Producciones de Arte y Pensamiento, S.L.
|Editorial||Olivares & Asociados SL|
|Year||August / 2001|
|Language||Spanish / English|
|Pages||From 160 to 200|
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The eye of the film director, their choice of angle, the cross of different lines within a landscape, outdoor locations, an image that encapsulates the development of a later story, technical, conceptual and symbolic experiments... Without a doubt, cinema and photography are more closely related than any other language. For many cinema directors, the famous and those lesser known, both old and new, photography has acted as more than just a supporting tool for their work in cinema. Some of them had been commercial photographers before getting into directing, others have combined their films with a creative career as photographers while others have used photography as a creative outlet where cinema fell short. These are two ways of working with the image, providing a vision that is complementary and enriching and works that are often unknown or overshadowed by the fame of the director.
EXIT #3 carries out an in-depth investigation into the relationship between cinema and photography and an exploration into video. The two central artists are Wim Wenders and John Waters.
In addition to these two artists, the pages of EXIT feature images by Stanley Kubrick, Dennis Hopper, Carlos Saura, Abbas Kiarostami, David Lynch, Mike Figgis, Pedro Almodóvar, Jean-Luc Godard, Peter Greenaway, Leni Riefenstahl, Atom Egoyam, Iván Zulueta, Jack Smith, Dziga Vertov, Man Ray, Chris Marker and Robert Frank, amongst others.
EXIT # 3 presents texts by Doménec Font and Philippe Dubois about the relationship between cinema and photography, and a long poem in prose by Wim Wenders, accompanied by an article by Felipe Hernández Cava about the work of the German director, as well as Juan Guardiola’s juicy interview with John Waters and a piece about his photographic work, written by Manuel Vidal.