Individual film directors Books

Book SynopsisLone Scherfig was the first of a number of women directors to take up the challenge of Dogme, the back-to-basics, manifesto-based, rule-governed, and now globalized film initiative introduced by Danish filmmakers Lars von Trier and Thomas Vinterberg in 1995. Entitled Italiensk for begyndere (Italian for Beginners), Scherfig''s Dogme film transformed this already accomplished filmmaker into one of Europe''s most noteworthy women directors. Danish and international critics lavished praise on Scherfig and her film, and their reactions harmonized with those of festival juries. Battered by life, but by no means defeated or destroyed, the characters in Italian for Beginners are all in touch at some deep intuitive level with the truth that is the film''s basic message: that happiness and a sense of self-worth are sustained by loveby romantic love, to be sure, but also by inclusion in a community of like-minded people. The book includes the Dogme manifesto and interviews with the filmmaker as well as with the cast and crew.

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Book SynopsisThe visionary filmmaker Nicholas Ray spent his lifetime creating films that were dark, emotionally charged, and haunted by social misfits and bruised young people consumed by private anguish. This title presents portrait of Nicholas Ray - a man whose troubled life was punctuated by moments of creative genius.Trade Review"[A] portrait of a filmmaker who managed over time to upstage the movies that made him celebrated." -- Milwaukee Journal-Sentinel "A clear and balanced portrait of a most complex man." -- Kirkus Reviews (starred review) "[A] fascinating, formidable account of a director whose life was as fraught with complications and melodrama as were his movies...Meticulously researched and gratifying, a biographical page-turner." -- Library Journal (starred review) "McGilligan limns the tragic trajectory of Ray's career with insight and compassion." -- Booklist

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Book SynopsisThe film theories of Jean Epstein, Dziga Vertov, Bela Balazs, and Siegfried Kracauer have long been studied separately from each other. In Doubting Vision, film scholar Malcolm Turvey argues that their work constitutes a distinct, hitherto neglected tradition, which he calls revelationism, and which differs in important ways from modernism and realism. For these four theorists and filmmakers, the cinema is an art of mass enlightenment because it escapes the limits of human sight and reveals the true nature of reality. Turvey provides a detailed exegesis of this tradition, pointing to its sources in Romanticism, the philosophy of Henri Bergson, modern science, and other intellectual currents. He also shows how profoundly it has influenced contemporary film theory by examining the work of psychoanalytical-semiotic theorists of the 1970s, Stanley Cavell, the modern-day followers of Kracauer and Walter Benjamin, and Gilles Deleuze. Throughout, Turvey offers a trenchant critique of revelatTrade ReviewClassical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. In Doubting Vision, Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory. * Noel Carroll, Temple University *In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue. * Edward Dimendberg, author of Film Noir and the Spaces of Modernity *In this profoundly original book Turvey anatomizes with acuity and precision a third revelationist tradition of film theory alongside the familiar creationist and realist traditions and traces its persistence in contemporary writers such as Cavell and Deleuze. Further, he demonstrates how the roots of this tradition lie in the denigration of vision within modernism, a denigration that is based upon a conceptual confusion about the nature of seeing. This Turvey systematically extirpates with the tools of ordinary language philosophy. Written with remarkable lucidity and panache, Doubting Vision is an intellectual tour de force that is required reading for all film scholars and anyone who is interested in the history of modernism. * Richard Allen, New York University *Classical film theory represents a rich body of work that is generally overlooked nowadays by contemporary scholars of cinema. In Doubting Vision, Malcolm Turvey demonstrates that this is a mistake. He identifies a hitherto ill-recognized strand of the tradition--the revelationist tradition--and he shows astutely how critical engagement with it has great significance for debates in contemporary film theory. * Noel Carroll, Temple University *In this philosophically acute and elegantly concise book, Turvey proves himself a bold and highly original interlocutor of the tradition of classical film theory. Anyone interested in the cognitive value of cinema, modernist aesthetics, and visual culture will find his study indispensable, and long overdue. * Edward Dimendberg, author of Film Noir and the Spaces of Modernity *Table of ContentsIntroduction ; 1. The Revelationist Tradition: Exegesis ; 2. The Revelationsit Tradition: Critique ; 3. Revelationism and Contemporary Film Theory ; 4. The Lure of Visual Skepticism ; Notes

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Book SynopsisBy 1982 Francis Ford Coppola had won five Academy Awards at the same time he was over 20 million in debt following the disastrous failure of One from the Heart. This astute biography critically examines Coppola''s singular vision and why it makes such paradoxes not only possible but prevalent in his long turbulent career. At the age of 32 Coppola became a superstar in Hollywood with The Godfather, which rapidly climbed to the top of the all-time box-office hits. Two years later he won the coveted Palme d''Or at the Cannes festival for The Conversation. His savage epic of the Vietnam War, Apocalypse Now, established him as the most daring, brilliant filmmaker of his generation. This book not only goes behind the cameras to track the creative and financial turmoil involved in his productions, but offers perceptive analyses of his films, including all three parts of The Godfather and the visually stunning remake of Dracula. Based on three years of research and exclusive intervTable of Contents* Introduction * The Italian Connection * The Studio Grind * Independence and the Dream of Zoetrope * The Godfather * Picking Up The Conversation * Back to Corleone * Lost in the Jungle * Blows to the Heart * Back to Back in Tulsa * Playing The Cotton Club * From Rip van Winkle to Peggy Sue * Tragedy and Revival * TuckerThe Dream Triumphant * Back to the Future * Filmography

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Book Synopsis"One of the greatest Italian filmmakers, Federico Fellini (1920-1993) created such masterpieces as La Strada, La Dolce Vita, 8 1/2, Juliet of the Spirits, Satyricon, and Amarcord. His prodigious body o"Table of Contents* Rimini, My Home Town * Sweet Beginnings * Miscellany IIm a liar, but an honest one. * Letter to a Marxist Critic * Letter to a Jesuit Priest * Via Veneto: dolce vita * Notes On Censorship * The Bitter Lifeof Money * With 8 in Moscow * Miscellany IILike a puppet-master who falls in love with his puppets * Why Clowns? * Comic-Strip Heroes * Whom Do You Most Admire? * Miscellany IIII See No Dividing Line Between Imagination and Reality * The Birth of a Film

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Book SynopsisAlthough Frank Capra (1897–1991) is best known as the director of It Happened One Night, Mr. Deeds Goes to Town, You Can''t Take It with You, Mr. Smith Goes to Washington, Arsenic and Old Lace, and It''s a Wonderful Life, he was also an award-winning documentary filmmaker as well as a behind-the-scene force in the Director''s Guild, the Motion Picture Academy, and the Producer''s Guild. He worked with or knew socially everyone in the movie business from Mack Sennett, Chaplin, and Keaton in the silent era through the illustrious names of the golden age. He directed Clark Gable, Jimmy Stewart, Cary Grant, Gary Cooper, Bing Crosby, Frank Sinatra, Jean Harlow, Claudette Colbert, Bette Davis, and others. Reading his autobiography is like having Capra sitting in your living room, regaling you with his anecdotes. In The Name Above the Title he reveals the deeply personal story of how, despite winning six Academy Awards, he struggled throughout his life against the glamors, vagaries, and frustrations of Hollywood for the creative freedom to make some of the most memorable films of all time.Table of ContentsStruggle for Success * Its About Time, You Bum * Great Week for Screwballs * Comedy and the King * Baby Face * Columbia the Germ of the Ocean * The Sound and the Fury * In Search of the Holy Grail * Bitter Times and Bitter Tea Struggle with Success * Winning the Grail * Burn the First Two Reels * The Common Bond * If You Could Only Cook * You Cant Take It with You * If You Have to Think About It, Forget It * Film Power vs. Freedom of Film * Five Endings in Search of an Audience The Great Struggle * Why We Fight * F.D.R., Mr. P.M., & W.W. II An Entirely New Ball Game, With Entirely New Rules * Giver Me Liberty * Balabans Law * Self-Exile * Stars over Hollywood * Pocketful of Troubles

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Book Synopsis

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Book SynopsisRevealing biography of one of the twentieth century's most controversial figures; and the first significant biography to have been published since the subject's deathTrade ReviewBach's book might be called exemplary, except that that word is too cold for the excitement he generates . . . Powerful and enlightening * SUNDAY TIMES *Meticulous * DAILY TELEGRAPH *Not only powerful but also remarkably exciting * SUNDAY TIMES *Bach systematically and thoroughly chronicles a life so full of contradictions and denials it almost makes you want to scream . . . A superb work * OBSERVER *

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Book SynopsisSo You Want to Be a Producer is packed with information and advice from top Hollywood producers, writers and directors and is a must-read for anyone interested in what it really takes to get a film made, including:- Finding your story- Obtaining the rights- Developing the script- Hiring your cast and crew- Distributing your movie Lawrence Turman, the producer of more than forty films, including The Graduate, The River Wild, Short Circuit and American History X, offers an insider''s guide that covers every aspect of the role, from finding a story and hiring actors to developing a script and marketing the finished product. Trade Review"* 'Turman has made smart, superior films for forty years. This is a straightforward and clear guide to being a producer' Paul Newman * 'It's worth four years of film school' David Brown, four time Oscar-nominated producer of Chocolat, A Few Good Men and Jaws. * 'A smart, savvy survivior's guide to the galmorous producing game' Peter Bart, Editor in Chief, Variety"

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Book SynopsisOver the past two decades, independent director Gregg Araki has emerged as one of the most intriguing auteurs of contemporary U.S. cinema. A leading figure of the New Queer Cinema movement of the early 1990s, Araki is known for his innovative, eye-opening, and at-times-controversial films aimed primarily at queer audiences. Images for a Generation Doomed: The Films and Career of Gregg Araki explores the films and career trajectory to date of this New Queer Cinema pioneer. Offering in-depth analyses of films such as The Living End, Totally F***ed Up, The Doom Generation, Nowhere, and Splendor, Kylo-Patrick R. Hart demonstrates how, over the course of the 1990s, the director''s cinematic offerings became increasingly devoid of their early subversive potential. Hart goes on to argue that as the 1990s progressed, Araki''s films were largely irrelevant to the cultural project of providing groundbreaking on-screen representations of non-heterosexual individuals living in the age of AIDS. However, Hart sees Mysterious Skin as evidence of Araki''s successful attempt at reestablishing his cinematic and cultural relevancy in relation to the approaches and subject matter of contemporary queer cinema in the new millennium.Trade ReviewProvides a succint overview of the controversial so-called new queer director....Well-documented study....Helpful reading for any film course.... Recommended. -- G.R. Butters Jr. * CHOICE, June 2010 *Kylo-Patrick Hart’s impassioned and insightful exploration of controversial auteur Gregg Araki is another laudatory achievement for this award-winning scholar. By combining his years of teaching auteur studies with an immense knowledge of Araki’s work, Hart raises thought provoking questions about the director’s career trajectory and places him within the context of the New Queer Cinema. The author’s unique approach to his subject is what makes this treatise unique. His integrative study of Araki's film grammar, unique storytelling devices, problematic sexual politics, and fan reception are arranged within the chronological arch of the director’s oeuvre. Images for a Generation Doomed will be a welcome addition both to film libraries and to college and graduate courses in media and cultural studies. It truly is an unforgettable book about an unforgettable director. -- Catherine R. Burke, Independent Media ScholarTable of ContentsChapter 1: Gregg Araki and the New Queer Cinema Chapter 2: Queerly Making a Splash with The Living End Chapter 3: Refining an Authorial Style with Totally F***ed Up and The Doom Generation Chapter 4: Losing Focus with Nowhere and Splendor Chapter 5: Reestablishing Relevancy with Mysterious Skin Chapter 6 Afterword: Smiley Face and Beyond Chapter 7 Supplementary Chapter: Cinematic Trash or Cultural Treasure? Conflicting Viewer Reactions to the Extremely Violent World of Bisexual Men in Gregg Araki's "Heterosexual Movie" The Doom Generation Chapter 8 Filmography

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Book SynopsisBruce Robinson is a cult writer and director of Withnail and I. Here, he reveals to the author the truth about his work and life in a series of interviews. He talks candidly about his career; his acting, writing and directing, and the many tussles he has faced with Hollywood moguls.Trade Review'It's alive with Robinson's voice ... he is fully engaged, driven by an endless compulsion to entertain: his conversation is a work of art' Guardian 'Intelligent, honest and pungently expressed, the recollections of Bruce Robinson are a treat' Independent

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Book SynopsisDramatic Approaches to Creative Fidelity is a unique study of the work of Gabriel Marcel, a twentieth-century philosopher of international renown. This book brings a fresh perspective to the examination of Marcel''s thought, highlighting facets that are sure to interest many different audiences. Dramatic Approaches to Creative Fidelity presents a clear exposition of the nature of creative fidelity, a central theme in Marcel''s life and work. The distinctive contribution of this book, however, is its illustration of how theater and philosophy are complementary in Marcel''s investigation and reflective clarification of life''s existential questions. Each chapter of the book studies a play and a contemporary philosophic essay and examines how they relate to clarify a particular aspect of creative fidelity. Thus, this work communicates Marcel''s understanding of the nature of creative fidelity, illustrates the relationship that links theater and philosophy, and demonstrates the important rTable of ContentsPart 1 Introduction by Paul Ricoeur Part 2 Foreword Part 3 Part One: Gabriel Marcel: Philosopher-Dramatist-Musician Chapter 4 Chapter I. Introduction to Gabriel Marcel's Philosophic Quest Part 5 Part Two: Dramatic Approaches to Creative Philosophy Chapter 6 Chapter II. The Unfathomable: A Search for Presence Chapter 7 Chapter III. The Lantern: and The Light of Truth Chapter 8 Chapter IV. Dot the I: An Existential Witness of the Light of Truth Chapter 9 Chapter V Rebellious Heart: and Human Creativity Chapter 10 Chapter VI. The Double Expertise: Fidelity and Infidelity Chapter 11 Chapter VII. Colombyre or the Torch of Peace: The Role of Person-Community in Living Creative Fidelity to Values Chapter 12 Chapter VIII. The Sting: Threatening the Foundations of Fidelity Chapter 13 Chapter IX. Rome Is No Longer in Rome: Challenge for Creative Incarnations of Fidelity Chapter 14 Chapter X. Conclusion: Creative Fidelity, Sketch of the Essential Features Highlighted Part 15 Part Three: Resources for Research Chapter 16 I. Biblio-biography Chapter 17 II. Parallel of Theater and Philosophy Chapter 18 III. Works by Gabriel Marcel in chronological order of composition Chapter 19 IV. Bibliographic References Chapter 20 V. Partial List of Plays Produced Chapter 21 VI. Centers of Research Part 22 Index

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Book SynopsisTable of ContentsBringing in the Sheaves Half Genius, Half Irish Himself The Noble Outlaw Men and Women at War Ireland Rebels What Really Happened The Last Place on Earth Addendum Filmography Bibliography Acknowledgments

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Book SynopsisTable of ContentsForeword Preface A Brown Boy Brown Goes to War...and Returns to Tourneur Striking Out Early Years at Universal Brown and the Universal Women Brown at United Artists Brown Meets Garbo On the Trail of '98 An "Uplifting" Film The Master's Apprentice Transition to Sound A Year with Garbo Starmaker Devotion and Deceit Service and Passion Back with Crawford Reunited Going Home Back to the Formual Conquest A Little Piece of Humanity Foreign Affairs Inventions and Conventions Representing the War Front at Home and Away Velvet and Pie A Year with The Yearling Songs and the South The Twilight of a Career Slow Fade-out Acknowledgments Notes Index

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Book SynopsisHal Ashby directed eleven feature films over the course of his career and was an important figure in the Hollywood Renaissance of the late 1960s and 1970s. This title analyzes the films and filmmaking career of Hal Ashby, placing his work in the cultural context of filmmaking in the 1970s. It also provides an overview of Ashby's filmmaking career.

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Book SynopsisFocusing on Spielberg's blockbusters, this book examines Spielberg's distinct manipulation of film form, and his singular use of stylistic and narrative techniques. It demonstrates the aesthetic options available to Spielberg, and particularly the choices he makes in structuring his blockbusters.Trade Review "Buckland offers...a close examination of the filmic structures of Spielberg's blockbusters-from Jaws to War of the Worlds-with practically a shot-by-shot breakdown of some scenes. In deconstructing these films, Buckland uses his own definition of poetics: the activities and techniques involved in constructing a work of art. [He] is an admirer of Spielberg's and absolves him of the oft-repeated accusation that his production of the ‘first' blockbuster (Jaws) ultimately spelled doom for the ‘little' movie.... highly enlightening." - Library Journal, May 15 "Analyzing a film's style--camerawork, editing, an actor's position in the image, etc.--may seem rather dry at first glance. Also, analyzing Spielberg's most-popular blockbusters from an aesthetic perspective may seem a little unusual. Yet, this is what Dr. Warren Buckland carries out to enlightening success in his latest book, Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster." -DVDTown.com (*also features an interview with Buckland) "Buckland's new book release, Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster is the most comprehensive manual on Spielberg's style that I have yet found.... [Buckland] examines Spielberg's unique style and manipulation of the camera. He delves into his themes, his use of stylistic and narrative techniques, and the visual style that emerged throughout the course of his career. If you're a casual fan looking for a quick time-passer, you may want to skip to the next book on the aisle. But if you're a serious fan of Spielberg, his work and specific technique, or directing in general, then Buckland's book may be just the ticket." -SpielbergFilms.com *Interview with Buckland on http://www.dreamworksfansite.com/ Reference & Research Book News, August 2006 -- mentionTable of ContentsIntroduction; Chapter 1: An overview of the production, exhibition, financial, and managerial structures predominant in contemporary Hollywood cinema.; Chapter 2: Poetics, aesthetics, formalism and stylistics.; Chapter 3: Night Gallery: Eyes, Columbo: Murder by the Book, Duel.; Chapter 4: Jaws; Chapter 5: Close Encounters of the Third Kind; Chapter 6: Raiders of the Lost Ark. Chapter 7: E. T; Chapter 8: Jurassic Park; Chapter 9: Minority Report; Conclusion.

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Book SynopsisGinette Vincendeau is Professor of Film Studies at the University of Warwick. She is the author or editor of numerous publications including The Encyclopedia of European Cinema, Stars and Stardom in French Cinema, Pepe le Moko and (with Alastair Phillips), the forthcoming Journeys of Desire: European Actors in Hollywood.

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Book SynopsisDeborah Martin is Senior Lecturer in Latin American Cultural Studies at University CollegeLondon. She has published widely on Latin American film, including Painting, Literature and Filmin Colombian Feminine Culture: Border Guards, Nomads and Women (2012) and The Cinema ofLucrecia Martel (2016).Deborah Shaw is Reader in Film Studies at the University of Portsmouth, UK, where her keyresearch interests are in transnational film theory and Latin American cinema. She is the foundingco-editor of the Transnational Cinemas journal and her books include Contemporary Latin AmericanCinema: Ten Key Films (2003) and The Three Amigos: The Transnational Filmmaking of Guillermo delToro, Alejandro Gonzalez Inarritu, and Alfonso Cuaron (2013).Table of ContentsIntroduction Deborah Martin and Deborah Shaw Preface: Performing the Impossible in Plain Sight B. Ruby Rich Part 1: Industrial Contexts Chapter 1. Beyond Difference: Female Participation in the Brazilian Film Revival of the 1990s Lúcia Nagib Chapter 2. Through Female Eyes: Reframing Peru on Screen Sarah Barrow Chapter 3. “Parando la olla documental”: Women and Contemporary Chilean Documentary Film Claudia Bossay and María-Paz Peirano Part II: Representations Chapter 4. Beyond the Spitfire: Re-visioning Latinas in Sylvia Morales’ A Crushing Love Catherine Leen Chapter 5. Intimacy and Distance: Domestic Servants in Latin American Women’s Cinema: La mujer sin cabeza/The Headless Woman and El niño pez/The Fish Child Deborah Shaw Chapter 6. Women’s filmmaking and comedy in Brazil: Anna Muylaert’s Durval Discos and É Proibido Fumar Leslie Marsh Chapter 7. Young women at the margins: Discourses on exclusion in two films by Solveig Hoogesteijn Constanza Burucúa Part III: Key Agents Chapter 8. Re-Framing Mexican Women’s Filmmaking: The case of Marcela Fernández Violante Niamh Thornton Chapter 9. Bertha Navarro and the Remapping of Latin American Cinema: Markets, Aesthetics, Cultural Politics Marvin D’Lugo Chapter 10. Planeta ciénaga: Lucrecia Martel and Contemporary Argentine Women’s Filmmaking Deborah Martin

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Book SynopsisPatrick Lonergan is Professor of Drama and Theatre Studies at the National University of Ireland, Galway. He writes about theatre for The Irish Times and Irish Theatre Magazine. His first book, Theatre and Globalization, was awarded the 2008 Theatre Book Prize. He has authored two Student Editions of plays by Martin McDonagh, is editor of The Methuen Drama Anthology of Irish Plays and series editor of the Critical Companions series. Trade ReviewPatrick Lonergan - as enthusiastic as a true film buff ought to be, yet as defensive as a proud father - seeks to soothe the hostilities, and to show that the sheer force of the reactions to McDonagh's work has provoked only prove his momentous talent... [the book provides] a wealth of information and resources. -- Ruth Gilligan * Times Literary Supplement *As Patrick Lonergan's entertaining and enjoyable study of the playwright and film-maker points out, academics have frequently been more hostile [than critics]. Lonergan attempts to re-address this...By shifting the focus of his debate away from perennial debates surrounding the authenticity of Irish representation, Lonergan is able to pose much more interesting questions about the relationship between the author and his work...each section includes a very useful section of production analysis. The book also includes an extremely detailed glossary offering readers explanations of all the terms and major historical events dis cussed in McDonagh’s plays...Lonergan’s easy conversational tone and knowledgeable discussion of the plays will, though, be of interest to a general readership interested in McDonagh’s work, and this book offers a comprehensive account of his varied and occasionally controversial career to date. -- Catherine Rees * New Theatre Quarterly *Table of ContentsINTRODUCTION: ‘MARTIN MCDONAGH: FACTS AND FICTIONS' 1 THE LEENANE TRILOGY Introduction: The Murder Capital of Europe? The Beauty Queen of Leenane A Skull in Connemara The Lonesome West Druid Theatre and The Leenane Trilogy in production 2 THE ARAN ISLANDS PLAYS Introduction The Cripple of Inishmaan The Lieutenant of Inishmore The Aran Islands Plays Staging The Lieutenant and The Cripple 3 WORLD PLAYS The Pillowman A Behanding in SpokaneThe Plays in production 4 THE FILMS Six Shooter In Bruges McDonagh and cinema 5 CRITICAL AND PERFORMANCE PERSPECTIVESGarry Hynes in conversation: Monstrous Children‘Like Tottenham': Martin McDonagh's Postmodern Morality Tales (José Lanters)A Symbiotic Relationship: The Works of Martin McDonagh and Ecocriticism (Karen O'Brien)McDonagh and Postcolonial Theory: Practices, Perpetuations, Divisions, and Legacies (Eamonn Jordan)McDonagh's Gender Troubles (Joan Dean) 6 CONCLUSION 7 RESOURCESChronology of the life and work of Martin McDonaghA note on languageGlossary of Irish words and slangCultural, Political, Literary and Historical References Further Reading

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Trade ReviewStill grieving Eric Rohmer, I applaud this even-handed discussion of his 23 feature films. Jacob Leigh steers clear of cant (whether from theorists or Catholics), sticking close to this consistently intelligent, surprising, and beloved oeuvre. Sensitive to the master's seductive draw and tonic irony, Leigh uncovers a calculated method and discovers the relevance of classic concerns. -- Dudley Andrew, R. Selden Rose Professor of Film and Comparative Literature, Yale University, USAAt a time when the hackneyed phrase 'the magic of the movies' seems to apply only to special effects spectacles, Eric Rohmer's films remind us that cinema's greatest magic is its intimate engagement with reality. In this book, Jacob Leigh effectively articulates the ways that Rohmer's commitment to this truth is developed across dozens of films. A fine and much needed study of a filmmaker whose works appear more impressive and essential with each passing year. --Christian Keathley, Associate Professor of Film & Media Culture, Middlebury CollegeJacob Leigh's rich and erudite book is filled with subtle analyses that do justice to the complexity, delicacy, and sensuousness of the work of one of the greatest filmmakers. Both newcomers to Rohmer and those who know his films well will find much that is fresh and stimulating in Leigh's detailed and penetrating close readings. -- Chris Fujiwara, Artistic Director, Edinburgh International Film FestivalLeigh (Royal Holloway, Univ. of London, UK) avoids the well-trod paths of Rohmer’s Catholicism and the nouvelle vague moment to provide fresh, close, illuminating readings of the master’s 23 feature films, all now available on video or DVD….In providing evidence, Leigh balances telling dialogue with the unique inflection of cinematic devices. And he explores the individual films and their sequence without trimming them to an overarching theory or expectation, other that Rohmer’s celebration of life. This would be an excellent companion for those working through the Rohmer DVDs. There are 83 pages of worthy notes and a 28-page bibliography, but only a smattering of small, in-text stills. Summing up: Recommended. Lower-division undergraduates through faculty; general readers -- M. Yacowar, emeritus, University of Calgary * CHOICE *Recommended. * Times Higher Education Textbook Guide *A major achievement from one of the leading Rohmer scholars. As the last few paragraphs make clear, cinema has lost a major voice in Rohmer: his “optimism, hope and faith in humanity” are rare commodities these days. Leigh reminds us throughout that the films left behind are full of a delightful tension: there are strong undercurrents of romanticism aching to break through the surface of these elegant, erudite films. -- Ben McCann, University of Adelaide, Australia * Screening the Past *Table of ContentsAcknowledgmentsIntroduction Chapter 1 - 1950s and Early 1960s - Beginnings The nouvelle vagueShort filmsDocumentariesTelevision workLe Signe du Lion (1959)La Carrière de Suzanne (1963) shortLa Boulangère de Monceau (1963) short Chapter 2 - First SuccessesLa Collectionneuse (1967)Ma Nuit chez Maud (1969)Le Genou de Claire (1970)L'Amour l'après-midi (1972) Chapter 3 -Two Period FilmsLa Marquise d'O... (1976) Perceval le Gallois (1978) Chapter 4 - Comédies et proverbes - Part OneLa Femme de l'aviateur (1980)Le Beau mariage (1982)Pauline à la plage (1983) Les Nuits de la pleine lune (1984) Chapter 5 - Comédies et proverbes - Part Two Le Rayon vert (1986) Quatre aventures de Reinette et Mirabelle (1987) L'Ami de mon amie (1987) Chapter 6 - Contes des quatre saisons - Part One Conte de printemps (1990) Conte d'hiver (1992)L'Arbre, le maire et la médiathèque (1993)Les Rendez-vous de Paris (1995) Chapter 7 - Contes des quatre saisons - Part TwoConte d'été (1996)Conte d'automne (1998) Chapter 8 - Late ExperimentsL'Anglaise et le Duc (2000) Triple Agent (2004)Les Amours d'Astrée et Céladon (2007) BibliographyIndex

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Book SynopsisOne of the most talented and imaginative artists of independent cinema, Gus Van Sant established himself with a number of important movies of the late 1980s and early 1990s. Beginning with Mala Noche, the 1986 gay classic of personal film expression, followed by two key works of the American indie movement, Drugstore Cowboy and My Own Private Idaho, Van Sant films often feature characters on the borders of mainstream society. Subsequent films included hits, misses, and a notorious remake of Psycho. Regardless of the critical or commercial response to his work, Van Sant has maintained a vision that is unique among contemporary filmmakers. Conversations with Gus Van Sant is the first critical study to include both extensive original interviews with the director as well as discussions of his entire body of work. The exchanges between film scholar Mario Falsetto and the indie filmmaker cover fifteen films directed by Van Sant over a period of thirty years. Throughout these discussions, VTable of ContentsAcknowledgments Introduction Chapter One: Hustlers, Addicts and Shakespeare in Portland The Films: The Portland Trilogy: Mala Noche, Drugstore Cowboy, My Own Private Idaho Conversations 1 Chapter Two: Misfires, Mainstream Success, and an Art Experiment The Films: Even Cowgirls Get the Blues, To Die For, Good Will Hunting, Psycho, Finding Forrester Conversations 2 Chapter Three: Death, and Aesthetic Experimentation, Part 1 The Films: Gerry, Elephant Conversations 3 Chapter Four: Death, and Aesthetic Experimentation, Part 2 The Films: Last Days, Paranoid Park Conversations 4 Chapter Five: Queer Politics, an “Issue” Film, Death (Again), and the Wrap-Up The Films: Milk, Restless, Promised Land Conversations 5 Filmography Index About the Author

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Book SynopsisRichard Martin completed his PhD at Birkbeck, University of London, having previously worked at the Commission for Architecture and the Built Environment (CABE). He has taught at Birkbeck, Middlesex University and Tate Modern.Trade ReviewA thoughtful exploration of Lynchian space, The Architecture of David Lynch ... [provides] a wealth of architectural readings, a diverse bibliography, and a wonderfully insightful analysis of Lynch's filmography that inspire and enrich re-viewings. * New Review of Film and Television Studies *Architecture is more central to the cinema of David Lynch than that of any other film-maker, and now a book finally exists that not only grasps architecture's significance for Lynch but shows that it is impossible to understand these films without a thorough knowledge of the role that architecture plays in them. Martin's book is godsend for anyone with even a passing interest in David Lynch or the relationship between architecture and cinema. He bombards us with insight after insight. -- Todd McGowan, University of Vermont, USAIn this important and original study Richard Martin explores connections between the cinema of David Lynch and a series of distinctive urban spaces, drawing on insights from architectural history, cultural geography and contemporary film theory. -- Matthew Gandy, University College London, UKWhile David Lynch’s admirers have long marvelled at his talents as an engineer of atmosphere, the director’s architectural thinking has not received the scholarly attention it deserves. The Architecture of David Lynch is thus a welcome study. Brimming with insight and intelligence, this book inhabits the obsessive spatial topoi of Lynch’s films, and finds there the traces of history. In Martin’s fascinating account, Lynch’s moody architecture is a way of engaging modernity’s built environments through the kinds of spaces that only cinema can fashion. -- Justus Nieland, Michigan State University, USAThe reviewer commends the author on the work’s intelligence and insightful considerations of Lynch’s use of space, place and architecture in his films... With an impressive bibliography and 62 color plates of film stills, reproductions of paintings, and photographs of filming locations, the book is an important contribution to Lynch scholarship and engages film scholars to consider the dynamics of space, place and architecture in cinema... Martin’s text effectively joins the canonical works of Lynch scholarship, while simultaneously forcing all film scholars to re-evaluate the impact, effect and importance of space, place and architecture in film. * CINEJ Cinema Journal *Incisive and highly readable... Martin finds solid rhetorical ground and a plethora of interdisciplinary source material from which to articulate astonishingly deep, intricate, and, yes, original readings of Lynch’s work... The Architecture of David Lynch is clearly an indispensable entry in a densely analyzed field of film and auteur studies. * Jason Clemence, Cultural Politics *Martin’s study is such an important addition to ‘Lynch’ studies, offering a unique analysis of Lynch’s cinematic work through design and construction... Martin’s particular, unique focus shows how architecture forces us to confront the strange within the urban and suburban, and the social forces at work in the use of architecture, essentially re-establishing and altering our conceptions of the everyday. * Siobhan Lyons, Media International Australia *Table of ContentsPrologue: Three Journeys Introduction: Mapping the Lost Highway 1. Town and City 2. Home 3. Road 4. Stage 5. Room Acknowledgments Notes Image Credits Works Cited Index

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Book SynopsisSebastian Manley completed a PhD in film studies at the University of East Anglia, UK, in 2011. He has written on subjects including Hal Hartley, independent cinema, early British film and Jan Svankmajer, and maintains a blog on animals in film called The Cinematic Animal.Trade ReviewFinally, a book about quintessential, and maverick, American independent auteur Hal Hartley! Sebastian Manley cogently analyzes Hartley's anomalous, low budget, 'smart' films, covering both his Long Island suburban films—The Unbelievable Truth, Trust, Simple Men—and more urban, more global works—Flirt, Henry Fool, Fay Grim, and others. That Manley also studies Hartley's independent shorts constitutes a refreshing, much needed, addition to discussions of how 'indie' careers evolve, and why independent film survives. Hartley's distinctive approach to the business of film production, coupled with his iconoclastic stylistic and narrative choices, distinguish his work, as Manley carefully demonstrates, from that of other independent filmmakers, chief among them David Mamet, Jim Jarmusch, Kevin Smith, and Richard Linklater, as does his creative presence not just as writer/director, but also often as composer, producer, and editor. Eminently readable, with two revelatory interviews with Hartley collaborators appended as a bonus, The Cinema of Hal Hartley is a welcome, and long overdue, appraisal of one of the most important contributors to contemporary independent film. -- Chris Holmlund, Arts and Sciences Excellence Professor, Cinema Studies, Women's Studies and French, University of Tennessee, USAn excellent and authoritative study of the films of Hal Hartley, offering substantial new insights into the distinctive qualities of his work and key aspects of the wider independent context in which it is situated. -- Geoff King, Professor of Film Studies, Brunel University, UKSebastian Manley's study of Hal Hartley is an exemplary analysis of a quintessential American independent filmmaker, weaving together production and reception background with trenchant readings of the films. It is especially insightful in considering Hartley's investment in place and its development across his career. -- Michael Z. Newman, Assistant Professor, Journalism, Advertising, & Media Studies, University of Wisconsin-Milwaukee, USA most welcome contribution to the scholarly work on Hal Hartley, a filmmaker who has been, until recently, somewhat neglected in academic writing on independent cinema. This book examines Hartley’s auteur status and places his work within the broader context of American independent cinema, offering important observations on the key points of departure which distinguish Hartley’s films from the more frequently studied examples of commercial indie. An interesting, accessible and engaging account, The Cinema of Hal Hartley will be a valuable addition to reading lists for students of American independent cinema. -- Claire Molloy, Professor of Film, Television and Digital Media, Department of Media, Edge Hill University, UKTable of ContentsList of Illustrations Acknowledgements Introduction Chapter 1 The Long Island ‘Trilogy’: The Unbelievable Truth (1989), Trust (1990) and Simple Men (1992) Chapter 2 New Horizons: Amateur (1994) and Flirt (1995) Chapter 3 Imaginative Fictions/Social Realities: The Book of Life (1998), No Such Thing (2001) and The Girl from Monday (2005) Chapter 4 From Old Territory to New: Henry Fool (1997) and Fay Grim (2006) Chapter 5 The Short Films: From Kid (1984) to the PF2 Collection Conclusion Appendix A Interview with Michael Spiller Appendix B Interview with Steve Hamilton Bibliography

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Book SynopsisAfter 45 years, Steven Spielberg's Jaws remains the definitive summer blockbuster, a cultural phenomenon with a fierce and dedicated fan base. The Jaws Book: New Perspectives on the Classic Summer Blockbuster is an exciting illustrated collection of new critical essays that offers the first detailed and comprehensive overview of the film's significant place in cinema history. Bringing together established and young scholars, the book includes contributions from leading international writers on popular cinema including Murray Pomerance, Peter Krämer, Sheldon Hall, Nigel Morris and Linda Ruth Williams, and covers such diverse topics as the film's release, reception and canonicity; its representation of masculinity and children; the use of landscape and the ocean; its status as a western; sequels and fan-edits; and its galvanizing impact on the horror film, action movie and contemporary Hollywood itself.Trade ReviewAn excellent variety of fascinating readings about a surprisingly complex film of the 1970s. The range of approaches is stimulating, accessible, and superbly thought out. Each essay increases our knowledge of Jaws from a variety of perspectives and heightens our understanding of the film. * Robert P. Kolker, Emeritus Professor of English, University of Maryland, USA *The Jaws Book is rich, insightful and comprehensive. It revisits this landmark film from an extremely wide range of perspectives, covering production, film style, genre, representation and reception. As a consequence, it is essential reading for anyone interested in the history of American popular cinema, as well as the impact and legacy of this enduring, ever-popular film * Kate Egan, Senior Lecturer in Film and Media, Northumbria University, UK *45 years after its release, Steven Spielberg's Jaws continues to endlessly fascinate and function as a cornerstone for contemporary popular culture. Hunter and Melia's collection brings together an impressive group of scholars, who deftly debate and analyse Jaws in a series of original, insightful and highly readable essays. Distinguishing fact from myth, and scrutinizing details pertaining to its production, textual organisation and reception, The Jaws Book offers genuinely new perspectives on why the film continues to resonate. No doubt, it will appeal to everyone interested in the film, its director and the industrial, cultural and political cultures that produced it. * Yannis Tzioumakis, Reader in Film and Media Industries, University of Liverpool, UK *This is a terrific collection of essays that genuinely brings new insight, and with a foreword provided by Jaws’ screenwriter and supporting actor Carl Gottlieb himself, The Jaws Book is highly recommended for any fan of Jaws, or for anyone with even a passing interest in this crucial moment in film history. * Cinema Retro Magazine *Table of ContentsList of illustrations Notes on contributors Acknowledgements Foreword Carl Gottlieb (Screenwriter of Jaws) Introduction I.Q. Hunter (De Montfort University, UK) and Matthew Melia (Kingston University, UK) Part One: Production, Reception and Style 1. ‘She Was the First’: The Place of Jaws in American Film History Peter Krämer (De Montfort University, UK) 2. Not the First: Myths of Jaws Sheldon Hall (Sheffield Hallam University, UK) 3. Cutting to the Chase: Editing Jaws Warren Buckland (Oxford Brookes University, UK) 4. ‘The Shark is Not Working’ – But the Music Is: Scoring a Hit with Jaws Emilio Audissino (University of Southampton, UK) 5. In the Teeth of Criticism: Forty-Five Years of Jaws Nigel Morris (University of Lincoln, UK) 6. Jaws, in Theory Murray Pomerance (Independent scholar, Canada) Part Two: Interpretation 7. Jaws as Jewish Nathan Abrams (Bangor University, UK) 8. Children as Bait Linda Ruth Williams (Exeter University, UK) 9. Reflexive Epistemology in Jaws and Jurassic Park Robert Geal (University of Wolverhampton, UK) 10. ‘We Delivered the Bomb’: On Jaws, Guilt, and the Atomic Myth Matthew Leggatt (University of Winchester, UK) 11. The Way Home: Shifting Perspectives in Jaws Daniel Varndell (University of Winchester, UK) 12. Relocating the Western in Jaws Matthew Melia (Kingston University, UK) Part Three: Beyond Jaws 13. ‘Just When You Thought It Was Safe...’: The Jaws Sequels Kathleen Loock (Freie Universität Berlin, Germany) 14. Martha’s Vineyard Revisited: The Making-Ofs and Their Narrative Strategies Felix Lempp (University of Hamburg, Germany) 15. Ben Gardner’s Head is Missing: Notes on Jaws: The Sharksploitation Edit Neil Jackson (University of Lincoln, UK) 16. Live Every Week Like It’s Shark Week: Jaws and Natural History Documentary Vincent Campbell (University of Leicester, UK) Index

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Book SynopsisJeremi Szaniawski is Assistant Professor of comparative literature and film studies in the Department of Languages, Literatures, and Cultures at the University of Massachusetts Amherst, USA. He is the editor of Directory of World Cinema: Belgium and the author of The Cinema of Alexander Sokurov: Figures of Paradox (both 2014), as well as the translator, into French, of Thomas Elsaesser's and Malte Hagener's Film Theory: An Introduction Through the Senses (2011) and Alexander Sokurov's V tsentre okeana (2015).Trade Review[T]reads new ground in Kubrick-ademia. * The Film Stage *Here is a collection of lambently written and fascinating explorations of an important filmmaker's scintillating career. Admirers and students will rightfully cherish After Kubrick for its unprecedented depth, its smart variety of approaches, and the intense light it shines on films that have become classics. * Murray Pomerance, author of Virtuoso: Film Performance and the Actor's Magic (2019) *These fascinating, often ingenious, and always insightful essays explore the complex legacy of one of the great artists of the 20th century. * Robert P. Kolker, Emeritus Professor, University of Maryland, USA *Never sentimental, fawning, or uncritical, this collection tackles the complex subject of the legacy of Kubrick’s films with the most promiscuous possible sense of aesthetic influence. Kubrick, or, rather, 'Kubrick,' thereby becomes a machine, a form, a process, a method, a medium, an excuse, a vibrant philosophical conceit, enabling the revisiting of some of the most pressing contemporary debates in the study of representation—the aesthetic status of affect; the post- and trans-human relation to technology and artificial intelligence; environmental catastrophe and the machinery of war; in addition to film-philosophical concerns with cinematic time; the grotesque and violent; and the status of aesthetic form itself. Grounding its far-reaching considerations in exemplary close readings, and with a particularly rich editorial introduction, After Kubrick thereby brings out the etymological debt of the word 'influence' itself: from the Latin influere, to flow into, an undetermined streaming of energy, fluid, or even unobservable forces, demonstrating that aesthetic influence is the unpredictable and impersonal capacity to produce new and surprising effects. * Eugenie Brinkema, Associate Professor, Massachusetts Institute of Technology, author of The Forms of the Affects *After Kubrick represents an infusion of rich blood into Kubrick studies and contemporary cinema studies. Contributing authors are among the finest in those fields, but this volume is not a collection of “the usual Kubrick suspects”: it extends much further than that in its inclusiveness and in its ambitious scope to cut new pathways back into Kubrick’s work and forward into emergent work. * Senses of Cinema *Table of ContentsIntroduction: 1999–2019, and Beyond: A Post-Kubrickian Odyssey (Jeremi Szaniawski, UMass Amherst, USA) 1. Stanley Kubrick’s Prototypes: the Author as World-Maker (Thomas Elsaesser, University of Amsterdam, the Netherlands) 2. “Kubrick’s Cube”: Stanley Kubrick, Judaism and his Jewish Heirs (Nathan Abrams, Bangor University, UK) 3. Kubrick’s Inheritors: Aesthetics, Independence, and Philosophy in the Films of Joel and Ethan Coen (Rodney F Hill, Hofstra University, USA) 4. Blurring the Lines between Victim and Perpetrator: Yorgos Lanthimos and Stanley Kubrick’s legacy (Pierre Simon Gutman, ESRA, France) 5. Glimpses of Eternity: Stanley Kubrick’s Time Machines (Jeremi Szaniawski, UMass Amherst, USA) 6. Kubrickian Dread: Echoes of 2001 and The Shining in Works by Jonathan Glazer, Paul Thomas Anderson, and David Lynch (Rick Warner, UNC Chapel Hill, USA) 7. Excessive and Incomplete: Kubrick’s Turing (Marta Figlerowicz, Yale University, USA) 8. Thus Spoke Kubrick: “Guide Pieces,” Modes of Citation and the Rise of the Temp Track (Adrian Daub, Stanford University, USA) 9. Fade to Crude: Petro-Horror and Kubrick’s The Shining (Pansy Duncan, Massey University, New Zealand) 10. The Anxiety of Interpretation: The Shining, Room 237I, and Film Criticism (Daniel Fairfax, Frankfurt am Main University, Germany) 11. Political Opacity in the Films of Stanley Kubrick (John Pitseys, Université Catholique de Louvain-la-Neuve, France) 12. Coping with the Unknown in 2001: A Space Odyssey and Interstellar (Mircea Deaca, University of Bucarest, Romania) 13. Biopolitical Abjection and Sexuation: Stanley Kubrick’s Political Films (Seung-hoon Jeong, NYU Abu Dhabi, United Arab Emirates) 14. Kubrick at the Museum: Post-cinematic Conditions, Limitations, and Possibilities (Jihoon Kim, Chung-Ang University, South Korea) 15. The Dead Kitten: Sacrifice in Barry Lyndon (Alexander Nemerov, Stanford University, USA) Appendix: Interview with Gaspar Noé (Pip Chodorov, Dong-Guk University, South Korea) Index

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Book SynopsisHow do we approach a figure like Mario Bava, a once obscure figure promoted to cult status? This book takes a new look at Italy's maestro of horror' but also uses his films to address a broader set of concerns. What issues do his films raise for film authorship, given that several of them were released in different versions and his contributions to others were not always credited? How might he be understood in relation to genre, one of which he is sometimes credited with having pioneered? This volume addresses these questions through a thorough analysis of Bava''s shifting reputation as a stylist and genre pioneer and also discusses the formal and narrative properties of a filmography marked by an emphasis on spectacle and atmosphere over narrative coherence and the ways in which his lauded cinematic style intersects with different production contexts. Featuring new analysis of cult classics like Kill, Baby Kill (1966) and Five Dolls for an August Moon (1970), Mario BTrade Review[A] meticulously researched new book on the Italian filmmaker … an excellent way to develop an even deeper appreciation of his work. * Cinema Retro Magazine *Leon Hunt’s Mario Bava: The Artisan as Italian Auteur is a thorough exploration of a director whose cult status has grown in recent times. Hunt explores several themes in this book, including the relation between Bava’s work and genre cinema, his status as an artisan-auteur and the broader critical reception of his work. Written in an accessible style, this book is essential reading for those interested in Italian genre cinema, cult cinema and authorship and film. * Jamie Sexton, Senior Lecturer in Film and Television Studies, Northumbria University, UK *Leon Hunt’s Mario Bava: The Artisan as Italian Horror Auteur masterfully asks and answers perennially important questions in relation to the study of the auteur and film: how can we approach a filmmaker like Bava whose achievements are often compromised by their production circumstances, and what issues do his films raise with regards to cultural value? * Dolores Tierney, Head of Film Studies at the University of Sussex, UK and co-editor of Latsploitation, Exploitation Cinemas and Latin America *Table of Contents1. Between Expendability and Connoisseurship - Situating Bava 2. Artisan or Auteur - Bava and Authorship 3. Navigating filoni- From Sword and Sandal to il gotico italiano 4. Giallo all’italiana - Bava and the ‘Italian style’ Thriller 5. The poetics of ‘Serie B’ Cinema - Bava and Film Style 6. ‘Grande stronzate’? - Reception and Reputation 8. Conclusion Bibliography Index

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Book SynopsisJoel and Ethan Coen (b. 1954, 1957) started their careers in obscurity on a shoestring budget cajoled from family and friends in Minneapolis. Working entirely outside the studio system, the Coen brothers scored an unlikely first success in 1984 with their postmodern noir film Blood Simple. Two decades and nearly a dozen movies later, the Coens are now among the best-known writer/directors in Hollywood, turning out major studio releases featuring such stars as George Clooney, Catherine Zeta-Jones, and Tom Hanks. The Coens' films all share a distinctive, quirky ambience that critics have come to identify as ""that Coen brothers feeling."" Tricky moving camera work, frequent use of the voiceover, homages to directors and cinematic genres, a fascination with unexpected and off-kilter violence, and omnipresent black humor are all defining elements of the Coens' cinematic world. From such highly stylized movies as Barton Fink and The Man Who Wasn't There to more mainstream but dark comedies such as Raising Arizona, Intolerable Cruelty, and O Brother, Where Art Thou?, the Coens are equally at home with existential despair and comic exuberance and are known for scripts packed with an obvious love for language. This collection of their most important interviews spans twenty years and is the most comprehensive published on the brothers.

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Book SynopsisFred Zinnemann directed some of the most acclaimed and controversial films of the twentieth century, yet he has been a shadowy presence in Hollywood history. In Fred Zinnemann and the Cinema of Resistance, J. E. Smyth reveals the intellectual passion behind some of the most powerful films ever made about the rise and resistance to fascism and the legacy of the Second World War, from The Seventh Cross and The Search to High Noon, From Here to Eternity, and Julia. Smyth's book is the first to draw upon Zinnemann's extensive papers at the Academy of Motion Picture Arts and Sciences and brings Fred Zinnemann's vision, voice, and film practice to life. In his engagement with the defining historical struggles of the twentieth century, Zinnemann fought his own battles with the Hollywood studio system, the critics, and a public bent on forgetting. Zinnemann's films explore the role of women and communists in the antifascist resistance, the West's support of Franco after the Spanish Civil War, and the darker side of America's national heritage. Smyth reconstructs a complex and conflicted portrait of Zinnemann's cinema of resistance, examining his sketches, script annotations, editing and production notes, and personal letters. Illustrated with seventy black-and-white images from Zinnemann's collection, Fred Zinnemann and the Cinema of Resistance discusses the director's professional and personal relationships with Spencer Tracy, Montgomery Clift, Audrey Hepburn, Vanessa Redgrave, and Gary Cooper; the critical reaction to his revisionist Western, High Noon; his battles over the censorship of From Here to Eternity, The Nun's Story, and Behold a Pale Horse; his unrealized history of the communist Revolution in China, Man's Fate; and the controversial study of political assassination, The Day of the Jackal. In this intense, richly textured narrative, Smyth enters the mind of one of Hollywood's master directors, redefining our knowledge of his artistic vision and practice.

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Book SynopsisApril 2, 2018 was the 50th anniversary of a 1968 premiere screening in Washington, D.C. of Stanley Kubrick's 2001: A Space Odyssey. The film remains the most fascinating cinematographic adventure given to experience. As a tribute to the masterpiece, and to the maestro himself, this essay which was first presented in 1995 as a scholarly paper explores the multiple connections to the Odyssean theme that one may find in Stanley Kubrick's filmography.Kubrick's unweaving and re-weaving of the cinematographic tapestry reflect his attachment to the changeability implied in the Odyssean theme, which has become the theme of questioning, the perpetual questioning of one's possibilities. The camera's shuttling back and forth in time, round and round in space, through the means of dolly movements, shots and reverse shots, circular and spiraling recurrences, equates the director's shuttling between classical and avant-garde techniques, between painting and photography, between musical intensity and spatial silence. A chassé-croisé which the pluricephal director utilizes with a view to producing new angles of view and new parallaxes: a constant Kubrickian experimentation of the cinematographic language.

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Book SynopsisPixar Storytelling is about effective storytelling rules based on Pixar’s greatest films. The book consists of ten chapters, each of which explores an aspect of storytelling that Pixar excels at. Learn what Pixar’s core story ideas all have in common, how they create compelling, moving conflict and what makes their films’ resolutions so emotionally satisfying. The book also examines Pixar’s character development, unique, intricate story structure and use of theme, all of which are key to the studio’s storytelling achievements. This book is great for writers interested in writing for animation or mainstream feature films, animators or aspiring directors who want to know how some of the best animated films work, and even Pixar fans or film buffs who are interested in learning more about the awesome world of storytelling.

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Book SynopsisThe film-making partnership of Michael Powell and Emeric Pressburger was one of the most remarkable and visionary in cinema. They made an extraordinary range of films, from The Spy in Black and The Life and Death of Colonel Blimp to A Canterbury Tale and The Red Shoes. With champions like Martin Scorsese and Francis Ford Coppola, and revived critical interest worldwide, they now find new generations of admirers. This illuminating new book looks closely at these classic films to explore their complex relationship to national identity, and their interest in exile, borderlands, utopias, escapism, art and fantasy. Moor reveals for example how the visual imagery of the films of the Second World War question current cinematic styles and how post war films like The Red Shoes and The Tales of Hoffman are in their highly expressive use of design, music and dance utterly international in character.Trade Review'Powell and Pressburger made beautiful, deviant and mongrel films that are famously un-pindownable. Moor's book challenges this belief in their rootlessness and shows how they fit into the movie genres, social history, empire, gender, nation, literature and iconography. He's particularly good on the postwar films, and brilliant on David Niven.' Mark Cousins 'Andrew Moor does full justice to the richness of their great films of the 1940s, and relates them in fascinating ways to the events of this pivotal decade in twentieth-century British history.' Charles Barr 'Essential reading for anyone engaging with the work of Powell and Pressburger.' Screen 'Eclectic and intellectually stimulating. - This book is clearly a labour of love, but that only adds to its worth and readability.' Historical Journal of Film and Television ' - A valuable text for both students and academics that is pertinent for study relating to postmodernism, cultural geography, postcolonial studies, gender studies, film studies, and the affect/effect of cinematic spaces on the spectator.' Journal of Popular Film and Television

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