilley discovers how Lee’s movie such as Crouching Tiger Hidden Dragon and Brokeback Mountain are viewed as very different works of art; Dilley finds that all of Lee’s movies have examples of Lee’s heritage found within them. This book shows examples of Ang Lee’s heritage through the themes of family duty as well as, discovering one’s own identity.
Giardina, Carolyn. “Court Approves Prana’s Acquisition of Rhythm & Hues.” The Hollywood Reporter. Thehollywoodreporter.com, 29 Mar. 2013. Web. 30 Mar. 2013. (NOT BEING USED)
This article in the Hollywood Reporter is about the visual effects company which produced the Oscar winning film Life of Pi. They were recently sold to an international company made up of powerful business figures including a board member of Google. The company was pivotal in producing the immense set and CGI creations that are all seen in the Oscar winning film. Speculation is that this company backed by a much more financially stable conglomerate will help to usher in more spectacle films that are solely based around CGI and 3D movies. Compared to other articles this report is lacking on how directors would use this technology and only mentions Ang Lee in passing, making it a source I probably won’t use.
Garcia, Chris . “That’s a wrap! //As a century of American film rolls to an end, we pick the greatest 25 directors..” Austin American Statesman [Austin] 31 Dec 1999, Print. (NOT BEING USED)
Although this article comes from a newspaper/general-interest source, it highlights the importance and influence a movie director has on a movie (as well as highlights some of the best movies/directors of all times!) In the past it was assumed the movie-going public was oblivious or uncaring toward who the director of a movie was, however; according to this article, today’s movie-going public is well aware of many film directors and consequently will often base their choice on who was behind the camera, thus making the director’s task “more and more prone to proper scrutiny — and respect.” What I liked about this short article was the ability to focus on the theme that today’s movie public is more ‘savvy’ and often can recognize a movie based on who was directing. Examples include more current directors such as, Quentin Taratino, Woody Allen, Martin Scorcese, Steven Spielberg, as well as the classic directors such as Alfred Hitchcock, Frank Capra, Billy Wilder, and Charlie Chaplin. As a result, according to the article, “the more you can identify a director with a visual stamp and thematic consistency, the more you’re probably dealing with a filmmaker with vision, an artist, an auteur”.
Hamel, Keith. “From Advertisment to Entertainment: Early Hollywood Film Trailers.” Quartley Review of Film and Video. 29.3 (2012): 268-278. Print.
This scholarly journal article explores the history, timeline, effect of Hollywood’s movie trailer and the possible roles directors and producers play when it comes to marketing and advertising their films. Although the use of trade journals has always been a source of advertising and marketing not only the movies themselves, but also a source for marketing directors, producers, and actors. However, during the early days of Hollywood, the use of print media, posters, paid advertisements, and movie-house “marques” (lighted signs) were the most common ways Hollywood promoted their art. Although one of the questions brought forth in this article relates to the director and or producer’s role in the selling of a film, overall, the primary focus of this article is geared to the both origin and the gradual use of the movie trailer as a powerful form of advertisement. Consequently, although the article highlights an important element in the America cinema, it does not focus enough information on movie directors, their role and history in the industry.
Hamer, Molly. “Not Notorious Enough: The Transnational Feminism Of Ang Lee’s Lust, Caution And Its American Reception.” Asian Cinema 22.2 (2011): 322-351. Film & Television Literature Index. Web. 2 Apr. 2013.
This article emphasizes on Ang Lee and his talents as a director. Ang Lee grew up in Taiwan and has ended up a New York based film maker who is extremely good at directing. He has come out of Taiwan and shown Hollywood things that many directors have not dreamt of mastering. As far as directing goes Ang Lee has been the most successful director to have come from China regarding the amount of awards he has received in his career thus far. The article touches on how Lee uses his unique styles in Crouching Tiger, Hidden Dragon, The Ice Storm, and Brokeback Mountain. Overall this article decides that there can be no generalizations connected to Ang Lee and his national origins. But rather talks about the reward of his talents and abilities to use such affects in his each film being sure to pay close attention to the artistic quality of his directing. Within this story of his he is able to attract viewers in ways that many directors cannot create.
Ibbotson, Piers, and Lotte Darsø. “Directing Creativity: The Art and Craft of Creative Leadership.” Journal of Management & Organization 14.5 (2008). Print.
This article explores the challenges and decisions that lead directors must make when creating films including creative techniques, framing scenes, and determining genres. The article questions how directors are able to direct creativity discusses how a director uses techniques in order to make a film their own. The article also discusses how lead directors must use “creative constraints”. Creative constraints enable directors to outline their ideas for creativity seen in their films as well as, organizing and deciding what aspects or scenes are important for films.
Ivory, James. “Hollywood versus Hollywood.” Index of Censorship. 5.2 (1976). Print.
This article highlights some struggles or the “gray area” between directing a film and ultimately getting the film released to the public. Although the article is dated, the subject matter (i.e., censorship) is not. This article, by the American director, James Ivory (who is well known today by his collaboration with Ismail Merchant and “Merchant/Ivory” films) describes a personal experience he had getting his original version of a movie released. The article further explores who has final power over a movie (i.e., the final cut; having the director’s work re-edited) and who ultimately has (financial) control. Ivory equates this type of censorship (for commercial reasons) as an effect way to suppress dissent.
Kingdon, Tom. “Directing Actors for the Screen.” Journal of Film and Video 1st ser. 53 (2001): 54-66. JSTOR. Web. 27 Mar. 2013.
This article from the Journal of Film and Video is written by a professor from the university of Illinois and is a basic outline of the duties and responsibilities directors have. He starts by laying out duties which one would have like cinematography, technical, and plot aspects. These duties are not a directors sole responsibility but the final decisions for these departments go through you as a director. One must also have a final vision before starting out because throughout a films production the bureaucracy of film companies may get in the way of your project and you have to know where you want to end. He goes on to tell how famous directors operate, like how Spike lee has a basic idea of a plot but let’s actors adlib and lets the film develop naturally. He also mentions how some take on multiple roles, like the Coen brothers who take main roles as cinematographers. The source itself is very in depth and is a great way to understand how some directors operate. It is also an introductory source to the role of directors and how they work on a set and in post-production.
Kuchwara, Michael. “From the stage to the screen theater directors and flocking to film–“American Beauty” was just the beginning.” St. Louis Post – Dispatch [St. Louis] 20 Jan 2000, n. pag. Print.
This newspaper article explores the how the Hollywood movie industry searches for talent, including movie directors. The article explores how stage directors (primarily on Broadway) transition from theater to Hollywood. It also explores some of the difficulties directors encounter when they switch from the stage to film. According to one director, Scott Elliott, “The movie industry tends to look around the theater for talent that can cross over”, but notes at the same time, it is often hard for stage directors to transition because “film directing is a different world.” Some of the highlights of the article focused on directors who were most successful in transitioning from stage to film, such as Orson Welles and Elia Kazan. According to the article, Orson Wells left the theater to direct two of the all-time movie classics, ‘Citizen Kane’ and ‘The Magnificent Ambersons’. Elia Kazan also had great success directing films in Hollywood, especially with the classic ‘On the Waterfront’ and ‘East of Eden’. However, in addition to his success, in transitioning from stage to film direction, Kazan was also able to “recreate his 1947 stage success of Tennessee Williams’ ‘A Streetcar Named Desire’ to a major film success, as well; starring Vivien Leigh and Broadway’s original Stanley Kowalski, and Marlon Brando. Other more current successful stage to film director transitions include Sam Mendes with the movie ‘American Beauty’.
Miller, Julie. “Life of Pi Director Ang Lee on the Heartbreak of Unknown Actors, His Brokeback Mountain Support Group, and Why He Went 3-D.” Vanity Fair. N.p., 20 Nov. 2012. Web. 03 Apr. 2013.
In this article, Ang Lee focuses on explaining his reasons for why he decided to make Life of Pi in 3-D and make the movie his first digital project from Taiwan. Lee explains that when he first decided to adapt the book Life of Pi into a movie because when he first read the book, Lee thought that creating the book into a movie would be impossible, but he wanted to direct because he enjoyed the challenge. Lee thought that creating the film in 3-D would help the audience relate more to the film as well as, be wowed by the protagonist, Pi’s, experience in discovering the new land.
McCarthy, Todd. “HBO Directors Dialogue: Ang Lee.” HBO Directors Dialogue. HBO. New York, New York, 4 Oct. 2012. YouTube.com. Film Society Lincoln Center, 5 Oct. 2012. Web. 11 Mar. 2013.
This special is available from HBO and is an interview as well as documentary with Ang Lee about his experiences as a director throughout his career. He discusses a lot within the Q&A portion of the show, but one of the main points he makes is that he is influenced from all the cinemas of the world. He uses the example of Chinese martial artists and how through their adlibbed choreography he was inspired to make Crouching Tiger, Hidden Dragon, and how he always loves to have British dry humor in his films. He goes on to explain that throughout his childhood he was very introverted and now in his older age he is able to express all the emotions he held within through his films. He also talks about fellow directors who he has learned and worked with, like Spike Lee, whom he went to film school with. There is also in depth discussion on his new film Life of Pi and how it is a culmination of his life’s work and vision. The interview reveals a lot on how Ang Lee operates as a director but there is also a lot of discussion on his upbringing and family life, information which would be an easy read in any other format except an interview. The source is insightful however even though it may lack in entertainment value, it is a great source for how Ang Lee operates as a director.
Nowell-Smith, Geoffrey. The Oxford History of World Cinema. Oxford: Oxford University Press Inc. , 1996. Print.
This book is extremely in depth and contains a plethora of information regarding the history, transition, and geographical influences in the world of cinema. This book covers many aspects of cinema including the history of cinema in multiple countries: India, Japan, Australia, America, Russia, Italy, France, and many more. This publication also covers many styles, techniques, and theories in the world of cinema: Auteur theory, Avant-Garde Film, the formation of Hollywood, Art Cinema, and Modern Cinema. Although I was not able to read this entire book, from what I was able to read I think it will be a extremely useful source for our project.
Rea, Steven. “On Movies: Dustin Hoffman on his directing debut and trying his hardest.” Philadelphia Inquirer, The (PA) 20 Jan. 2013: Newspaper Source. Web. 31 Mar. 2013.
In this article the writer is interviewing Dustin Hoffman but ends up delving into a deep conversation on the art of directing. Hoffman starts by telling of how this being his first try at directing at his advanced age is a weird start but that he has been directing his whole life from film school on. His experience has started when he realized he would always tell other actors what to do. He also had a great relationship crew and staff and knew how to let them control a film, even though he was directing he knew his expertise was in his interaction with the actors. He compares himself to a Woody Allen type and hopes later on hell have more opportunities to direct. The source is good to see the aspects of the operation of some directors and how Hoffman being a first timer has some good insight on the position. The source is good for the viewpoint of other directors compared to Ang Lee and is also good for its ability to tell the role of a director.
“RedShark News – Here’s the inside Story on the CGI Animations in Life of Pi.” RedShark News. RedShark, n.d. Web. 03 Apr. 2013. (NOT BEING USED)
In RedShark News’ article of how CGI animation was used in the movie, Life of Pi, explains how different camera angles were used in order to create the movie for Life of Pi. The author explains how a skyfall shot was used multiple times throughout the film. The article discusses how the different camera shots used are what helped to create the amazing CGI found in the award-winning movie.
Rosenthal, Marshal M. Green Screen Directing; Film & Television Literature Index. Videomaker; Mar2011, Vol. 25 Issue 9, p53-56, 4p.
Marshal Rosenthal talks about the multiple factors that go in to directing a film and the constant use of green screens. It is evident that after the film is made that the use of the green screen reduces costs of making the film due to todays improved modern digital computer technology. With technology and computers aliened the proper lighting needs to be applied. Not only is the use of the lights important but also the colors that need to be projected and all of the positioning’s of the actors need to line up with the picture being produced. The background being portrayed on the green screen needs to be see by the directors and used as a method to visually see the placement of actors and proper perspectives needed while using the green screen.
Scott, A.O. “Plenty of Gods, but Just One Fellow Passenger.” The New York Times n.d.: n. pag. Print.
This newspaper article explores how director Ang Lee created his vision of turning the book Life of Pi into a movie. In the article, Scott discusses two of Ang Lee’s biggest accomplishments in making this transition. The first accomplishment was Lee’s ability to use images in order to create the beautiful setting seen in Life of Pi. The second accomplishment of Ang Lee’s was his ability to use the CGI images in order make the animal animation, which was a new collaboration for Ang Lee in his award winning movies.
Silbergeld, Jerome. “Ang Lee’s America, In Living Colour.” Journal Of Chinese Cinemas 6.3 (2012): 283-297. Film & Television Literature Index. Web. 8 Mar. 2013.
This article comes from the Journal Of Chinese Cinemas and explores the relationship between the films Ang Lee has directed set in America versus his foreign based films. The article goes into detail on his use of color in each different film and how each film has a unique color pallet which makes it special. This a key feature of Ang Lees presence as a director, as he is known to have a large voice in cinematographic methods used within a film. Specifically the text deals with comparing his works like Crouching Tiger, Hidden Dragon to Brokeback Mountain. The latter dealing with a unique and vivid color structure which accentuates the culture and scenes Lee is trying to produce. Brokeback Mountain on the other hand has a very unique color pallet but it is one of earthy tones, with the American wests natural beauty being shown in its natural form. Although not discussed in this piece I feel like Life of Pi could be compared to some of his other films as his visually stunning masterpiece, it seems as if this would be the final form of Ang Lees love for incorporating vivid images and color into his work. This source itself is a bit biased towards his Taiwanese works and almost in a mocking fashion and almost discredits the works because of the subject matter involved. Other than that it seems to be a credible and interesting source.
Smedley, Nick. Divided World: Hollywood Cinema and Emigre Directors in the Era of Roosevelt and Hitler 1933-1948. Bristol: Intellect Ltd., 2011. eBook
This book studies three critical movie directors during the early 20th century (Fritz Lang, Ernst Lubitsch, and Billy Wilder) and explores the influence they had on American society from 1933-to-1948. This book highlights the intimate relationship between Hollywood and Franklin D. Roosevelt’s politics, especially during the 1930’s. Throughout the depression and the New Deal, Hollywood directors helped “reformulate capitalist values” (p. 245) via the film industry. With the use of cinema they were able to influence the American culture and thought by switching from a view of individualism to one of communal cooperation, social justice, and welfare. The early 1940’s review shows Hollywood holding onto its belief and connection to FDR’s democratic liberalism; however, ironically, when it comes to women’s rights, Hollywood “resisted female emancipation” (p.245). When Roosevelt eventually lends American military support to Europe and ultimately gets involved in WWII, Hollywood directors quickly came on board providing films celebrating America’s fighting spirit. The three primary directors studied in this book, regardless of their country of origin, all explored – and thus influenced – the American way of life; its institutions, values, and culture.
The Toronto Star. “Why Effects Artists Are ‘going Green’; International Competition Is Driving the Fight for Jobs.” Toronto Star 1 Mar. 2013, National ed., Entertainment sec.: E3-E3. LexisNexis Academic. Web. 31 Mar. 2013.
It talks about when Ang Lee won best director and had a long thank you speech but didn’t thank the “effects magicians who gave Life of Pi the tiger-on-a-lifeboat and the ocean that are central to its story.” it doesn’t have a lot to do with him but it talks about the credit the effects artists should have and how he did not recognize them. It could go both ways as a good or bad source.
Wang, Lihong. “Ang Lee’s Language Of Film-A Bridge Between the East and West.” China Today 55.6 (2006):56-59. Film & Television Literature Index. Web. 10 Mar. 2013.
This piece which is found in China Today is an exploration on the career of Ang Lee leading up to right after the release of Brokeback Mountain. It explores the career of Ang Lee in Asia and how he is the most renowned and prolific eastern director of all-time but has yet to become as recognized in the west. The way the author portrays Brokeback Mountain is that it will be the collision of the artistic values of the east with actors and culture of the west in a cross culture cinematic experience. It argues that the west will learn to value the artful use of color and the manner in which Ang Lee uses the visual of cinema to tell his stories. It goes on that the visual film is valued in the east and through his artistic storytelling Ang Lee will bring a new visual value to western cinema. Life of Pi could also be incorporated in this discussion as it is seen as an international film, with many different cultures involved in the story but in the actual film it is a stunningly visually told fim, with CGI animation as a centerpiece in the film. The source itself seems to be credible but as in other articles from China it seems to almost discredit Ang Lees American works, but overall a very interesting and credible view on his works
Watercutter, Angela. Stunning visuals make Up for Life of Pi’s Preachiness http://www.wired.com/underwire/2012/11/review-life-of-pi/. November 21, 2012. Trade Journal.
This article begins by explaining that the tendency of movies that start off talking about god or that may make you want to believe in some higher power tends to steer viewers away. Although ‘Life of Pi’ directed by Ang Lee starts out by informing the viewers that they are about to be told a story that will “make you believe in God.” Wired has credited this film as Lee’s most visually compelling films. The describe the significance of how Lee created a motion picture combining real people and CGI that was only imaginable in a Disney film.
mdsc100lee 