个人与独立电影制作:伊利亚·卡赞的《美国》

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摘要

随着20世纪50年代独立制作的增加和工厂式制作的减少,电影人很快就获得了更大的控制权。制片厂不能再决定所有的条款,被迫各让一半,这样双方都能获利。然而,在资金和发行方面,电影制作人仍然依赖于电影公司。伊利亚·卡赞(Elia Kazan)曾是好莱坞的合同导演,后来成为独立电影人之一,并成立了自己的制作公司。20世纪40年代中期,当他第一次进入好莱坞时,制片人已经主导了电影业。Kazan认为导演应该是第一位的,在财务、政治和美学方面应该不惜一切代价保持独立,他拒绝成为工作室的合同工。他开始写作,塑造剧本,选角和服装,导演和制作。卡赞决定对自己制作的电影进行更大的控制,他的电影制作方式将更少地关注利润,而更多地关注获得艺术自由。他在20世纪50年代和60年代制作和导演了他后来的所有电影。在本研究中,将对其中一部电影《美国》进行分析。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
PERSONAL AND INDEPENDENT FILMMAKING: ELIA KAZAN’S AMERICA AMERICA
As the independent production increased and factory-like production receded in 1950s, filmmakers were soon in greater control. The studios could no longer dictate all the terms and were forced to meet halfway so that both sides could profit. However, filmmakers were still dependent on the studios when it came to finance and distribution. Elia Kazan, being a former Hollywood contract director, became one of those independent filmmakers and established his own production company. By the time he first got to Hollywood in the mid-1940s, producers were already dominating the film industry. Kazan, believing the director should come first and be independent in financial, politic and aesthetic terms at all costs, refused to be a studio-contract worker. He started writing, and molding scripts do the casting and costuming, directing and producing. Kazan was determined to assert greater control over the films he made, and his way of filmmaking would be less about profits and more about gaining artistic freedom. He produced and directed all his subsequent films of the 1950s and 1960s. In this study, one of these films, America America will be analyzed.
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