Film and Media Atlas

How Stories Are Broadcast
Sign In
Text size
100%
Theme

Switch Atlas

Source

Film and Media Atlas Original Articles

Atlas Register

This atlas's own editorial process: article-body facts are written directly for Film and Media Atlas in its own voice and cited to their own grounding source; the article-standing, review-status and sort-order facts on the same articles cite this entry instead, since they record the atlas's own review bookkeeping rather than a claim about the article's subject.

Facts
Source Type
reference
Reliability Tier
1
The atlas's own primary record of its Learn More article authorship and review bookkeeping; the strongest possible standing for a claim about what the atlas itself wrote and reviewed, though it carries no authority over the subject an article describes.
Sources
Film and Media Atlas Original Articles
Claims Backed By This Source (227 claims)

This source backs 227 claims across the atlas. As facts: 171 well-attested. Plus 56 entities citing it as a general reference with no single fact or relationship attached.

Disposition By Topic

  • Articles, 224 claims: 168 well-attested, 56 general references.
  • Sources, 3 claims: 3 well-attested.

Well-attested

171

Articles

A gardener, a television screen and a walk across the waterA one week script, a two hour forty five minute first cutA thesis film held back by its soundtrackCasting the horses of The Black StallionCleese as a polymath of British comedyDead Man: Blake's poetry, borrowed names and the character of NobodyFairy tale and horror as political argumentFive years as an assistant director: how Kurosawa learned the whole of filmmakingForgotten Silver: the film pioneer who never existedFrom a film school thesis to a slow-burning cult favoriteFrom a real gallery text to a fictional museum: how The Square was assembled from true incidentsFrom a schoolteacher script to a shared Palme d'Or: the making of Blue Is the Warmest ColourFrom a ski area to an independent film institutionFrom a stage company to Shakespeare on film: how Kenneth Branagh built his screen ShakespeareFrom Bruce Lee imitation to stunt comedy: how Jackie Chan found his styleFrom Chekhov and Dostoevsky to Cappadocia: the literary sources of Winter SleepFrom Eraserhead to Dune: how David Lynch moved between independence and studio controlFrom graphic designer to Die Hard villain, and the long effort to outgrow the labelFrom joke writer to auteur: how Woody Allen built his filmsFrom producer to director: the films of Richard AttenboroughFrom recording control to directing YentlFrom rights limbo to Marvel's first self-financed filmFrom star to director: Mel Gibson and films in period languagesFrom title cards to The Lodger: Hitchcock's apprenticeshipFrom YouTube shorts to an HBO dealHow a child actor traded his way into directingHow a first-time co-production built Babylon Berlin and aimed it at 1933How a sitcom star reshaped M*A*S*H from insideHow a Stallone action script became an Eddie Murphy comedyHow Bob Fosse turned his own heart attack into All That JazzHow Deliverance was made: a rewritten script, real stunts and a banjo lawsuitHow Grease changed on the way from stage to screenHow Inception built a corridor that turned a full circleHow Malpaso and Warner Bros. Gave Clint Eastwood Control of His FilmsHow Newhart and Wayans measured Richard Pryor's influenceHow radio gave Orson Welles his film careerHow Roman Polanski found a film industry that would back himHow Warren Beatty took control of his filmsJodie Foster behind the camera: Little Man Tate, Egg Pictures and a second career in directingKevin Costner and the director's gambleMade in Secret, Without a PermitNatural light, magic hour and a shared camera creditOne essay for five students: how The Breakfast Club answers its own assignmentOne film in three frame shapesPoint Blank: a dream, a ghost and a scene rewritten in rehearsalRuffalo and the research behind his portraits of real peopleSean Penn as a director: from The Indian Runner to Into the WildShooting in IMAX and the rule it inspiredThe rabbit Walt Disney lost and the mouse that followedTwo sorts of truth: how The Crown defends and answers for its inventions

Showing 1 to 50 of 57 entities carrying this claim.

General References

56

Articles

Two thousand cuts: how Requiem for a Dream was edited and ratedTwo ways of filming a musical tragedyWaiting for the tools: how Cameron paced film technologyWhy Chaplin helped found United Artists to keep control of his filmsWhy Underground divided its criticsWriting a film for one performer: Paul Thomas Anderson on Alana Haim

Showing 51 to 56 of 56 entities carrying this claim.

Comments (0)
No comments yet. Be the first to share a thought.
Reader Challenges (0)
No disputes yet. Spotted an error or a better source? Open the first one.