Lee from 50 Contemp Directors

Lee from 50 Contemp Directors - SPIKE LEE 15 Produced by...

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SPIKE LEE 15 Produced by BMW and overseen by David Fincher, the series also featured short films by J ohn Frankenheimer, Wong Kar-wai, Guy Ritchie and Alejandro Gonzalez lfiarritu. 16 P. Matthew s, 1999, p. 35. Filmography Pu shing Hands I Tui shou (Taiwan/ US , 1992) The Wedding Banquet I Xiyan (Taiwan/ US , 1993) Eat Drink Man Woman I Yin shih nan nyu (Taiwan/ US, 1994) Sen se and Sensibility (US/ UK , 1995) The Ice Storm (US, 1997) Ride with th e Devil (US, 1999) Crouching Tiger, Hidden Dragon I Wo hu cang lon g (China/ Hong Kong / Taiwan/ US, 2000) Cho se n (short, US, 2001) Hulk (US, 2003) Broke ba ck Mountain (US, 2005) Lust, Caution I Se ji e (US/ China/ Taiwan/ Hong Kong, 2007) Taking Woodstock (US, 2009) SPIKE LEE By Yvonne Tasker In a ftlmmaking career spanning a quarter of a century, Spike Lee has produced and performed in challenging drama, worked with - and rendered somehow distinct - an array of familiar genres and forms (musical, comedy, crime, thriller, biopic), and developed as an accomplished documentarist. Working across multiple forms - and across film and television- Lee's work is both extraordinarily diverse and connected by key themes and visual tropes: urban experience and the evocation of New York City in particular; racism in America and its connections to institutions, money and power; the possibilities of music as a prominent component of the texture of filin; men and masculinity, defmed by themes of responsibility, failure and reconciliation. Even while working across such a range of genres, his filins typically combine and exceed any one of the labels which we might attach to them : think of the high-colour musical number in his black-and-white debut feature She 's Cotta Have It , or the charged combination of domestic melodrama and urban life in Jungle Fe ver, or the juxtaposi- tion of documentary-style and rites-of-passage road movie that is Get on the Bus. More recent films such as She Hate Me and Miracle at 249
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SPIKE LEE St. Anna attempt to combine numerous contrasting plotlines in an attempt perhaps to suggest the connectedness of that which movies (and culture) more often keep apart. Combining political energy, a bold formalist style, perceptive use of music and sound commercial skills, Spike Lee has established himself as one of the most prominent figures working in US film culture. An African-American filmmaker whose work contends and engages with race in contemporary America, with history and with histories of representation, Lee's work innovates within a film industry that has erased, caricatured or exploited (packaged as a commodity) Black experience and culture. Back in 1989 fellow flimmaker Reginald Hudlin commented, 'Spike's films are evidence that you can make quality black films or even art ft!ms, and still make money' . 1 Since his breakthrough success with the low-budget, new-wave inspired She's Cotta Have It, Lee has not only kept working (hard enough for a filmmaker so explicitly antagonistic to mainstream images and studio culture) but kept up a commentary on Hollywood 's representation of African-Americans through interventions, commentary and, of course, his movies. Criticising the erasure
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  • Spring '14
  • CharlesM.Chilcoat
  • Jeffersons Lee

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