John Ellis

参加作品

The Man Who Ruined the British Film Industry
Producer
Documentary about John Davis, a businessman who as chairman oversaw the decline of the Rank Organisation.
The Man Who Ruined the British Film Industry
Director
Documentary about John Davis, a businessman who as chairman oversaw the decline of the Rank Organisation.
New Chinese Cinema
Producer
Tony Rayns presents the work of the 'Fifth Generation' and other innovative filmmakers who emerged during the 1980s in China.
The Cinema of Stephen Dwoskin
Producer
A exploration of the origin, theory, philosophy and themes of Stephen Dwoskin's films from 1963 to 1984.
Visions Cinema: Film in the Philippines - A Report by Tony Rayns
Editor
Film critic Tony Rayns interviews Lino Brocka and other prominent Filipino filmmakers.
Visions Cinema: Cinema in China - An Account by Tony Rayns
Editor
History of filmmaking in China from its beginnings in the 1920s to 1982, featuring Shanghai cinema of 1930s; the progressive filmmakers; the organisation of filmmaking under the post-war communist government; the impact of the Cultural Revolution; the work of Xie Jin.
Visions Cinema: Cinema in China - An Account by Tony Rayns
Producer
History of filmmaking in China from its beginnings in the 1920s to 1982, featuring Shanghai cinema of 1930s; the progressive filmmakers; the organisation of filmmaking under the post-war communist government; the impact of the Cultural Revolution; the work of Xie Jin.
Visions Cinema: Film as a Way of Life: Hong Kong Cinema - A Report by Tony Rayns
Editor
Examines the early 1980s Hong Kong filmmaking community. Tony Rayns interviews some of the new generation of filmmakers and figures from the wider film culture.
「パッション」のためのシナリオ
Editor
Godard constructs a lyrical study of the cinematic and creative process by deconstructing the story of his 1982 film Passion. “I didn’t want to write the script,” he states, “I wanted to see it.” Positioning himself in a video editing suite in front of a white film screen that evokes for him the “famous blank page of Mallarmé,” Godard uses video as a sketchbook with which to reconceive the film. The result is a philosophical, often humorous rumination on the desire and labor that inform the conceptual and image making process of the cinema.