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Yvette Biro (April 3, 1930, Budapest) [1] [2] [3] is a Hungarian-American essayist, screenwriterand Professor Emeritus at New York University Graduate Film School (NYU). Her early books on the aesthetics of film were first published in her native Hungary, which became handbooks for film-schools in the country.
Yvette Biro. She was the founder and Editor in Chief of FILMKULTURA, the journal of the democratic opposition. Vice-President of the FIPRESCI 1970-1977. Her German-French EXECUTION FOR FOUR VOICES won the Public’s Prize at the Berlin Film Festival, (1984) and her ARRIVALS AND DEPARTURES won a European Script Fund Award. (1991) Her last two ...
Yvette Bíro thoroughly analyzes this overlooked subject, examining various methods of temporal articulation. Relying on the richness of both classical and contemporary cinema, the author revisits the great masters such as Bresson, Ozu, Tarkovsky, Bergman, and Antonioni, as well as the directors of the Nouvelle Vague.
Yvette Bíró In the last few years I have been interested in the neglected values of slowness, an urge against the over-praised fast pace, the infatuation with feverish quickness, as it has become idolised in life as well as film.
NB. It was in the context of Yvette Biró's week-long Master Class on screenwriting in Budapest in the winter of 1994, that Marcell Iványi - along with the other participants in the workshop - was given a choice between two photographs by Lucien Hervé as an inspiration and starting point for a screenplay exercise.
Jun 12, 2015 · Yvette Biro retired from a long and distinguished academic career in the USA in 2007. Screenwriter, essayist and author of countless books and articles, she now resides in Paris. Her last book Turbulence and Flow in Film was published by Indiana University Press in 2008.
Yvette Biro’s new book, Turbulence and Flow in Film, is an excellent, well-written and very timely contribution to film scholarship. Biro, who is an esteemed emeritus film professor, screenwriter and essayist at New York’s University Graduate Film School has written an invaluable, highly perceptive and most welcome addition to the study of contemporary film aesthetics and theory.
