Individual film directors Books
University of Illinois Press Christian Petzold
Book Synopsis In eleven feature films across two decades, Christian Petzold has established himself as the most critically celebrated director in contemporary Germany. The best-known and most influential member of the Berlin School, Petzold''s career reflects the trajectory of German film from 1970s New German Cinema to more popular fare in the 1990s and back again to critically engaged and politically committed filmmaking. In the first book-length study on Petzold in English, Jaimey Fisher frames Petzold''s cinema at the intersection of international art cinema and sophisticated genre cinema. This approach places his work in the context of global cinema and invites comparisons to the work of directors like Pedro Almodovar and Rainer Werner Fassbinder, who repeatedly deploy and reconfigure genre cinema to their own ends. These generic aspects constitute a cosmopolitan gesture in Petzold''s work as he interprets and elaborates on cult genre films and popular genres, including Trade Review"An incisive and eye-opening overview of the work so far of Christian Petzold, arguably the most important and recognized film director working in German cinema today. Analytically rigorous yet accessible, Fisher's work will certainly be welcomed by many readers interested in contemporary German filmmaking and the development of international art cinemas in general. A great book."--Lutz Koepnick, author of The Dark Mirror: German Cinema between Hitler and Hollywood "Fisher's approachable book should be enough to inspire retrospectives in cine-clubs and archives alike."--Slant"Perceptive. . . . Jaimey Fisher sees the filmmaker as an exemplary cultural figure in post-reunification Germany for his wariness over the country's history as well as its newfound eagerness to embrace Reagan-Thatcher economics."--Shepherd Express"It is… impossible to overstate the significance of Christian Petzold, Jaimey Fisher's superb analysis of what many consider post-unification of German cinema's most important director… Fisher's well- researched and lucidly written analysis allows Petzold's oeuvre to become part of a 'neighborhood' of contemporary world cinema greats such as David Lynch, Todd Haynes, Kim Ki-Duk, Jim Jarmusch, Michael Haneke, Lars von Trier, and Steven Soderbergh."--Seminar; A Journal of Germanic Studies"Fisher's book offers an excellent sense of the kinds of characters, themes, and styles one finds in Petzold's work. He establishes Petzold as an auteur with global reach."--German Studies Review
£16.14
University of Illinois Press Germaine Dulac
Book SynopsisExplores the artistic and sociopolitical currents that shaped Germaine Dulac's approach to cinema while interrogating the ground breaking techniques and strategies she used to critique conservative notions of gender and sexuality.Trade ReviewResearch in the Humanities Award, University of Wisconsin-Milwaukee, 2015. “Williams's book is exemplary in tying together the multiple personal, political, social, and artistic strains running through Dulac's oeuvre. Although it may be surprising that we are only now getting the first book-length consideration of Dulac's career, it was well worth the wait.”--Afterimage "With its deft combination of biography, history, and criticism, Williams's book is now, and will likely remain for some time the resource on Dulac's life and work."--Choice "Within the burgeoning realm of archivally-based feminist film historiography, especially around early cinema, it is the singular achievement of Tami Williams's study of the career of Germaine Dulac that it manifests similar lessons about biography and offers us a thick rendition of a life that was so consequential in so many domains yet little known in its extension to most researchers. . . . The importance of Williams's book lies in the ways it goes beyond Dulac's life and career per se to offer a veritable picture of independent French cinema between the wars and especially to use the one life as a lesson about the possible place of women within that broader picture."--Film Quarterly"Tami Williams has produced a monumental, extraordinarily well-researched, highly readable portrait of one of the most significant figures in the history of cinema.... There is, quite literally, no other book like it anywhere, in any language. It is the first book of its kind and will always be the best." --Sandy Flitterman-Lewis, author of To Desire Differently: Feminism and the French Cinema"An authoritative, scholarly survey of one of France’s pioneer female filmmakers. Germaine Dulac: A Cinema of Sensations is a fascinating text for cinephiles and Francophiles alike. It may render any subsequent biographical attempts at Dulac as redundant when compared to such a comprehensive study."--Shepherd Express"[M]akes a significant contribution to the field of film study, offering the most thorough account yet of this important artist's life and work.... The research behind this manuscript is astounding . . . drawing upon a massive amount of primary source material few scholars have taken the trouble to examine."--Charles O'Brien, author of Cinema's Conversion to Sound: Technology and Film Style in France and the U.S."Williams's study is a pleasure to read, a model of feminist film history, and an achievement that suggests many avenues for future research."--French Studies"Williams delivers primary scholarship of the highest order. Her jargon-free prose blends biographical narrative, institutional histories of Belle Epoque feminism and syndicalism, economic and industrial considerations, as well as close analyses of films that survived and reconstructions of those that did not."--French Review
£21.59
University of Illinois Press Jan Svankmajer
Book SynopsisTrade Review"Keith Johnson’s Jan Švankmajer is a triumph: a bold, synoptic, and elegantly written conceptual survey that brings fully to life the animating ideas of the Czech surrealist artist-filmmaker. Attending to the work of animation as a philosophy of life rather than an aesthetic technique alone, Johnson’s book lucidly presents Švankmajer’s art as the bearer of 'a vital, emergent, biopolitical, ethical, and ecological outlook.' Featuring detailed analyses of the artist’s full body of cinematic, artistic, and curatorial work, as well as an illuminating set of interviews, Jan Švankmajer presents the Czech artist in vital, living color."--Jonathan Eburne, author of Surrealism and the Art of CrimeTable of ContentsCoverTitleContentsAcknowledgmentsANIMIST CINEMAHumiliation, or Object LifeOn the Marionette CinemaAnti-Illusion: Fantasy in G Minor and Et CeteraCombinatorics: The Last Trick and Game with StonesTragedies without Actors: The Ossuary and Fall of the House of UsherWunderkammer, or Creaturely LifeAmateur Play: Historia naturaeImpersonal Play: Picnic with WeissmannChild’s Play: Down to the Cellar, Alice, and Little OtikHaptics, or Animal LifeYou Are What You Eat: FoodThe Art of Conversation: Dimensions of DialoguePlease Touch: Conspirators of PleasureImagination, or Political LifeAs Above, So Below: Faust(Ab)normalization: The Flat, A Quiet Week in the House, and The Death of Stalinism in BohemiaAbsolute Freedom: LunacySurvival, or Ecological LifeFlat Ontology: Surviving LifeEthical Misanthropy: HmyzINTERVIEWS WITH JAN SVANKMAJERFilmographyBibliographyIndex
£16.14
University of Illinois Press Lana and Lilly Wachowski
Book SynopsisTrade Review"His attention to the sensorial and material--traced vividly through his method of close reading--are necessary approaches for scholars working to account for how race and gender intersect within trans* cinema." --Transgender Studies Quarterly"An admirable, focused study of the Wachowski sisters, best known for their postmillennial science fiction films, especially The Matrix franchise....makes a case for considering their work alongside the canon of new queer cinema, despite their exclusion from that corpus at the time of its formation. Highly recommended." --Choice"This book is a revelation! Leaving behind the more pedestrian methods of examining cinematic narratives of transgender lives, Cael Keegan goes one huge step beyond. With this book on Lana and Lilly Wachowski, we have in our hands the first book to consider the transgender content of the Wachowskis' massively influential cinematic practice. The trans* cinema of the Wachowskis is, according to Keegan, not just disruptive and wildly imaginative, although it is definitely that, it also represents an expansion of the popular imagination and a very different sense of life in and beyond the matrix. Keegan gives a masterful account of the Wachowskis' world and drops his readers down the rabbit hole of a trans* altered reality. Bon voyage."--Jack Halberstam, author of Gaga Feminism: Sex, Gender, and the End of Normal"Keegan approaches trans* in the Wachowskis' cinema not in terms of literal, figurative representation but rather as a lens through which new forms and narratives may be evinced. Trans* thus becomes at once an ideological critique, method, and sensory experience." --Film Quarterly"A beautifully poetic--detailed and elaborate, yet at the same time cohesive and linear--work of trans* inquiry and critique. At its heart, Keegan offers a 'loving' and critical technology of sensing, a somatechnical disposition with which one may be immersed in the Wachowskis' offer to sense differently, through the trajectories of gender and cinema." --Somatechnics"This captivating book does more than argue persuasively for the centrality of the Wachowskis' oeuvre in the recent history of cinema: it demonstrates how their embodied transgender experience is a central component of their aesthetic vision, and how transgender experience has become paradigmatic of visual semiotic practices in the increasingly ubiquitous digital media environment. Keegan offers lucid close readings of the entire Wachowski filmography, while also mapping generative points of overlap and intersection between cinema studies and trans studies. It makes a significant contribution to both fields."--Susan Stryker, founding coeditor, Transgender Studies Quarterly
£16.14
University of Illinois Press Cinematic Encounters Interviews and Dialogues
Book SynopsisTrade Review"Rosenbaum is arguably America's greatest living film critic. This stimulating collection forms a kind of essay about the types of dialogues and meditations that one can have about a film or a body of films. It is often absolutely riveting."--Alan Williams, author of Republic of Images: A History of French Filmmaking"Given the power and voraciousness of his mind, Jonathan Rosenbaum could dominate and devour everything in his path if he wanted to, like the bullying movies he abhors. But with his openness of spirit, he prefers films that let you question and participate. Those are also his activities in Cinematic Encounters, as he converses with great and good filmmakers he admires and swaps ideas and enthusiasms with his cinephile friends. Open the book and you, too, are welcome to join in."--Stuart Klawans, film critic, The Nation
£17.99
Indiana University Press JeanLuc Godard Cinema Historian
Book SynopsisProvides a guide to the wide-ranging cinematic, aesthetic, and cultural forces that shaped Godard's groundbreaking ideas on the history of cinema.Trade ReviewOverall, Jean-Luc Godard: Cinema Historian is quite simply a brilliant book, a sustained meditation on Godard's approach to history and his Histoire(s) du cinema, but also an extraordinary summation of Godard's entire career. * Year's Work in Critical and Cultural Theory *Witt provides a thorough account of Histoire(s) du cinéma's genesis and an erudite yet highly readable exegesis of its manifold narratives and ramifications * French Studies *Witt tackles his subject, in what is his first sole-authored book, in such an unfussy manner and without the elliptical quality tainting much Godard commentary—artsy, complicated prose trying to compensate for a kernel of confusion—that the experience of reading Cinema Historian is like a door swinging open. * New Left Review *[T]here is little to find fault with in Witt's methodically argued, rigorously researched and compellingly written text. It almost seems as if he has left no stone unturned in attempting to decipher Histoire(s) du cinéma, even if the futile nature of such an endeavour is freely admitted: there will always, in Godard's work, be elements that remain impenetrable to his exegetes. * Senses of Cinema *What Witt communicates nicely . . . is the richness and depth of Godard's project. Histoire(s) du cinéma is a work that needs to be engaged with on its own terms, but its complexity and strength are only enhanced by the kind of detailed analysis that Witt and others have begun to provide it with. * Film Quarterly *There has been a slew of important books lately devoted to post-60s Godard [] But none seems quite as durable—either a beautiful object or as a user-friendly intellectual guide—as Jean-Luc Godard: Cinema Historian, Witt's superbly lucid jargon-free book about Histoire(s) du cinéma. Copiously illustrated with frame enlargements that complement the text without ever seeming redundant, this examination of the philosophical, historical and aesthetic underpinnings of Godard's masterwork isn't only about a four and-a-half-hour video; it's also about the work's separate reconfigurations as a series of books, a set of CDs and a 35mm feature of 84 minutes. * Sight & Sound *Highly recommended. * Choice *Michael Witt's Jean-Luc Godard: Cinema Historian . . . [is] one of the most vital film books of recent memory. * Spectrum Culture *Table of ContentsAcknowledgmentsIntroduction: Godard's Theorem1. Histoire(s) du cinéma: A History2. The Prior and Parallel Work3. Models and Guides4. The Rise and Fall of the Cinematograph5. Cinema, Nationhood, and the New Wave6. Making Images in the Age of Spectacle7. The MetamorphosesEnvoiWorks by GodardNotesSelect BibliographyIndex
£25.19
Indiana University Press The Epic Cinema of Kumar Shahani
Book SynopsisExamines the major works of leading Indian film director Kumar Shahani and explores the reaches of modernist film aesthetics in its international form.Trade Review"It is a rare gift of intuition and understanding for a scholar to bestow on the artist who is her object of study the same beauty and elegance of expression that attracted her to the artist's work in the first place. Such is the gift that Laleen Jayamanne has bestowed on the oeuvre of Indian filmmaker, Kumar Shahani." -Sumita Chakravarty, author of National Identity in Indian Popular Cinema, 1947-1987 "What would cinematic thought be like refracted through the master filmmakers of Asia? As dazzling in performance as it is daring in conception, this breathtaking book weaves a response by working through the very fabric of Shahani's cinema and his affinities with other visionaries such as Baz Luhrmann. Giving us epic as living tradition and cinema as heritage for the future, Jayamanne is a rare, primary critic at the top of her creative powers. A landmark work for 21st century cinema studies." -Meaghan Morris, University of Sydney "Laleen Jayamanne allows herself to be (as she says) 'led astray' by one of cinema's most challenging contemporary practitioners to produce an entirely original interpretative frame for Kumar Shahani. She sees Shahani's work through material practices drawn from the South Asian subcontinent, even as she places him in a cinema peopled by such unlikely compatriots as Rocha and Pasolini, Kubrick and Paradyanov, and even Baz Luhrmann. Throwing light on this practice are concepts drawn as much from Eugenio Barba and Suely Rolnik as from D.D. Kosambi. Jayamanne's 'epic cinema' is revealed as deeply paradoxical, but capable of astonishing connections, relays of meaning and associations of ideas." -Ashish Rajadhyaksha, Senior Fellow, Centre for the Study of Culture and Society "This very personal book, rich in cinematographic crossreferences, will hopefully awaken the American film public to the unique experimental work of Kumar Shahani, scarcely known here, which opens film to some of its unexplored possibilities." -Fredric R. Jameson, Duke UniversityTable of ContentsPreface1. To Arrive at the Station: trains of thought2. To Leave the Factory: with cloth & film3. To Derail Thought: of infinity as motif or walking4. In the Beginning was Sound Nad: Tarang (Wave)5. Lapidary Dynamisms: river, stone, icon6. A Second Nervous system: Acting and Thinking7. Shahani and others8. Modulating Avatars: Shahani's Unit9. Memory of the World: Archive FeverNotesFilmographyBibliographyIndex
£62.90
Indiana University Press The Epic Cinema of Kumar Shahani
Book SynopsisExamines the major works of leading Indian film director Kumar Shahani and explores the reaches of modernist film aesthetics in its international form.Trade Review"It is a rare gift of intuition and understanding for a scholar to bestow on the artist who is her object of study the same beauty and elegance of expression that attracted her to the artist's work in the first place. Such is the gift that Laleen Jayamanne has bestowed on the oeuvre of Indian filmmaker, Kumar Shahani." -Sumita Chakravarty, author of National Identity in Indian Popular Cinema, 1947-1987 "What would cinematic thought be like refracted through the master filmmakers of Asia? As dazzling in performance as it is daring in conception, this breathtaking book weaves a response by working through the very fabric of Shahani's cinema and his affinities with other visionaries such as Baz Luhrmann. Giving us epic as living tradition and cinema as heritage for the future, Jayamanne is a rare, primary critic at the top of her creative powers. A landmark work for 21st century cinema studies." -Meaghan Morris, University of Sydney "Laleen Jayamanne allows herself to be (as she says) 'led astray' by one of cinema's most challenging contemporary practitioners to produce an entirely original interpretative frame for Kumar Shahani. She sees Shahani's work through material practices drawn from the South Asian subcontinent, even as she places him in a cinema peopled by such unlikely compatriots as Rocha and Pasolini, Kubrick and Paradyanov, and even Baz Luhrmann. Throwing light on this practice are concepts drawn as much from Eugenio Barba and Suely Rolnik as from D.D. Kosambi. Jayamanne's 'epic cinema' is revealed as deeply paradoxical, but capable of astonishing connections, relays of meaning and associations of ideas." -Ashish Rajadhyaksha, Senior Fellow, Centre for the Study of Culture and Society "This very personal book, rich in cinematographic crossreferences, will hopefully awaken the American film public to the unique experimental work of Kumar Shahani, scarcely known here, which opens film to some of its unexplored possibilities." -Fredric R. Jameson, Duke UniversityTable of ContentsPreface1. To Arrive at the Station: trains of thought2. To Leave the Factory: with cloth & film3. To Derail Thought: of infinity as motif or walking4. In the Beginning was Sound Nad: Tarang (Wave)5. Lapidary Dynamisms: river, stone, icon6. A Second Nervous system: Acting and Thinking7. Shahani and others8. Modulating Avatars: Shahani's Unit9. Memory of the World: Archive FeverNotesFilmographyBibliographyIndex
£21.59
Indiana University Press Ten Arab Filmmakers
Book SynopsisTrade ReviewTen Arab Filmmakers contributes in a positive, meaningful way to the general advancement of MENA studies in American institutions of higher education, encouraging students and the general public to learn about the Arab world from diverse perspectives. * Journal of North African Studies *Gugler has done an admirable job taking the reader on a complex but passionate journey through the work of ten Arab fi lmmakers. * Black Camera *Illustrated with arresting stills and superbly edited, this volume is sharp, incisive, and thought provoking. . . . Essential. * Choice *Ten Arab Filmmakers represents a timely and important resource for educators, scholars, and students. * Studies in Eastern European Cinema *Table of ContentsIntroduction: Auteur Directors, Political Dissent, and Social Critique Josef Gugler1. Nabil Maleh: Syria's Leopard (Syria) Christa Salamandra2. Jocelyne Saab: A Lifetime Journey in Search of Freedom and Beauty (Lebanon) Dalia Said Mostafa3. Michel Khleifi: Filmmaker of Memory (Palestine) Tim Kennedy4. Elia Suleiman: Narrating Negative Space (Palestine) Refqa Abu-Remaileh5. Youssef Chahine: Devouring Mimicries or Juggling with Self and Other (Egypt) Viola Shafik6. Daoud Abd El-Sayed: Parody and Borderline Existence (Egypt) Viola Shafik7. Yousry Nasrallah: The Pursuit of Autonomy in the Arab and European Film Markets (Egypt) Benjamin Geer8. Mohamed Chouikh: From Anti-colonial Commemoration to a Cinema of Contestation (Algeria) Guy Austin9. Merzak Allouache: (Self-)Censorship, Social Critique and the Limits of Political Engagement in Contemporary Algerian Cinema (Algeria) Will Higbee10. Nabil Ayouch: Transgression, Identity, and Difference (Morocco) Jonathan SmolinFilm IndexName Index
£21.59
Indiana University Press The Politics and Poetics of Black Film
Book SynopsisTrade ReviewOne of the most sensitive films about black life ever made in this country.1993 * on the film Nothing But a Man *Table of ContentsIntroduction: Nothing But a Man and the Question of Black Film / David C. Wall and Michael T. MartinFilmmaker Statements Michael Roemer Robert M. YoungEssays Demanding Dignity: Nothing But a Man / Bruce Dick and Mark Vogel Nothing But a Man / Thomas Cripps The Derailed Romance in Nothing But a Man / Karen Bowdre Can't Stay, Can' Go: What is History to a Cinematic Imagination / Terri Francis Civil Rights, Labor, and Sexual Politics on Screen in Nothing But a Man / Judith SmithInterviews Historicity and Possibility in Nothing But a Man: A Conversation with Khalil Muhammad / David C. Wall and Michael T. Martin Cinematic Principles and Practice at Work in Nothing But a Man: A Conversation with Robert Young / Michael T. Martin and David C. WallScreenplay Nothing But a ManPress Kit from Cinema V Distributing, Inc. (1965)Filmographies Michael Roemer Robert M. YoungSelect Bibliography
£56.10
Indiana University Press The Politics and Poetics of Black Film Nothing
Book SynopsisTrade ReviewOne of the most sensitive films about black life ever made in this country.1993 * on the film Nothing But a Man *Table of ContentsIntroduction: Nothing But a Man and the Question of Black Film / David C. Wall and Michael T. MartinFilmmaker Statements Michael Roemer Robert M. YoungEssays Demanding Dignity: Nothing But a Man / Bruce Dick and Mark Vogel Nothing But a Man / Thomas Cripps The Derailed Romance in Nothing But a Man / Karen Bowdre Can't Stay, Can' Go: What is History to a Cinematic Imagination / Terri Francis Civil Rights, Labor, and Sexual Politics on Screen in Nothing But a Man / Judith SmithInterviews Historicity and Possibility in Nothing But a Man: A Conversation with Khalil Muhammad / David C. Wall and Michael T. Martin Cinematic Principles and Practice at Work in Nothing But a Man: A Conversation with Robert Young / Michael T. Martin and David C. WallScreenplay Nothing But a ManPress Kit from Cinema V Distributing, Inc. (1965)Filmographies Michael Roemer Robert M. YoungSelect Bibliography
£21.59
Indiana University Press Visions of AvantGarde Film Polish Cinematic
Book SynopsisTrade ReviewKuc's ambitious project provides a comprehensive view of Polish avant-garde film before 1945, making a solid contribution to the experimental cinema field of studies and showing how illuminating an account based on sources other than realized films can be for early avant-garde cinema. * Slavic Review *Kamila Kuc's Visions of Avant-Garde Film is devoted to the beginnings of the Polish film avant-garde. The author of this volume proposes an original perspective, paying attention to phenomena that have not been yet described or that have been so far ignored. Her reflection focuses on the relationship between the film and other areas of the avant-garde. [This] book is not only valuable by filling the gap in the literature devoted to early Polish experimental cinema, but also an original proposal of an 'alternative' cinema history. * Kwartalnik Filmowy *[E]very chapter [is] a revelation in this still understudied area of Eastern European cinema. * Canadian Journal of Film Studies *Table of ContentsPrefaceAcknowledgmentsIntroductionPart One: Proto-Cinematic Phase: The Pioneers (1896 - 1918)1. "The Cinematograph" and Historical Consciousness: Actualities and the Early Experiments with Film in the Polish Territories2. Discovering Medium Specificity: The First Polish Claims for Film as Art3. The First Polish Experiment with Film: Feliks Kuczkowski's Animation in the Context of the International Avant-GardePart Two: Polish Avant-Garde Movements and Film (1919 - 1945)4. Karol Irzykowski's The Tenth Muse: Animated Film as the Highest Form of Film Art5. The Theoretical Apparatus: Polish Futurism and Avant-Garde Film6. Polish Avant-Garde Films, Discourses, and the Concept of Photogénie7. Polish Avant-Garde Film and ConstructivismConclusionSelected BibliographyIndex
£52.70
Indiana University Press Visions of AvantGarde Film
Book SynopsisTrade ReviewKuc's ambitious project provides a comprehensive view of Polish avant-garde film before 1945, making a solid contribution to the experimental cinema field of studies and showing how illuminating an account based on sources other than realized films can be for early avant-garde cinema. * Slavic Review *Kamila Kuc's Visions of Avant-Garde Film is devoted to the beginnings of the Polish film avant-garde. The author of this volume proposes an original perspective, paying attention to phenomena that have not been yet described or that have been so far ignored. Her reflection focuses on the relationship between the film and other areas of the avant-garde. [This] book is not only valuable by filling the gap in the literature devoted to early Polish experimental cinema, but also an original proposal of an 'alternative' cinema history. * Kwartalnik Filmowy *[E]very chapter [is] a revelation in this still understudied area of Eastern European cinema. * Canadian Journal of Film Studies *Table of ContentsPrefaceAcknowledgmentsIntroductionPart One: Proto-Cinematic Phase: The Pioneers (1896 - 1918)1. "The Cinematograph" and Historical Consciousness: Actualities and the Early Experiments with Film in the Polish Territories2. Discovering Medium Specificity: The First Polish Claims for Film as Art3. The First Polish Experiment with Film: Feliks Kuczkowski's Animation in the Context of the International Avant-GardePart Two: Polish Avant-Garde Movements and Film (1919 - 1945)4. Karol Irzykowski's The Tenth Muse: Animated Film as the Highest Form of Film Art5. The Theoretical Apparatus: Polish Futurism and Avant-Garde Film6. Polish Avant-Garde Films, Discourses, and the Concept of Photogénie7. Polish Avant-Garde Film and ConstructivismConclusionSelected BibliographyIndex
£25.19
Indiana University Press Fatih Akins Cinema and the New Sound of Europe
Book SynopsisAt a time when belonging and identity in Europe is complicated by questions of race, ethnicity, religion, and citizenship, Berna Gueneli explores the transnational works of acclaimed Turkish-German filmmaker and auteur Fatih Akın, demonstrates how Akın's aesthetics intersect with politics to reshape notions of Europe, European cinema, and cinematic history. Trade ReviewFatih Akın's Cinema and The New Sound of Europe, the first book-length monograph on Akın, not only covers a missing part in the scholarship but also opens up new chapters in our understanding of Turkish German Cinema. * Journal of Religion and Film *Gueneli has provided a sound analysis of Fatih Akın's early work that will prove a stepping-stone for further research. -- Florian Gassner * Monatshefte *Table of ContentsAcknowledgmentsIntroduction: Fatih Akın: A Contemporary Filmmaker From Germany1. Mapping Europe: The Road Movie Genre and Transnational European Space in Film2. The Sound of Polyphony: Multilingualism, Multiethnicity, and Linguistic Empowerment in Head-On3. The Sound of Music: Transnational Soundscapes4. Expanding the Scope of European Cinema: Akın's Cinematic Imagining of a Diverse Europe in ContextConclusion: Intertextual Film—Transnational Film—Transnational Film HistoryBibliography, Filmography/Discography, and Online SourcesIndex
£25.19
Indiana University Press The Invention of Robert Bresson
Book SynopsisTrade ReviewColin Burnett's The Invention of Robert Bresson is a breathtaking act of scholarship. The portrait of Bresson that emerges here, in biographical, cultural and aesthetic terms, is the most complete one that we have to date and will likely ever see. Burnett is as concerned to trace Bresson's relation to figures like Max Ernst as he is to show us just how deep Bresson's involvement was with Coco Chanel and the world of advertising. This is not the Bresson most of us have imagined. But even beyond the book's contribution to Bresson scholarship and French film studies, which is already considerable, Burnett offers us a new way of thinking about what he calls "a cultural marketplace," a mode of inquiry that will invigorate single author studies by way of the painstaking detail Burnett's model gives to the aesthetic and industrial forces at work at the various stages in an auteur's development, which inform, but do not determine in any simple way, the kind of decisions that a filmmaker is forced to make. For those of us who believe in the importance of single author studies, this book comes as a massive breath of fresh air. For those of you who believe auteurism has run its course, I dare you to read The Invention of Robert Bresson. It will not be easy, I predict, to maintain your resistance. -- Brian PriceColin Burnett keeps historical questions front and center as he explains Bresson's creative role within the lively cultural marketplace of post-WWII French cinema. The Invention of Robert Bresson goes beyond the confines of the usual auteur study, revealing the many innovative ways that Bresson promoted his personal style, while also participating fully in the artistic and critical context of his era. Burnett re-energizes our interest in this rewarding auteur and his place within a rich, unprecedented cinéphilia. -- Richard NeupertAn essential book for those interested in cinema authorship, French film and visual culture, and the iconoclastic Robert Bresson. Burnett's bold intervention takes Bresson down off his marble plinth and makes him a flesh-and-blood practitioner once again, in fierce conversation with the artistic and industrial situations that nourished his work. Burnett's real achievement is to make us look at Bresson—and postwar French cinema in all its troubled creative ferment—profoundly anew again. -- Tim PalmerFrench director Robert Bresson is celebrated among cinephiles for his distinctively spare films, and with this volume Burnett contributes considerably to the scholarship on this auteur. . . . Essential. * Choice *Burnett offers us an important contribution to work on Bresson, which signicantly expands and complements existing, more tex trather-than-context-bound studies. * French Studies *Table of ContentsAcknowledgmentsIntroductionPart One: Alternative Institutions1. Under the Aegis of Surrealism: How a Publicity Artist Became the Manager of an Independent Film Company2. The Rise of the Accursed: When Bresson was Co-President of an Avant-Garde Ciné-ClubPart Two: Vanguard Forms3. Purifying Cinema: The Provocations of Faithful Adaptation and First-Person Storytelling in "Ignace de Loyola" (1948) and Journal d'un curé de campagne (1951)4. Theorizing the Image: Bresson's Challenge to the Realists—Sparse Set Design, Acting and Photography from Les anges du péché (1943) to Une femme douce (1969)5. Vernacularizing Rhythm: Bresson and the Shift Toward Dionysian Temporalities—Plot Structure and Editing from Journal d'un curé de campagne (1951) to L'argent (1983)AfterwordSelected BibliographyIndex
£52.70
Indiana University Press Truffaut on Cinema
Book SynopsisTrade Review"Ably edited by Gillain and translated by Alistair Fox, the volume gathers nearly all of Truffaut's writings on his own films, from his breakthrough with The 400 Blows in 1959 to his final film, Confidentially Yours (1983). The writings reveal a Truffaut who was as incisive and direct in assessing his own work as he was in assessing the work of other directors." -W.W. Dixon, University of Nebraska—Lincoln * CHOICE *Table of ContentsPreface to the English Edition (2017)Preface (1988)AcknowledgmentsA Note on the Translation1. Childhood2. The New Wave3. The Auteur Theory4. 1954: Une visite; 1957: Les Mistons; 1958: Histoire d'eau5. 1959: The 400 Blows6. 1960: Shoot the Pianist7. 1962: Jules and Jim8. 1962: Antoine and Colette9. 1966: The Soft Skin10. 1966: Fahrenheit 45111. 1967: The Bride Wore Black12. 1968: Stolen Kisses13. May 196814. 1959-1968: Overview 115. 1969: Mississippi Mermaid16. 1970: The Wild Child17. 1970: Bed and Board18. 1971: Two English Girls19. 1972: A Gorgeous Girl like Me20. 1973: Day for Night21. 1969-1974: Overview 222. 1975: The Story of Adele H23. 1976: Small Change24. 1977: The Man Who Loved Women25. 1978: The Green Room26. 1979: Love on the Run27. 1980: The Last Metro28. 1981: The Woman Next Door29. 1983: Confidentially Yours30. 1975-1984: Overview 3SourcesList of Films Discussed by Truffaut Index
£66.60
Indiana University Press Truffaut on Cinema
Book SynopsisTrade Review"Ably edited by Gillain and translated by Alistair Fox, the volume gathers nearly all of Truffaut's writings on his own films, from his breakthrough with The 400 Blows in 1959 to his final film, Confidentially Yours (1983). The writings reveal a Truffaut who was as incisive and direct in assessing his own work as he was in assessing the work of other directors." -W.W. Dixon, University of Nebraska—Lincoln * CHOICE *Table of ContentsPreface to the English Edition (2017)Preface (1988)AcknowledgmentsA Note on the Translation1. Childhood2. The New Wave3. The Auteur Theory4. 1954: Une visite; 1957: Les Mistons; 1958: Histoire d'eau5. 1959: The 400 Blows6. 1960: Shoot the Pianist7. 1962: Jules and Jim8. 1962: Antoine and Colette9. 1966: The Soft Skin10. 1966: Fahrenheit 45111. 1967: The Bride Wore Black12. 1968: Stolen Kisses13. May 196814. 1959-1968: Overview 115. 1969: Mississippi Mermaid16. 1970: The Wild Child17. 1970: Bed and Board18. 1971: Two English Girls19. 1972: A Gorgeous Girl like Me20. 1973: Day for Night21. 1969-1974: Overview 222. 1975: The Story of Adele H23. 1976: Small Change24. 1977: The Man Who Loved Women25. 1978: The Green Room26. 1979: Love on the Run27. 1980: The Last Metro28. 1981: The Woman Next Door29. 1983: Confidentially Yours30. 1975-1984: Overview 3SourcesList of Films Discussed by Truffaut Index
£27.90
Indiana University Press Boats on the Marne
Book SynopsisTrade Review"Boats on the Marne once and for all establishes Jean Renoir as the supreme artist of the 20th century's supreme art. With long-shots of startling philosophical backdrops that dissolve into delicate close-ups of Renoir's inimitable style, Prakash Younger shows how a staggering string of masterpieces progressively penetrated the conundrums of 1930s France until La règle du jeu grasped, like no other artwork let alone film, the full comic tragedy of our modernity."—Dudley Andrew, Author of 'What Cinema Is!'"In Boats on the Marne, Prakash Younger deploys a sophisticated philosophical approach to Renoir's films of the 1930s, demonstrating their coherent and reflective response to what he calls 'the historical dangers of the times'. His ambitious model of 'dialogic auteurism' melds innovative close analysis of Renoir's 'dispassionate' camerawork with a scrupulous understanding of his films' multiple cultural genealogies and historical contexts. In particular, the in-depth analysis of La Règle du jeu illuminates the film's structure as an evocative portrait of civilization that is then ruthlessly destroyed. Younger successfully reactivates a Bazinian model of Renoir criticism to propose a profoundly ethical understanding of cinematic ontology and its picturing of the contingency of human social relations. His erudite yet deeply personal work will be welcomed by Renoir and film-and-philosophy scholars alike."—Alastair Phillips and Ginette Vincendeau, Editors of 'A Companion to Jean Renoir'Table of ContentsPreface: The Enigma of La Règle du JeuIntroduction: Jean Renoir, Cinephilosopher1. Genesis and Style of the French Renoir2. Escaping from Flaubert or, Reflecting on Romanticism3. Loving the Distance or, Historical Experience and the Fruits of Reflection4. La Règle du Jeu or, Putting Modernity in QuestionConclusion: Why La Règle du Jeu MattersBibliographyIndex
£62.90
Indiana University Press Boats on the Marne
Book SynopsisTrade Review"Boats on the Marne once and for all establishes Jean Renoir as the supreme artist of the 20th century's supreme art. With long-shots of startling philosophical backdrops that dissolve into delicate close-ups of Renoir's inimitable style, Prakash Younger shows how a staggering string of masterpieces progressively penetrated the conundrums of 1930s France until La règle du jeu grasped, like no other artwork let alone film, the full comic tragedy of our modernity."—Dudley Andrew, Author of 'What Cinema Is!'"In Boats on the Marne, Prakash Younger deploys a sophisticated philosophical approach to Renoir's films of the 1930s, demonstrating their coherent and reflective response to what he calls 'the historical dangers of the times'. His ambitious model of 'dialogic auteurism' melds innovative close analysis of Renoir's 'dispassionate' camerawork with a scrupulous understanding of his films' multiple cultural genealogies and historical contexts. In particular, the in-depth analysis of La Règle du jeu illuminates the film's structure as an evocative portrait of civilization that is then ruthlessly destroyed. Younger successfully reactivates a Bazinian model of Renoir criticism to propose a profoundly ethical understanding of cinematic ontology and its picturing of the contingency of human social relations. His erudite yet deeply personal work will be welcomed by Renoir and film-and-philosophy scholars alike."—Alastair Phillips and Ginette Vincendeau, Editors of 'A Companion to Jean Renoir'Table of ContentsPreface: The Enigma of La Règle du JeuIntroduction: Jean Renoir, Cinephilosopher1. Genesis and Style of the French Renoir2. Escaping from Flaubert or, Reflecting on Romanticism3. Loving the Distance or, Historical Experience and the Fruits of Reflection4. La Règle du Jeu or, Putting Modernity in QuestionConclusion: Why La Règle du Jeu MattersBibliographyIndex
£26.99
Indiana University Press Race and the Revolutionary Impulse in The Spook
Book SynopsisTable of ContentsAcknowledgementsIntroduction: The Spook Who Sat by the Door / Michael T. Martin and David C. Wall1. Writer/Producer's Statement: The Making of The Spook Who Sat by the Door / Sam Greenlee2. "[D]uality is a survival tool. It's not a disease": Interview with Sam Greenlee on The Spook Who Sat By the Door / Michael T. Martin and David C. Wall3. Cinema as Political Activism: Contemporary Meanings in The Spook Who Sat by the Door / Marilyn Yaquinto4. Persistently Displaced: Situated Knowledges and Interrelated Histories in The Spook Who Sat by the Door / Samantha N. Sheppard5. Subverting the System: The Politics and Production of The Spook Who Sat By the Door / Christine Acham6. The Spook Who Sat By the Door, Screenplay / Sam Greenlee and Melvin ClayAppendix A: Press KitAppendix B: National Film Registry Entry, The Spook Who Sat by the Door / Michael T. Martin and David C. WallAppendix C: Sam Greenlee: Biography and Select BibliographyAppendix D: Ivan Dixon: Biography and Select FilmographyIndex
£45.00
Indiana University Press Race and the Revolutionary Impulse in The Spook
Book SynopsisTable of ContentsAcknowledgementsIntroduction: The Spook Who Sat by the Door / Michael T. Martin and David C. Wall1. Writer/Producer's Statement: The Making of The Spook Who Sat by the Door / Sam Greenlee2. "[D]uality is a survival tool. It's not a disease": Interview with Sam Greenlee on The Spook Who Sat By the Door / Michael T. Martin and David C. Wall3. Cinema as Political Activism: Contemporary Meanings in The Spook Who Sat by the Door / Marilyn Yaquinto4. Persistently Displaced: Situated Knowledges and Interrelated Histories in The Spook Who Sat by the Door / Samantha N. Sheppard5. Subverting the System: The Politics and Production of The Spook Who Sat By the Door / Christine Acham6. The Spook Who Sat By the Door, Screenplay / Sam Greenlee and Melvin ClayAppendix A: Press KitAppendix B: National Film Registry Entry, The Spook Who Sat by the Door / Michael T. Martin and David C. WallAppendix C: Sam Greenlee: Biography and Select BibliographyAppendix D: Ivan Dixon: Biography and Select FilmographyIndex
£16.14
Indiana University Press Fatih Akins Cinema and the New Sound of Europe
Book SynopsisAt a time when belonging and identity in Europe is complicated by questions of race, ethnicity, religion, and citizenship, Berna Gueneli explores the transnational works of acclaimed Turkish-German filmmaker and auteur Fatih Akın, demonstrates how Akın's aesthetics intersect with politics to reshape notions of Europe, European cinema, and cinematic history. Trade ReviewFatih Akın's Cinema and The New Sound of Europe, the first book-length monograph on Akın, not only covers a missing part in the scholarship but also opens up new chapters in our understanding of Turkish German Cinema. * Journal of Religion and Film *Gueneli has provided a sound analysis of Fatih Akın's early work that will prove a stepping-stone for further research. -- Florian Gassner * Monatshefte *Table of ContentsAcknowledgmentsIntroduction: Fatih Akın: A Contemporary Filmmaker From Germany1. Mapping Europe: The Road Movie Genre and Transnational European Space in Film2. The Sound of Polyphony: Multilingualism, Multiethnicity, and Linguistic Empowerment in Head-On3. The Sound of Music: Transnational Soundscapes4. Expanding the Scope of European Cinema: Akın's Cinematic Imagining of a Diverse Europe in ContextConclusion: Intertextual Film—Transnational Film—Transnational Film HistoryBibliography, Filmography/Discography, and Online SourcesIndex
£55.80
Indiana University Press Sex Politics and Comedy The Transnational Cinema
Book SynopsisTrade ReviewGiven its emphasis on identites sexual and ethinc, queerness and Jewishness, and its power to reveal the resistant potential of a mainstream artist, McCormick's work is ideally conceived for today's intellectual priorities. -- Alan Lareua, University of Wisconsin-Oskosh * Monatshefte *Table of ContentsAcknowledgmentsIntroduction: Transnational Jewish ComedyI. Berlin: Sex, Spectacle, and Anarchy1. From the Jewish "Bad Boy" to the "Bad Girl": Early Comedies, 1914–1919 2. Bad Girls and the Costume Epics: 1919–1922 3. Bad Girls Untamed: Anarchic/Fantastic Comedies (1919–1922)II. Hollywood: From European Sophistication to Anti-Fascist Screwball4. Sex & Sophistication: Comedies & Operettas, 1924–19345. Pushing the Boundaries in Pre-Code Hollywood, 1931–19346. Screwball Politics: American Populism & European Politics, 1935–417. Coming Out as Jewish: To Be or Not to Be (1942)Epilogue: Twilight of a Cosmopolitan, 1943–47BibliographyFilmography Index
£67.15
Indiana University Press Sex Politics and Comedy The Transnational Cinema
Book SynopsisTrade ReviewGiven its emphasis on identites sexual and ethinc, queerness and Jewishness, and its power to reveal the resistant potential of a mainstream artist, McCormick's work is ideally conceived for today's intellectual priorities. -- Alan Lareua, University of Wisconsin-Oskosh * Monatshefte *Table of ContentsAcknowledgmentsIntroduction: Transnational Jewish ComedyI. Berlin: Sex, Spectacle, and Anarchy1. From the Jewish "Bad Boy" to the "Bad Girl": Early Comedies, 1914–1919 2. Bad Girls and the Costume Epics: 1919–1922 3. Bad Girls Untamed: Anarchic/Fantastic Comedies (1919–1922)II. Hollywood: From European Sophistication to Anti-Fascist Screwball4. Sex & Sophistication: Comedies & Operettas, 1924–19345. Pushing the Boundaries in Pre-Code Hollywood, 1931–19346. Screwball Politics: American Populism & European Politics, 1935–417. Coming Out as Jewish: To Be or Not to Be (1942)Epilogue: Twilight of a Cosmopolitan, 1943–47BibliographyFilmography Index
£34.20
University of Texas Press Race on the QT
Book SynopsisAsserting that race has been the cornerstone of most of Quentin Tarantino's films, this book uncovers the racial politics, progressive and regressive, hidden on the QT in the director's work from Reservoir Dogs and Pulp Fiction to Inglourious Basterds aTrade ReviewNama’s book traces the racial topicality of Tarantino’s films to his fascination with the subversive and racially empowering features of Blaxploitation cinema. It confronts the racial frankness in Tarantino’s films rather than the man himself, examining what they say about race in America with a critical dynamism and a clarity of perspective that makes enjoyable and provocative reading. * Times Literary Supplement *Table of Contents Acknowledgments Introduction Chapter 1. Reservoir Dogs and True Romance Chapter 2. Pulp Fiction and Jackie Brown Chapter 3. Kill Bill: Vol. 1, Kill Bill: Vol. 2, and Death Proof Chapter 4. Inglourious Basterds and Django Unchained Coda Notes Bibliography Index
£17.09
MP-WIS Uni of Wisconsin Murder in Hollywood Solving a Silent Screen
Book SynopsisPresents the most plausible solution yet to the mystery of who killed William Desmond Taylor. In the process the author paints a portrait of Hollywood in the 1920s - from its major stars to its bisexual subculture. He provides an answer to a mystery and a study of a place, and an industry, that has always let people reinvent themselves.Trade ReviewThe most thoroughly researched and carefully considered of all the books on the legendary William Desmond Taylor murder case. - James Curtis, author of W. C. Fields: A Biography ""Drawing on unpublished documents compiled by director King Vidor, and making witty, insightful comments as he does, Higham cuts through a thicket of suspects, motives, and cover-ups to point the finger where it had rather clearly been pointing all along, arguing that for some years a hypocritical, moralistic press did its best to point the finger in other directions. More than the solution, what impresses here are Higham's portraits of Taylor, Minter, et al, as scarred souls who believed Hollywood would be their Lourdes on the Pacific. They were mistaken."" - Kirkus Reviews ""Murder in Hollywood is engrossing, as much for chronicling the murder as it is for capturing an era as rollicking as a Keystone Cops two-reeler. Higham presents a persuasive argument for his favored suspect,... and the evidence is compelling. But inevitably, it is the time-capsule quality of the storytelling, and a peek at 'hiding in plain sight' homosexuality, that makes the book so interesting."" - Lambda Book Report ""Paints a dazzling picture of Los Angeles in a golden age of sleaze and corruption."" - Times Literary Supplement
£15.26
University of Wisconsin Press JeanLuc Godard The Permanent Revolutionary
Book SynopsisIn this biography, now translated into English for the first time, Bert Rebhandl provides a balanced evaluation of the work of Jean-Luc Godard. In this sympathetic yet critical overview, he argues that Godard’s work captured the revolutionary spirit of Paris in the late 1960s as no other filmmaker has dared, and in fact reinvented the medium.Trade ReviewA wonderfully fact-filled new biography of Godard. . . . You immediately want to watch the best of his films again as you read Rebhandl’s confidently narrated book about the filmmaker, which analyzes with genteel restraint." - Der Spiegel"Rebhandl has undoubtedly hit it big here." - Walter Gasperi, Die Furche"A wonderful, dense tapestry of cinematic knowledge, not without a pattern of personal enthusiasm, which lets one walk reasonably safely into the workrooms of a guy who doesn’t exactly welcome guests with open arms." - Georg Seeßlen, epd Film"Rebhandl’s lucidly written monograph offers a perfect introduction to Godard’s complex intellectual and cinematic world." - Stefan Grissemann, Profil "Rebhandl’s treatise lends itself to introductory reading, but also provides enough page-turners for Godard connoisseurs. . . . No small feat." - Andreas Busche, TagesspiegelTable of Contents List of Illustrations Preface Introduction 1 Modern Times: 1950 to 1959 2 Pop Art: 1959 to 1967 3 Revolutionary Cinema: 1967 to 1972 4 Video, Ergo Sum: 1973 to 1980 5 The Idiot of Cinema: 1980 to 1996 6 The Partisan of Images: 1997 to 2020 7 The Joy of Learning Notes Bibliography Filmography Chronology Index
£22.46
The University of Michigan Press Negative Nonsensical and NonConformist
Book SynopsisIn the 1960s, Suzuki Seijun met with modest success in directing popular movies about yakuza gangsters and mild exploitation films featuring prostitutes and teenage rebels. In this book, Peter Yacavone argues that Suzuki became an unlikely cinematic rebel and, with hindsight, one of the most important voices in the global cinema of the 1960s.Trade Review“Fans, aficionados and, yes, even scholars will treasure this long-awaited study of the work of one of Japan’s greatest, and most wonderfully eccentric, directors. Yacavone demonstrates the startling originality of Suzuki’s cinema and continuity of his vision—a genuine auteur study that does not ignore other factors, like genre, industry, and social context.”—David Desser, Emeritus University of Illinois at Urbana–Champaign“This is an excellent, passionate study that illuminates Suzuki’s work in its broad features as well as its nuances and striking idiosyncrasies. Yacavone develops an analytic template that he terms the ‘Suzuki Difference’ which deals with the manifold ways that Suzuki challenged, subverted, undercut, and blithely disregarded the norms of professional studio filmmaking that bound most other filmmakers in the period.”—Stephen Prince, Virginia TechTable of Contents List of Illustrations Introduction A Note on the Text and Translations Throughout this Book Chapter 1. The Recusant Chapter 2. The Dog (Rajo to kenjū, Ankokugai no bijo, Kagenaki koe, Kaikyō chi ni somete, Kutabare gurentai, Tokyo kishitai, Subete ge kurutteru, Akutarō, Toge wo wataru wakai kaze, Akutarō-den: warui hoshi shita demo) Chapter 3. The Mirror (Yajū no seishun, Tantei Jimusho 2-3: Kutabare akutō-domo, Kemono no nemuri) Chapter 4. The Tattoo (Kanto mushuku, Oretachi no chi ga yurusanai, Hana to doto, Irezumi ichidai) Chapter 5. The Flesh (Nikutai no mon, Shunpuden, Kawachi karumen) Chapter 6. The Break (Tokyo nagaremono, Kenka erejii, Sandanjū no otoko, Mikkō 0-Rain, 13-go taihisen yori sono gosōsha wo nerae) Chapter 7. The Hinge (Koroshi no rakuin, Pisutoru opera) Chapter 8. The Double (Zigeunerweisen, Kagerō-za, Yumeji, Hishū monogatari, Rupan sansei: Babiron no ōgon no densetsu) Bibliography Filmography Appendix: A Complete Filmography of Suzuki Seijun, Director
£69.30
University of California Press An Unspeakable Betrayal
Book SynopsisA collection which proceeds chronologically, from poetry and short stories which offer insights into the filmmaker, Luis Bunuel's life and thought.Trade Review"In this collection, Bunuel eloquently proves to be an intellectual and an ideologue and a jokester as well." -Publishers Weekly; "This book will be treasured by anyone who cares about cinema."-Sunday Tribune (Dublin); "A lovely, startling grab bag of jokes, insights, recollected dreams, superbly grave mini-essays, and general bits and pieces retrieved from Bunuel's life."-Artforum's Bookforum; "Bunuel is a filmmaker I have been stylistically haunted and influenced by for a very long time. After reading this collection of essays, some of which have never been published before, I am even more enthralled by this man. He remains my favorite voice of the surrealists."-Gus Van Sant; "This lively and diverse selection of Bunuel's literary work should provide the American reader with a much greater understanding of the man and his work, and with hours of enjoyment as well."-Julie Jones, University of New Orleans; "Bunuel didn't like to put words on paper, but thankfully he did, revealing the sly, shy, quirky, passionate, unpredictable genius whose superbly subversive films were everything but shy. This trove of reluctant writings is a rare and historical treat."-Charles Champlin, retired arts editor, Los Angeles TimesTable of ContentsAcknowledgments Foreword by Jean-Claude Carriere Surrealist Writings An Unspeakable Betrayal Orchestration Suburbs: Motifs Unnoticed Tragedies as Themes for a Totally New Theater Why 1 Don't Wear a Watch Theorem Lucille and Her Three Fish Deluge Ramuneta at the Beach Cava/feria rusticana The Pleasant Orders of St. Huesca Letter to Pepin Bello on St. Valero's Day Idea for a Story La Sancta Misa Vaticanae Menage a trois A Decent Story On Love A Giraffe An Andalusian Dog For Myself I Would Like Miraculous Polisher It Seems to Me Neither Good nor Evil Upon Getting into Bed The Rainbow and the Poultice Redemptress Bacchanal Odor of Sanctity Palace of Ice Bird of Anguish Theater Hamlet Guignol On Cinema BUNUEL AS CRITIC A Night at the Studio des Ursulines Metropolis Fred Niblo's Camille Abel Gance's Napoleon Victor Fleming's The Way of All Flesh Buster Keaton's College Variations on Adolphe Menjou's Mustache News from Hollywood Our Poets and the Cinema Carl Dreyer's The Passion of Joan of Arc The Comic in Cinema BUNUEL AS THEORIST The Cinematic Shot Decoupage, or Cinematic Segmentation Cinema as an Instrument of Poetry BUNUEL AS SCRIPTWRITER Goya and the Duchess of Alba Un Chien andalou L'Age d'or Gags Hallucinations about a Dead Hand Illegible, the Son of a Flute Agon (Swansong) Bunuel on Bunuel Land without Bread Viridiana To PECIME Autobiographical Writings Fragments of a Journal from Bufiuel's Youth in Calanda Medieval Memories of Lower Aragon From Bufiuel's Autobiography Pessimism Afterword by Juan Luis Bufiuel and Rafael Bufiuel
£27.00
University of California Press Edgar G. Ulmer
Book SynopsisEdgar G Ulmer is perhaps best known today for Detour, considered by many to be the epitome of a certain noir style that transcends its B-list origins. But in his lifetime he never achieved the celebrity of his fellow Austrian and German emigre directors - Billy Wilder, Otto Preminger, Fred Zinnemann, and Robert Siodmak.Trade Review"A page turner of a biography." -- Andrew O'Hehir New York Times "The story of his [Edgar G. Ulmer's] life is told with remarkable research and insight." -- Richard Brody New Yorker "The season's must read [for film buffs] ... Noah Isenberg's long-awaited biography 'Edgar G. Ulmer: A Filmmaker at the Margins.' Ulmer-whose CV includes "People on Sunday," "The Black Cat," "Detour," four Yiddish talkies, a half dozen bargain basement classics and as many indescribable oddities-had a life that was every bit as interesting as his film. The writing is scholarly but, given the material, charged with irony and full of pep." -- J. Hoberman Artinfo "[A] cogent treatment of a singularly unlikely career. Isenberg's writing...allows the monumental eccentricities of Ulmer's underground journey to shine through." -- Howard Hampton Bookforum "Long considered as something of a guilty pleasure among filmmakers, critics, and fans, director Edgar G. Ulmer finally gets the attention and scholarship he deserves in Noah Isenberg's new book." -- Matthew Steigbigel The Credits "A rare coupling of intellectual treatise and entertaining biography that beckons to both the film scholar and the public." -- Miguel Rodriguez KPBS "With sober intrepidness, Isenberg tethers down to earth some of the more wild claims made by and about his subject. In recounting the filmmaker's amazing career, he moves easily between describing the drama going on behind the scenes and analyzing the provocative work that Ulmer put on screen... This fascinating biography gives us the chance to weigh the many frustrations in Ulmer's career against the joy he found in the act of creation." -- Betsy Sherman Arts Fuse "Operating mostly outside of the Hollywood system, Edgar G. Ulmer (the original King of the B's) is a fascinating character whose rather notorious mysterious life is somewhere between fact and fiction. All of this is explored and solved ... in scholar Noah Isenberg's brilliant new critical biography Edgar G. Ulmer: A Filmmaker at the Margins." -- Caryn Coleman Vice "A most welcome book, which can lay claim to being a definitive study of Edgar G. Ulmer... Isenberg has given us more than an academic study of the filmmaker's eclectic career. He manages to paint a rounded, sympathetic but honest picture of the man whose endless dreams were so often dashed... Edgar G. Ulmer: A Filmmaker at the Margins is scholarly but never dry. It is a valuable reference and a good read." -- Leonard Maltin Indiewire "As Isenberg reveals in this utterly necessary book, Ulmer was a nonpareil slinger of [exaggerated stories] even for a business that thrives on everything inauthentic except avarice... In so many ways he was the Micawber of Poverty Row, and the something that turned up was not the big budget spectaculars with A-list casts that he fervently hoped for, but the wormy little movies about failure that he actually made. They were more than good enough to justify a life, and this very good book." -- Scott Eyman ScottEyman.com "The first English-language biography of the studio-era director oft crowned 'King of Poverty Row,' Edgar G. Ulmer: A Filmmaker at the Margins explores an itinerant, ramshackle, and occasionally brilliant career that encompassed proto-proto-New Wave experiments, Yiddish utopia, influential B-noirs, fly-by-night exploitation, and Cold War sci-fi super-cheese...Isenberg creates a picture of a filmmaker as ragtag and resourceful as the films he directed... [He] effectively traces Ulmer's artistic identity through the thematic (existential dread and rootlessness) and aesthetic (German Expressionism, classical music and opera) continuity of a body of work unified by little else." -- Michael Joshua Rowin Film Comment "Isenberg makes a scrupulously honest case for the director and 'l'aesthetique du cheap,' as a French critic called Ulmer's kind of style, avoiding injudicious praise and recognizing his weaknesses as well as his strengths. Then again, with Ulmer the weaknesses often are the strengths, and vice versa. That's what makes him so fascinating and Isenberg's energetic study so engrossing." -- David Sterritt Film Quarterly "While other authors are drawn to celebrities of greater stature whose lives are well documented, Isenberg preferred the challenge of unraveling the mystery of this European transplant who clearly had talent but never found success in Hollywood... Ulmer may not have had the resources given to his fellow emigre directors but that didn't stop him from endowing his films with a unique personal vision that may finally be finding the appreciation it deserves." -- Beth Accomando Brooklyn Rail "The Ulmer that emerges from the detail-packed, though rarely dry, pages of Isenberg's biography is tragicomic. During his lifetime, the emigre director was rightly renowned for his ability to spin straw into gold (or silver, at any rate), yet this meant that he became in many ways a victim of his own success." -- Eric J. Iannelli TLS "Now we have what is destined to become the definitive English-language critical biography from Noah Isenberg... The movies speak for themselves, but they have gained an eloquent companion." -- Nick Pinkerton Sight & Sound "This definitive study of fringe director Edgar G. Ulmer is also an anatomy of the B-movie industry... The stories of Ulmer's offscreen seat-of-the-pants artistry make for a delightful and inspiring read. Recommended." -- M. Yacowar Choice "Remarkable for its revealing of the hidden career of a minor genius is Noah Isenberg's Edgar G. Ulmer: A Filmmaker at the Margins." Best Film Books of 2014 -- Thomas Gladysz Huffington Post "An authoritative new biography." -- Kenneth Turan Los Angeles TimesTable of ContentsList of Illustrations Preface 1. Traces of a Viennese Youth 2. Toward a Cinema at the Margins 3. Hollywood Horror 4. Songs of Exile 5. Capra of PRC 6. Back in Black 7. Independence Days Postscript Filmography Notes Select Bibliography Acknowledgments Index
£22.50
University of California Press James Ivory in Conversation
Book SynopsisThree-time Academy Award nominee for best director, responsible for such film classics as A Room with a View and The Remains of the Day, James Ivory is a director known for the international scope of his filmmaking on several continents. This title features interviews with James. It comments on the many aspects of his world-traveling career.Trade Review"Ivory is a robust and intelligent man, interested in all sorts of things and a good observer of what goes on around him." - The Times "This series of conversations... informs and engages. Ivory charmingly speaks about a career that includes credits ranging from 'A Room with a View' to 'Surviving Picasso.' He offers insight into his technique and artistic approach, selection of subject matter, choice of actors, and interactions with associates like producer Ismail Merchant and writer Ruth Prawer Jhabvala.... Illuminating and often humorous." - Carol J. Binkowski, Library Journal "James Ivory is one of our greatest living directors, and these pages, deliciously poised between diplomacy and indiscretion, brim with his vast experience of every nook and cranny of the film world. Offering precious insights into how the cinematic cultures of Europe, Asia and America, of Arthouse and Hollywood, came to be blended into a ravishingly beautiful body of work, Ivory also draws for us a vivid picture of what it really feels like to put together an independent movie." - Kazuo Ishiguro"Table of ContentsSetting the Scene The Early Years Documentaries, 1952--1972 Venice: Theme and Variations The Sword and the Flute The Delhi Way Adventures of a Brown Man in Search of Civilization FEATURE FILMS India The Householder Shakespeare Wallah The Guru Bombay Talkie Autobiography of a Princess Hullabaloo over Georgie and Bonnie's Pictures Heat and Dust America Savages The Wild Party Roseland The Europeans The Five Forty-eight Jane Austen in Manhattan The Bostonians Slaves of New York Mr. and Mrs. Bridge England A Room with a View Maurice Howards End The Remains of the Day The Golden Bowl France Quartet Jefferson in Paris Surviving Picasso A Soldier's Daughter Never Cries Le Divorce List of Illustrations Index
£22.50
University of California Press Discovering Orson Welles
Book SynopsisCollects a film critic's writings on Orson Welles - some thirty-five years of them - and makes a case for the seriousness of his work, illuminating both Welles the artist and Welles the man.Trade Review"The intellectually insatiable Rosenbaum is just the person to dissect the myths and expose the inaccuracies that have grown to define the Welles legend. [It] has both breadth and depth." American CinematographerTable of ContentsAcknowledgments Introduction 1. I Missed It at the Movies: Objections to "Raising KANE" 2. The Voice and the Eye: A Commentary on the HEART OF DARKNESS Script 3. Notes on a Conversation with Welles 4. First Impressions of F FOR FAKE 5. The Butterfly and the Whale: Orson Welles's F FOR FAKE 6. Prime Cut (The 107-Minute TOUCH OF EVIL) 7. Andre Bazin and the Politics of Sound in TOUCH OF EVIL 8. The Invisible Orson Welles: A First Inventory 9. Review of Biographies by Barbara Leaming and Charles Higham and a Critical Edition of TOUCH OF EVIL 10. Afterword to THE BIG BRASS RING, a Screenplay by Orson Welles (with Oja Kodar) 11. Wellesian: Quixote in a Trashcan (New York University Welles Conference) 12. Reviews of Citizen Welles and a Critical Edition of CHIMES AT MIDNIGHT 13. Review of Orson Welles: A Bio-Bibliography 14. Orson Welles's Essay Films and Documentary Fictions: A Two-Part Speculation 15. The Seven ARKADINs 16. OTHELLO Goes Hollywood 17. Truth and Consequence: On IT'S ALL TRUE: BASED ON AN UNFINISHED FILM BY ORSON WELLES 18. Afterword to THE CRADLE WILL ROCK, an Original Screenplay by Orson Welles 19. Orson Welles in the U.S.: An Exchange with Bill Krohn 20. The Battle over Orson Welles 21. TOUCH OF EVIL Retouched 22. Excerpt from "Problems of Access: On the Trail of Some Festival Films and Filmmakers" (On TOUCH OF EVIL) 23. Welles in the Lime Light: THE THIRD MAN 24. Orson Welles as Ideological Challenge 25. Orson Welles's Purloined Letter: F FOR FAKE 26. When Will--and How Can--We Finish Orson Welles's DON QUIXOTE? Appendix: The Present State of the Welles Film Legacy Index
£27.00
University of California Press Michelangelo Red Antonioni Blue
Book SynopsisMichelangelo Antonioni, who died in 2007, was one of cinema's greatest modernist filmmakers. This book demonstrates why the color films that followed are, in fact, Antonioni's greatest works. It discusses "The Red Desert," "Blow-Up," "Professione: Reporter (The Passenger)," and others to analyze the director's subtle and complex use of color.Trade Review"Superb, one-of-a-kind volume... required reading for anyone interested in Antonioni's life and work." -- W. W. Dixon ChoiceTable of ContentsList of Plates Acknowledgments Note on Images Introduction Beyond the Clouds Identification of a Woman The Red Desert The Dangerous Thread of Things The Mystery of Oberwald Zabriskie Point The Passenger Blow-Up Works Cited and Consulted Index
£27.00
University of California Press Late Godard and the Possibilities of Cinema
Book SynopsisMakes a contribution to scholarship on Jean-Luc Godard, especially his films and videos since the late 1980s. Through detailed analyses of extended sequences, technical innovations, and formal experiments, the author provides an original interpretation of a series of several internally related films.Trade Review"[Morgan navigates] provocative claims ... with a rigorous logic that his lucid prose is able to explicate on both micro and macro levels." -- Clayton Dillard Slant Magazine "Valuable... An enormous boon for thinking about Godard's late work and an enjoyable read beyond that... Highly Recommended." -- R. P. Kinsman Choice "An essential tool for understanding Godard, and the essential resource on Godard's later years." -- James Harvey-Davitt Film-Philosophy "Compelling arguments [that] Morgan approaches with care and subtlety." -- Richard Rushton The Years Work in Critical and Cultural TheoryTable of ContentsList of Illustrations Preface Acknowledgments Introduction PART ONE 1. The Work of Aesthetics 2. Nature and Its Discontents 3. Politics by Other Means PART TWO 4. Cinema without Photography 5. What Projection Does 6. Cinema after the End of Cinema (Again) Notes Index
£50.15
University of California Press Lois Weber in Early Hollywood
Book SynopsisDrawing on a range of materials untapped by previous historians, this book offers an comprehensive study of Weber's remarkable career as director, screenwriter, and actress. It also provides a compelling evidence of the extraordinary role that women played in shaping American movie culture.Trade Review"A recommended work of early film scholarship... Lois Weber in Early Hollywood stands as one of the better filmmaker studies in recent years." * Journal of Film and Video *Table of ContentsAcknowledgments Introduction: Portrait of a Filmmaker 1. Creating a Signature 2. "Life's Mirror": Progressive Films for a Progressive Era 3. Women's Labor, Creative Control, and "Independence" in a Changing Industry 4. "Exit Flapper, Enter Woman"; or, Weber in Jazz Age Hollywood Conclusion: "Forgotten with a Vengeance" Notes Filmography Index
£27.00
University of California Press Roberto Rossellini
Book SynopsisThis is the first full-length study in any language of the most significant film director of Italian Neorealism. Peter Brunette combines close analyses of Roberto Rossellini's formal and narrative style with a thorough account of his position in the political and cultural landscape of postwar Italy. More than forty films are explored, including Open City, Paisan, Voyage to Italy, The Rise to Power of Louis XIV, and films made in the director's later years that documented crucial epochs in human history. Brunette's book is based on eight years of research, during which he interviewed members of the director's family as well as Rossellini himself. Brunette also draws on an enormous body of European and American criticism and discusses the various intellectual debates spawned by the director's work. This landmark study is both a comprehensive introduction to one of the most influential practitioners of the contemporary cinema and a boldly original discussion of Italian Neorealism. This ti
£64.00
University of California Press Violated Frames
Book SynopsisWhen Armando Bó and Isabel Sarli began making sexploitation films together in 1956, they provoked audiences by featuring explicit nudity that would increasingly become more audacious, constantly challenging contemporary norms. Their Argentine films developed a large and international fan base. Analyzing the couple's films and their subsequent censorship,Violated Frames develops a new, roughly constructed, and bad archive of relocated materials to debate questions of performance, authorship, stardom, sexuality, and circulation. Victoria Ruétalo situates Bó and Sarli's films amidst the popular culture and sexual norms in post-1955 Argentina, and explores these films through the lens of bodies engaged in labor and leisure in a context of growing censorship. Under Perón, manual labor produced an affect that fixed a specific type of body to the populist movement of Peronism: a type of body that was young, lower-classed, and highly gendered. The excesses of leisure in exhibition, enjoyment, Trade Review"Violated Frames: Armando Bó and Isabel Sarli's Sexploits is an essential read for anyone interested in learning more about this fascinating piece of World Cinema history and the fabulous icon that was Isabel Sarli." * CinemaRetro *Table of ContentsCONTENTS List of Illustrations Note on Translation Foreword by Annie Sprinkle Acknowledgments Introduction The Signature of a “Bad Cinema” Part I: Bodies and Archives 1. Bodies through Time . . . Time through Bodies 2. Reading Bad Cinema through “Bad Archives” Part II: Censoring Bodies in Labor and Leisure 3. Disciplining Bodies through Censors’ Shears 4. Collective Working-Class Male Bodies 5. Affective Intimate Interludes The Risky Female Body Conclusion “You won with the censors. . . . They couldn’t stop you!” Notes Selected Filmography Index
£64.00
University of California Press Violated Frames
Book SynopsisWhen Armando Bó and Isabel Sarli began making sexploitation films together in 1956, they provoked audiences by featuring explicit nudity that would increasingly become more audacious, constantly challenging contemporary norms. Their Argentine films developed a large and international fan base. Analyzing the couple's films and their subsequent censorship,Violated Frames develops a new, roughly constructed, and bad archive of relocated materials to debate questions of performance, authorship, stardom, sexuality, and circulation. Victoria Ruétalo situates Bó and Sarli's films amidst the popular culture and sexual norms in post-1955 Argentina, and explores these films through the lens of bodies engaged in labor and leisure in a context of growing censorship. Under Perón, manual labor produced an affect that fixed a specific type of body to the populist movement of Peronism: a type of body that was young, lower-classed, and highly gendered. The excesses of leisure in exhibition, enjoyment, and ecstasy in Bó and Sarli's films interrupted the already fragmented film narratives of the day and created alternative sexual possibilities. Trade Review"Violated Frames: Armando Bó and Isabel Sarli's Sexploits is an essential read for anyone interested in learning more about this fascinating piece of World Cinema history and the fabulous icon that was Isabel Sarli." * CinemaRetro *Table of ContentsCONTENTS List of Illustrations Note on Translation Foreword by Annie Sprinkle Acknowledgments Introduction The Signature of a “Bad Cinema” Part I: Bodies and Archives 1. Bodies through Time . . . Time through Bodies 2. Reading Bad Cinema through “Bad Archives” Part II: Censoring Bodies in Labor and Leisure 3. Disciplining Bodies through Censors’ Shears 4. Collective Working-Class Male Bodies 5. Affective Intimate Interludes The Risky Female Body Conclusion “You won with the censors. . . . They couldn’t stop you!” Notes Selected Filmography Index
£27.00
Princeton University Press The Warriors Camera
Book SynopsisThe Japanese film director Akira Kurosawa, who died at the age of 88, has been internationally acclaimed as a giant of world cinema. This book discusses how Kurosawa furnished a template for some well-known Hollywood directors, including Martin Scorsese, Steven Spielberg, and George Lucas. It provides a comprehensive look at this master filmmaker.Trade ReviewOne of Choice's Outstanding Academic Titles for 1991 "The Warrior's Camera is not only a thoughtful, stimulating and rigorous study but also a major addition to both Kurosawa and Japanese film scholarship. Its examination of the intersection of self, culture, and history is meticulously done; its extended close analysis of individual films, especially Ikiru, Yojimbo, High and Low, and Red Beard, is superbly confident."--Film Quarterly "The subtle nuances that enrich Akira Kurosawa's intense cinemagraphic imagery distinguish Stephen Prince's insightful study, The Warrior's Camera."--American Cinematographer "[Prince's] close analysis of the films generates many superb insights. This work is accessible, nicely illustrated and an essential text about a great subject."--ChoiceTable of ContentsIllustrations ix Acknowledgments xiii Introduction xv 1 Viewing Kurosawa 3 2 The Dialectics of Style 32 3 Willpower Can Cure All Human Ailments 67 4 Experiments and Adaptations 114 5 Form and the Modern World 155 6 History and the Period Film 200 7 Years of Transition 250 8 The Final Period 292 9 The Legacy 340 Notes 359 Films Directed by Akira Kurosawa 397 Bibliography 399 Index 411
£40.50
Princeton University Press Billy Wilder on Assignment
Book SynopsisTrade Review"A Times Literary Supplement Book of the Year 2021""Longlisted for the Kraszna-Krausz Book Award, Moving Image Category""Longlisted for the National Translation Award, American Literary Translators Association""A revelation, a trove of snappy pieces that give the reader tantalizing glimpses of the mature film satirist."---Marc Weingarten, Washington Post"The brightest moments here let you watch a little more of the human comedy through Billy Wilder’s eyes. Few saw it as clearly he did or had more fun writing it down."---Jeremy McCarter, Wall Street Journal"Readers who come to Billy Wilder on Assignment to find the seeds of the films for which he is famous—nearly all of them, one assumes—will not be disappointed."---Ryan Ruby, Bookforum"A delicious compilation."---Tobias Grey, Financial Times "The most successful story in this collection, ‘Waiter, a Dancer, Please!,’ about being a hoofer for hire at a big hotel, is waspish and (if you allow for the choppy sentences) jazz-era excitable, New Yorker–ish, with a self-deprecating turn and a fairly urbane sense of the perfectly ridiculous."---Andrew O'Hagan, New York Review of Books"Long before he became the celebrated filmmaker of 'Sunset Boulevard,' 'Some Like It Hot' and 'The Apartment,' a young Billy Wilder worked briefly as a dancer for hire in the ballroom of a fashionable Berlin hotel. As he described the endeavor . . . for a German newspaper in 1927, 'This is no easy way to earn your daily bread, nor is it the kind that sentimental, softhearted types can stomach. But others can live from it.' Wilder’s observations on his experience—from one of his many delightfully acerbic pieces of journalism anthologized in Billy Wilder on Assignment . . . get to the heart of our enduring obsessions with show business and the performing arts."---Dave Itzkoff, New York Times"Sharp and witty. . . . Full of glorious turns of phrase, entertaining narratives, and quirky characters. . . . . Thumbing through Wilder’s essays from the 1920s will make you feel as if you are enjoying yourself at a German coffeehouse, catching up on popular culture, and planning your next weekend adventure in the Weimar Republic. Isenberg and Frisch have done a great service for film historians and fans of classic Hollywood."---Chris Yogerst, Los Angeles Review of Books"An irresistible collection of articles, profiles, and reviews from Wilder’s salad-und-bratwurst days in Berlin, where he worked as a roving journalist, critic, and scene-maker between 1926 and 1930. . . . Isenberg is an expert guide to the Berlin-to-Hollywood axis, and Frisch is a veteran translator."---Thomas Doherty, Tablet Magazine"Billy Wilder on Assignment is, as my colleague, TIME Magazine film critic Stephanie Zacharek kvelled to me in an email, ‘the little book you didn’t know you needed.'"---Jordan Hoffman, Times of Israel"A must-read for film buffs and history aficionados alike."---Tobias Carroll, Inside Hook"This new volume takes in the most significant staging posts of Wilder’s early career."---Gavin Plumley, Literary Review"[Wilder] quickly moved on to Berlin and became a prolific writer of occasional pieces for papers such as Der Querschnitt and the Berliner Börsen Courier. Selections of these articles have been published before but are long out of print, and were never translated into English. Now, thankfully, Professor Isenberg of the University of Texas has put this frustrating situation to rights with a lively anthology, translated by Shelley Frisch into a brisk, punchy English which feels as though it must be an accurate reflection of the young Wilder’s original tone."---Jonathan Coe, Spectator"The opportunity to read Wilder’s journalism in English is welcome. . . . What’s particularly impressive, even slightly eerie, is how many times this young film buff and Americanophile wrote about people he would later work with in Hollywood." * Bookforum *"A delightful and illuminating collection."---Sam Wasson, Air Mail"There is no question that Billy Wilder on Assignment is the most historically important recent book exploring the early days of a major filmmaker. It compiles, for the first time, Wilder’s writings as a young freelance reporter in 1920s Berlin and Vienna. The result is an incredible glimpse of Wilder’s mind at a key age."---Christopher Schobert, The Film Stage"Billy Wilder On Assignment . . . explores the roots of one of Hollywood’s most accomplished and acclaimed directors in the fervid journalistic atmosphere of Central Europe between world wars. . . . Shelley Frisch—one of the nimblest and liveliest translators working today—renders Wilder’s journalism into an English that leaps off the page with deadline urgency. . . . Isenberg's collection offers those interested in the Golden Age of Hollywood valuable new insight into one of its most significant personalities. It is also a vivid account of the vanished world that helped shape Billy Wilder." * Wilson Quarterly *"Let it be said that Billy Wilder on Assignment – Dispatches from Weimar Berlin and Interwar Vienna, is an altogether wonderful read. In fact it reads as if a fine, literary, malt-whiskey."---David Marx, David Marx: Book Reviews"The new anthology Billy Wilder on Assignment proves Wilder's verbal and narrative gifts existed long before he set foot in Hollywood during the 1930s."---Dan Lybarger, Northwest Arkansas Democrat Gazette"Readers will have fun picking out elements, traits and incidents in these lively witty texts and attempting to match them with Wilder’s later cinematic masterpieces."---Alexander Adams, Alexander Adams Art"Billy Wilder on Assignment . . . provides a long-overdue translation of Billy Wilder’s early writings in German. . . . The anthology will be of interest to both the academic and general public."---Nora Gortcheva, EuropeNow"Very nice."---Tom Stoppard, Times Literary Supplement"In this first English-language compilation of Wilder’s early journalism . . . we can see the mischievous humour and love of snappy dialogue characteristic of his later movies."---Monica Porter, The Jewish Chronicle"Billy Wilder on Assignment: Dispatches from Weimar Berlin and Interwar Vienna is a revealing collection of his lively reportage from those two cities. . . . [The book] create[s] a portrait of a man who is so much more complex than a mere cynic."---Kevin Lally, Cineaste Magazine"“Billy Wilder on Assignment is a beautifully assembled collection of the early writings of a master storyteller whose body of work has entertained moviemakers and movie watchers for generations."---Leonora Cravotta, American Spectator
£18.00
John Wiley and Sons Ltd Alfred Hitchcocks America
Book SynopsisWith a sharp eye for social detail and the pressures of class inequality, Alfred Hitchcock brought to the American scene a perspicacity and analytical shrewdness unparalleled in American cinema. Murray Pomerance works from a basis in cultural analysis and a detailed knowledge of Alfred Hitchcock''s films and production techniques to explore how America of the 1940s, 1950s, and 1960s is revealed and critically commented upon in Hitchcock''s work. Alfred Hitchcock''s America is full of stunning details that bring new light to Hitchcock''s method and works. The American spirit of place, is seen here in light of the titanic American personality, American values in a consumer age, social class and American social form, and the characteristic American marriage. The book's analysis ranges across a wide array of films from Rebecca to Family Plot, and examines in depth the location sequences, characterological types, and complex social expectations that riddled AmericanTrade Review"A must-have for the shelves of any horror lover, film buff or teenager wondering where on earth the idea for the slasher genre could have been born and what cultural landscape could have fostered such ideas."—Film Ireland "Written with immense brio and an effortless command of its materials, Murray Pomerance provides surprising readings of both neglected and familiar films, but never strays from the overarching question of how Hitchcock's work, from 1940 till 1975, achieves an identifiably American character."—George Toles, University of Manitoba "This book is a treasure-trove for students of film, historians, and sociologists. Drawing on extremely close analysis, Pomerance leads us through the ways Hitchcock observed and took careful note of American topographies before exploiting complex technologies that he — Pomerance — explains to uninitiated readers with deft clarity. Written with flair and panache, Alfred Hitchcock's America brings to the reader dazzling insights about Hitchcock's studies of American life."—Tom Conley, Harvard University "What comes through most vividly in this stylish study is the physical poetry of Hitchcock's American films. With grace and insight, Murray Pomerance describes the colors, the rhythms of speech and movement, and the concrete spaces of Hitchcock's America in a way that makes these films new again. This is a book every cinephile will want to read."—Robert Burgoyne, University of St Andrews and author of Film Nation: Hollywood Looks at US History "Pomerance’s analysis is insightful, and his film analysis is superb. This book makes the reader want to watch these keynote films again and again: and as such, we join Pomerance in his celebration of the great master himself."—Ian Dixon, SAE Institute and Qantm College, MelbourneTable of ContentsAcknowledgments ix Introduction: Alfred Hitchcock in America 1 1 Hitchcock's American Scapes 18 2 Hitchcock's American Personalities 71 3 Hitchcock and American Values 123 4 Hitchcock and American Social Form 176 5 Hitchcock and the American Marriage 225 Works Cited and Consulted 284 Index 305
£54.00
University of Toronto Press Miracles and Sacrilege
a huge range and FREE tracked UK delivery on ALL orders.
£31.50
Northwestern University Press The Authentic Death Contentious Afterlife of Pat
Book SynopsisLong before Sam Peckinpah finished shooting his 1973 Western, Pat Garrett and Billy the Kid, there was open warfare between him and the studio. In this scrupulously researched new book Paul Seydor reconstructs the riveting history of a brilliant director fighting to preserve an artistic vision while wrestling with his own self destructive demons.
£75.65
Northwestern University Press Godard and the Essay Film
Book SynopsisOffers a history and analysis of the essay film, one of the most significant forms of intellectual filmmaking since the end of World War II. Warner incisively reconsiders the defining traits and legacies of this still-evolving genre through a groundbreaking examination of the vast and formidable oeuvre of Jean-Luc Godard.Trade Review“Godard and the Essay Film is a first-rate piece of scholarship that makes substantial contributions on a variety of topics, including the essay as literary and cinematic form, film and philosophy, and the study of the indispensable oeuvre of Jean-Luc Godard." —Michael Renov, author of The Subject of Documentary"Godard and the Essay Film is an exceptionally innovative and fresh study that manages to rethink one of the most important and challenging filmmakers in cinema history. In the process, Warner has also engaged one of the most important and prominent waves in modern filmmaking, the essay film. While there is a growing body of scholarship on this subject, Warner's more focused engagement offers keen new insights that extend beyond Godard's work." —Timothy Corrigan, author of The Essay Film: From Montaigne, after MarkerTable of Contents List of Illustrations Acknowledgments Introduction Chapter One: Research in the Form of a Spectacle Chapter Two: A Critical Poetics of Citation Chapter Three: Refiguring the Couple: Love, Dialogue, and Gesture Chapter Four: To Show and Show Oneself Showing: Essayistic Self-Portrayal Coda Stereoscopic Essays for the New Century Notes Index
£74.25
Northwestern University Press Hitchcocks People Places and Things
Book SynopsisArgues that Alfred Hitchcock was as much a filmmaker of things and places as he was of people. Drawing on the thought of Bruno Latour, John Bruns traces the complex relations of human and nonhuman agents in Hitchcock's films with the aim of mapping the Hitchcock landscape cognitively, affectively, and politically.
£27.96
Rutgers University Press Cinema Today A Conversation with ThirtyNine
Book SynopsisTrade Review"Oumano's work shines—she offers the choicest nuggets and insights by filmmakers talking about their art." -- Wheeler Winston Dixon * coauthor of A Short History of Film *"Cinema Today is a fascinating look at film as an art form. Oumano's book is an outstanding contribution to the field, crammed full of essential information about the production process and enlightening details of personal experiences that any aspiring filmmaker can use." * Foreword Reviews *"Oumano's work shines—she offers the choicest nuggets and insights by filmmakers talking about their art." -- Wheeler Winston Dixon * coauthor of A Short History of Film *"Cinema Today is a fascinating look at film as an art form. Oumano's book is an outstanding contribution to the field, crammed full of essential information about the production process and enlightening details of personal experiences that any aspiring filmmaker can use." * Foreword Reviews *Table of ContentsIntroduction Acknowledgments 1. Cinematography 2. Cinema and Sound 3. Working with Actors 4. Cinematic Rhythm and Structure 5. The Process: Pre-Production, Production, and Post-Production 6. The Business: Financing, Distribution, and Exhibition 7. Cinema, Art, and Reality 8. The Viewer 9. Cinema and Society Profiles of the Filmmakers
£25.19
Rutgers University Press Tough Aint Enough
Book SynopsisClint Eastwood has appeared in virtually every major film genre and, at this late point in his career, has emerged as one of America’s most popular and respected—though controversial—filmmakers. Tough Ain’t Enough offers readers a series of original essays by prominent cinema scholars who explore the actor-director’s extensive career. Trade Review"The editors have assembled a diverse group of scholars and turned them loose to make sense of the vast array of contradictions that is Clint Eastwood. This is a unique and extraordinary collection with not a weak chapter in it." -- Dennis Bingham * author of Whose Lives Are They Anyway?: The Biopic as Contemporary Film Genre *"Chronicle of Higher Education 'New Scholarly Books' Weekly Book List, August 31, 2018," compiled by Nina C. Ayoub * Chronicle of Higher Education *"Highly recommended." * Choice *Table of ContentsChapter 1: The Teller and the Tale: An Introduction to the Films of Clint Eastwood Lester D. Friedman and David Desser Part I: Crosscurrents Chapter 2: “I Don’t Want Nobody Belonging to Me”: Riding the Post-Leone Western Stephen Prince Chapter 3: “God/Country/Family:” The Military Movies Lester D. Friedman Chapter 4: “A Man’s Got to Know His Limitations”: The Cop Films from Nixon through Reagan Jonathan Kirshner Chapter 5: “I’m Not So Tough”: Melodrama and Performance in the Later Films Diane Carson Chapter 6: “Heroes are Something We Create: The Biopics” David Sterritt Part II: Controversies Chapter 7: “I Am a Camera”: Clint Eastwood’s Performative Gaze Murray Pomerance Chapter 8: “You ain’t ugly like me; it’s just that we both got scars”: Women in Eastwood’s Films Lucy Bolton Chapter 9: “I know I'm as blind as a slab of concrete, but I'm not helpless”: Eastwood and the Aging Action Hero David Desser Chapter 10: “Seems like we can’t trust the White Man”: The Theater of Race in and out of Eastwood’s Films Alexandra Keller Chapter 11: Play Music for Me: Eastwood’s Film Scores Charity Lofthouse Acknowledgments Notes on Contributors Index
£27.90
Rutgers University Press Tough Aint Enough New Perspectives on the Films
Book SynopsisClint Eastwood has appeared in virtually every major film genre and, at this late point in his career, has emerged as one of America’s most popular and respected—though controversial—filmmakers. Tough Ain’t Enough offers readers a series of original essays by prominent cinema scholars who explore the actor-director’s extensive career. Trade Review"The editors have assembled a diverse group of scholars and turned them loose to make sense of the vast array of contradictions that is Clint Eastwood. This is a unique and extraordinary collection with not a weak chapter in it." -- Dennis Bingham * author of Whose Lives Are They Anyway?: The Biopic as Contemporary Film Genre *"Chronicle of Higher Education 'New Scholarly Books' Weekly Book List, August 31, 2018," compiled by Nina C. Ayoub * Chronicle of Higher Education *"Highly recommended." * Choice *Table of ContentsChapter 1: The Teller and the Tale: An Introduction to the Films of Clint Eastwood Lester D. Friedman and David Desser Part I: Crosscurrents Chapter 2: “I Don’t Want Nobody Belonging to Me”: Riding the Post-Leone Western Stephen Prince Chapter 3: “God/Country/Family:” The Military Movies Lester D. Friedman Chapter 4: “A Man’s Got to Know His Limitations”: The Cop Films from Nixon through Reagan Jonathan Kirshner Chapter 5: “I’m Not So Tough”: Melodrama and Performance in the Later Films Diane Carson Chapter 6: “Heroes are Something We Create: The Biopics” David Sterritt Part II: Controversies Chapter 7: “I Am a Camera”: Clint Eastwood’s Performative Gaze Murray Pomerance Chapter 8: “You ain’t ugly like me; it’s just that we both got scars”: Women in Eastwood’s Films Lucy Bolton Chapter 9: “I know I'm as blind as a slab of concrete, but I'm not helpless”: Eastwood and the Aging Action Hero David Desser Chapter 10: “Seems like we can’t trust the White Man”: The Theater of Race in and out of Eastwood’s Films Alexandra Keller Chapter 11: Play Music for Me: Eastwood’s Film Scores Charity Lofthouse Acknowledgments Notes on Contributors Index
£105.40
