{"title":"罗伯特·罗德里格斯：创造性教学","authors":"C. Berg","doi":"10.7560/tsll63204","DOIUrl":null,"url":null,"abstract":"ABSTRACT:This photo essay traces Robert Rodriguez’s career as a filmmaker and teacher from the time he was a film student at the University of Texas to the present. It examines a little-known aspect of the director’s career—his role as filmmaking teacher. I argue that from his first feature, El Mariachi (1992), to a recent thriller, Red 11 (2019), he has used his films as a means of teaching his low-budget, no-frills “Mariachi style” filmmaking method to beginning moviemakers.","PeriodicalId":44154,"journal":{"name":"TEXAS STUDIES IN LITERATURE AND LANGUAGE","volume":"63 1","pages":"173 - 198"},"PeriodicalIF":0.1000,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Robert Rodriguez: Teaching Creativity\",\"authors\":\"C. Berg\",\"doi\":\"10.7560/tsll63204\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT:This photo essay traces Robert Rodriguez’s career as a filmmaker and teacher from the time he was a film student at the University of Texas to the present. It examines a little-known aspect of the director’s career—his role as filmmaking teacher. I argue that from his first feature, El Mariachi (1992), to a recent thriller, Red 11 (2019), he has used his films as a means of teaching his low-budget, no-frills “Mariachi style” filmmaking method to beginning moviemakers.\",\"PeriodicalId\":44154,\"journal\":{\"name\":\"TEXAS STUDIES IN LITERATURE AND LANGUAGE\",\"volume\":\"63 1\",\"pages\":\"173 - 198\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2021-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"TEXAS STUDIES IN LITERATURE AND LANGUAGE\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7560/tsll63204\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"TEXAS STUDIES IN LITERATURE AND LANGUAGE","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7560/tsll63204","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE","Score":null,"Total":0}
ABSTRACT:This photo essay traces Robert Rodriguez’s career as a filmmaker and teacher from the time he was a film student at the University of Texas to the present. It examines a little-known aspect of the director’s career—his role as filmmaking teacher. I argue that from his first feature, El Mariachi (1992), to a recent thriller, Red 11 (2019), he has used his films as a means of teaching his low-budget, no-frills “Mariachi style” filmmaking method to beginning moviemakers.
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