|
Paul Joseph Schrader (born July 22, 1946) is an American screenwriter, film director, and film critic. Schrader wrote or co-wrote screenplays for four Martin Scorsese films: ''Taxi Driver'' (1976), ''Raging Bull'' (1980), ''The Last Temptation of Christ'' (1988) and ''Bringing Out the Dead'' (1999). Schrader has also directed 18 feature films, including his 1982 remake of the horror classic ''Cat People'', the crime drama ''American Gigolo'' (1980), the biographical drama ''Mishima: A Life in Four Chapters'' (1985), the cult film ''Light Sleeper'' (1992), the drama ''Affliction'' (1997), the biographical film ''Auto Focus'' (2002), and the erotic dramatic thriller ''The Canyons'' (2013). ==Schrader's upbringing and critical writing== Schrader was born in Grand Rapids, Michigan, the son of Joan (née Fisher) and Charles A. Schrader, an executive.〔(Paul Schrader Biography ) on ''Filmreference.com'', retrieved 2002-11-06.〕 Schrader's family practiced in the Calvinist Christian Reformed Church, and his early life was based upon the religion's strict principles and parental education. He did not see a film until he was seventeen years old, and was able to sneak away from home. In an interview he stated that ''The Absent-Minded Professor'' was the first film he saw. In his own words, he was "very unimpressed" by it, while ''Wild in the Country'', which he saw some time later, had quite some effect on him.〔John Brady, ''The craft of the screenwriter'', Simon & Schuster, 1982 (0-671-25230-5).〕 Schrader refers his intellectual rather than emotional approach towards movies and movie-making to his having no adolescent movie memories.〔 Schrader is of Dutch descent.〔()〕 Schrader received his B.A. from Calvin College, with a minor in theology. He then earned an M.A. in Film Studies from the UCLA Film School graduate program upon the recommendation of Pauline Kael. With her as his mentor, he became a film critic, writing for the ''Los Angeles Free Press'', and later for ''Cinema'' magazine. His book ''Transcendental Style in Film: Ozu, Bresson, Dreyer'', which examines the similarities between Robert Bresson, Yasujirō Ozu and Carl Theodor Dreyer, was published in 1972. The endings of Schrader's films ''American Gigolo'' and ''Light Sleeper'' bear obvious resemblance to that of Bresson's 1959 film ''Pickpocket''. His essay ''Notes on Film Noir'' from the same year has become a much-cited source in literature on film. The September–October 2006 issue of ''Film Comment'' magazine published his essay ''Canon Fodder'' which attempted to establish criteria for judging film masterworks. Other film-makers who made a lasting impression on Schrader are John Ford, Jean Renoir, Roberto Rossellini, Alfred Hitchcock and Sam Peckinpah. Renoir's ''The Rules of the Game'' he called the "quintessential movie" which represents "all of the cinema".〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Paul Schrader」の詳細全文を読む スポンサード リンク
|