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Peter Weir is, without doubt, one of the most important Australian film directors of all time. His films have had a major impact, both in terms of the Australian film industry (Picnic at Hanging Rock, The Cars That Ate Paris, and Gallipoli) and as the work of an innovative auteur working within the confines of the Hollywood system (Witness, Dead Poets Society, Fearless, and The Truman Show). This fully revised and updated edition of Jonathan Rayner's acclaimed study takes an in-depth look at the career of a filmmaker who has, over the course of 30 years, put together a substantial and much-loved body of work. Rayner illustrates how Peter Weir brings a consistent vision to his films, no matter how disparate their subject matter - and how he uses his 'outsider' status in the American film industry to his advantage. The release of Weir's new movie, a sea-faring epic starring Russell Crowe, in ??? 2003, will likely heighten his status as a great director still further.
"What we see, and what we seem, are but a dream, a dream within a dream." Michael Bliss views Miranda's voice-over at the beginning of Picnic at Hanging Rock as so pivotal in explaining the films of Peter Weir that he borrows her words to create the title of his own study of the Australian filmmaker's work. Bliss views Weir as an artist whose values are rooted in the realm of the dream, of the unconscious. Surrealistic in technique, Weir avoids the pedestrian assurances of a material realm in favor of an irresolution that, while potentially frustrating, is nonetheless for him a more truthful representation of what he considers reality. For Weir, as for Plato, Bliss demonstrates, "empirical reality is nothing more than a shadow of what is real." Bliss also considers Weir's heritage. Australian cinema, Bliss explains, is characterized by melodramatic narratives born of a desire to see good and evil portrayed in striking opposition. Weir, for example, dramatizes the contradictory forces of light versus darkness, reason versus mystery, and rationality versus magic in such films as Picnic at Hanging Rock and The Last Wave. This melodramatic emphasis is evident as well in the polarized characterizations in such films as Witness, Dead Poets Society, and The Truman Show. Bliss also discusses Weir's use of another staple of Australian cinema-- "mateship," the celebration of the bond between male companions. But by making self-knowledge dependent on action involving one's friends, Weir gives mateship a new meaning. Moreover, like other Australian filmmakers, Weir emphasizes the starkness of the Australian landscape, which functions either as a hazard or a deadly challenge, at least until American mythology caused him to see nature in a more positive light. Also prominent in Weir's films is an Australian spirit of rebellion coupled with the Aussie ambivalence toward all aspects of British culture. To help explain Weir's films, Bliss looks to Freud and Jung, whom Weir has studied, and also to two other prominent purveyors of myth and archetype, Northrop Frye and Joseph Campbell. Virtually all Weir characters struggle toward a new mode of awareness, a psychological awareness based on archetypal truths. Many of his films involve archetypal journeys heading through conflict to spiritual unity. Weir's quest is to find out what we really know and how we know what we know.
The first published collection of interviews with the Australian director whose films include the Academy Award-nominated Witness, Dead Poets Society, Green Card, The Truman Show, and Master and Commander
This fully revised and updated edition of Jonathan Rayner's acclaimed study takes an in-depth look at the career of a filmmaker who has, over the course of 30 years, put together a substantial and much-loved body of work.
The Mystical Gaze of the Cinema by Richard Leonard Pdf
'Magical', 'out of this world', 'an experience you'll never forget': Peter Weir's films have enthralled audiences around the globe. Whether in iconic Australian works such as Picnic at Hanging Rock and Gallipoli or international mainstream thrillers such as Witness, Weir has deliberately created mystical movie experiences. Modern cinema studies is used to dissecting films on the basis of gender, class or race: now, for the first time, Richard Leonard shows that a mystical gaze also exists and is exercised in the secular multiplex temples of today. The Mystical Gaze of the Cinema is a meticulous and accessible book that uses a psychoanalytic approach incorporating the insights of Jung, film theory and theology to break new ground in what continues to be a hot topic in cinema studies: the spectator/screen relationship. Leonard provides a fresh and innovative perspective on what happens when we behold a film.
Peter Weir's "The Truman Show": The Ultimate Hidden Camera Special by Nadine Klemens Pdf
Seminar paper from the year 2002 in the subject Communications - Movies and Television, grade: 1,0 (A), Technical University of Braunschweig (English Seminar), course: HS Documentary Film, 16 entries in the bibliography, language: English, abstract: Through a spy hole in a bathroom cabinet we see a man in pajamas talking to himself in the mirror. Or is he talking to us? After a while, we hear a voice of a woman, telling him that he will be late. With a sigh, the man turns around and leaves the bathroom. On a black screen, we read "Day 10, 909"- then we see the man through another spy hole, dressed in a business suit, leaving his house for work. He greets his neighbors with a wide grin, and the neighbors enthusiastically greet back. As he adds "Oh, and in case I don′t see ye: Good afternoon, good evening and good night ", they react as though they think this was extremely funny. When the dog of his next-door neighbor comes to greet him, the man freezes, on his face an expression of terror. He waits till the dog moves back and is about to get in his car when the camera suddenly pans and we see a theatrical light falling out of the sunny sky. Suspiciously, the man goes to examine what has crashed down on the street in front of his house. He does not know what to think of the light, which has a tag on it, designating it as "Sirius". In disbelief, he gazes into the sky- is this how stars look like? The man is called Truman Burbank, and we are watching Peter Weir′s movie The Truman Show (1998). The movie is not a typical feature film as it mixes feature film elements and docu-soap elements. By confronting his audience with elements of its daily TV-programming, the docu-soap, Peter Weir establishes a satire of the media that leaves its viewers with the uneasy feeling that reality is not always what it appears to be. This work gives a short summary of the movie, as well as it depicts its style and structure. Furthermore, Peter Weir′s thematic concerns are explained. The
During the course of his twenty-odd-year filmmaking career, Peter Weir has accomplished what so many of his protagonists have failed to do: he has become an accepted, integral part of an unfamiliar culture. At the core of most of his films and at the least peripheral to all of them is the idea of the outsider trying - and ultimately failing - to come to terms with a culture vastly different from his own. Weir, a native of Australia whose name was synonymous with Australian cinema in the 1970s, turned to American filmmaking in the 1980s and never looked back. In Peter Weir: When Cultures Collide, Marek Haltof traces Weir's journey from intensely Australian filmmaker to successful Hollywood director, along the way finding surprisingly consistent evidence of Weir's thematic and visual interests despite dramatic changes in his choices of story and locale.
Winner of the Stanford Dolman Lifetime Contribution to Travel Writing Award 2020 The Mosquito Coast - winner of the James Tait Black Memorial Prize - is a breathtaking novel about fanaticism and a futile search for utopia from bestseller Paul Theroux. Allie Fox is going to re-create the world. Abominating the cops, crooks, junkies and scavengers of modern America, he abandons civilisation and takes the family to live in the Honduran jungle. There his tortured, messianic genius keeps them alive, his hoarse tirades harrying them through a diseased and dirty Eden towards unimaginable darkness. 'Stunning. . . exciting, intelligent, meticulously realised, artful' Victoria Glendinning, Sunday Times 'An epic of paranoid obsession that swirls the reader headlong to deposit him on a black mudbank of horror' Christopher Wordsworth, Guardian 'Magnificently stimulating and exciting' Anthony Burgess American travel writer Paul Theroux is known for the rich descriptions of people and places that is often streaked with his distinctive sense of irony; his novels and collected short stories, My Other Life, The Collected Stories, My Secret History, The Lower River, The Stranger at the Palazzo d'Oro, A Dead Hand, Millroy the Magician, The Elephanta Suite, Saint Jack, The Consul's File, The Family Arsenal, and his works of non-fiction, including the iconic The Great Railway Bazaar are available from Penguin.
Joan Lindsay's classic novel Picnic at Hanging Rock is a subtle blend of mysterious and sinister events set in a period of Australian social life drawn with loving nostalgia. The final chapter of the novel was removed at the request of her publishers, creating a mystery to which thousands have begged to know the solution. The missing chapter reveals what did happen to the schoolgirls who vanished from the Rock after a St Valentine's Day picnic in 1900, and holds commentaries by John Taylor, Yvonne Rousseau and Mudrooroo.