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Faber and Faber Sean Penn: His Life and Times
Pages: 448, Hardcover, Faber and Faber
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£11.21
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Faber and Faber The Name of This Book Is Dogme 95
In March 1995, Danish director Lars von Trier--world famous after the success of <I>Breaking The Waves</I>--took part in a discussion on the centenary of cinema. He used the occasion to introduce the public to Dogme95, a manifesto for a new wave of film making. The leaflets which von Trier threw to the audience outlined the 10-point Vow of Chastity which the four-strong Dogme Brotherhood were required to sign. Influenced by the French New Wave, Dogme promised a rescue action for cinema, dispensing with studio lighting, insisting on hand-held cameras, and removing directors' names from the credits.<p>But was it all an elaborate joke, or a clever marketing ploy? After all, this was not von Trier's first published manifesto, and he later admitted that writing the 10 rules took half an hour and was a great laugh. However, from the moment the first two Dogme films--von Trier's <I>The Idiots</I> and Thomas Vinterberg's <I>Festen</I>--wer e screened to great acclaim at Cannes, critics were forced to pay attention. Since then, the Dogme rules have not only been invoked by other Danish directors, but by film-makers around the world, most notably American director Harmony Korine in <I>Julien Donkey Boy</I>.<p>In <I>The Name of this Book</I>, Richard Kelly reports on the making of a television documentary on the Dogme95 phenomenon. He interviews all the key figures of the movement, including directors, producers and actors. The result is impressive--a book which refutes the charge that Dogme is simply a prank aimed at increasing box-office revenue. While von Trier certainly has a penchant for irony, his insistence that it's not interesting if you don't take it seriously seems genuine. The Brothers are not suggesting that all films should follow the Dogme rules--they merely wished to try making one or more films each under the restrictions. Many of the interviewees see Dogme in a political light, as a reaction against the dominance of Hollywood and its slick visual style; all of them agree with the producer of <I>Festen</I> and <I>Mifune</I> that the idea is simply to gain creativity through self-imposition. Offering a glimpse of this creative ferment, Kelly's book is both informative and amusing, weighing up the success of Dogme95 and considering its potential as an international <I>avant garde</I>. --<I>John Oates</I>
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£8.57
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Faber and Faber The Donnie Darko Book
Pages: 198, Paperback, Faber and Faber
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£8.57
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Faber and Faber Alan Clarke
Pages: 288, Paperback, Faber and Faber
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£8.57
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