anton corbijn research

Anton Corbjin projects focus mainly on his own cultural interests, particularly music. Does this make him an auteur?

Films:

• Control

control is a biopic about Joy Division's Ian Curtis. came out in 2007, directed by anton. based off of deborah curtis's autobiography. anton's first iconic photography work was with joy division and it brought to light his skills and uniqueness as a photographer before being a videographer and director. 

• Linear

Linear is a film with a story written by both Corbijn and U2's Bono. Came out in 2009. Released alongside U2's 'No Line Alongside The Horizon' album. 

• Devotional

Depeche Mode's iconic devotional tour, all directed by Anton. Stage design, colouring and costumes all decided by Anton. All visuals (films on screens onstage and photography) also designed by Corbijn. Anton's first ever full-length film.

• Life

Life is a biographical drama, written and directed by Corbjin. It follows the build up of a  relationship between James Dean and budding photographer, Dennis Stock.

Music videos:
All, if not most, of Anton's music videos are shot in a grainy black and white or sepia. Anton is known for working with alternative artists of the 80s and 90s, such as Depeche Mode, U2 and Echo & the Bunnymen.

• Behind the wheel

Fifth music video shot with Depeche Mode, initiating the relationship between the band and Corbjin. As this was the second album the two had worked together on, the image Corbjin had begun to create was gradually establishing and becoming more and more recognisable at this point. Shot entirely in black and white.

• Pride in the name of love

First music video shot with U2. Anton's 6th music video. Shot entirely in sepia tones.

QUOTES

1.) Anton Corbjin as a minimalist, referring to the Devotional film.

https://books.google.co.uk/books?id=8dlapcBLwu0C&pg=PT473&lpg=PT473&dq=anton+corbijn+interview+depeche+mode&source=bl&ots=MVy-yNKvBg&sig=3nraXTYYEm5PRHwNvgllgVEv8M8&hl=en&sa=X&ved=0ahUKEwiuoa7V4dHWAhWrIcAKHTV6BbQ4HhDoAQhCMAU#v=snippet&q=corbijn%20devotional&f=false

I have chosen to use this book as reference as it talks about how Corbjin had almost won an award as big as a grammy for the tour's film. He also talks about how Depeche Mode's music is quite 'filmic', then proceeding to explain how easy it was to combine the two together. The book also has quotes from band members on Corbjin, such as Andy Fletcher stating that the band didn't have a visual side until Corbjin gave them a trademark image which is similar to U2's at the time. The book also talks about Anton's and the group's choices to film music videos in black and white. Links to Devotional film

2.) http://www.indielondon.co.uk/Film-Review/control-anton-corbijn-interview
This interview explores Anton's reasoning behind shooting in his signature black and white, his personal relationship with Joy Division and how it helped him to create the film.

3.) Talking about his work with musicians - Depeche mode & U2:

http://the-talks.com/interview/anton-corbijn/
Anton talks about his experiences in the 90s as a music photographer. 

4.) control & life interview:

http://www.hammertonail.com/interviews/a-conversation-with-anton-corbijn-life/
"I came to England for Joy Division".
In this article, Corbijn reminisces on his first real photography work for a musician that allowed him to have his iconic style noticed by the masses. It also refers to his first encounter with Joy Division, linking to his later work in making Control.                               

5.) Fondness of James Dean:

http://dutchcultureusa.com/blog/2646/interview-with-photographer-and-director-anton-corbijn
In this interview, Corbjin talks about how reluctant he was to choose an actor to play James Dean and how hard it was, due to how he feels that he is such an individual character.

6.) linear: its not a music video
"U2 Linear: it's not a music video"

“It is not an extended music video or a U2 documentary, it’s a new way to listen to a record – a new way to use film to connect to music,” claims Corbijn.

This quote signifies how Anton's work links with music. It could be argued that it is an emphasis of his feelings towards the band's music.

7. https://www.youtube.com/watch?v=kV7i4M65UYk

A clip from the Anton Corbijn documentary 'Inside Out' of which Depeche Mode's Martin Gore speaks about Anton's work having a 'certain gravity' and referring to it as 'serious'. He talks about how Anton helped the band develop a significant image. This suggests auteurship because the band were easily identifiable and had a much more iconic image after Anton worked with them. They became significant and it was easy to see who they were and also, who was behind the camera.

http://www.craveonline.com/site/728711-a-most-wanted-man-anton-corbijn-on-philip-seymour-hoffman-and-policing-the-globe#/slide/1 talking about why he cared more about life because it was following a photographer rather than james dean

la haine question (not finished)

6. explore how the stylistic choices contribute to the representation of the urban experience in the films you have studied for this topic

La Haine is a French film based in the location of a 'project', which is an estate where the working and underclass primarily live. The particular setting chosen helps to represent urban experience as rough, dirty and unkempt. This is because the mise-en-scene of the flat's interiors is very basic and hosts no luxuries. The audience are able to see the contrast between the urban settings to the more middle-class locations, particularly when Saiid goes to visit  his friend Asterix in a luxury flat in Paris. The audience are shown flats from the project, which have very plain furniture and are covered in posters of western idols, whereas Asterix's flat in Paris is far more minimalist and luxurious (minimalist interior design was the trend at the time).
Having the film predominantly based in a project provides a more truthful representation and a middle-class audience would be positioned in the setting. However, a project is quite a run-down and unappealing place to live, providing a truthful but negative representation. The purpose of the film is to show a real, raw image of what life is like for these men in the projects.
La Haine is, throughout the entire film, in black and white. This stylistic choice could have been used to represent a number of things: the divide between ethnicities, the divide between classes, to symbolise how similar people actually are when colour is removed, etc. Personally, I think that the film is in black and white to symbolise the differences between both classes and ethnicities as the group of protagonists are all minorities in ethnic or religious ways and are also the underclass, fighting against a predominantly white (though there are a few officers of different ethnicities) and middle class police force.
The choice of costumes within the film represent the urban experience significantly. Those who live in the projects are wearing very typical 90s streetwear, with brands from all over the world like Champion and Adidas. It could be argued that this fashion derives from western influences, however Adidas is German and Champion is French. Also, the style of tracksuits, with Vinz in particular, are quite eastern-european style, thus furthering the argument that it is not due to western influence. The choice of costumes represent urban style and experience by uniting the characters and making them all look similar. Dressing them in a particular way gives them a sort of uniform and allows the audience to indicate who is from the estate and who isn't. An example of this can be seen in the scene where they are all on the rooftop of the council building. There are a variety of brands, such as Saiid's brother wearing a Lacoste polo shirt and cardigan. Throughout the film, Vinz wears an Adidas jacket. The choice of costumes provide a typical and expected representation. The audience won't have been expecting the characters to be wearing suits or dressing middle-class. However, they are represented as united and together, considering how similarly they all dress.
In the film City of God, urban experiences are also represented in many different ways. The lighting of the setting is quite orange and similar to the golden hour photography style. This could perhaps simply be due to the fact that in Brazil it is constantly sunny, though it is not sunny and glowy as the film appears. Personally, I think the colour scheme of the film is similar to golden hour photography because it fits in with the 70s aesthetic. This stylistic choice could be done to