Individual film directors Books

Book Synopsis

Read more less

Book SynopsisTrade Review"reveals behind-the-scenes nuggets that film buffs may find fascinating." -- DailyMail.co.uk"Cramming in a dizzying amount of day-to-day detail (he’s kept a diary for 30 years), Winkler briskly captures the hustle and bustle, the raw deals and lucky breaks, of getting movies made." -- Total FilmFeatured in New York Times Book Review in “New & Noteworthy"

Read more less

Book SynopsisThe “revelatory” (The New Yorker) first biography of critically acclaimed then critically derided filmmaker Michael Cimino—and a reevaluation of the infamous film that destroyed his career. The director Michael Cimino (1939–2016) is famous for two films: the intense, powerful, and enduring Vietnam movie The Deer Hunter, which won Best Picture at the Academy Awards in 1979 and also won Cimino Best Director, and Heaven’s Gate, the most notorious bomb of all time. Originally budgeted at $11 million, Cimino’s sprawling western went off the rails in Montana. The picture grew longer and longer, and the budget ballooned to over $40 million. When it was finally released, Heaven’s Gate failed so completely with reviewers and at the box office that it put legendary studio United Artists out of business and marked the end of Hollywood’s auteur era. Or so the conventional wisdom goes. Noted tTrade Reviewassiduously researched and fascinating * The Wall Street Journal *“Intriguing...Elton has a sure hand with behind-the-scenes details and is even-handed in his appraisals...A somewhat murky picture of Cimino emerges, though Elton wrestles commendably with an elusive subject...Film buffs will find much to enjoy.” * Publishers Weekly *“One of the strangest and most mysterious of all Hollywood lives gets the treatment it’s been crying out for in this brilliantly insightful biography.” -- author of Fall: The Mysterious Life and Death of Robert Maxwell, Britain’s Most Notorious Media Baron * John Preston *“While Elton’s book first appears structured as a conventional biography, it ultimately plays more like a mystery novel, as the author interrogates various witnesses in search of the Rosebud that offers a key to Cimino’s hidden life” * The Hollywood Reporter *“I inhaled this book in two sittings. In a magnificent feat of investigative reporting, Charles Elton provides a revelatory reappraisal of Michael Cimino and a tragicomic portrait of late twentieth-century Hollywood.” -- author of Notes on a Scandal * Zoë Heller *“Charles Elton's new book, featuring exhaustive original research and interviews, seeks to upend the narrative on the late filmmaker, whose oeuvre definitely deserves a reappraisal.” * Yahoo! *“The author, Charles Elton, has ably sifted through the lies, evasions, busted budgets, broken friendships, damaged careers, and lurid press clips that the filmmaker left in his wake across his quarter century in Hollywood. The result is riveting...” * AirMail *“Elton masterfully maneuvers through the web of lies surrounding Cimino, providing riveting details and fascinating interviews with key players...A must for film aficionados. Fans of Cimino’s will be satisfied that he has been vindicated.” * Library Journal *“Charles Elton’s Cimino is a riveting, sure-footed, cinema-savvy piece of biographical sleuthing. In his sprightly, sly approach, Elton manages to trap Cimino’s reclusive, mercurial genius—a compelling dissection of both a volatile career and the business of show.” * John Lahr, author of Tennessee Williams: Mad Pilgrim of the Flesh and Joy Ride: Show People and Their Shows *“Whether you believe Michael Cimino represents an unfairly maligned genius or a monumental example of Hollywood hubris, Elton’s Cimino is a compelling account of an elusive life.” -- author of The Devil's Candy and Wendy and the Lost Boys * Julie Salamon *“What Charles Elton covers in this biography of Cimino reveals a much more complex figure — and might just leave you rethinking your preconceived notions of him.” * Tobias Carroll, Inside Hook "One of the 10 Best Books of 2022" *“Sprawling and granular, structured around on-the-record-testimonies about an artist who, as he got older, did his best to live a hidden, private life. … Indispensable.” * Adam Nayman, The Nation *

Read more less

Book Synopsis

Read more less

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

Read more less

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

Read more less

Book SynopsisA Companion to Luis Bunuel presents a collection of critical readings by many of the foremost film scholars that examines and reassesses myriad facets of world-renowned filmmaker Luis Bunuel s life, works, and cinematic themes.Trade Review"This attractive and meticulously produced companion is a major contribution to Buñuel studies ... Summing Up: Highly recommended. All Bunuel scholars and specialized collections." (Choice, 1 November 2013)Table of ContentsContributors viii Acknowledgments xviii Introduction: The “Criminal” Life of Luis Buñuel 1 Rob Stone and Julián Daniel Gutiérrez-Albilla Part One An Aragonese Dog 59 1 Interview with Juan Luis Buñuel 61 Rob Stone 2 Luis Buñuel and the Politics of Self-Presentation 79 Julie Jones 3 Buñuel, Master Pyrotechnician: The Role of Firearms in His Cinema 98 Guy H. Wood and Javier Herrera Navarro 4 Buñuel’s Critique of Nationalism: A Migratory Aesthetic? 116 Mieke Bal Part Two A Golden Age 139 5 Surreal Souls: Un chien andalou and Early French Film Theory 141 Sarah Cooper 6 Fixed-Explosive: Buñuel’s Surrealist Time-Image 156 Ramona Fotiade 7 L’ ge d’or 172 Agustín Sánchez Vidal 8 Buñuel Entomographer: From Las Hurdes to Robinson Crusoe 188 Tom Conley Part Three The Forgotten One 203 9 The Complicit Eye: Directorial and Ocular Paradigms in Luis Buñuel’s Mexican Films and Interdisciplinary Visuality (1940s and 1950s) 205 Erica Segre 10 Out of Place, Out of Synch: Errant Movement and Rhythm in Buñuel’s Mexican Comedies 226 Tom Whittaker 11 Susana: Melodrama and the Voluptuosity of Destruction 240 María Pilar Rodríguez 12 Young Outlaws and Marginal Lives in Latin American Cinema: The Landmark of Buñuel’s Los olvidados 255 Ana Moraña Part Four Strange Passions 277 13 The Creative Process of Robinson Crusoe: Exile, Loneliness, and Humanism 279 Amparo Martínez Herranz 14 The Cinematic Labor of Affect: Urbanity and Sentimental Education in El bruto and Ensayo de un crimen 302 Geoffrey Kantaris 15 Stars in the Wilderness: La Mort en ce jardin 324 Sarah Leahy 16 Transitional Triptych: The Traps of International Cinemas in Buñuel’s Cela s’appelle l’aurore, La Mort en ce jardin, and La Fièvre monte à El Pao 340 Ernesto R. Acevedo-Muñoz 17 Buñuel Goes Medieval: From Sewing to Cervantes and the Vagina Dentata 362 Sherry Velasco Part Five An Exterminating Angel 379 18 The Galdós Intertext in Viridiana 381 Sally Faulkner 19 Spectral Cinema: Le Journal d’une femme de chambre 399 Kate Griffiths 20 Between God and the Machine: Buñuel’s Cine-Miracles 414 Libby Saxton 21 The Road and the Room: Narrative Drive in the Films of Luis Buñuel 431 Marsha Kinder Part Six Discretion and Desire 455 22 On a Road to Nowhere: Parodic Movement as Time-Image in La Voie lactée and Le Charme discret de la bourgeoisie 457 Sheldon Penn 23 The Intertextual Presence of Lewis Carroll’s Alice in Belle de jour 479 Arnaud Duprat de Montero 24 Splitting Doubles: Ángela Molina and the Art of Screen Acting in Cet obscur objet du désir 494 Peter William Evans 25 Buñuel and Historical Reason 509 Cristina Moreiras-Menor 26 Through a Fractal Lens: New Perspectives on the Narratives of Luis Buñuel 518 Wendy Everett Part Seven And in the Spring 535 27 Mutilation, Misogyny, and Murder: Surrealist Violence or Torture Porn? 537 Paul Begin 28 Inside/Outside: Space and Sexual Behavior in Belle de jour and La Pianiste 554 Jimmy Hay 29 Surrealist Legacies: The Inf luence of Luis Buñuel’s “Irrationality” on Hiroshi Teshigahara’s “Documentary-fantasy” 572 Felicity Gee 30 Luis Buñuel’s Angel and Maya Deren’s Meshes: Trance and the Cultural Imaginary 590 Susan McCabe Filmography 608 Index 624

Read more less

Book SynopsisThis is a comprehensive collection of original essays assessing the career of one of America s most prominent contemporary filmmakers. The first reference of its kind, this book contains contributions from influential scholars in North America and Europe.Table of ContentsContributors viii Introduction: Artistic Solutions to Sociological Problems 1 Aaron Baker Part One The Pious Auteur 15 1 How Scorsese Became Scorsese: A Historiography of New Hollywood’s Most Prestigious Auteur 17 Marc Raymond 2 Smuggling Iconoclasm: European Cinema and Scorsese’s Male Antiheroes 38 Giorgio Bertellini and Jacqueline Reich 3 Italian Films, New York City Television, and the Work of Martin Scorsese 53 Laura E. Ruberto 4 The Imaginary Museum: Martin Scorsese’s Film History Documentaries 71 Robert P. Kolker 5 Images of Religion, Ritual, and the Sacred in Martin Scorsese’s Cinema 91 David Sterritt Part Two Social Contexts and Conflicts 115 6 Alice Doesn’t Live Here Anymore and Italianamerican: Gender, Ethnicity, and Imagination 117 Aaron Baker 7 Mobsters and Bluebloods: Scorsese’s The Age of Innocence in the Perspective of his Italian American Films 133 Robert Casillo 8 Off -White Masculinity in Martin Scorsese’s Gangster Films 173 Larissa M. Ennis 9 Irish-American Identity in the Films of Martin Scorsese 195 Matt R. Lohr 10 Issues of Race, Ethnicity, and Television Authorship in Martin Scorsese Presents The Blues and Boardwalk Empire 214 Jonathan J. Cavallero Part Three Form and the Filmmaking Process 237 11 Martin Scorsese and the Music Documentary 239 Michael Brendan Baker 12 Martin Scorsese Rocks 259 Giuliana Muscio 13 Music as Cultural Signifier of Italian/American Life in Who’s That Knocking at My Door and Mean Streets 277 Anthony D. Cavaluzzi 14 When Marty Met Bobby: Collaborative Authorship in Mean Streets and Taxi Driver 292 R. Colin Tait 15 Scorsese’s Landscape of Mortality 312 Murray Pomerance 16 Borderlines: Boundaries and Transgression in the City Films of Martin Scorsese 331 Brendan Kredell Part Four Major Films 353 17 Mean Streets as Cinema of Independence 355 Stefan Sereda 18 Taxi Driver and Veteran Trauma 373 Michael D. High 19 Filming the Fights: Subjectivity and Sensation in Raging Bull 396 Leger Grindon 20 The Last Temptation of Christ: Queering the Divine 420 Daniel S. Cutrara 21 The Cinematic Seduction of Not a “Good Fella” 442 Bambi Haggins 22 Hugo and the (Re-)Invention of Martin Scorsese 459 Guerric DeBona Index 480

Read more less

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

Read more less

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

Read more less

Book Synopsis''Haunting, heartbreaking, and gorgeously atmospheric'' KATE GOLDEN''Adrienne Young''s writing is simply magic'' EMILY RATHTwo twins. An unbroken bond. A truth unspoken.The only thing James and Johnny Golden have ever had is each other. For as long as she can remember, James''s deep connection with her twin brother, Johnny, has gone beyond intuition - she can feel what he feels. So, when Johnny is killed in a tragic accident, James knows before her phone even rings that her brother is gone and that she''s alone - truly alone - for the first time in her life.When James arrives in the rural town of Hawthorne, California to settle her brother''s affairs, she''s forced to rehash the ominous past she and Johnny shared and finally face Micah, the only person who knows about it. He''s also the only man she''s ever loved.But James soon discovers that the strange connection she had with Johnny isn''t quite gone, and the more she immerses herself into his world, the more questions she has about the brother she thought she knew. Johnny was keeping secrets, and he''s not the only one. What she uncovers will push her to unravel what happened in the days before Johnny''s death, but in the end, she''ll have to decide which truths should come to light, and which should stay buried forever.READERS LOVE ADRIENNE YOUNG''Oh my god, I adored this book'' 5* reader review''Spellbinding'' Jodi Picoult''Delightful'' 5* reader review''Bewitching'' Rebecca Ross''Incredibly atmospheric'' 5* reader review''Exquisite'' Stephanie Garber''Eerie and mysterious'' 5* reader review''Captivating'' Sue Lynn Tan

Read more less

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.

Read more less

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

Read more less

Book SynopsisA fever-dream journal documenting the making of cinema's most infamous production, from the world's most infamously visionary director: Werner Herzog. In 1982, the visionary film director, Werner Herzog, released Fitzcarraldo, a lavish film about a would-be rubber baron who pulls a 320-ton steamship over a mountain. Hailed instantly by critics around the globe as a masterpiece, Fitzcarraldo won Herzog the 1982 Outstanding Director Prize at the Cannes Film Festival, affirming Herzog's reputation as one of the most revered and enigmatic filmmakers of his time. Conquest of the Useless is the diary Herzog kept during the making of Fitzcarraldo, compiled from June 1979 to November 1981. Emerging as if out of an Amazonian fever dream during filming, Herzog's writings are an extraordinary documentary unto themselves. Strange and otherworldly events are recounted by the filmmaker. The crew's camp in the heart of the jungle is attacked and burned to the ground; the production of the film clashes with a border war; and, of course, Herzog unravels the impossible logistics of moving a 320-ton steamship over a hill without the use of special effects. In his preface, Herzog warns that the diary entries collected in Conquest of the Useless do not represent reports on the actual filming but rather inner landscapes, born of the delirium of the jungle. Thus begins an extraordinary glimpse into the mind of a genius during the making of one of his greatest achievements.

Read more less

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.

Read more less

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

Read more less

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.

Read more less

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

Read more less

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

Read more less

Book SynopsisThis book reveals how Spielberg utilises stylistic strategies that are both unique and innovative when considered within the context of the classical Hollywood system. James Mairata identifies two distinct systems at work in Spielberg's application of style. One is the use of deep space compositions and staging, a form that was commonly seen in Hollywood cinema until the rise of the 'New Hollywood' in the early 1970s. The other system is based on the ubiquitous shot, reverse shot arrangement most commonly used for dialogue scenes, and which Spielberg has modified into what the author describes as wide reverses. Through the integration of both systems, Spielberg is able to create a more complete visual sense of scenographic space and a more comprehensive world of the narrative, while still remaining within the conventional boundaries of classical style. The wide reverse system also permits him to present a more highly developed version of Hollywood's conventional practice of rendering style as transparent or unnoticed. This volume shows that this, together with the wide reverse further enables Spielberg to create a narrative that offers the spectator both a more immersive and more affective experience. Table of Contents1. Introduction: Setting the Scene.- Section I: Origin Chapter 2: Fundamentals of Classical Narration.- Chapter 3: Spielberg as Filmmaker.- Chapter III: Continuity Editing as System.- Section II: Function.- Chapter 4: Deep Space Composition and Staging.- Chapter 5: Space and the Wide Reverse Strategy.- Chapter 6: The Wide Reverse and Extended Variation.- Section III: Effect, Affect and Precedent.- Chapter 7: The Wide Reverse, Cognition and Affect.- Chapter 8: Manifestations of the Wide Reverse in Mainstream Narrative Cinema.- Chapter 9: Conclusion: Style by Stealth.

Read more less

Book SynopsisRomuald Karmakar's work in the fields of fiction and documentary holds a unique place in European film. It also stands in clear opposition to the dominant ways of the German film industry - both aesthetically and in its head-on treatment of several sore spots in German history. Time and again the 45-year-old director has engaged with "impossible" characters and "borderline" subjects: mercenaries, a notorious Nazi speech, the terror of being in a relationship, an imprisoned serial killer, or what it means to truly experience electronic and techno music. The book presents Karmakar's work in its entirety for the first time. It includes a 130-page essay by Olaf Möller, several conversations with the artist, an annotated filmography, and selected writings by Romuald Karmakar, including a number of unproduced treatments.Trade ReviewOlaf Möller's knowledge about Karmarkar is vast, and each page here is proof of a striking conversation between a critic and a filmmaker. * TAZ – Die Tageszeitung *

Read more less

Book SynopsisIn a four-decade-long career that generated more than forty films and numerous stage productions, Werner Schroeter became one of the most important directors in Germany and Europe since the late 1960s. After making a flurry of short films in a climate of feverish artistic experimentation and political upheaval, Schroeter soon gained recognition for Eika Katappa (1969) and The Death of Maria Malibran (1971), early mature works showcasing avant-garde performance as iconoclastic expression of rebellion and pathos. Following a decade of uncompromising experimental work, his deeply humanist features Il Regno di Napoli (1979) and Palermo or Wolfsburg (1980) brought him broader success. Yet Schroeter maintained his reputation as an enfant terrible of the German cultural scene with controversial stagings of operas and plays and with smartly observed documentaries on art, film, and politics.This volume traces Schroeter’s career as a filmmaker from early and rarely discussed works such as Salome (1971) and Willow Springs (1973) to his late 1970s breakout hits and later complex and mature art-house productions such as The Rose King (1986), Malina (1991), and Nuit de Chien (2008). The volume is supplemented by Schroeter’s own writings and conversations and includes an interview with his long-time collaborator Elfi Mikesch as well as an authoritative and completely updated filmography.Trade ReviewThis beautiful collection is yet another example of Grundmann’s tireless attempts at making the work of filmmakers considered “difficult” palatable to viewers brought up on the easy fare of Hollywood narrative cinema. * EuropeNow *

Read more less

Book SynopsisIn his films Guy Debord (1931–1994) worked according to the following principle: do nothing you should, do everything you should not. Created between 1952 and 1978, all the films reflect this rule and confirm what he referred to as his “detestable ambition.”Gathered in a single volume for the first time in German, this publication unites the texts of all of Guy Debord’s films in a new translation: from his first film made in affiliation with the Lettrist group led by Isidore Isou, Hurlements en faveur de Sade (1952), an alteration of black and white sequences devoid of images; to works that originated in the course of his participation in the Situationist International, Sur le passage de quelques personnes à travers une assez courte unité de temps (1959) and Critique de la séparation (1961); to the adaptation of his best known theoretical work, La Société du spectacle (1973), followed by the response to his critics entitled Réfutation de tous les jugements, tant élogieux qu'hostiles, qui ont été jusqu'ici portés sur le film "La Société du spectacle" (1975) and his résumé, intended as an act of closure: In girum imus nocte et consumimur igni (1978).Texts and images are true to the French original edition and complemented by a list of sources for the quotes, Debord’s notes on his films, drafts of unrealized film projects, as well as the text of the TV documentary he coauthored, Guy Debord, son art et son temps (1994).

Read more less

Book SynopsisViennese filmmaker Ruth Beckermann, who has been making films since the 1970s, has created an exciting and widely recognized body of essay and documentary films. Her work is both deeply personal and political. She discusses the complex relationship between history and the present and reflects on her identity as a Jewish woman in postwar Austria and Europe. Tropes of travel and migration feature heavily in her work as means of experiencing the world and of staying alive, literally as well as artistically.Beckermann’s films speak about identity conflicts and class struggle (Suddenly, a Strike), her family history in the Habsburg monarchy (Paper Bridge), and the war generation as it confronts the crimes of the Wehrmacht (East of War). In 2016, she turned the love affair between poets Paul Celan and Ingeborg Bachmann in postwar Vienna into an unconventional feature film (The Dreamed Ones). In her latest project, The Waldheim Waltz (2018), Beckermann uses 1980s archival footage of the “Waldheim Affair” to reflect on the mechanisms of populism and the media.This is the first English-language publication on Ruth Beckermann’s filmic oeuvre, including an original essay by Nick Pinkerton, an in-depth conversation with the artist conducted by Alexander Horwath and Michael Omasta, and a detailed filmography by Michael Omasta and Brigitte Mayr.Trade Review“Do you know Ruth Beckermann?” I do not know her, I say. But as soon as I take the Paper Bridge, its paths, its voices, its mists, its rivers, its passages, I realize that I recognize her, that I have always already known her. With joy I make her acquaintance again [re-connais], and I salute her, poet in images, painter in words, Voice that listens to the voices of old, the voices of the ages, today. -- Hélène Cixous

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

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.

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisThis unique collection focuses on the work of legendary Swedish filmmaker Ingmar Bergman. Written in the wake of the centenary of Bergman’s birth in 2018, the volume aims to combine new approaches to Bergman’s films and writings with more traditional analyses. Established themes such as Bergman’s interest in philosophy and psychology are addressed, but also less familiar topics, notably his relationship with Hollywood and his elaborate use of film music and autobiographical writing that characterised his later work. There are new analyses of aspects of Bergman’s most famous films, including Smiles of a Summer Night and Fanny and Alexander, but also insightful readings of lesser-known works, such as Saraband and Sawdust and Tinsel.An electronic version of this book is available under a creative commons licence: manchesteropenhive.com/view/9789198557718/9789198557718.xmlTable of ContentsIngmar Bergman at 100: an introduction – Erik Hedling1 Ingmar Bergman on the international scene – Peter Cowie2 Bergman transnational: Munich–Rome–Los Angeles, or ‘the last temptation of Ingmar Bergman’ – Thomas Elsaesser3 Bergman and the business: notes on the director’s ‘worth in the market’ – Olof Hedling4 Bergman, writing, and photographs: the auteur as an ekphrastic ghost – Maaret Koskinen5 The playfulness of Ingmar Bergman: screenwriting from notebooks to screenplays – Anna Sofia Rossholm6 Cinema as a detour: Ingmar Bergman, writer – Jan Holmberg7 Laughing through tears: the soundscape of Ingmar Bergman’s Smiles of a Summer Night – Alexis Luko 8 Sound, act, presence: classical music in the films of Ingmar Bergman—a lecture recital – Anyssa Neumann9 Film-musical moments in Ingmar Bergman’s films – Ann-Kristin Wallengren10 Where does music come from? Musical meaning and musical discourse in Ingmar Bergman’s films – Per F. Broman11 Bergman, Janov, and Autumn Sonata – Paisley Livingston12 Persona’s penis – Daniel Humphrey13 Battlefield family: Ingmar Bergman, Henrik Ibsen, and television – Michael Tapper14 Bergman/Birdman/Vogler: an ecocritical examination of the birds of Bergman – Linda Haverty Rugg15 Visionaries and charlatans: Ingmar Bergman’s filmmaking – Laura Hubner16 Imagined without dialogue: Sawdust and Tinsel and Dreams – Dan Williams17 The ghost in the machine: Saraband – Lars Gustaf Andersson18 Return to the bourgeoisie: Fanny and Alexander in Swedish politics – Erik HedlingIndex

Read more less

Book SynopsisThis volume is one of three companion catalogues to an exhibition taking place simultaneously at three venues in Rome on the large-scale projects of Pier Paolo Pasolini. They explore a theme dear to Pasolini — sacredness — with a multidisciplinary approach that will shed a light on his main characteristics as a poet, writer, director, and artist and on the cultural influence he wielded. This is the catalogue for the exhibition at Fondazione MAXXI, which explores the many facets of Pasolini’s political engagement. Texts, images, movies, notes, and documents will narrate the beginning of a protest that has endured to this day, with interpretations of Pasolini’s work is seen through the voices of contemporary artists. An essay by Anne Violaine Houcke analyses Pasolini’s final period, while Ara Merjan’s text explores his aesthetics. Marco Belpoliti explores the 1975 timeline, giving special attention to the political events most closely connected to Pasolini. Incudes contributions by Eleonora Cardinale, Roberto Chiesi, Silvia De Laude, Fabio Francione, Giuseppe Garrera, and Vincenzo Trione. Text in English and Italian.Table of Contents8 Foreword Giovanna Melandri 10 Pier Paolo Pasolini. Everything is Sacred. The Political Body Bartolomeo Pietromarchi 20 “It Was Indeed a Firefly, in the Crack of a Wall.” 1975 – 2022 Giulia Ferracci 58 Pasolini and the Inferno of the Present: Salò, or the 120 Days of Sodom Roberto Chiesi 64 Pasolini. Volgar’eloquio Fabio Francione 70 Lutheran Letters Eleonora Cardinale 76 Pasolini the Lutheran and the Apostle Exercises in Sanctity Giuseppe Garrera 84 Beast of Style Eleonora Cardinale 92 Petrolio Silvia De Laude 105 Works on Display 106 Noor Abed 108 Sammy Baloji 110 Elisabetta Benassi 112 Paul Chan 114 Alvin Curran 116 Dante Ferretti 118 Claire Fontaine 120 Jorge Fuembuena Loscertales 122 Aziz Hazara 124 Huang Yong Ping 126 Nalini Malani 128 Fabio Mauri 130 Marzia Migliora 132 Giulio Paolini 134 Pino Pascali 136 Francesco Vezzoli 138 Ming Wong 140 Yan Pei-Ming 144 Let’s Imagine It, Together! Notes on Pier Paolo Pasolini’s Influences on the Global Contemporary Art World Hou Hanru 158 Pasolini and the Metaphysical Experience Paul Chan 166 Hieratical Empiricism: On Pasolini’s “Technical Sacrality” Ara H. Merjian 180 Pasolini and the Form of the Revolution Anne-Violaine Houcke 196 The Glorious Body. Pasolini and Soccer Vincenzo Trione 206 1975: The Final Year Marco Belpoliti

Read more less

Book Synopsis

Read more less