Paul Schrader

Schrader on Schrader is an essential set of dialogues with one of the most genuinely fascinating and uncompromising writer-directors in American film. Raised as a Calvinist and hence forbidden to partake of 'worldly pleasures' such as movies, Paul Schrader nevertheless defied his upbringing to become first a leading film critic, then a star pupil among the US 'movie brat' generation of the 1970s: writing the coruscating screenplays for Martin Scorsese's Taxi Driver and Raging Bull and directing such provocative pictures as Blue Collar, Hardcore and American Gigolo. Maturity has never sated his appetite for attacking 'difficult' material, from adapting Kazantzakis' The Last Temptation for Scorsese, to filming the singular lives of Mishima and Patty Hearst. Schrader on Schrader is a tour through this formidable body of work, including some of Schrader's finest critical essays.

Transcendental filmstil er Paul Schraders epokegjørende filmteori fra 1972. Boken dykker ned i den åndelige dimensjonen hos filmskaperne Yasujiro Ozu, Robert Bresson og Carl Theodor Dreyer, og kartlegger et ikke-psykologisk, hypnotisk, saktegående og transcendentalt filmspråk på tvers av regissører og kulturer. Boken har hatt enorm innflytelse på filmfilosofisk tenkning de siste femti årene, og presenteres her med Schraders nye forord fra 2018.

Kort tid før ’Taxi Driver’ modtog Guldpalmen i Cannes i 1976 besøgte Paul Schrader sit store idol Robert Bresson i Frankrig. Det blev en storsindet og vovet samtale om både filmkunsten og livet, der nu endelig findes på dansk

With a new introduction, acclaimed director and screenwriter Paul Schrader revisits and updates his contemplation of slow cinema over the past fifty years. Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state by means of austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This seminal text analyzes the film style of three great directors—Yasujiro Ozu, Robert Bresson, and Carl Dreyer—and posits a common dramatic language used by these artists from divergent cultures. The new edition updates Schrader’s theoretical framework and extends his theory to the works of Andrei Tarkovsky (Russia), Béla Tarr (Hungary), Theo Angelopoulos (Greece), and Nuri Bilge Ceylan (Turkey), among others. This key work by one of our most searching directors and writers is widely cited and used in film and art classes. With evocative prose and nimble associations, Schrader consistently urges readers and viewers alike to keep exploring the world of the art film.

The authoritative guide to Japanese film, completely revised and updated. Now available in paperback for the first time, A Hundred Years of Japanese Film by Donald Richie, the foremost Western expert on Japanese film, gives us an incisive, detailed, and fully illustrated history of the country's cinema. Called the dean of Japan's arts critics' by Time magazine, Richie takes us from the inception of Japanese cinema at the end of the nineteenth century, through the achievements of Kurosawa, Mizoguchi, and Ozu, then on to the notable works of contemporary'

A loner, Travis Bickle takes up driving a taxi in search of an escape from his sleeplessness and his disgust with the corruption he finds around him. His pent-up rage, fuelled by his doomed relationship with the political campaign worker Betsy, leads to an inevitable descent into psychosis and violence. One of the key films of the seventies, it won the Palme d'Or at the 1976 Cannes Festival. This volume also contains an extended interview between Schrader and Martin Scorsese in which they discuss their unique relationship - one which stretches from Taxi Driver through Raging Bull to The Last Temptation of Christ.