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The Cinema of Richard LinklaterWalk, Don't Run$
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Rob Stone

Print publication date: 2013

Print ISBN-13: 9780231165532

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231165532.001.0001

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American Art House

American Art House

Chapter:
(p.105) Chapter Four American Art House
Source:
The Cinema of Richard Linklater
Author(s):

Rob Stone

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231165532.003.0004

This chapter studies the role of dialogue in Richard Linklater's cinema. Out of many themes that are common to Linklater's most emblematic films, including the impossibility of distinguishing between what is real and what is not, dialogue is the most determinant factor in its form, content, meaning, making, and marketing. Dialogue is also crucial to the way in which the films are engendered, rehearsed, and shot. On one level, this emphasis on dialogue attests to Linklater's directorial interest in the theatre, and evident enthusiasm for collaborating with actors, but it is also what distinguishes the films from much of American cinema, and within that context, Linklater from many of his contemporaries. Accordingly, this dialogue-heavy account of the production, distribution, and marketing of the cinema of Linklater considers the extent to which Tape (2001), Me and Orson Welles (2008), Before Sunrise (1995), and Before Sunset (2004) inherit, warrant, express, embody and suffer the notion of art-house cinema.

Keywords:   dialogue, American cinema, Me and Orson Welles, Before Sunrise, Before Sunset, art-house cinema

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