Individual film directors Books

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

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Book Synopsis

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Book SynopsisTrade Review"Oumano's work shines—she offers the choicest nuggets and insights by filmmakers talking about their art." -- Wheeler Winston Dixon * coauthor of A Short History of Film *"Cinema Today is a fascinating look at film as an art form. Oumano's book is an outstanding contribution to the field, crammed full of essential information about the production process and enlightening details of personal experiences that any aspiring filmmaker can use." * Foreword Reviews *"Oumano's work shines—she offers the choicest nuggets and insights by filmmakers talking about their art." -- Wheeler Winston Dixon * coauthor of A Short History of Film *"Cinema Today is a fascinating look at film as an art form. Oumano's book is an outstanding contribution to the field, crammed full of essential information about the production process and enlightening details of personal experiences that any aspiring filmmaker can use." * Foreword Reviews *Table of ContentsIntroduction Acknowledgments 1. Cinematography 2. Cinema and Sound 3. Working with Actors 4. Cinematic Rhythm and Structure 5. The Process: Pre-Production, Production, and Post-Production 6. The Business: Financing, Distribution, and Exhibition 7. Cinema, Art, and Reality 8. The Viewer 9. Cinema and Society Profiles of the Filmmakers

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Book SynopsisClint Eastwood has appeared in virtually every major film genre and, at this late point in his career, has emerged as one of America’s most popular and respected—though controversial—filmmakers. Tough Ain’t Enough offers readers a series of original essays by prominent cinema scholars who explore the actor-director’s extensive career. Trade Review"The editors have assembled a diverse group of scholars and turned them loose to make sense of the vast array of contradictions that is Clint Eastwood. This is a unique and extraordinary collection with not a weak chapter in it." -- Dennis Bingham * author of Whose Lives Are They Anyway?: The Biopic as Contemporary Film Genre *"Chronicle of Higher Education 'New Scholarly Books' Weekly Book List, August 31, 2018," compiled by Nina C. Ayoub * Chronicle of Higher Education *"Highly recommended." * Choice *Table of ContentsChapter 1: The Teller and the Tale: An Introduction to the Films of Clint Eastwood Lester D. Friedman and David Desser Part I: Crosscurrents Chapter 2: “I Don’t Want Nobody Belonging to Me”: Riding the Post-Leone Western Stephen Prince Chapter 3: “God/Country/Family:” The Military Movies Lester D. Friedman Chapter 4: “A Man’s Got to Know His Limitations”: The Cop Films from Nixon through Reagan Jonathan Kirshner Chapter 5: “I’m Not So Tough”: Melodrama and Performance in the Later Films Diane Carson Chapter 6: “Heroes are Something We Create: The Biopics” David Sterritt Part II: Controversies Chapter 7: “I Am a Camera”: Clint Eastwood’s Performative Gaze Murray Pomerance Chapter 8: “You ain’t ugly like me; it’s just that we both got scars”: Women in Eastwood’s Films Lucy Bolton Chapter 9: “I know I'm as blind as a slab of concrete, but I'm not helpless”: Eastwood and the Aging Action Hero David Desser Chapter 10: “Seems like we can’t trust the White Man”: The Theater of Race in and out of Eastwood’s Films Alexandra Keller Chapter 11: Play Music for Me: Eastwood’s Film Scores Charity Lofthouse Acknowledgments Notes on Contributors Index

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Book SynopsisClint Eastwood has appeared in virtually every major film genre and, at this late point in his career, has emerged as one of America’s most popular and respected—though controversial—filmmakers. Tough Ain’t Enough offers readers a series of original essays by prominent cinema scholars who explore the actor-director’s extensive career. Trade Review"The editors have assembled a diverse group of scholars and turned them loose to make sense of the vast array of contradictions that is Clint Eastwood. This is a unique and extraordinary collection with not a weak chapter in it." -- Dennis Bingham * author of Whose Lives Are They Anyway?: The Biopic as Contemporary Film Genre *"Chronicle of Higher Education 'New Scholarly Books' Weekly Book List, August 31, 2018," compiled by Nina C. Ayoub * Chronicle of Higher Education *"Highly recommended." * Choice *Table of ContentsChapter 1: The Teller and the Tale: An Introduction to the Films of Clint Eastwood Lester D. Friedman and David Desser Part I: Crosscurrents Chapter 2: “I Don’t Want Nobody Belonging to Me”: Riding the Post-Leone Western Stephen Prince Chapter 3: “God/Country/Family:” The Military Movies Lester D. Friedman Chapter 4: “A Man’s Got to Know His Limitations”: The Cop Films from Nixon through Reagan Jonathan Kirshner Chapter 5: “I’m Not So Tough”: Melodrama and Performance in the Later Films Diane Carson Chapter 6: “Heroes are Something We Create: The Biopics” David Sterritt Part II: Controversies Chapter 7: “I Am a Camera”: Clint Eastwood’s Performative Gaze Murray Pomerance Chapter 8: “You ain’t ugly like me; it’s just that we both got scars”: Women in Eastwood’s Films Lucy Bolton Chapter 9: “I know I'm as blind as a slab of concrete, but I'm not helpless”: Eastwood and the Aging Action Hero David Desser Chapter 10: “Seems like we can’t trust the White Man”: The Theater of Race in and out of Eastwood’s Films Alexandra Keller Chapter 11: Play Music for Me: Eastwood’s Film Scores Charity Lofthouse Acknowledgments Notes on Contributors Index

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Book SynopsisStanley Kubrick reexamines this internationally renowned director’s work in the context of the unique cultural milieu from which he emerged. Digging deep into rare archives to reveal insights about Kubrick’s life and times, Nathan Abrams also offers an in-depth analysis of classics like Lolita, 2001, The Shining, and Full Metal Jacket.Trade Review"Stanley Kubrick is outstanding in its approach and the material it covers. As a pioneer work, anyone investigating Kubrick in the future would not be able to overlook Abrams' findings and arguments." -- Marat Grinberg * coeditor of Woody on Rye: Jewishness in the Films and Plays of Woody Allen *"With imagination and intellectual rigor, using archival research and close readings of the films, Nathan Abrams explores Stanley Kubrick’s relationship with his Jewishness in this exceptionally readable and convincing book." -- Robert P. Kolker * author of The Extraordinary Image *"Brilliantly documents and analyzes Kubrick's Jewish sensibility by locating him in the lifelong context of his Jewish cultural and intellectual milieu. Abrams breaks acres of new ground. Essential reading." -- Geoffrey Cocks * author of The Wolf at the Door: Stanley Kubrick, History, and the Holocaust *“A must-read for anyone interested in Kubrick, this original and provocative study combines wonderfully perceptive film analyses with extensive archival research and a dazzling display of cultural-historical and biographical knowledge.” -- Peter Krämer * author of BFI Film Classics on Dr. Strangelove and 2001: A Space Odyssey *"Written by Nathan Abrams, a superstar of contemporary Kubrick studies, this wonderfully knowledgeable and scholarly account of the great director’s Jewishness is the most original film book I’ve read for many years." -- I.Q. Hunter * author of Cult Film as a Guide to Life: Fandom, Adaptation, and Identity *"Stanley Kubrick’s films all had one thing in common: Jewishness" by Nathan Abrams * The Conversation *" [A] pathbreaking new book." * Tablet Magazine *"The Secret Jewish History Of ‘2001: A Space Odyssey’" by Nathan Abrams * Forward *"In Nathan Abrams’s Stanley Kubrick: New York Jewish Intellectual, [an] exploration of the contradictions of Kubrick’s relation to Jewish identity, the film is seen through the lens of Biblical allusion and Kabbalistic interpretation." * Wall Street Journal *"Space Odyssey: Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece, by Michael Benson" by Nathan Abrams * Times Higher Education *Jewish Views podcast interview with Nathan Abrams * Jewish Views Podcast *"An impressive work of original scholarship, Stanley Kubrick: New York Jewish Intellectual presents an exceptionally informative study of one of the twentieth century's most renowned and yet misunderstood film directors." * Midwest Book Review *"No film or Jewish history holding should be without this different approach to Kubrick's film magic." * Donovan's Literary Services *"Weekly Book List, May 25, 2018" by Nina Ayoub mention of Stanley Kubrick * Chronicle of Higher Education *"Kubrick's Universe," the Stanley Kubrick podcast - 9 Stanley Kubrick New York Jewish Intellectual with Nathan Abrams * Kubrick's Universe podcast *"[An] extraordinarily entertaining new book." * Village Voice *"Abrams combines close readings of the films with intensive, archival research into the source material— scripts, production documents, and Kubrick’s personal papers and artifacts—which collectively tell a Jewish story." * Jewish Review of Books *"Kubrick, the enigmatic Jew," by Nathan Abrams * Jewish Chronicle *"Lost Stanley Kubrick screenplay, Burning Secret, is found 60 years on" by Dan Alberge * The Guardian/Observer *"Scholar reveals morbid roots of lost Stanley Kubrick script," by JP O'Malley * The Times of Israel * "Abrams...[identifies] each and every Jewish allusion in Kubrick’s oeuvre that he can find." * Times Literary Supplement *"The power of the book as a whole...will be riveting reading for anyone who loves Kubrick's film." * Jerusalem Post Magazine *"Abrams asserts that if you look closely enough, the tension between being a cultural and religious Jew turns up frequently in Kubrick’s work." * Jewish Journal *"Abrams...makes a very convincing case that while Kubrick posed as an atheist technocrat filmmaker who wanted his films to appeal to worldwide audiences, among the many things he was burying in their subtexts were 'the concerns of Jewish intellectuals in the post-Holocaust world'....Ultimately though, are Abrams’ assumptions correct? Many of them ring true and likely are." * PJ Media *"How Jewish Was Stanley Kubrick?" by Nathan Abrams * Zocalo Public Square *"Every scholar and devotee of Kubrick will want to read Stanley Kubrick: New York Jewish Intellectual." * Film Quarterly *"Irresistible reading." * Cineaste *"Nathan Abrams’ recent and remarkably insightful book published by Rutgers University Press in 2018." * Senses of Cinema *"No stone is unturned, no link untraced. Fans will revisit Kubrick’s movies with increased appreciation of the depth and complexity that make them compelling, and new ideas to fuel speculations. Academics will find plenty to rekindle debates about matters such as authorship, genre, adaptation, context and audience address, making this a significant intervention beyond the sub-field of Kubrick studies." * Shofar *"No stone is unturned, no link untraced. Fans will revisit Kubrick’s movies with increased appreciation of the depth and complexity that make them compelling, and new ideas to fuel speculations. Academics will find plenty to rekindle debates about matters such as authorship, genre, adaptation, context, and audience address, making this a significant intervention beyond the subfield of Kubrick studies." * H-Judaic *"Abrams’s study—this is not the least of its virtues—encourages us to revisit the films with a refreshed, enlightened eye. This is what any serious and good work of film criticism should do." * Senses of Cinema *"We’re still finding Jewish clues in Kubrick’s work 20 years after his last film," by Nathan Abrams https://blogs.timesofisrael.com/were-still-finding-jewish-clues-in-kubricks-work-20-years-after-his-last-film/ * Times of Israel *"Readers interested in a systematic dissection of how Jewish themes are coded in Kubrick's work are directed to Nathan Abrams' Stanley Kubrick: New York Jewish Intellectual." * Pop Matters *"As he digs deep into rare Kubrick archives to reveal insights about the director’s life and times, film scholar Nathan Abrams also provides a nuanced account of Kubrick’s cinematic artistry. Each chapter offers a detailed analysis of one of Kubrick’s major films, including Lolita, Dr. Strangelove, 2001, A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut. Stanley Kubrick thus presents an illuminating look at one of the twentieth century’s most renowned and yet misunderstood directors." * Jewish Book World *"Stanley Kubrick as American film master," by Aaron Howard * Jewish Herald-Voice *"Abrams’s book is a towering achievement in the ever-burgeoning literature on Kubrick. It genuinely reveals new perspectives on Kubrick through its ability to read the autobiographical allusions present in all of his films, and it provides a vital argument as to the importance of the director’s Jewish ancestry on his art." * Modern Jewish Studies *"Abrams offers fine-grained readings and interpretations of Kubrick’s career as a photographer and director, including insights into Kubrick’s process of development and production. Abrams is particularly attuned to the paradoxical pattern of Kubrick’s erasure of overt Jewish representation from source material while simultaneously interweaving Jewish themes, symbols, and cultural textures into his art." * Journal of Religion and Film *"Abrams dug through the archives to provide a detailed re-examination of Kubrick’s films through the context of his Jewish background. The book details themes and concepts such as masculinity and ethical responsibility. Abrams also explores Kubrick’s fraught relationship with his Jewish identity, and how his reluctance to be pegged as an 'ethnic' director manifested in the removal of Jewish references and characters from stories he adapted." * IndieWire *Table of ContentsIntroduction1 Looking to Killing2 The Macho Mensch3 Kubrick’s Double4 Banality and the Bomb5 Kubrick and Kabbalah6 A Mechanical Mensch7 A Spatial Odyssey8 Dream Interpretation9 Men as Meat10 Kubrick’s CodaEpilogueAcknowledgmentsNotesSelect BibliographyIndex

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Book SynopsisIntroduces readers to a vast menagerie of movie monsters. Armed with an encyclopedic knowledge of film history, Grant presents us with an eclectic array of monster movies, from Nosferatu to Get Out. As he discovers, although monster movies might claim to be about “Them!”, they are really about the capacity for horror that lurks within each of us.Trade Review"Barry Keith Grant is an ideal guide in this wide-ranging survey of monsters in the movies. He leaps across genres, periods, and critical traditions with authority and verve."— Adam Lowenstein, author of Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film "This is far more than a very handy guidebook to monsters in the movies. Barry Keith Grant’s prose is lucid, and informed by a keen intelligence and exhaustive scholarship demonstrating his mastery of the genre. This is a great read!"— Christopher Sharrett, author of The Rifleman "Barry Keith Grant’s Monster Cinema is an 'unnaturally' fine book, providing readers with a concise, engaging, and perceptive historical and ideological overview that attests to the enduring power of this genre."— Lester D. Friedman, coauthor of Monstrous Progeny: A History of the Frankenstein Narratives "The book is highly recommended, because, as Grant himself notes, our survival depends on understanding monsters—in other words, on understanding ourselves." — Science Fiction ReviewsTable of ContentsContents 1 Meeting Movie Monsters: Monsters R Us 2 Human Monsters 3 Natural Monsters 4 Supernatural Monsters Acknowledgments Further Reading Works Cited Index

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Book SynopsisMonster Cinema introduces readers to a vast menagerie of movie monsters, from gigantic beasts to microscopic parasites, from grotesque demons to normal-looking serial killers. Film expert Barry Keith Grant considers what each type of movie monster might reveal about how we regard the natural, the supernatural, and the human. Trade Review"This is far more than a very handy guidebook to monsters in the movies. Barry Keith Grant’s prose is lucid, and informed by a keen intelligence and exhaustive scholarship demonstrating his mastery of the genre. This is a great read!" -- Christopher Sharrett * author of The Rifleman *"Barry Keith Grant’s Monster Cinema is an 'unnaturally' fine book, providing readers with a concise, engaging, and perceptive historical and ideological overview that attests to the enduring power of this genre." -- Lester D. Friedman * coauthor of Monstrous Progeny: A History of the Frankenstein Narratives *"Barry Keith Grant is an ideal guide in this wide-ranging survey of monsters in the movies. He leaps across genres, periods, and critical traditions with authority and verve." -- Adam Lowenstein * author of Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film *"The book is highly recommended, because, as Grant himself notes, our survival depends on understanding monsters—in other words, on understanding ourselves." * Science Fiction Reviews *Table of ContentsContents 1 Meeting Movie Monsters: Monsters R Us 2 Human Monsters 3 Natural Monsters 4 Supernatural Monsters Acknowledgments Further Reading Works Cited Index

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Book SynopsisContains twenty in-depth studies of prominent New Zealand directors, producers, actors, and cinematographers. This book displays the diversity of filmmaking in New Zealand and highlights the specific industrial, aesthetic, and cultural concerns that have created a film culture of international significance.

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Book SynopsisProlific director Howard Hawks made films in nearly every genre, from gangster movies like ""Scarface"" to comedies like ""Bringing Up Baby"" and ""Monkey Business"" and westerns like ""Rio Bravo."" This work explores the ways in which Hawks pushed the boundaries of each genre and transformed the traditional forms in interesting and creative ways.

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

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Book SynopsisOne of world cinema's most exciting filmmakers, Pedro Almodvar has been delighting, provoking, arousing, shocking, and-above all-entertaining audiences around the globe since he first burst on the international film scene in the early 1980s. All about Almodvar

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Book SynopsisOne of the most prolific and respected directors of the Japanese cinema, Naruse Mikio (1905-69) made eighty-nine films between 1930 and 1967. This book illuminates Naruse's contributions to Japanese and world cinema.Trade Review“The Cinema of Naruse Mikio presents not only a deft and subtle run-through of the world of an important auteur, but also a virtual encapsulation of the intellectual history of Japanese cinema during its most important period, the 1930s–60s. Catherine Russell contextualizes Naruse in the commercial situation in which he worked and in the historical, social, political, and intellectual project of mid-twentieth-century Japan. I came away firmly believing that Naruse was more attuned to how modernity was leaving its indelible marks on Japanese women than any other director of classical Japanese cinema. For students of feminist film criticism, Russell’s book is an absolute must.”—David Desser, author of Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema“A confluence of many forces produced the great (and stereotypical) triumvirate of Japanese cinema: Kurosawa/Mizoguchi/Ozu. However, even as these three took their positions at the forefront of auteurism, a fourth name was regularly invoked and too often ignored. Perhaps this was to be expected. Naruse Makio’s films lacked period color for those searching for Oriental spectacle. Likewise, scholars celebrating formal inventiveness mistook Naruse’s cinematic style for pedestrian convention. Those who looked at the director’s films closely, however, knew that this was an extraordinary body of films and for a good many reasons. Catherine Russell looked closer than anyone, and has discovered a critical framework that provides us solid footing for exploring Naruse’s modern world. Working meticulously through all sixty-seven extant films, Russell gradually reveals a director and team of technicians and actors exploring the contradictions, hopes, and disappointments of modern Japan—particularly for women, who participate in and contribute to modernity both on and off Naruse’s screen. The Cinema of Naruse Mikio is a vivid and long-needed survey of the director’s life work and the everyday landscape of twentieth-century Japan.”—Abé Mark Nornes, author of Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary“A confluence of many forces produced the great (and stereotypical) triumvirate of Japanese cinema: Kurosawa/Mizoguchi/Ozu. However, even as these three took their positions at the forefront of auteurism, a fourth name was regularly invoked and too often ignored. Perhaps this was to be expected. Naruse Makio’s films lacked period color for those searching for Oriental spectacle. Likewise, scholars celebrating formal inventiveness mistook Naruse’s cinematic style for pedestrian convention. Those who looked at the director’s films closely, however, knew that this was an extraordinary body of films and for a good many reasons. Catherine Russell looked closer than anyone, and has discovered a critical framework that provides us solid footing for exploring Naruse’s modern world. Working meticulously through all sixty-seven extant films, Russell gradually reveals a director and team of technicians and actors exploring the contradictions, hopes, and disappointments of modern Japan—particularly for women, who participate in and contribute to modernity both on and off Naruse’s screen. The Cinema of Naruse Mikio is a vivid and long-needed survey of the director’s life work and the everyday landscape of twentieth-century Japan.”—Abé Mark Nornes, author of Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary“Even for those who read Japanese and are familiar with Naruse Mikio’s work, Catherine Russell’s book contributes to a new understanding of his cinema. Russell shows how Naruse’s films contributed to Japanese modernity as a cultural movement, and, using feminist film criticism and Miriam Hansen’s influential concept of ‘vernacular modernism,’ she traces how his films illuminate female subjectivity throughout the studio era.”—Daisuke Miyao, author of Sessue Hayakawa: Silent Cinema and Transnational StardomTable of ContentsAcknowledgments ix Preface xi Introduction: The Auteur as Salaryman 1 1. The Silent Films: Women in the City, 1930-1934 39 2. Naruse as P.C.L.: Toward a Japanese Classical Cinema, 1935-1937 81 3. Not a Monumental Cinema: Wartime Vernacular, 1938-1945 131 4. The Occupation Years: Cinema, Democracy, and Japanese Kitsch, 1945-1952 167 5. The Japanese Woman's Film of the 1950s, 1952-1958 226 6. Naruse in the 1960s: Stranded in Modernity, 1958-1967 315 Conclusion 398 Notes 405 Filmography 431 Bibliography 435 Index 447

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Book SynopsisIn this enthralling memoir we follow Max Evans and Sam Peckinpah through conversations in bars, family gatherings, binges on drugs and alcohol, struggles with film producers and executives, and Peckinpah’s abusive behavior - sometimes directed at Evans himself. Evans’s stories provide a uniquely intimate look at Peckinpah, their famous friends, and the business of Hollywood in the 1960s and 1970s.

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Book SynopsisMax Evans, one of Sam Peckinpah’s best friends, experienced the director’s mercurial character and personal demons firsthand. In this enthralling memoir we follow Evans and Peckinpah through conversations in bars, family gatherings, binges on drugs and alcohol, struggles with film producers and executives, and Peckinpah’s abusive behaviour.Trade ReviewDirector Sam Peckinpah, the mad genius of film, managed to drive away almost everyone who worked with him or drank with him. Max Evans stayed loyal to the end. His graphic reflections in Goin' Crazy with Sam Peckinpah and All Our Friends make you wonder how he did it." —Richard Gaughran, James Madison University "A remarkable memoir by a true westerner, Max Evans, on the wild, turbulent life and career of the great Sam Peckinpah, a man who created so much, and destroyed so much, in his all-too-brief life." —John L. Simons, coauthor of Peckinpah's Tragic Westerns: A Critical Study

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

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

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Book SynopsisNora Ephron was an Academy Award-winning screenwriter and film director of When Harry Met Sally, Sleepless in Seattle, You've Got Mail and Julie & Julia. She was also a bestselling novelist (Heartburn, made into a film starring Jack Nicholson and Meryl Streep), and journalist. Her last books I Feel Bad About My Neck and I Remember Nothing were both huge international bestsellers. She died in 2012.Trade ReviewThe book that most influenced me... It triggered me to write my own book, and ask myself questions about who I was, what kind of woman I am and how the world had shaped me. * LILY ALLEN, Guardian *So bold and so vulnerable at the same time. I don’t know how she did it. * PHOEBE WALLER-BRIDGE, Vogue *

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Book SynopsisClifford Thurlow is a writer and independent filmmaker. He co-produced Salvador Dali: A Biography and co-produced and presented The Dali Triangle for Yellowbay Films. The winner of a screenwriting award from EMDA, the European Media Development Award, his screenplay Zeitgeist is in development with Hub Media.Max Thurlow is a journalist who has written for a number of publications including the Daily Mail and the Independent. He has shot, edited and screened a number of travel and short films.Trade ReviewNobody should think about making a short film without reading this first. Thurlow takes new filmmakers through the steps of shooting film in a way that will save time and money. Plus it's a good read! -- Producer Jennifer Fate Velaise, Fate Productions, Los AngelesIt offers an opportunity for the rank outsider to learn how to present a film project in a manner that would convince the professionals. Thurlow brings his personable style to Making Short Films and turns what is effectively a step by step text book into an easily assimilated, fact packed tutorial with all the dynamism and panache of a contemporary novel. All in all an essential tool of the trade and indispensable for the embryonic auteur. -- Mike von Joel, State of ArtThis is the only book to describe and explain the whole process - from creating an original or adapted script, through producing and directing to finance and distribution. -- British Film MagazineMaking Short Films will be your ideal guide and will take you right through the process. -- Writing MagazineA riveting read, packed with rare anecdotes and expertly chosen examples from across the film world. And by weaving throughout tales from the likes of Cocteau, Bunuel or Fellini, Clifford Thurlow provides a refreshing and much needed focus on the artistic and creative - as well as the technical - aspects of filmmaking. -- Nic Wistreich, development director of Shooting People and co-author of Get Your Film FundedClifford Thurlow's book is the definitive must have for any filmmaker contemplating making and marketing a short. -- Elliot Grove, Director of RaindanceHeady stuff. Enough to make you feel like the next Spielberg. But why not? Someone has to be. And my guess is it will be someone who starts off reading Making Short Films. -- Terence Doyle, New Nude MagThe first edition was an unexpected bestseller and this expanded reprint is even better ... First class -- STATETable of ContentsIntroduction to Making Short Films PART I: WHO DOES WHAT 1. The Writer 2. The Producer 3. The Director 4. The Editor 5. The Crew PART II: HARDWARE 6. The Camera 7. Lighting 8. Sound and Music PART III: GETTING IT MADE 9. Crewing 10. Locations 11. Casting 12. Sound Design 13. Music and Post-Production 14. Trade Unions PART IV: FINANCE AND DISTRIBUTION 15. Finance 16. Distribution and Marketing PART V: INTERVIEWS WITH FILM-MAKERS 17. Daniel Mulloy 18. Jack Pizzey 19. David Forster 20. Marina Vroda 21. Paul Andrew Williams 22. One big-name director in addition: being pursued PART VI: SCRIPTS 23. Broken 24. Noise Control 25. GM 26. Room 11 27. The Cross by Marina Vroda PART VII: THE FILM BUFF 28. A Brief History of Short Films + Ten Shorts You Must See 29. Careers 30. Film schools PART VIII: USEFUL INFO Glossary Of Film Terms Film Festivals Useful Addresses in the UK Useful Addresses in the US Bibliography Acknowledgements Index

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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 SynopsisThe evolution of the iconic filmmaker?s creative practice, from childhood sketches to his mature oeuvreTim Burton has reinvented Hollywood genre filmmaking over the past three decades. With a visual style inspired by the aesthetics of animation and silent comedy, Burton''s work melds the exotic, the horrific and the comic, manipulating expressionism and fantasy with the skill of a graphic novelist. Published to accompany a major career retrospective at The Museum of Modern Art, this affordable volume considers Burton''s career as an artist and filmmaker. It narrates the evolution of his creative practices, following the current of his visual imagination from his earliest childhood drawings through his mature oeuvre. Illustrated with works on paper, moving-image stills, drawn and painted concept art, puppets and maquettes, storyboards and examples of his work as a graphic artist for his non-film projects, this volume sheds new light on Burton and presents previously unseen works from the artist''s personal archive.Acclaimed American filmmaker Tim Burton (born 1958) is known for his dark, gothic films about quirky outsiders, many of which are both Hollywood blockbusters and cult classics. To date they have been nominated for 16 Academy Awards and have won six. They include Pee-Wee''s Big Adventure (1985), Beetle Juice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), Ed Wood (1994), Sleepy Hollow, (1999), Charlie and the Chocolate Factory and Corpse Bride (both 2005) and Sweeney Todd: The Demon Barber of Fleet Street (2007), among others. Alice in Wonderland is slated for 2010. Burton has collaborated extensively with composer Danny Elfman and with actors Johnny Depp and Helena Bonham Carter.

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Book SynopsisAn intimate account of a seminal filmmaker’s development—as a creator and as a woman—both in art and in life."Joyce Chopra, what a gift of an extraordinary filmmaker you are, and one of our great pioneers who forged a very difficult path. And for female filmmakers everywhere, we are so blessed to have you as a storyteller to forge the way to make it easier for others."—Laura Dern, actorHailed by the New Yorker as “a crucial forebear of generations,” award-winning director Joyce Chopra came of age in the 1950s, prior to the dawn of feminism, and long before the #MeToo movement. As a young woman, it seemed impossible that she might one day realize her dream of becoming a film director—she couldn’t name a single woman in that role. But with her desire fueled by a stay in Paris during the heady beginnings of the French New Wave, she was determined to find a way.Chopra got her sTrade ReviewPraise for Joyce Chopra's Lady Director:"Her autobiography traces the evolving role of women directors in Hollywood by drawing extensively on her own five decades in film and television. . . the insights she offers into the profession are rare . . . Chopra writes in a prose style that is both unflinching and unsentimental."—Annie Berke, The Washington Post"Joyce Chopra was the Ava DuVernay, the Kathryn Bigelow and the Sofia Coppola of her day. . . . In her new memoir, Chopra looks back on all that's happened in her extraordinary career, sharing stories about Hollywood producers who were unwilling to work with a woman director . . ."—Raechal Shewfelt, Yahoo's IT LIST"Chopra's efforts paved the way for the likes of Jane Campion, Sarah Polley, Ava DuVernay and others. It was never easy. But love rarely is." — Chris Vognar, San Francisco Chronicle"After more than 50 years in the business, Chopra is reclaiming that eye-rolling moniker for her first memoir, Lady Director, Adventures in Hollywood, Television and Beyond, an insightful, emotional, and often quite dishy rollercoaster ride through her life and career."—Kate Erbland, IndieWire"Simply stated, no personal, professional, community, college, or university film school's Cinematic History collection can be considered complete or comprehensive without including Lady Director: Adventures in Hollywood, Television and Beyond by Joyce Chopra."—Midwest Book Review"Joyce Chopra paved the way for future female filmmakers, and this book illuminates how ahead of her time she has always been. Her honesty is refreshing as she lets readers into her life, detailing her relationships, friendships, personal triumphs and devastating tragedies. Here is a woman who has nothing to lose, who is ready to tell her story, from her perspective, in her own words, with no holding back. I only wish I'd had this book to read when I was a shy teenage girl, to give me extra confidence as I dreamed of my own career in film."—Alicia Malone, TCM host and author of Girls on Film: Lessons From a Life of Watching Women in Movies "Lady Director is not just a fascinating memoir, but an entertaining, inspiring and occasionally outrage-inducing report from the frontlines of filmmaking. An absolute must-read for anyone interested in the history of American cinema."—Elizabeth Weitzman, film critic and author of Renegade Women in Film & TV"In her roller coaster of a memoir, Chopra shares what it was like to be one of the first female directors in Los Angeles. Recalling remarkable experiences of sexism, the effort of balancing a career with the pressures of motherhood, friendships with Hollywood legends, and the ways filmmaking has changed over the past 60 years, this memoir sheds light on the continuing fight for women's rights."—ALTA Magazine"It's exhilarating to travel alongside her as so many well-known figures cross her path; in every phase of her adult life, Joyce Chopra has been there, in the thick of things, at the center of key movements and moments."—Bridgett M Davis, LIBER: A Feminist Review"Award-winning film director Chopra’s memoir pulls no punches. . . She candidly describes navigating sexism and abuse in the film industry; her start as a documentarian; her groundbreaking autobiographical short Joyce at 34; winning Best Director at the Sundance Film Festival for her first feature film, Smooth Talk; and her constant battles with Hollywood producers who refused to work with a woman director."—Rebekah J Buchanan, Library Journal"Chopra chronicles her career as a pioneering film and television director during an era in which women were not being welcomed into the field. . . . She has now created an engaging account of the life of a working director who persevered through numerous and harrowing setbacks."— Kristine Huntley, Booklist"Documentarian Chopra offers an insider's perspective and settles some scores in this shrewd memoir of her life in the film and TV industries. . Brisk and unsentimental, Chopra writes with fierce intent to set the record straight. Much like Anne Theroux's The Year of the End, this is a revealing and retributive glimpse behind the curtain."—Publishers Weekly"City Lights will publish Lady Director: Adventures in Hollywood, Television and Beyond, a memoir from Joyce Chopra, who started out making documentaries before directing her first fictional feature. Smooth Talk (1985) gave us a breakout performance from a young Laura Dern and The Lemon Sisters (1990) focuses on three lifelong friends played by Diane Keaton, Carol Kane, and Kathryn Grody."—David Hudson, The Criterion Daily"Through the lens of an extraordinary, determined and adventurous career, Lady Director reminds us that present day female Oscar nominees for Best Director stand on the shoulders of women like Joyce Chopra. This surprising often shocking book is destined to become a classic."—Honor Moore, author of Our Revolution: A Mother and Daughter at Midcentury"Joyce Chopra's memoir is like a mentor in my pocket. Her vibrant writing makes me feel like I'm right there next to her, and her stories resonate with me and inspire me as a filmmaker and artist working today."—Alexi Pappas, filmmaker and author of Bravey: Chasing Dreams, Befriending Pain, and Other Big Ideas"Chopra's memoir—both personal and political—is a deeply necessary corrective to histories of cinema and tales of the great artists of the '60s and '70s that tend to focus on big men and their big movies. Like all of Chopra's work, this memoir candidly reminds us of the injustices that structure our world, and gently says, we can do better. The book is a gift to all of us digging for authentic, revealing stories about the lives of women artists." —Shilyh Warren, author of Subject to Reality: Women and Documentary "Lady Director is a bold, sometimes devastating, uncommonly honest and brilliant story of the inextricable nature of art and life, where few have feared to tread in cinema or on the page. Having already blessed film culture with at least two all-time masterpieces (Joyce at 34 and Smooth Talk), Joyce Chopra's crucial memoir may be her most lasting contribution. A rare and great work that will be read for years to come, and that we are lucky to have."—Jacob Perlin, Founding Artistic Director of Metrograph, and distributor, "The Film Desk""Across six decades, Chopra—whose career began in the early 1960s making documentaries with D.A. Pennebaker — has proven herself a nimble and reflexive artist, not just an indispensable voice in documentary filmmaking but also in feature-length fiction, television movies, miniseries, and episodic TV. With Lady Director, she introduces herself as a skillful memoirist, too."—Blake Peterson, 425Magazine"A fascinating insider view of the film industry from a director's perspective . . ."—Charles Rammelkamp, The Compulsive Reader"Before Nora Ephron and Nancy Meyers directed their first features, there was Joyce Chopra. She's not a household name like Ephron and Meyers, but Lady Director: Adventures in Hollywood, Television and Beyond affirms that Chopra was a boundary breaker and that the story of a jagged career path can be much more interesting than the story of a steady ascent. How fortunate for readers ofLady Director, and for every woman now in the film and television business, that she persevered."—Nell Beram, Shelf Awareness ". . . in the men's club that was Hollywood, Chopra faced innumerable challenges. She needed a rare resilience. With candor and compassion, in her new memoir, she reveals her long and winding creative journey."—Paul Freeman, "Pop Culture Classics"

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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 SynopsisSpanish filmmaker, Luis Bunuel was an artist known for his surrealist imagery. An exile who produced some of his work in Mexico and France during Franco's dictatorship, he left an imprint on generations of filmmakers - including his friend Claudio Isaac. This book is a portrait of this icon - and a memoir of Isaac's own artistic development.Trade Review"A 'biography' of Luis Bunuel that is structured not by the stepping stones of his career, but by the spider's web of his many contradictions, as they are perceived and assimilated by a chronicler who is himself in motion and full of contradictions." - From the Foreword by James D. Fernandez"

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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 SynopsisJürgen Böttcher and Documentary Film introduces the reader to this east-German filmmaker who, despite having made 40 films from the east side of the Berlin Wall, is practically unknown.Through the comparison of films made in the same year, one by an American and one by Böttcher, the author places him as ahead of his time in regards to technology, content, and style, and neck-and-neck with contemporary American filmmakers in cinéma vérité/direct cinema. The book moves beyond Böttcher's dramatic biography to explore his role in the history of film. Was it actually the Germans who created sync sound for documentary? When and how were women featured?Offering a concise journey through the history of documentary film within this cultural context, but also a deep-dive into specific case-studies that show the nuances and complexities of classifying film texts, this volume will interest students and scholars of film studies, German cinema, cinéma vérité, film producTable of ContentsChapter 1: Introduction Chapter 2: The Biography of Jürgen Böttcher, Filmmaker, and STRAWALDE, Artist Chapter 3: Dramaturgy and Structure in Observational Documentary in 1962 — Jürgen Böttcher’s Ofenbauer (Furnace Builders) and Robert Drew and Richard Leacock’s The ChairChapter 4: The Representation of Women in Observational Cinema — Richard Leacock and Joyce Chopra’s Happy Mother’s Day (Director’s Cut) and Jürgen Böttcher’s Stars, 1963Chapter 5: Jürgen Böttcher and Frederick Wiseman — Institutions and Workplace in Observational Documentary Films in 1984 Chapter 6: Jürgen Böttcher and Barbara Kopple and Reform in Participatory/Reflexive Documentary in 1990 Chapter 7: Conclusion — Documentary Contrasts in Structure, Subject, Place, and Change in Group Identity, and an Expanded Definition of Documentary Modes

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Book SynopsisThe New York Times BestsellerONE OF THE BEST BOOKS OF THE YEAR: The New York Times, NPR, The RootA moving, unflinching memoir of hard-won success, struggles with addiction, and a lifelong mission to give back.When Michael K. Williams died on 6 September 2021, he left behind a career as one of the most electrifying actors of his generation. From his star turn as Omar Little in The Wire to Chalky White in Boardwalk Empire to Emmy-nominated roles in HBO’s The Night Of and Lovecraft Country, Williams inhabited a slew of indelible roles that he portrayed with a rawness and vulnerability that leapt off the screen. Beyond the nominations and acclaim, Williams played characters who connected, whose humanity couldn’t be denied, whose stories were too often left out of the main narrative.At the time of his death, Williams had nearly finished a memoir that tells the story of his past whilTrade ReviewSoul-baring * The Washington Post *Immensely inspiring and candid . . . This bittersweet and poignant work will leave readers in awe * Publishers Weekly *Williams’s cool rasp leaps off every page, his story told in the direct yet impassioned language that defined his greatest characters * Vulture *A bittersweet memento of a generational talent gone too soon * Kirkus Review *A gripping, revelatory memoir * NPR *

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