Individual film directors Books

Book SynopsisWhen we bury our secrets, they always come back to haunt us...Their rise was meteoric. Only a few years before, they had been three friends from Glasgow, just trying to survive tough lives of danger and dysfunction. But on one Hollywood evening in 1993, they were on the world’s biggest stage, accepting their Oscar in front of the watching world. That night was the beginning of their careers. But it was also the end of their friendship. Over the next twenty years, Mirren McLean would become one of the most powerful writers in the movie industry. Zander Leith would break box-office records as cinema’s most in-demand action hero. And Davie Johnson would rake in millions as producer of some of the biggest shows on TV. For two decades they didn’t speak, driven apart by a horrific secret. Until now… Their past is coming back to bite them, and they have to decide whether to run, hide, or fight. Because when you rise to the top, there’s always someone who wants to see you fall.An exciting new glam thriller for the fans of Taylor Jenkins Reid, Liane Moriarty and Jo Spain Previously published in the UK as TAKING HOLLYWOOD by Shari King.‘Brilliant, a white-knuckle ride of a novel. Gripping and wildly glamorous’ Tilly Bagshawe ‘It's a real slice of Hollywood and a brilliant read’ Gerard Butler ‘A glam, edgy thriller, just the way I like them’ Martina Cole ‘Sex, scandal and secrets galore’ Jackie Collins 'A high-stakes thriller with a dark, moving story at its core. Page-turning entertainment at its very best' - TJ Emerson ‘It's a thriller that’s gritty, sexy and a sensational page turner. You won't be able to put it down. I loved it!’ Lorraine Kelly 'I loved this Hollywood tale with deep Scottish roots. It’s dark, sinful, glittering and thrilling. An absolute adventure from the very first page' Carmen Reid 'The mean streets of Glasgow meet the glitz of Hollywood. A riveting read!' - Evie Hunter

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Book Synopsis"Outlaw Masters of Japanese Film" offers an extraordinary close-up of the hitherto overlooked golden age of Japanese cult, action and exploitation cinema from the early 1950s through to the late 1970s, and up to the present day. Having unique access to the top maverick filmmakers and Japanese genre film icons, Chris D. brings together interviews with, and original writings on, the lives and films of such transgressive directors as Kinji Fukasaku ("Battles Without Honour and Humanity"), Seijun Suzuki ("Branded to Kill") and Koji Wakamatsu ("Ecstasy of the Angels") as well as performers like Shinichi 'Sonny' Chiba ("The Streetfighter", "Kill Bill Vol. 1") and glamorous actress Meiko Kaji ("Lady Snowblood"). Bringing the story up-to-date with an overview of such Japanese 'enfants terrible' as Takashi Miike ("Audition") and Kiyoshi Kurasawa ("Cure"), this book also provides a compendium of facts and extras including filmographies, related bibliographies on genre fiction including Manga, and a section on female yakuzas. Illustrated with fantastic stills and posters from some of Japan's finest cult and action films, this is a veritable bible for fans and newcomers alike.Trade ReviewFor years now, Japanese movie mavericks have been confessing their secrets to Chris D. The resulting book is packed with information, resonant with insight, and a must for anyone who's ever wanted to explore the fringes of Japanese film and beyond.' - Patrick Macius, author of TokyoScope: The Japanese Cult Film Companion 'Profiling fourteen genre-defining and downright subversive filmmakers and actors who honed their craft on the wrong side of the cinematic tracks, Outlaw Masters of Japanese Film is long overdue. Chris D.'s boundless enthusiasm for and encyclopaedic knowledge of these films complement his probing interviews and informed commentary. Highly recommended for anyone with an interest in Japanese cinema.' - Stuart Galbraith IV, au thor of The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune ' Legends have a basis in both a perceived and a "virtual" reality. Chris D.'s book shows both sides, which is essential in understanding how filmmaking legends are born.' - Takashi Miike, director of Ichi, The Killer; Dead or Alive and Audition The Daily Yomiuri, 10th July 2005. Review by Colin Donald: 'With the fervour and diligence of the true film nerd, the tersely named Chris D. a writer, actor and rock band member, has collected the most comprehensive English guide in existence to this all-but-forgotten genre.' 'An excellent book by a knowledgeable and truly obsessed fan.' - The Japan TimesTable of ContentsAcknowledgements; Glossary; Introduction; 1. Kinji Fukasaku; 2. Eiichi Kudo; 3. Sinichi 'Sonny' Chiba; 4. Meiko Kaji; 5. Junya Sato; 6. Kihachi Okamoto; 7. Kazuo Ikehiro; 8. Masahiro Shinoda; 9. Yasuharu Hasebe; 10. Seijun Suzuki; 11. Teruo Ishii; 12. Koji Wakamatsu; 13. Takashi Miike; 14. Kiyoshi Kurosawa; Appendices; Selected Bibliography; Index.

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Book SynopsisPioneer of political documentary and inventor of cinema verite, Dziga Vertov has exerted a decisive influence on directors from Eisenstein to Godard. Yet his reputation long rested upon a lone masterpiece, 'Man with a Movie Camera'. Recently, however Vertov has begun to be recognised as the creator of a body of innovative and distinct films and, as Jeremy Hicks argues, documentary as we know it today is unthinkable without the rediscovery of Vertov. This, the first book in English to cover the whole of Vertov's career, reveals him to be an auteur, allowing readers to combine the familiar and less familiar aspects of his filmmaking and thinking in a cohesive narrative. Jeremy Hicks demonstrates how Vertov draws on Soviet journalistic models for his transformation of newsreel into the new form of documentary film. Through analyses of "Cine-Pravda No 21" (Leninist Cine-Pravda), "Cine-Eye", "Forward Soviet!", "A Sixth Part of the Earth", "The Eleventh Year", "Man with a Movie Camera", "Enthusiasm", "Three Songs of Lenin", and "Lullaby", he shows how Vertov's greatest works combine authentic documentary footage ingeniously for tremendous rhetorical effect. Today, with the energetic revival of interest in documentary film, Vertov's reflexive and overtly partisan films are of great relevance; but they need to be better known and understood. This is the purpose of "Dziga Vertov - Defining Documentary Film".Table of ContentsPreface Acknowledgements List of Illustrations Introduction: Dziga Vertov- Defining Documentary Film 1. The Birth of Documentary from the Spirit of Journalism. Cine-Pravda. Cine-Eye 2. Vertov and Documentary Theory: 'The Goal Was Truth, the Means Cine-Eye.' 3. 'A Card Catalogue in the Gutter.' Stride, Soviet! A Sixth Part of the World Contents 4. New Paths: The Eleventh Year. Man with a Movie Camera 5. Sound and the Defence of Documentary: Enthusiasm 6. Documentary or Hagiography? Three Songs of Lenin 7. Years of Sound and Silence: Lullaby 8. Forward Dziga! Foreign and Posthumous Reception Bibliography Filmography Index

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Book SynopsisKenji Mizoguchi is one of the three acclaimed masters - together with Yasujiro Ozu and Akira Kurosawa - of Japanese cinema. Kenji Mizoguchi and the Art of Japanese Cinema is the definitive guide to the life and work of one of the greatest film-makers of the twentieth century.Born at the end of the nineteenth century into a wealthy family, Mizoguchi's early life influenced the themes he would take up in his work. His father's ambitious business ventures failed and the family fell into poverty. His mother died and his elder sister was obliged to enter a geisha house to support the family. Her earnings paid for Mizoguchi's education. Weak and deluded men and strong, self-sacrificing women - these were to become the obsessive motifs of Mizoguchi's films.Mizoguchi's apprenticeship in cinema was peculiarly Japanese. His concerns - the role of women and the realist representation of the inequities of Japanese society - were not. Through two World Wars, Japan's culture changed. Though censored, Mizoguchi continued to produce films. It was only in the 1950s that Mizoguchi's astonishing cinematic vision became widely known outside Japan.Kenji Mizoguchi and the Art of Japanese Cinema tells the full story of this famously perfectionist, even tyrannical, director. Mizoguchi's key films, cinematographic techniques and his social and aesthetic concerns are all discussed and set in the context of Japan's changing popular and political culture.Trade Review'Kenji Mizoguchi was unquestionably one of the very greatest of all film-makers and now at last there is a book in English from a distinguished Japanese critic that tells us why. Few in the West have seen so many Mizoguchi films as Tadao Sato, nor studied them so deeply and with such sympathy. This is an invaluable book about a genius of the cinema.' Derek Malcolm, Honorary President of the International Federation of Film CriticsREVIEWS OF MIZOGUCHI'S WORK 'One of the 20th century's greatest filmmakers'New York Times'On equal terms with Eisenstein, Griffith and Renoir'Jean-Luc Godard'The Japanese director I admire the most'Akira Kurosawa'No praise is too high for him'Orson Welles'He is capable of going beyond the limitations of coherent logic, and conveying the deep complexity and truth of the impalpable connections and hidden phenomena of life'Andrei Tarkovsky'The greatest of all cineastes'Cahiers du Cinema'When the name Kenji Mizoguchi is intoTable of Contents1. An Original Spirit 2. Encountering the New Theatre 3. From New Theatre to Naturalism-Realism 4. Social Realism -The Time of Leftist Films - Metropolitan Symphony 5. The Fate of Matinee Idols 6. Man Imitates Art in Life 7. The Three Traditional Art (Geidomono) Films 8. A Difficult Woman 9. Recreating the Classics 10. The Last Works 11. The Dialectic of Camera and Performance 12. Looking Up, Looking Down 13. Yoda Yoshikata Chronology of Life and Work

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Book SynopsisI.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. Now in paperback for the first time, Volume 1 documents from the definitive Russian texts the complex course of Sergei Eisenstein's writings during the revolutionary years in the Soviet Union. It presents Eisenstein the innovative aesthetic thinker, socialist artist and humourist, passionately engaged in the debates over the art forms of the future. Importantly, this was also the period of Eisenstein's great silent masterpieces, 'The Strike', 'The Battleship Potemkin', 'October' and 'The General Line', and of his controversial sojourns in Hollywood and Mexico.

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Book SynopsisI.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. Volume 3 follows on from the 1922-34 writings of Volume 1 and parallels Volume 2's essays on the theory of montage. In the period covered by this volume, Eisenstein's film-making ran into the difficulties generated by the Soviet authorities' increasingly restrictive definition of Socialist Realism, by the show trials and the purges, the Second World War, and the post-war proclamation of rigid cultural orthodoxy by Stalin's henchman, Zhdanov. Here we experience Eisenstein's reaction to this hostile environment, as filmmaker, theorist and teacher, from his public obeisance over 'Bezhin Meadow' to his private defiance with 'Ivan the Terrible'.

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Book SynopsisThe phenomenon of time was a central preoccupation of Tarkovsky throughout his career. His films present visions of time by temporal means - that is, in time. Tarkovsky does not represent time through coherent argument, Nariman Skakov proposes, rather he presents it and the viewer experiences the argument. This book explores the phenomenon of spatio-temporal lapse in Tarkovsky's cinema - from Ivan's Childhood (1962) to Sacrifice (1986). Dreams, visions, mirages, memories, revelations, reveries and delusions are phenomena which present alternative spatio-temporal patterns; they disrupt the linear progression of events and create narrative discontinuity. Each chapter is dedicated to the discussion of one of Tarkovsky's seven feature films and in each, one of these phenomena functions as a refrain. Skakov discusses the influence of the flow of and lapses in space and time on the viewer's perception of the Tarkovskian cinematic universe. He opens and closes his original and fascinating book on Tarkovsky's cinema by focusing on the phenomenon of time that is discussed extensively by the filmmaker in his main theoretical treatise Sculpting in Time, as well as in a number of interviews and public lectures.Trade Review'An illuminating long take of the creative work of one of the most enigmatic and thought-provoking filmmakers of the twentieth century. The book sets high standards not only for thinking about Tarkovsky, but for writing about cinema as such. By combining a reflection on the cinematic and the philosophical, this book transforms the boundaries of both.' - Dragan KujundA ic, Professor of Film and Media Studies and Slavic Studies, University of Florida; 'Before this book, Tarkovsky's preoccupation with "sculpting in time" had become a critical cliche. Here Skakov brings it alive again, offering a fresh, theoretically-informed and entirely original approach. He reveals Tarkovsky's work as creating "textural" temporality, offers fresh readings of the key films, and a compelling theoretical framework.' - Emma Widdis, Head of Department of Slavonic Studies, Cambridge UniversityTable of ContentsList of Illustrations Acknowledgements Note on Transliteration Preface: On Space(s) and Time(s) 1. Dreams of Ivan’s Childhood 2. Visions of Andrei Rublev 3. Phantasies of Solaris 4. Memories of Mirror 5. Revelations of Stalker 6. Recollections of Nostalghia 7. Illusions of Sacrifice Postscript Endnotes Filmography and Credits Bibliography Index

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Book SynopsisThe films of Claire Denis probe the idea of global citizenship and trace the borderlines of family, desire, nationality and power. Her films, including Chocolat, Beau travail and White Material explore connections between national experience and individual circumstance, visualizing the complications of such dualities. Following a foreword by Wim Wenders, international contributors explore the themes she addresses in her films, such as kinship and landscape, neo-colonialism and New French Extremity. Original interviews with an editor, actor and two composers familiar with Denis's working style and with Denis herself, also reveal fresh facets of this intrepid filmmaker.Trade ReviewThis book compiles insightful essays and interviews concerning the work of one of the most innovative and particular narrative filmmakers of our time -- Claire Denis. I feel so lucky to have this remarkable body of films accessible to my consciousness! Thank you, Claire Denis. Jim Jarmusch Claire Denis's films are unequalled in contemporary cinema in their political rigour, sensitivity, artistic verve, and sheer sensuality. This beautiful, exploratory book responds to these films through interviews with the director and her collaborators, photographs and tributes, and through a series of coruscating critical essays from the finest writers in the field. Emma Wilson, Professor of French Literature and the Visual Arts, Cambridge University. Marjorie Vecchio has put together a stunning volume, full of intellectual verve and breathtaking insight that throws light on the work and critical impact of Claire Denis. Unpretentious yet spot on in terms of philosophical framing, the contributions will occupy a central place in the ever-growing archives of film criticism and the theoretical soundtrack that accompany every screening of our ability to think. Avital Ronell, Philosopher, New York University.Table of ContentsMarjorie Vecchio - Introduction Wim Wenders - Forward: “Klärchen“ 1. Interviews Martine Beugnet -‘To Let The Image Sing’: Conversations with Dickon Hinchliffe and Stuart Staples Kirsten Johnson - Interview with Nelly Quettier, Paris July 2011 - Interview with Alex Descas, Paris July 2011 Jean-Luc Nancy - Interview with Claire Denis, European Graduate School, Saas-Fee, Switzerland Summer 2011 (Trans. Nathalie Le Galloudec) 2. Relations Catherine Wheatley - La Famille Denis Sam Ishii-Gonzales - Reinventing Community, or Non-Relational Relations in Claire Denis’s I Can’t Sleep James S. Williams - Beyond the Other: Grafting Relations in the films of Claire Denis 3. Global Citizenship Cornelia Ruhe - Beyond Post-colonialism? From Chocolat to White Material Florence Martin - Trouble Every Day: The Neo-Colonialists bite back. Rafael Ruiz Pleguezuelos - Foreignness and Employment: A Study of the Role of Work in the Films of Claire Denis Jean-Luc Nancy - The Intruder According to Claire Denis (Trans. Anna Moschovakis) 4. Within film Noëlle Rouxel-Cubberly - Delivering: Claire Denis’s opening sequences Laura McMahon - Rhythms of Relationality: Denis and Dance Firoza Elavia - That Interrupting Feeling: Interstitial Disjunctions in Claire Denis’s L'Intrus Henrik Gustafsson - Points of Flight, Lines of Fracture: Claire Denis’s Uncanny Landscape Adam Nayman and Andrew Tracy - Arthouse/Grindhouse: Claire Denis and the “New French Extremity” Filmography Index

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Book SynopsisâWill there ever be an end to the supply of books about Alfred Hitchcock?â, pleaded the Times Literary Supplement in 2008. It is a fair question for, as Michael Walker pointed out in Hitchcockâs Motifs, more has been written about Hitchcock (1899â1980) than any other film director. Indeed, Jane E. Sloanâs 1993 Hitchcock bibliography revealed that well over seventy-five scholarly books and nearly 1,000 articles had been published by 1990; and those figures have, of course, continued inexorably to rise.So, while the prospective viewer of Vertigo or Rear Window is likely to feel a compelling need for some preparation before consuming the film itself, the daunting quantity (and variable quality) of Hitchcock criticism makes it difficult to discriminate the useful from the tendentious, superficial, and otiose. That is why this new Routledge title, compiled by Neil Badmington, is so urgently needed. In four volumes, the collection meets the need for an authoritative reference work to allow researchers and students to make sense of the vast Hitchcock literature and the continuing explosion in research output. Users will now be able easily and rapidly to locate the best and most influential critical scholarship, work that is otherwise often inaccessible or scattered throughout a variety of specialist journals and books. With material gathered into one easy-to-use set, researchers and students can now spend more of their time with the key journal articles, book chapters, and other pieces, rather than on time-consuming (and sometimes fruitless) archival searches.The collection is supplemented with a comprehensive introduction newly written by the editor, which places the collected material in its historical and intellectual context. It is also fully indexed and includes an expertly compiled âThematic Guideâ to enable users readily to discover and follow thematic pathways through the assembled works. Alfred Hitchcock is an essential reference work and is destined to be valued as a vital research resource.

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Book SynopsisContaining poetry, drawings, pressed flowers, photographs, excerpts from scripts and notes, this book features Derek Jarman's sketchbooks that are part autobiography and part social history, bursting with the energy and creativity of this groundbreaking artist.Table of ContentsContents: ‘Foreword’ Tilda Swinton • ‘An Introduction to Derek Jarman as Film-maker’ Jon Savage • ‘Early Experiments with Film 1964–1977’ Andrew Logan • ‘Jubilee to Angelic Conversation 1978–1986’ Toyah Willcox • ‘Caravaggio 1986’ Christopher Hobbs • ‘The Last of England to War Requiem 1987–1989’ James Mackay • ‘The Garden 1990’ Howard Sooley • Edward II to Glitterbug 1991–1993 Neil Tennant • ‘Blue 1994–1997’ Keith Collins

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Book Synopsis'What a life! What a career!' Harold Pinter'Boorman is one of the world's great directors, a master storyteller.' Paul AusterJohn Boorman is one of cinema's authentic visionaries whose travels have taken him from London in the Blitz to the pinnacle of Hollywood success: the man behind filmes such as Point Blank, Deliverance, Excalibur, Hope and Glory, and The General. Conclusions continues the story of his life that Boorman began with Adventures of a Suburban Boy and shares what has happened since its publication: films made (such as the award-winning The General) and unmade; new knowledge about the craft of film-making; and, ultimately, the story of of his kith and kin, including the death of his cherished elder daughter.Wielding a metaphorical Excalibur, Boorman's career has been a continual search for the truth that only art can convey, and this memoir shows him at his finest.

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Book SynopsisA reference guide to British film directors covering both contemporary and historically important figures.

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Book SynopsisA reference guide to British film directors covering both contemporary and historically important figures.Trade ReviewShail is to be congratulated for producing a useful introduction to the work of key British directors. -- James Chapman, University of Leicester Journal of British Cinema and Television As a basic primer on Brit movie-makers with a well-argued intro, Shail's book is hard to beat. 4 stars. -- Philip Kemp Total Film Shail is to be congratulated for producing a useful introduction to the work of key British directors. As a basic primer on Brit movie-makers with a well-argued intro, Shail's book is hard to beat. 4 stars.

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Book SynopsisIn this first reappraisal of his filmography (1958-2009), readers are introduced to a new Chabrol, one influenced by Balzac, Magritte, Kubrick.

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Book SynopsisThis book offers a new interpretation of Ozu Yasujiro career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence.

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Book SynopsisA unique memoir featuring one of the most legendary Hollywood figures of all time

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Book SynopsisMarch 20, 2019 marked the end of an era -- Disney took ownership of the movie empire that was Fox. For almost a century before that historic date, Twentieth Century-Fox was one of the preeminent producers of films, stars, and filmmakers. Its unique identity in the industry and place in movie history is unparalleled -- and one of the greatest stories to come out of Hollywood. One man, a legendary producer named Darryl F. Zanuck, is the heart of the story. This narrative tells the complete tale of Zanuck and the films, stars, intrigue, and innovations of the iconic studio that was.

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Book SynopsisFor nearly 40 years, David Lynch''s works have enthralled, mystified, and provoked viewers. Lynch''s films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director''s unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch''s life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter.To fully delineate thTrade ReviewSimply put, the book, "Beautiful Dark" by Greg Olsen is a work of art...The one thing that hits you about this book is the amount of passion that Olsen has put into his work....Olsen covers nearly every imaginable work that Lynch has ever done to date and does so with great enthusiasm and passion. He insightfully moves between Lynch's works with a precision that is both refreshing and exhaustive at the same time. The result is a chance between two worlds...into a place where no one has gone before....So if you were hesitating picking this one up, as Coop would say, "Every day, once a day, give yourself a present..." And grab this book today! -- Brian Kursar * Dugpa.Com, 10/4/08 *An essential resource in understanding Lynch’s work. -- David Bushman, Curator, Television, The Paley Center for MediaWith unprecedented access to Lynch, his parents, family, and colleagues, Olson has captured and defined the raw, mysterious energy that flows through the works of this iconoclastic auteur. * Zentralblatt für Geologie und Paläontologie, February 2009 *Olson's comprehensive biography of this highly original filmmaker contains a wealth of information, much of it previously unpublished. * CHOICE, June 2009 *A thorough-going critical study of Lynch's works in all media that is firmly embedded in a clear biographical narrative and backed by lengthy interviews with almost everyone in his life....The result is exactly the kind of complex, keen-eyed but sympathetic critical biography one wishes every great filmmaker could receive. * Dga Quarterly *

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Book SynopsisAbbas Kiarostami's films have taken their place alongside the masterworks of world cinema. Respected cinema historian Alberto Elena, using Iranian sources wherever possible, has written a comprehensive and instructive overview of Kiarostami's work.Trade Review'Film begins with D.W. Griffith and ends with Abbas Kiarostami.' Jean Luc Godard 'In the last fifteen years Abbas Kiarostami has been one of the most important and influential film makers in the world.' Geoff Andrew, National Film Theatre, London 'Kiarostami will find a quiet place and listen to a man's heart, right up until it stops beating. And then he will listen some more.' Time magazine 'I'm so impressed by the immediacy and the truth that you find in Kiarostami's films that it just transports you to a completely different level, as if nothing is truly staged.' Walter Salles, director of Motorcycle Diaries 'Words cannot describe my feelings about his films... When Satyajit Ray passed on, I was very depressed. But after seeing Kiarostami's films I thanked God for giving us just the right person to take his place.' Akira Kurosawa

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Book SynopsisYorkshire-born Ken Annakin is one of the greatest international film directors. The last of the English directors to make it in the international arena (others included Hitchcock and Lean), this autobiography traces Annakin's career from his early British films through to Hollywood. He has directed, written and produced over 50 feature films in Africa, India, Malaysia, Scandinavia, China, Europe and the United States. His films include: Swiss Family Robinson, The Longest Day, Battle of the Bulge, and Those Magnificent Men in their Flying Machines. Annakin's autobiography includes personal and revealing insights into many film personalities, including: Claudette Colbert; Edward G. Robinson; David Niven; Raquel Welch; Rod Steiger; Tony Curtis; Henry Fonda; Olivia de Havilland; Robert Ryan; Charlton Heston; Julie Christie; Robert Wagner; Charles Bronson; Peter Sellers; Peter Ustinov; Darryl Zanuck; Walt Disney and Terry Thomas. This book is forthright and pulls no punches. It will soon be

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Book SynopsisAs more and more female solo artists hit the mainstream, where are the all-girl bands?Why aren''t they getting the attention they deserve?In WOMEN MAKE NOISE musicians, promoters, journalists and fans explore the best girl bands of the last 50 years - from the Motown groups who wrote their own hits to the post-punk, rock and pop acts which dominate the contemporary music scene currently. In the mainstream media, the creative abilities, motivations and relevance of all-girl bands are continually questioned. This book uncovers a more accurate narrative. In the past fifty years, girl bands have made a radical contribution to struggles of nation, ethnicity, class, gender, age and feminism. As well as producing some amazing music. Itâ??s time to pay due credit to the politics, performances, song- writing skills and creative talent of the best all-girl bands.Including interviews with members of the original 60s girl groups and classic punk outfits like The Raincoats and The Slits as well as household names of today. This timely exploration of the best female bands will show magazines like NME that sidelining girl bands is a major oversight.Interviews and b/w photographs throughoutEditorJulia Downes is a musician, promoter, academic, editor and writer whose published work includes contributions to Riot Grrrl Revolution Girl Style Now (2007) and In Bound and Unbound: Interdisciplinary Approaches to Genders and Sexualities (2008). She lives in Leeds, plays drums in the band Vile Creatures and runs gigs in clubs, pubs, community centres and al-ternative venues as well as producing a riot grrrl zine.Trade Review"The level of public consciousness about the barriers faced by female filmmakers is higher than it has ever been. Despite this, the discussion more often than not centres around North America and to a lesser extent, Europe, Australia and New Zealand (and I am guilty as charged). This is perfectly understandable, but clearly women do make films outside of these countries, and it can be illuminating to consider how their experiences reflect or differ from those with which we are more familiar. To this end, the arrival of a new book, "Celluloid Ceiling," could not be more timely. Edited by Gabrielle Kelly and Cheryl Robson, it takes a purposefully global overview of the status quo and in doing so provides some fascinating stories and insights, reminding us of what is lost when we limit the discussion to Anglophone directors." - Matthew Hammett Knott - indiewireTable of ContentsINTRODUCTION Gabrielle Kelly and Cheryl Robson AFRICA . African Women Directors: 'Francophone African Women Filmmakers: 40 years of cinema, Paris (1972-2012)' Beti Ellerson 2. Speak Up! Who's Speaking?: 27 African Female Filmmakers Speak for Themselves Maria Williams-Hawkins AMERICAS 3. The home, the body and otherness: 54 Canadian representations of identity and feminism in Mary Harron's American Psycho, Sarah Polley's Away From Her and the Soska Sisters' American Mary Karen Oughton 4. Female Filmmakers in Latin America 77 Ana Maria Bahiana 5. USA: Flouting the System: Lois Weber, 92 Dorothy Arzner and Ida Lupino Jacqui Miller 6. From Hollywood to Indiewood to Chinawood: 106 Women Film Directors in the US Gabrielle Kelly 7. US: Women Film Directors of the Indie 127 World Nathan Shaw 8. Oscar-worthy Women Directors 140 Patricia Di Risio 9. Interview with Kathryn Bigelow 155 Ana Maria Bahiana ASIA 10. Moving Up: 160 Women Directors and South-east Asian Cinema Anchalee Chaiworaporn 11. Films from an Unknown Woman: 179 Remediating the absence of gender politics in the films of women directors in China, Taiwan and Hong Kong Pieter Aquilia 12. Women Filmmakers of South Korea 203 Anchalee Chaiworaporn 13. 'Why are you making such a big deal just 210 because I am a woman?' Women Directors of Popular Indian Cinema Coonoor Kripalani 14. Cats and Dogs and Wild Berries: 233 New Voices in Japanese Cinema Adam Bingham 15. To Direct Patriarchy: Women Film Directors 249 in Pakistan Iram Parveen Bilal AUSTRALIA & NEW ZEALAND 16. Brilliant Careers: Three Waves of 255 Australian, New Zealand and Indigenous Women Film Directors Pieter Aquilia EUROPE 17. Alice Guy-Blache, True Pioneer 272 Tania Field 18. A Century of Madchen: Femmes 280 and Frauen in Fascist, New Wave, and Contemporary European Cinema Heidi Honeycutt 19. Hidden Histories on Film: 309 Female Directors from South Eastern Europe Dina Iordanova 20. Iron and Reel: Russian Women Directors 316 Through the Soviet Era and Beyond Karlanna Lewis 21. Where's Britannia? 329 Melody Bridges MIDDLE EAST 22. Coming Forth (Day) by Day: Arab Female 349 Filmmakers Making Strides Ronan Doyle 23. In Their Own Words: Interviews with 355 Contemporary Women Directors from the Middle East Elhum Shakerifar 24. Voices of Israeli Women Filmmakers 366 Amy Kronish SUMMARY 380 Gabrielle Kelly

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Book SynopsisAng Lee came to the fore in the 1990s as one of the 'second wave' of Taiwanese directors. After studying at New York University, Lee returned to Taiwan where he directed Pushing Hands, The Wedding Banquet, Eat Drink Man Woman. Austen's Sense And Sensibility was a tremendous critical and commercial success. But it was his triumphant return to...Trade Review"The latest work from acclaimed writer Ellen Cheshire arrives at a time when the reputation of Ang Lee could be considered as being in need of repair. And Cheshire offers an excellent reminder of both his brilliance and his desire to experiment. A thoroughly well-researched and authoritative work, this film by film guide offers detailed analysis and original insights. It's also a pleasure to read and this is both a fine starting point and a lovely refresher for Lee obsessives."--Jason Wood "Creative Director of Film and Culture at HOME "

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Book SynopsisFor over forty years, Shyam Benegal has been one the leading forces in Indian cinema. Informed by a rich political and philosophical sensibility and a mastery of the art and craft of filmmaking, Benegal is both of, and not of, Bollywood. As a philosophical filmmaker Benegal brings to life the existential crisis of the downtrodden Indian, the subaltern' if you willthe serf, the peasant, the womanand imposes a distinctive philosophical vision on his cinematic reworkings of literary products. To understand Benegal's cinema is to understand, through his lens, modern India's continued process of political and social becoming. Focusing on the philosophical depth of Benegal's oueuvre, Samir Chopra identifies three key aspects of his work:- A trio of films which signalled to middle-class India that a revolt was brewing in India's hinterlands- Two sets of movies which make powerful feminist statements and bring viewers into the lives of Indian women by showcasing strong, interesting female chTrade ReviewSamir Chopra’s fine-grained analyses of Shyam Benegal’s prolific output does great justice to the filmmaker’s intellectual reach and ambitions, putting Benegal’s deeply committed visions of social and gender justice in conversation with what Chopra calls “philosophy in cinematic form”—“expressions,” that is, “of a moral and political philosophy” enacted via the medium of cinema. Those looking for a compelling reading of Benegal’s substantial oeuvre will also find much to enjoy and ruminate over in Shyam Benegal: Philosopher and Filmmaker. * Anuradha Needham, Donald R. Longman Professor of English and Cinema Studies, Oberlin College, USA *For over four decades, India’s celebrated filmmaker Shyam Benegal’s films have delighted audiences even as they chasten the social order—one that hurls indignities at those perceived as social outcasts. Unfiltered and unfettered by the weight of ideological prisms, Benegal’s films speak through the body of women at the margins, revealing her resistance in speech and action. Samir Chopra brings us closer to the legendary filmmaker and his films. Chopra curates a selection of Benegal’s films and persuades us to see films as “philosophy in action” and rumination in celluloid. This smart book has much to offer to the novice as well as film enthusiasts familiar with India’s cinema. * Ritu Gairola Khanduri, Associate Professor of Anthropology, University of Texas at Arlington, USA *Table of ContentsPrelims Preface 1. Introduction 2. Ankur, Nishant, Manthan: The Uprising Trilogy 3. An Indian Feminist –I : Bhumika, Mandi 4. An Indian Feminist – II: The Muslim Women Trilogy – Mammo, Zubeidaa, Sardari Begum 5. The Fabulist – Junoon, Suraj ka Satwan Ghoda, Kondura, Kalyug Bibliography Index

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Book SynopsisRichard Eldridge is Charles and Harriett Cox McDowell Professor of Philosophy, Swarthmore College, USA. He is the author of five books and works in aesthetics and the philosophy of literature, the philosophy of language, and German philosophy.Trade ReviewHegel, Nietzsche, and Heidegger are prominent among the philosophical sources, but Eldridge also draws extensively on commentary by contemporary film scholars and reviewers and on Herzog’s own writings and interviews. Particularly effective are Eldridge’s insightful close readings of particular films, both fiction and documentary … Summing Up: Recommended. Lower-division undergraduates through faculty. * CHOICE *The range of films discussed is excellent, avoiding the over-familiar concentration on the output of the 1960s and 70s. * Alphaville: Journal of Film and Screen Media *Richard Eldridge's excellent contribution to Bloomsbury's Philosophical Filmmakers series creates a significant set of interpretations of Werner Herzog's films, by showing how these films not only interact with philosophy, but do work parallel to that done by philosophy. * Monatshefte *Werner Herzog, although patently an auteur, has not always fared well with academic critics, due to their theoretical biases. Herzog’s art is Romantic, with a capital R, committed to defamiliarizing reality in the spirit of Heidegger. But in Richard Eldridge, Herzog has finally found his ideal interpreter. A philosopher steeped in German philosophy and Romantic literature, as well as Wittgenstein and Cavell, Eldridge is able to demonstrate Herzog’s attention to fundamental existential themes in ways that makes an exemplary case for the power of humane letters to reveal the importance of great art. -- Noël Carroll, Distinguished Professor of Philosophy, The City University of New York, USAIn his brilliant and stimulating study, Richard Eldridge shows that the issues addressed in Herzog’s films are continuous with those of concern to philosophers, most centrally that of finding meaning in our lives. Eldridge enriches our understanding of the philosophical capabilities of film through his detailed exploration of how Herzog’s films present the human quest for meaning in a world that is, if not hostile, indifferent to our purposes. A major achievement! -- Thomas E. Wartenberg Professor Emeritus of Philosophy, Mount Holyoke College, USAThis book brings remarkable intellectual breadth and depth to bear on Herzog as a filmmaker wrestling with the fundamental issues of human existence…With always acutely perceptive and often surprising results, Eldridge places the director’s work in mutually enlightening dialog with numerous conceptual, artistic, and historical traditions, while remaining highly sensitive to the fine-grained experiential and cinematic textures of the films discussed. Elegantly integrating Ancient, modern, and contemporary philosophical perspectives with film theory and criticism, this is not only a major original study of Herzog, but a template for a richer form of philosophy of, and through, film, with its own version of ‘ecstatic truth’. -- Daniel Yacavone Lecturer of Film Studies, University of Edinburgh, UKTable of ContentsAcknowledgments 1. Introduction: Images and Contemporary Culture 2. Nature 3. Selfhood 4. History Notes Bibliography Index

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Book SynopsisFrom A New Hope to The Rise of Skywalker and beyond, this book offers the first complete assessment and philosophical exploration of the Star Wars universe.Lucasfilm examines the ways in which these iconic films were shaped by global cultural mythologies and world cinema, as well as philosophical ideas from the fields of aesthetics and political theory, and now serve as a platform for public philosophy. Cyrus R. K. Patell also looks at how this ever-expanding universe of cultural products and enterprises became a global brand and asks: can a corporate entity be considered a filmmaker and philosopher?More than any other film franchise, Lucasfilm's Star Wars has become part of the global cultural imagination. The new generation of Lucasfilm artists is full of passionate fans of the Star Wars universe, who have now been given the chance to build on George Lucas''s oeuvre. Within these pages, Patell explores what it means for films and their creatoTrade ReviewOffers an informative overview on Star Wars, focusing on the importance of storytelling combined with filmmaking and its overarching connection to philosophy. * AMERICANA - E-Journal of American Studies in Hungary *Cyrus Patell's immensely engaging volume dismantles the long-assumed tension between film as industrial production and film as an art form capable of philosophical reflection when controlled by an auteur. In considering Lucasfilm and the Star Wars universe as evidence for the existence of a corporate cogito, Patell argues for the films' cosmopolitanism, working with their viewers to build a model of the world and contemplate how best to live in it. * Kathleen Fitzpatrick, Director of Digital Humanities and Professor of English, Michigan State University, USA *In Lucasfilm: Filmmaking, Philosophy, and the Star Wars Universe, Cyrus R. K. Patell takes cultural criticism to a new level, advancing a cosmopolitan reading practice that grounds the concerns of contemporary critical theory in the discursive realities of media production and media reception. From the Modesto-born Journal of the Whills to the StageCraft-enabled filming facilities of The Mandalorian, Patell clearly and humanely charts an emergent mythology of the postmodern age. * Marc Dolan, Professor of English, Film Studies, and American Studies, The City University of New York, USA *Table of ContentsList of Images Acknowledgments Introduction 1. Filmmaking and Philosophizing 2. From Lucas to Lucasfilm 3. Reversal and Recognition, Exile and Return 4. Melodrama 5. Individualism 6. Technophobia 7. Cosmopolitanism 8. Fallibilism 9. Moral Compass Notes Bibliography Index

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Book SynopsisKenneth Lonergan's three filmsYou Can Count on Me (2000), Margaret (2011), and Manchester by the Sea (2016)are rife with philosophical complexities. They challenge simple philosophical approaches to central issues of human behaviour. In particular, they ask questions about how to cope with suffering that one cannot overcome, the role that self- deception plays in people's lives and how to think about characters who do not embody simplistic moral ideas of virtue and vice. By philosophically engaging with these themes as they unfold in Lonergan's films, we are then able to formulate a more nuanced answer to the questions they pose. Kenneth Lonergan: Philosophical Filmmaker will draw from Lonergan's films and plays, along with the philosophical literature on the topics that they explore. The rich history of philosophical reflection surrounding these areas enables the reader to determine how the themes central to Lonergan's work have combined to create a rich ciTrade ReviewWith a lucidity typical of all his work, Todd May engages with Lonergan’s cinema through moral philosophy, but with none of the technical knowledge from ethics or film studies that might alienate a non-expert. Beginning with only Nietzsche’s famous adage concerning suffering and survival, this impressive study expands to find an equally philosophical spirit at work throughout Lonergan’s art. * Professor John Ó Maoilearca, Professor of Film, Kingston University, UK. *Todd May’s accessible and engaging book will drive the uninitiated into the films of Kenneth Lonergan and enhance the experience of those who are already admirers. May connects philosophy to the films in ways that both professional scholars and laypersons can appreciate. One wishes more books like this existed. * Paul Schofield, Assistant Professor of Philosophy, Bates College, USA *Table of Contentsprelims acknowledgements 1. Kenneth Lonergan: An Introduction to his Work 2. Irredeemable Suffering 3. Self-Deception 4. Moral Complexity 5. Conclusion: Complicating Philosophical Reflection bibliography index

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Book SynopsisJoan Ramon Resina is Professor of Iberian and Latin American Cultures and Comparative Literature, Stanford University, USA. He is the author and editor of many books most recently The Ghost in the Constitution: Historical Memory and Denial in Spanish Society (2017) and Joseph Pla: The World Seen in the Form of Articles (2017).Trade ReviewAn original, productive approach to a major filmmaker with unmistakable philosophical relevance, makes a major contribution not just to the study of Visconti’s legacy but to the exploration of the dialogue between film, history and philosophy. * Antonio Monegal, Universitat Pompeu Fabra, Barcelona, Spain *A wonderful book of oxymoric strenghts: provocative, yet made to become a standard work; lucid in its analytic abstraction, yet palpably concrete; aesthetic, yet political; historical, yet for our times. * Jan Söffner, Professor and Chair in Cultural Theory and Analysis, Zeppelin University Friedrichshafen, Germany *Table of ContentsAcknowledgements Introduction 1. Ludwig 2. Death in Venice 3. The Damned Conclusion Bibliography Index

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Book SynopsisLuchino Visconti (1906-1976) was one of Europe's most prestigious filmmakers, who rose to prominence as part of the Italian neo-realist movement, alongside contemporaries Vittorio De Sica and Roberto Rossellini. Famous for his elegant lifestyle, as friend of Jean Renoir and Coco Chanel amongst others, his vibrant technicolour dramas are also known for their decadence and stunning display of aesthetic mastery and sensory pleasure.Looking beyond this colourful façade, however, Resina explores the philosophical implications of decadence with a particular focus on three films from the late phase in Visconti's production, Damned (1969), Death in Venice (1971), and Ludwig (1972). From the incestuous relationship between decadence and power to decadence as an outcome of straining toward formal perfection, Resina uncovers the unity and philosophical cohesiveness of these films that deal with different subjects and historical periods.Reading these films and their decadence Trade ReviewAn original, productive approach to a major filmmaker with unmistakable philosophical relevance, makes a major contribution not just to the study of Visconti’s legacy but to the exploration of the dialogue between film, history and philosophy. * Antonio Monegal, Universitat Pompeu Fabra, Barcelona, Spain *A wonderful book of oxymoric strenghts: provocative, yet made to become a standard work; lucid in its analytic abstraction, yet palpably concrete; aesthetic, yet political; historical, yet for our times. * Jan Söffner, Professor and Chair in Cultural Theory and Analysis, Zeppelin University Friedrichshafen, Germany *Table of ContentsAcknowledgements Introduction 1. Ludwig 2. Death in Venice 3. The Damned Conclusion Bibliography Index

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Book SynopsisOffers the first collection of critical essays on Wallace Fox, one of Hollywood's first Native American film directors

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Book SynopsisIdentifies in 'Silicon Valley Cinema' a recent trend in twenty-first century Hollywood film.Trade Review"Silicon Valley Cinema is a timely and captivating investigation of how tech futurism has colonized our imaginations as it simultaneously truncates our material prospects. Adroitly balanced between contextual analysis and filmic example, this indispensable book maps the parameters of this new stage of capitalist excess personified in the figure of the entrepreneurial genius." -Sherryl Vint, University of California Riverside

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Book SynopsisIt is commonly proposed that since the mid-2000s, the slasher subgenre has been dominated by unoriginal remakes of classics. Consequently, most original slasher films have been ignored by academics (and critics), leaving the field with a limited understanding of this highly popular subgenre. This book corrects that mischaracterisation by analysing contemporary slasher films that sincerely attempt to innovate within the subgenre. I argue that these films reflect broader cultural turns towards sincerity, optimism in the face of crisis, and an emphasis on felt experience that are indicative of a metamodern sensibility. This is the first book to use metamodernism to analyse film in a sustained way, and the first academic work to use metamodernism to examine horror. The Metamodern Slasher offers readers new ways to understand the slasher film, the horror genre, and also the cultural moment we find ourselves in.

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Book SynopsisA major academic study of John Waters's films from a variety of perspectives covering his work and its intersections with culture.

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Book Synopsis

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Book Synopsis

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Book SynopsisNo one knows more about everything - especially everything rude, clever, and offensively compelling - than John Waters. The man in the pencil-thin mustache, auteur of the transgressive movie classics Pink Flamingos, Polyester, the original Hairspray, Cry-Baby, and A Dirty Shame, is one of the world''s great sophisticates, and in Mr. Know-It-All he serves it up raw: how to fail upward in Hollywood; how to develop musical taste from Nervous Norvus to Maria Callas; how to build a home so ugly and trendy that no one but you would dare live in it; more important, how to tell someone you love them without emotional risk; and yes, how to cheat death itself. Through it all, Waters swears by one undeniable truth: Whatever you might have heard, there is absolutely no downside to being famous. None at all.Studded with cameos of Waters''s stars, from Divine and Mink Stole to Johnny Depp, Kathleen Turner, Patricia Hearst, and Tracey Ullman, and iTrade ReviewThe essays are wildly discursive and funny. * The Guardian *There are walk-on parts for the likes of Kathleen Turner ("Sure, Kathleen liked a cocktail") and Justin Bieber (who drew a Waters moustache on to his own hairless upper lip), and freewheeling musings on music and food. Waters here is a raconteur on top form. * New Statesman *This is the work of a deliciously entertaining, irreverent genius * Attitude magazine *Even if you've never seen a single frame of the sublimely trashy oeuvre of director John Waters, Mr-Know-it-All is this year's standout film autobiography. * Evening Standard *

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Book SynopsisOne of Spain's most celebrated directors, Pedro Almodóvar has won international recognition for his dark comedy-dramas like Women on the Verge of a Nervous Breakdown, All About My Mother and Volver. Reconceptualising Almodóvar's films as theoretical and political resources, this innovative book examines a neglected aspect of his cinema: its engagement with the traumatic past, with subjective and collective memory, and with the ethical and political meanings that result from this engagement. With close readings of Almodóvar's films from the 1990s and 2000s, including Bad Education and The Skin I Live In, Julián Daniel Gutiérrez-Albilla explores how Almodóvar's cinema mourns and witnesses the traces of trauma, drawing on theoretical approaches from trauma studies, psychoanalysis, philosophy, film studies and visual studies to suggest that his work proposes an ethical model based on our compassionate relations to others, and envisions a world co-inhabited by plurality and difference.

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Book SynopsisThis book covers a significant part of the history of Spanish film, from the 1920s until the present day. The volume explores homoerotic narratives in the crusade films of the 1940s, the commodification of bodies in the late Franco period, and the so-called destape period that followed the abolition of censorship during the democratic transition.

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