Individual film directors Books

Book SynopsisFeaturing never-before-seen unit photography, storyboards, costume and concept designs, and behind-the-scenes photos from Academy Award–winning director Steven Spielberg’s first musical, West Side Story: The Making of the Steven Spielberg Film is a loving chronicle of the years of effort that went into bringing a beloved story back to the screen for a new generation.   Author Laurent Bouzereau was embedded with the film’s cast and crew and conducted original interviews with director and producer Steven Spielberg, screenwriter and executive producer Tony Kushner, Tony Award–winning choreographer Justin Peck, and the cast of Sharks and Jets, among many others, to bring together a firsthand oral history documenting every stage of the film’s production.   As relevant today as when it first debuted on Broadway, West Side Story has been reimagined by Spielberg, Kushner, and their cast of young stars, inc

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Book SynopsisPedro Almodóvar is an internationally acclaimed Spanish director. The national and international fascination over Almodóvar's cinema lies in his ability to reflect the problems of contemporary society, his lucidity in combining the urban and the rural, his ability to express the frustrations of modern man, as well as his freshness and spontaneity. Although the vast majority of studies on this Spanish director have focused on women and the gay world, his films are crowded with many types and archetypes of heterosexual men. This groundbreaking edited volume studies the men in the cinema of Almodóvar from a broad yet comprehensive and complementary perspective. Each chapter of All About Almodóvar's Men methodically dissects these male characterstheir misery and their greatness, their frustrations and their desiresoffering a kaleidoscopic view of man that goes beyond the narrow framework in which many studies have locked the rich cinema of Almodóvar.Table of ContentsJuan Rey: The Multifaceted Man in the Cinema of Almódovar – Salomé Sola-Morales: The Villanous Man: Evil as the Incarnation of Masculinity – Mónica Barrientos-Bueno: The Seductive Man: The Long Shadow of Don Juan – Luis Alfonso Guadarrama Rico/Jannet Valero Vilchis: The Tormented Man: Crisis of Male Hegemonic Imperatives – Lorena López-Font/Carlos Fanjul-Peyró/Cristina González-Oñate: Queer Masculinities: Evolution of Homosexual, Transsexual, and Queer Characters – Víctor Hernández-Santaolalla/Javier Lozano Delmar: The (Anti)Caring Man: Exploring Care and Protection in Masculinity Roles – Antonio Molina Flores: The Invisible Man: Nothing About My Father – Manuel Garrido-Lora: The Violent Man: Aggressiveness as a Masculine Quality – Alberto Hermida/Sergio Cobo-Durán: The Son: From Corporeal Representation to the Indelible Memory – Adrián Huici Módenes: The Liquid Man: Between the Old and the Postmodern – Lucía Caro-Castaño/David Selva-Ruiz – The Satyr Man: (Hetero)Sexual Male Activity – Francisco Javier Gómez-Pérez/José Patricio Pérez-Rufí: The Castrated Man: Between Physical and Mental Disability – María del Mar Ramírez Alvarado: The National Man: The Iberian Macho – Juan J. Vargas-Iglesias: The Absent Man: Male Void as Dramatic Causality – Juan J. Vargas-Iglesias: The Cinema of Almodóvar as a Rhizome – Almodóvar’s Filmography – Notes on Contributors.

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Book SynopsisCultural Metamorphoses in Contemporary Italian Cinema explores four different areas of study in contemporary Italian cinema: the migrants' social struggle, the decline of the middle class, the isolation of the elderly, and gender inequality. This book focuses on four films produced between 2007 and 2013, specifically Io sono Li (Shun Li and the Poet, 2011), Giorni e nuvole (Days and Clouds, 2007), Pranzo di ferragosto (Mid-August Lunch, 2008), and Viaggio sola (A Five Star Life, 2013), examining a slice of contemporary Italian cinema to highlight specific socio-economic changes within the country over the past decade. Italian filmmakers Andrea Segre, Silvio Soldini, Gianni Di Gregorio, and Maria Sole Tognazzi concentrate on themes that refer to metamorphoses to exemplify several Italian societal changes deeply affected by economic challenges and strongly rooted in male-dominant ideology. These Italian filmmakers reevalTable of ContentsAcknowledgments – Introduction – Cultural Plurality in Migrant Cinema: Io sono Li (Shun Li and the Poet, Andrea Segre 2011) – Economic Crisis and the Shift in Identity in Giorni e Nuvole (Days and Clouds, Silvio Soldini 2007) – Exposing Aging in Pranzo di Ferragosto (Mid-August Lunch, Gianni Di Gregorio 2008) – A Woman’s ‘Five Star Life’: Maria Sole Tognazzi’s Viaggio Sola (A Five Star Life, Maria Sole Tognazzi 2013) – Conclusion – Bibliography – Index.

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Book SynopsisFrom her early film studies to her most recent critiques of contemporary pop culture, Chinese Cinema Culture: A Scene in the Fog presents Dai Jinhua's multiple theoretical moves toward writing difference into the Euro-American discourses current in China today; it is an account of both her interrogation of mainstream Western theories and her eventual flight from them. She searches for a theoretical strategy that enables her to narrate critically the intellectual and gendered film history and culture of the post-Mao and post-Deng eras without sacrificing it to the orientalizing gaze of the West. Her work demonstrates brilliant insights into China's cinema tradition that is inseparable from both the political legacy of Maoism and current postcolonial order of cultural knowledge. This book includes 11 essays organized in three parts and one dialogue on Chinese cinema culture as the afterword. Trade Review“Owing to Dai Jinhua’s pioneering work since the 1990s, complex Chinese social and cultural realities that found no references in contemporary histories have become subject to description, criticism, and analysis through film studies. Chinese Cinema Culture: A Scene in the Fog crowns her achievements, especially in terms of methodological originality. Besides her role in shaping cinema studies in China, her works have also been used as textbooks in other countries.” —Hong Zicheng, Professor of Chinese Literature at Peking UniversityTable of ContentsAcknowledgments – Part One: Between the Reels – Severed Bridge: The Art of the Sons’ Generation – A Scene in the Fog: Reading the Sixth Generation Films – Subject Structure and Modes of Viewing: Films by the Fourth Generation Directors at the Turn of the 1970s and 1980s – Part Two: Ashes of Time – The Roar of Silence: Under the Facade of Urbanness: Chinese Cinema of the 1980s and 1990s – Encountering "The Other": Notes on the Theory of "Third World Literature" – Rift Valley: Glory and Downthrows in the Post-1989 Art Cinema – Ermo: A Modern-Day Allegory Created by a Fifth Generation Director – The Piano in a Factory: Class, or in the Name of the Father – Part Three: Half the Sky – Gender and Narration: Women in Contemporary Chinese Film – "Human, Woman, Demon": A Woman’s Predicament – Hou Hsiao-Hsien’s Films: Pursuing and Escaping History – Appendix: The Isle of Yesterday—Film, Scholarship, and Me – Index.

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Book SynopsisMediating the Windrush Children analyses three plays by St. Kitts-born British playwright Caryl Phillips: Strange Fruit (1981), Where There is Darkness (1982), The Shelter (1984), and a film by Trinidadian-British filmmaker Horace Ové, Pressure (1975), as artistic depictions of the experience of the Windrush generation, a term that refers to the Anglo-Caribbean islanders recruited to help rebuild Britain in the aftermath of World War II. These works are vibrant calls to resist visuality as an authoritarian medium, and tools of resilience. The revival of Caryl Phillips's Strange Fruit at the Bush Theatre, and Get Up, Stand Up Now', the celebration of Black British artists, among whom Horace Ové, took place in London during the summer of 2019. Both events put into perspective the 2018 Windrush scandal that saw members of the Windrush generation denied their rights as British citizens.Mediating the Windrush ChildrenTrade Review“I first met Horace Ové the way he would want me to meet him—through his work. In 1981, I was working as the Writer-in-Residence at The Factory Community Centre in Paddington. One evening there was a screening of Horace Ové’s film Pressure (1975). I was interested, of course, not only because it was a film by Horace Ové, but it featured a script by Sam Selvon. That these ‘older’ guys were attempting to understand ‘my generation’ was a great revelation to me. I was familiar with their take on those who had arrived from the Caribbean—the first generation, if you like—but Ové and Selvon were trying to examine a second-generation disaffection and alienation with which I was only too familiar.”—Caryl Phillips, 2019Table of ContentsIntroduction – Horace Ové’s Pressure (1975) – Strange Fruit (1981) – Where There Is Darkness (1982) – The Shelter (1984) – Writing in Spirals – Notes – References.

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Book SynopsisAn anthology of essays devoted to the examination of filmmaker Julie Dash's ground-breaking film, Daughters of the Dust, this book celebrates the importance and influence of this film and positions it within the discourses of Black Feminism, Womanism, the LA Rebellion, New Black Cinema, Great Migration, The Black Arts tradition, Oral History, African American/Black/African diasporan Studies, and Black film/cinema studies. Employing a transdisciplinary approach to examining the film, the anthology includes chapters which examine unique aspects/themes of the film. At the core of each chapter, however, is a recognition of the influence of Black feminist/Womanist theory and politics and African American historyfrom enslavement to freedom/Reconstruction, Black political identity and liberation movement(s)and African/ African diasporan cosmology on Dash's work and how all work in concert in her masterful narrative of Black family, 20th Black women's identities, and the tension betwTable of ContentsList of Figures – Acknowledgements – Patricia Williams Lessane: Introduction – Capturing the Canon: Julie Dash and the Black Arts and Black Feminist Traditions – Patricia Williams Lessane: Memory, Meaning, and Gullah Sensibilities: The Black Art Aesthetics of Julie Dash and Jonathan Green – Ayana I. Karanja: Inspiration in the Dark Space: Julie Dash’s Re-Visioning of Time and Place in Daughters of the Dust – Heike Raphael-Hernandez: Overcoming the Trauma of the Gaze in Julie Dash’s Daughters of the Dust – Sensory Ignition and Cultural Memory: Visual Art and Gastronomy in Daughters of the Dust – Katie M. White: Coming Home to Good Gumbo: Gullah Foodways and the Sensory in Julie Dash’s Daughters of the Dust. – Corrie Claiborne: Decorating the Decorations: Daughters of the Dust and the Aesthetics of the Quilt – The Sacred Emerge: The Witness, the Healed, and Daughters of the Dust – Karen M. Gagne: "I Arrived Late to this Book": Teaching Sociology with Julie Dash’s Daughters of the Dust, the Novel – Sharon D.Johnson: Conscious Daughters: Psychological Migration, Individuation, and the Declaration of Black Female Identity in Daughters of the Dust – Tiffany Lethabo King: Reading Nana Peazant’s Palms: Punctuating Readings of Blue – The Power of Place in Shaping Identity and Artistic Cultivation – Marcella "Marcy" De Veaux: In Search of Solid Ground: Oral Histories of the Great Migration, from the Carolinas to New England – Silvia Pilar Castro-Borrego: Motherlands as Gendered Spaces: Cultural Identity, Mythic Memory, and Wholeness in Julie Dash’s Daughters of the Dust – Julie Dash: Making Daughters of the Dust (Revised) – Farah Jasmine Griffin: Epilogue – Contributors – Index.

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Book SynopsisAn expanded edition of a classic work of film criticism, with a provocative and eloquent new chapter on Marnie, Hitchcock's most heartfeltand most controversialfilm. First published in 1982, William Rothman's Hitchcock is a classic work of film criticism. Written in an engaging style that is philosophically sophisticated yet free of jargon, and using over nine hundred images from the films to illustrate and back up its critical claims, the book follows six different Hitchcock films as they unfold, moment by moment, from first shot to last. In addition to a thoughtful new preface and the original readings of The Lodger (1927), Murder! (1930), The 39 Steps (1935), Shadow of a Doubt (1943), and Psycho (1960), this expanded edition includes a groundbreaking new chapter-now the book's longest-on Marnie (1964), Hitchcock's most heartfelt yet most controversial film. Hitchcock never tired of quoting Oscar Wilde's line, "And all men kill the thing they love." Dark moods therefore prevail in the five original chapters, culminating in the reading of Psycho, but in demonstrating how Marnie overcomes, or transcends, the murderous aspect of Hitchcock's art, this new chapter balances the scales and gives an important new dimension to the book. With exemplary precision, Hitchcock, Second Edition shows how Hitchcock films express, cinematically, serious thoughts about such matters as the nature and relationships of love, murder, sexuality, marriage, and theater-and about their own medium. In so doing, it keeps faith with the idea that Hitchcock was a master, perhaps the master, of what he called the "art of pure cinema." However, insofar as it investigates philosophically the conditions of authorship in the medium of film, it is an auteurist study unlike any other. By attending to the films themselves and to the ways we experience them, rather than allowing some theory to dictate what to say about them, the book proves the fruitfulness of an approach that is open and responsive to the ways serious films are capable of teaching us how to think seriously about them.

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Book SynopsisExtensive meditations on the theme of the voyage in six Hitchcock films: Psycho, The 39 Steps, The Birds, Dial M for Murder, Rich and Strange, and Suspicion.Following from An Eye for Hitchcock and A Dream for Hitchcock, this third volume of reflections upon Alfred Hitchcock''s work gives extensive meditations on six films: Psycho, The 39 Steps, The Birds, Dial M for Murder, Rich and Strange, and Suspicion. Murray Pomerance''s sources come from a wide territory of interest, including production study, philosophy, cultural history, and more. The book is written as an homage to, and in many ways address to, not only the story content of these films but, more importantly, their overall filmic texture, which involves compositions, visual nuances, sounds, rhythms, and Hitchcock''s unique treatments of human experience. The voyage theme plays a key-and moving-role in all the films discussed here.

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Book SynopsisExtensive meditations on the theme of the voyage in six Hitchcock films: Psycho, The 39 Steps, The Birds, Dial M for Murder, Rich and Strange, and Suspicion.Following from An Eye for Hitchcock and A Dream for Hitchcock, this third volume of reflections upon Alfred Hitchcock''s work gives extensive meditations on six films: Psycho, The 39 Steps, The Birds, Dial M for Murder, Rich and Strange, and Suspicion. Murray Pomerance''s sources come from a wide territory of interest, including production study, philosophy, cultural history, and more. The book is written as an homage to, and in many ways address to, not only the story content of these films but, more importantly, their overall filmic texture, which involves compositions, visual nuances, sounds, rhythms, and Hitchcock''s unique treatments of human experience. The voyage theme plays a key-and moving-role in all the films discussed here.

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Book SynopsisDirector of over 150 films from 1912 to 1964, Raoul Walsh was a core figure in Hollywood from its beginnings to the end of the studio system. Perhaps best known for such films as The Big Trail (starring John Wayne in his first leading role), High Sierra, and White Heat, Walsh cut his teeth under D. W. Griffith, and, like his contemporary John Ford, found a style and signature in his silent cinema and early talkies. Through close analysis of seven of his films, six shot between 1915 and 1933 and one a remake from 1956, and stressing the visual character of their settings and situations, Tom Conley examines how composition and montage?or action?often overtake the crisp narratives these films convey. Rife with contradiction, they ask us to see what makes them possible and how they contend with prevailing codes. Films discussed include Regeneration (1915); Sadie Thompson (1928) and a likely avatar, The Revolt of Mamie Stover (1956); The Cock-Eyed World (1929); The Big Trail (1930); Me and My Gal (1932); and The Bowery (1933).

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Book SynopsisDirector of over 150 films from 1912 to 1964, Raoul Walsh was a core figure in Hollywood from its beginnings to the end of the studio system. Perhaps best known for such films as The Big Trail (starring John Wayne in his first leading role), High Sierra, and White Heat, Walsh cut his teeth under D. W. Griffith, and, like his contemporary John Ford, found a style and signature in his silent cinema and early talkies. Through close analysis of seven of his films, six shot between 1915 and 1933 and one a remake from 1956, and stressing the visual character of their settings and situations, Tom Conley examines how composition and montage?or action?often overtake the crisp narratives these films convey. Rife with contradiction, they ask us to see what makes them possible and how they contend with prevailing codes. Films discussed include Regeneration (1915); Sadie Thompson (1928) and a likely avatar, The Revolt of Mamie Stover (1956); The Cock-Eyed World (1929); The Big Trail (1930); Me and My Gal (1932); and The Bowery (1933).

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Book SynopsisExtensive meditations on silence in the films of Alfred Hitchcock.In A Silence from Hitchcock, Murray Pomerance explores the resonating power of silence in the director''s work-its variation, its haunting temptation, and its technical power. Working from a meditative devotion to and an illuminating familiarity with the director''s work, Pomerance shines light upon six films, some of them (Notorious, The Lady Vanishes, and The Trouble with Harry) frequently, even obsessively treated, and others (Frenzy, The Wrong Man, and Topaz) less often discussed. In its strange relation to speech, memory, urbanity, guilt, mortality, and espionage, silence becomes, in these films, a dramatic protagonist in its own right. Written by a master interpreter of Hitchcock, this book offers new ways of seeing, experiencing, and thinking about the films of one of cinema''s greatest artists, as well as new ways of reflecting on our experience of cinema itself.

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Book SynopsisExtensive meditations on silence in the films of Alfred Hitchcock.In A Silence from Hitchcock, Murray Pomerance explores the resonating power of silence in the director''s work-its variation, its haunting temptation, and its technical power. Working from a meditative devotion to and an illuminating familiarity with the director''s work, Pomerance shines light upon six films, some of them (Notorious, The Lady Vanishes, and The Trouble with Harry) frequently, even obsessively treated, and others (Frenzy, The Wrong Man, and Topaz) less often discussed. In its strange relation to speech, memory, urbanity, guilt, mortality, and espionage, silence becomes, in these films, a dramatic protagonist in its own right. Written by a master interpreter of Hitchcock, this book offers new ways of seeing, experiencing, and thinking about the films of one of cinema''s greatest artists, as well as new ways of reflecting on our experience of cinema itself.

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Book SynopsisFrom early silent features like The Lodger and Easy Virtue to his final film, Family Plot, in 1976, most of Alfred Hitchcock's movies were adapted from plays, novels, and short stories. Hitchcock always took care to collaborate with those who would not just execute his vision but shape it, and many of the screenwriters he enlistedincluding Eliot Stannard, Charles Bennett, John Michael Hayes, and Ernest Lehmanworked with the director more than once. And of course Hitchcock's wife, Alma Reville, his most constant collaborator, was with him from the 1920s until his death. In Hitchcock and Adaptation: On the Page and Screen, Mark Osteen has assembled a wide-ranging collection of essays that explore how Hitchcock and his screenwriters transformed literary and theatrical source material into masterpieces of cinema. Some of these essays look at adaptations through a specific lens, such as queer aesthetics applied to Rope, Strangers on a Train, and Psycho, while others tackle the issue of HiTrade ReviewOsteen’s collection should certainly interest the Hitchcock scholar (and anyone else that enjoys scholarly essays on film). Casual fans will also find a lot of interesting information. . . .A large percentage of the essays focus on Hitchcock’s film work, and it is here that the book blossoms into life. The essays offer many factual details to support the scholarly analysis, which makes the sometimes overreaching conclusions more digestible to the average reader. These factual details are what will interest many of the director’s fans. . . .If any of this sounds appealing, this book should be worth picking up. * HitchcockMaster *In Hitchcock & Adaptation: On the Page and Screen, Mark Osteen has curated a number of essays that open up this crucial piece of Hitchcock’s directorial methodology and detail his creative approach that inspired his film masterpieces. . . . Readers of this compilation are in for a captivating read concerning the enduring thematic and stylistic relevancy of Hitchcock (conceptually speaking, not the Hitchcock) in adaptation film study today. . . .To put it simply, Osteen’s collection of essays is incredibly valuable to film and literary scholars as the collection covers a great deal of Hitchcock’s cinematic history in a manner that uncovers the complex relationship between Hitchcock and adaptation. * Film Matters *Table of ContentsAcknowledgments Introduction: Hitchcock and Adaptation, Mark Osteen I: Hitchcock and Authorship Chapter 1: Hitchcock the Author, Thomas M. Leitch Chapter 2: Wrong Men on the Run: The 39 Steps as Hitchcock’s Espionage Paradigm, Walter Raubicheck and Walter Srebnick Chapter 3: The Role and Presence of Authorship in Suspicion, Patrick Faubert II. Hitchcock Adapting Chapter 4: Melancholy Elephants: Hitchcock and Ingenious Adaptation, Ken Mogg Chapter 5: Conrad’s The Secret Agent, Hitchcock’s Sabotage, and The Inspiration of “Public Uneasiness,” Matthew Paul Carlson Chapter 6: Stranger(s) Than Fiction: Adaptation, Modernity, and the Menace of Fan Culture in Hitchcock’s Strangers on a Train, Leslie H. Abramson Chapter 7: Reading Hitchcock/Reading Queer: Adaptation, Narrativity, and a Queer Mode of Address in Rope, Strangers on a Train, and Psycho, Heath A. Diehl Chapter 8: “Dear Miss Lonelyhearts”: Voyeurism and the Spectacle of Human Suffering in Rear Window, Nicholas Andrew Miller Chapter 9: “The Proper Geography”: Hitchcock’s Adaptation of Daphne du Maurier’s “The Birds,” John Bruns Chapter 10: From Kaleidoscope to Frenzy: Hitchcock’s Second British Homecoming, Tony Williams III. Hitching a Ride: The Collaborations Chapter 11: Hitchcock’s Diegetic Imagination: Thornton Wilder, Shadow of a Doubt, and Hitchcock’s Mise-en-Scène, Donna Kornhaber Chapter 12: “The Name of Hitchcock! The Fame of Steinbeck!”—The Legacy of Lifeboat, Maria A. Judnick Chapter 13: “What did Alma Think?”:Continuity, Writing, Editing, and Adaptation, Christina Lane and Jo Botting IV. Adapting Hitchcock Chapter 14: The Second Look, the Second Death: W. G. Sebald’s Orphic Adaptation of Hitchcock’s Vertigo, Russell J. A. Kilbourn Chapter 15: Dark Adaptations: Robert Bloch and Hitchcock on the Small Screen, Dennis R. Perry and Carl H. Sederholm Chapter 16: Extraordinary Renditions: DeLillo’s Point Omega and Hitchcock’s Psycho, Mark Osteen Chapter 17: The Culture of Spectacle in American Psycho, David Seed Alfred Hitchcock Filmography About the Contributors About the Editor

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Book SynopsisAfter an unparalleled string of artistic and commercial triumphs in the 1950s and 1960s, Alfred Hitchcock hit a career lull with the disappointing Torn Curtain and the disastrous Topaz. In 1971, the depressed director traveled to London, the city he had left in 1939 to make his reputation in Hollywood. The film he came to shoot there would mark a return to the style for which he had become known and would restore him to international acclaim. Like The 39 Steps, Saboteur, and North by Northwest before, Frenzy repeated the classic Hitchcock trope of a man on the run from the police while chasing down the real criminal. But unlike those previous works, Frenzy also featured some elements that were new to the master of suspense's films, including explicit nudity, depraved behavior, and a brutal act that would challenge Psycho's shower scene for the most disturbing depiction of violence in a Hitchcock film. In Alfred Hitchcock's Frenzy: The Last Masterpiece, Raymond Foery recounts the hiTrade ReviewAfter a string of flops and in need of a hit, Alfred Hitchcock returned to his native London in 1971 to make Frenzy, his darkest film since Psycho....After Torn Curtain and Topaz performed so poorly, Hitchcock was in a professional slump and desperate for material that excited him. Arthur La Bern’s 1966 novel Goodbye Piccadilly, Farewell Leicester Square, detailing the exploits of a serial killer in London who raped and murdered young woman à la a modern-day Jack the Ripper, was just such a book. Goodbye soon became Frenzy, with a screenplay by playwright Anthony Shaffer. Like many of the best Hitchcock films, Frenzy features a man on the run trying to clear his name, as well as a murder, though the strangulation of Babs Milligan with a necktie is more brutal than most Hitchcock deaths. Shooting in London represented the first time the director had returned for more than a holiday since 1939, and he took full advantage, staging several outdoor scenes. While Foery’s shot-by-shot analysis of the Frenzy shooting schedule does grow tedious, it offers more new insights than the chapters devoted to rehashing Hitchcock’s mastery of montage and mise-en-scene. * Publishers Weekly *Raymond Foery’s Alfred Hitchcock’s Frenzy is an almost obsessively detailed history of the movie: its genesis, its casting, its filming, and its cultural impact...If you’re a film buff you’ll probably be delighted with Foery’s microscopic look at the film’s 13-week shooting schedule. This isn’t your typical “making-of” book, but it is a rigorous and enlightening look at the filming of Hitchcock’s neglected masterpiece. * The Chronicle Herald *Frenzy (1972) was Hitchcock’s second-to-last film, and his last great one. This ruthlessly detailed book examines the production of the film with a microscopic eye, chronicling the 13-week shoot virtually hour by hour, noting how many times the director filmed a scene, how many takes he printed, how many reshoots he did, how many setups he completed in a day, and what time the crew started work and finished for the day (and, sometimes, what time they broke for lunch). It’s the kind of hyperdetailed analysis that will appeal to Hitchcock completists and rabid film buffs....Frenzy is one of Hitch’s least-written-about films, and students of the director’s oeuvre—and film students in general—should benefit from this comprehensive...look at the film’s genesis, production, and reception. * Booklist *As a whole, The Last Masterpiece provides an engaging snapshot of Hitchcock’s creative brilliance. The book also offers an absorbing insight into an intriguing – not to mention highly disturbing – film. * Screening The Past *“A new book throws fresh light on the director’s darkest work” “In Alfred Hitchcock’s Frenzy: The Last Masterpiece, Raymond Foery exhaustively charts the production of the film that helped restore his fortunes and flagging spirits” “Hitchcock, as Foery reminds us, had always been far less interested in the basic textual content of a story than in how that story was to be realised cinematically.” * Irish Times *Professor Foery provides a systematic look at the development, filming, and reception of Hitchcock’s next-to-last film. The book is well-researched, filled with copious notes and references, as well as correspondence and selections from the screenplay and shooting scripts * The Mystery Review *Table of ContentsAcknowledgments Prologue: Over the Atlantic and Down the Thames Chapter One: Hitchcock in 1970: The Lion in Waiting Chapter Two: Property Values: The Hitchcock Standards and the First “Frenzy” Chapter Three: Working with Writers: Hitchcock and the Preparation of the Scenario Chapter Four: Working with Another Sleuth: Hitchcock and Anthony Shaffer Chapter Five: Brief Inter-title: Looking for a Lost London Chapter Six: Cattle Calls: Ruminating over a Cast Chapter Seven: The 13-week Production: Mornings and Afternoons on the Set Chapter Eight: Shooting the Signature Sequences, Part I: Hitchcock as a Master of Montage Chapter Nine: Shooting the Signature Sequences, Part II: Hitchcock as the master of Mise-en-scene and the Moving Camera Chapter Ten: Brief Inter-title: Looking for a Lost Partner OR “Hitchcock in Love” Chapter Eleven: Adventures in Post-production Chapter Twelve: Releasing the Film: Creating a Frenzy around Frenzy Chapter Thirteen: Critical Acclaim and Box-office Redemption Chapter Fourteen: The Response from the Academy Chapter Fifteen: Hitchcock and Women; Hitch and His Women Chapter Sixteen: Forty Years Later Postscript: Becoming Sir Alfred Appendix A: Frenzy Cast and Crew Appendix B: Frenzy Scene List Works Cited About the Author

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Book SynopsisThe films of Ethan and Joel Coen have been embraced by mainstream audiences, but also have been subject to intense scrutiny by critics and cinema scholars. Movies such as Barton Fink, The Hudsucker Proxy, and Raising Arizona represent the filmmakers' postmodern tendencies, a subject many academics have written about at length. But is it enough to reduce their features as expressions of postmodernism or are there other ways of viewing their worknot only their individual films but their entire output as a collective whole? In Constructing the Coens: From Blood Simple to Inside Llewyn Davis, Allen H. Redmon looks beyond the postmodern sensibilities of every film written and directed by the Coens to find an unexpected range of recurring ideas expressed in and about contemporary film. In this volume, Redmon tackles all of the films in the Coen brothers' canon by examiningamong other topicsnarrative coherence in The Man Who Wasn't There, intertextuality in No Country for Old Men, and sexualiTrade ReviewRedmon has written the definitive critical study of the films of Ethan and Joel Coen, the writer-director team behind Fargo, Raising Arizona, and O Brother, Where Art Thou? Previous critics have portrayed the Coen Brothers as hipsters who make apocalyptic, misanthropic films about American culture made palatable by healthy doses of humor, a nostalgic period setting, and affectionate homages to genre films of the past—especially film noir, the western, and the musical. Redmon, however, demonstrates that, while the brothers may be snarky—and may employ postmodern storytelling techniques—their work is soulful and concerned with truth and ethics…. Redmon explains that the Coen Brothers’ films demand that the audience participate actively in making meanings of the films. The films help viewers become better readers of cinema and of life, and offer us all clues as to how to find truth and emotional authenticity in the grotesque carnival of broken dreams and solipsistic concerns of an America fractured by the culture wars. As Redmon observes, while the Coens enjoy laughing at human folly, they have an ethical worldview, celebrating virtue, condemning evil, and asking us to accept the mystery of the human comedy. Say whatever you want about the Coen Brothers: these men are not nihilists and their films have an ethos. * Religious Studies Review *Table of ContentsAcknowledgments Introduction Chapter 1 “It’s a Problem of…Perception”: Identifying the Coens’ Constructivist Sensibility Chapter 2 “You Don’t Want to be Tried and Found Wantin’”: Triggering the Ongoing Adaptation of the The Ladykillers Chapter 3 “I Will Destroy Him”: Negotiating the Image in Barton Fink and Raising Arizona Chapter 4 That Gag’s Got Whiskers on it”: Achieving Narrative Coherence in The Hudsucker Proxy and The Man Who Wasn’t There Chapter 5 “The Coin Don’t Have No Say”: Examining Intertextuality in The Hudsucker Proxy, Intolerable Cruelty, and No Country for Old Men Chapter 6 “A Lotta Ins, a Lotta Outs”: Interweaving Genres in The Big Lebowski and O Brother, Where Art Thou? Chapter 7 “Appearances Can Be Deceptive”: Investigating Sexuality in O Brother, Where Art Thou?, Intolerable Cruelty, and Burn After Reading Chapter 8 “I Haven’t Done Anything Funny”: Scrutinizing Gender in the Coens’ Arrangements of a Bunch of Men around One Woman Chapter 9 “Accept the Mystery”: Resisting Final Construction and A Serious Man Conclusion Bibliography Index About the Author

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Book SynopsisBorn to a mother who did not want him and a father who humiliated him during his upbringing, Ingmar Bergman somehow endured his dysfunctional family to become one of the great artists of the twentieth century. However, the scars left from his early agony affected him both physically and emotionally. He suffered with a disabling psychosomatic gastrointestinal illness and serious problems in his interpersonal relationships. In The Persona of Ingmar Bergman: Conquering Demons through Film, Barbara Young looks at how the director's personal life shaped his creative output. A practicing psychiatrist and psychoanalyst, Young probes Bergman's relationships with his parents, his wives, his children, and his colleagues to explore the meanings of his many films. As Bergman gradually began to work through his psychological problems, he accomplished something that few people have ever donehe analyzed himself. The films examined in this study include the majority of his features, including The SeveTrade ReviewMerging biography, cinema studies, and psychoanalysis, psychiatrist Young traces the life and career of storied Swedish director Ingmar Bergman and examines how his rocky personal life shaped his films in this sometimes insightful . . . history. Moving chronologically, from Bergman’s unhappy childhood (after nearly dying of the Spanish flu shortly after birth, he was raised briefly by his grandmother and never formed a strong bond with his mother) to his promiscuous, illness-riddled adulthood, Young highlights each of the director’s films and stage productions. As a photographer herself—and there is often too much of the author here—she has an eye for Bergman’s striking visuals, such as the use of light and shadows in one of his bestknown films, The Seventh Seal. Young rather repeatedly reminds the reader that Bergman worked to exorcise his inner demons through his art, and his films were often direct reflections of his personal crises; he was married five times and engaged in multiple affairs on and off the set, the details of which worked their way into the screenplays for Thirst and Sawdust and Tinsel. . . . Bergman’s life and work are as rich as ever, and both are as he once described his ideal film: 'I want to give [the audience] a blow in the small of the back, to scorch their indifference, to startle them out of their complacency.' * Publishers Weekly *

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Book SynopsisSeveral decades after his last motion picture was produced, Alfred Hitchcock is still regarded by critics and fans alike as one of the masters of cinema. From silents of the 1920s to his final feature in 1976, the director's many films continue to entertain audiences and inspire filmmakers. In The Alfred Hitchcock Encyclopedia, film critic Stephen Whitty provides a detailed overview of the director's work. This reference volume features in-depth critical entries on each of his major films as well as biographical essays on his most frequent collaborators and discussions of significant themes in his work. For this book, Whitty draws on primary-source materials such as interviews he conducted with associates of the directorincluding screenwriter Jay Presson Allen (Marnie), actresses Eva Marie Saint (North by Northwest) and Kim Novak (Vertigo), actor Farley Granger (Strangers on a Train), actor and producer Norman Lloyd (Saboteur), and Hitchcock's daughter Patricia (Stage Fright; Psycho)Trade ReviewThis encyclopedic reference is made up of more than 1,000 articles, ranging in length from a paragraph to several pages. This work is notable for the author’s herculean effort of compiling a comprehensive reference as a single author. Every conceivable entry is included, including every Hitchcock title; noted individuals (from characters, producers, and actors to any number of smaller roles); and topical entries, such as alcohol, fetishes, and strangulation. Included on every few pages are high-quality images from Hitchcock’s public and private life and films. Any serious scholar of Hitchcock would not be caught dead without this comprehensive volume. * Booklist *This encyclopedia assesses the numerous film and television works of director Alfred Hitchcock. This is the first book by Whitty—a freelance critic and journalist. This extensive work contains almost 500 pages of entries as well as an author's introduction. Entries largely focus on Hitchcock's films and television episodes, examinations of his themes and motifs (such as color, domination, male gaze, and transference, to name just a few), and the people directly or tangentially involved in his productions—this last category being the most numerous. Though general information on films, cast, and crew can be found everywhere on the internet, Whitty provides details and backstory for many entries, giving context to relationships that might have gone unexplained. Plot synopses within entries are sufficiently minimal and not used simply as padding, and much space is given over to analysis and criticism. Offering a plethora of information and insight, the book assembles a mosaic perspective on a complex, contradictory filmmaker. Summing Up: Recommended. Beginning students through upper-level undergraduates; general readers. * CHOICE *Stephen Whitty, the reliably wise film critic for the Newark Star-Ledger, pens this exhaustively comprehensive guide to all things Hitch – and when I say comprehensive, I mean comprehensive. He’s not just doing entries on Cary Grant and Macguffins; he’s writing about Psycho cinematographer John L. Russell and writer Angus MacPhail, who some say coined the term Macguffin. It’s a terrific reference book, but also much more than that; Whitty’s elegant, intelligent writing burns with affection and fascination for the subject matter, tackling the filmmaker with a historian’s attentiveness and a critic’s insight. * Flavorwire *The Alfred Hitchcock Encyclopedia is a wonderfully engaging and highly useful reference source for one of the arguably greatest and most iconic twentieth-century film directors. Hence, with its accessible style, strong cross-referencing and reasonable pricing, this book would make a worthy addition to academic or public library collections. * s *Whitty’s Hitchcock encyclopedia might be added to the ‘essential’ books about Hitchcock’s work. Obviously entries on all the films are here along with everyone involved and the films about Hitchcock. Also included are entries on Hitchcock’s intersections with critics like Pauline Kael…. A book as smart and witty as it is informative. * The Buffalo News *Here, Stephen Whitty undertakes the monumental task of detailing not only the films of this auteur but also the artistic process and people who made each of his films a classic.... Overall, Whitty manages to capture the breadth, depth, and influence of this great director within a superbly compiled tertiary source. Ever since the publication of Thomas Leitch’s 2002 Encyclopedia of Alfred Hitchcock, there has been a noticeable gap in the reference literature on this towering figure of cinema. Whitty has produced a book worthy of the wait. * American Reference Books Annual *American film critic Whitty attempts and succeeds with the seemingly impossible: adding a new twist on analysis of Hitchcock’s films. He does this by providing interesting insights, trivia and quotations in an encyclopedic format that wisely doesn’t attempt to be definitive. Instead, Whitty highlights elements of Hitchcock’s life and work that are the most relevant – and enlightening – with extensive insights into some of his least-known works. The book is essential reading for any serious retro movie lover and will appeal to anyone with even a passing interest in the Master’s body of work. * Cinema Retro *

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Book SynopsisIn Sight and Sound magazine''s 2012 poll of the greatest films of all time, Vertigo placed at the top of the list, supplanting Citizen Kane. A favorite among critics, it also made the American Film Institute''s 100 Years, 100 Movies where it ranked in the top 10. Often regarded as Hitchcock''s most personal work, the film explores such themes as obsession, exploitation, and voyeurism.In The San Francisco of Alfred Hitchcock''s Vertigo: Place, Pilgrimage, and Commemoration, Douglas A. Cunningham has assembled provocative essays that examine the uniquely integrated relationship that the 1958 film enjoys with the histories and cultural imaginations of California and, more specifically, the San Francisco Bay Area. Contributors to this collection ponder a number of topics such as the ways in which Vertigo resurrects the narratives of San Francisco''s violent past; how sightseeing informs the act of watching the film; the significance that landmarks in the film hold in our collective culturaTrade ReviewCunningham himself has been to all the locations, of course, and reflects on the passion that makes him and others hunt them out: "Was I not, after all, like Scottie, hoping to reify an apparition, chasing a precious, enigmatic memory rooted in a fiction, the truth of which I desperately hoped I, in my own time and space, could somehow make real?" The attempt is fraught with disappointment; Scottie cannot make things real in time enough to prevent tragedy, and some of the sites which pilgrims might try to attain are changed beyond recognition (and some are complete illusion, as was discovered by the first pilgrims who tried to find the Argosy Bookshop, where Scottie goes to research Carlotta's history). But the search is inspiring for those who want to visit the inside workings of Vertigo. The inspiration suffuses all the chapters of this fine study, a worthy contribution to the numerous books devoted to increasing our understanding of a true masterpiece. * The Commercial Dispatch *

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Book SynopsisFor the casual film fan, Henry Hathaway is not a household name. But in a career that spanned five decades, Hathaway directed an impressive number of films and guided many actors and actresses to some their most acclaimed performances. He also helped launch the Hollywood careers of numerous actors such as Randolph Scott, Lee Marvin, Karl Malden, and Charles Bronson. His work on Niagara established Marilyn Monroe as a major star. Hathaway also guided John Wayne to his Academy Award-winning performance in the original version of True Grit. In Henry Hathaway: The Lives of a Hollywood Director, Harold N. Pomainville looks at the life and work of this Hollywood maverick. The author charts Hathaway's career from his first low budget Western in the early 1930s through his last film in 1974. In between, he focuses his attention of the films that brought the director acclaim, including The Lives of Bengal Lancer (1935)for which Hathaway received an Oscar nominationnoir thrillers The House on Trade ReviewHathaway is the subject of this major biography which will be much appreciated by film scholars… This is a meticulously researched and thoroughly engrossing analysis of a director who routinely turned out timeless hits whilst somehow not enjoying the personal recognition he should have received. * Cinema Retro *Harold N. Pomainville has written an overdue and insightful look at the life and films of a director described as a "madman" (Jeremy Slate) and a "paranoiac" (Gregory Peck).... Pomainville's book paints a clear picture of a director who could be, as Earl Holliman said, "terribly tough" or "tender and caring". * Roundup Magazine *

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Book SynopsisSince the early 1970s, Steven Spielberg has directed more than two dozen films, many of which have achieved classic status. In addition to critical and commercial successes that include E.T. the Extra-Terrestrial, Schindler's List, Saving Private Ryan, and Lincoln, Spielberg's name has become synonymous with such thrilling adventure films as Jaws, Raiders of the Lost Ark, Jurassic Park, and Minority Report. Before he became a world-renowned filmmaker, however, Spielberg established himself on television, helming episodes of Rod Serling's Night Gallery; Marcus Welby, M.D.; and Columbo. But it was the small-screen version of a Richard Matheson short story that brought the young director's work to the attention of critics and viewers alike. In Steven Spielberg and Duel: The Making of a Film Career, Steven Awalt provides an exhaustive study commemorating the film that decisively launched the career of a major film artist. Through in-depth research and interviews with the film's creative aTrade Review'The destruction of the truck...was just a beginning,' film historian Awalt writes in his in-depth look at famed director Steven Spielberg's first major film, 1971's Duel, a television thriller starring Dennis Weaver and a menacing 18-wheeler based off of a short story by Richard Matheson. Duel is legendary among film buffs and is regarded as both a relic from the 1970s and a cult classic. It was instantly well received and Spielberg, only 25-years-old at the time, was highly praised. Awalt is eager to share every possible piece of information on the film, including a full copy of the movie's teleplay, storyboards of one sequence, and scene-by-scene analysis. Interviews with Weaver, Matheson, the film's producers, and Spielberg himself grant unparalleled access to the process of making the film. This book will surely be beloved by film students for that very reason. * Publishers Weekly *Like The Sugarland Express, Steven Spielberg’s first theatrical film, Duel (1971) is a Spielberg movie a lot of people have heard about but never seen. It was a TV movie, with a screenplay by Richard Matheson (who wrote the short story on which the film was based), starring Dennis Weaver as an unassuming traveler harassed by the faceless driver of a big rig. Doesn’t sound like much, but in Spielberg’s hands, as film historian Awalt notes in this very engaging and perceptive 'making of' book, the film delivers fear and nail-biting tension. This is really two making-of books in one: the story of the production of Duel, and the story of Spielberg himself, the kid who dreamed of making movies, who was directing episodic television when he was barely old enough to drink and who leveraged a brilliant TV movie into a brilliant film career. This well-presented look at a legendary director's beginning contains, as an added bonus, the complete Duel screenplay, itself a small masterpiece. * Booklist *In reflecting on the kingdom he created, Walt Disney once said, 'It all started with a mouse.' For filmmaker Steven Spielberg, it all started with a truck. That is the premise that drives Steven Spielberg and Duel: The Making of a Film Career by Steven Awalt. Awalt's thoroughly researched yet accessible book chronicles Spielberg's formative years and production of the film, and it contains archival treats such as storyboard drawings and a reproduction of the script. * Chicago Tribune *To reconstruct the story of “Duel,” Awalt interviewed both Spielberg and the screenwriter Richard Matheson (also the author of the original magazine story), along with others associated with the shoot, and accumulated a large amount of documentary material, including a draft of Matheson’s teleplay. No doubt Spielberg completists and film scholars of the future will find a use for this highly detailed account. * The New York Times *Using unseen memorabilia from the director’s archive plus a brand-new interview with him, renowned Spielbergologist Steven Awalt tells the tale from its origins as a Playboy short story, to its instant-masterpiece status as a movie of the week, to its canonisation on the big screens of Europe. Like the film itself, it’s an economical, intelligent, unpretentious read, and brings the film alive. ... Through evocative writing and reminiscences from all the key players, Awalt does a great job of putting you in the desert on the shoot or on the recording stage laying down Billy Goldenberg’s score. . . [T]he book is at its best in its close textual analysis, be it of Matheson’s short story or Spielberg’s M.O. Elsewhere it bombards the reader with cool trivia , peppers the story with sidebars that enrich the tale, and offers a reprint of Matheson’s taut teleplay. Awalt makes the astute point that Duel is, at once, classic and overlooked. The book’s Peterbilt passion confirms the former and, hopefully, rectifies the latter. * Empire Magazine *Author Steven Awalt is no stranger to the career of Steven Spielberg, having created and run the extremely popular web site SpielbergFilms.com. It is through this web site that Awalt shared his admiration for all things Spielberg. Here he takes that admiration and shares it with the reader. In an incredibly precise step by step process he guides the reader through the process of making a major motion picture. Thanks to recent, in depth interviews with many people involved in the production, including Matheson, Universal executive Sid Sheinberg, composer Billy Goldenberg and, most importantly, Spielberg himself, the book puts you on the set and involves you in almost every aspect of the production. It is because of this attention to detail that Awalt has created one of the best 'making of' books in recent years. * Media Mikes *Steven Awalt’s excellent new book Steven Spielberg and Duel: The Making of a Film Career. . . gets deep into this film’s creation, from the inspiration for and publication of Matheson’s story to the film’s eventual American theatrical run in 1983 in the wake of Spielberg’s domination of cinemas with E.T. The history is complete, amusing (the 'casting' of the automobiles is documented here, as is the Incredible Hulk’s theft of Duel footage), critical (though mostly of Awalt’s fellow Duel theorists), and often just as thrilling as the film it details. . . . Because Duel is so significant a milestone in Spielberg’s career, Matheson’s major role in its creation is often minimized. Not so in this book, which also contains that writer’s complete teleplay for his and Spielberg’s film. So this book functions as both an informative—and very entertaining—resource for students of Spielberg and a nice tribute to the recently deceased Richard Matheson. * Psychobabble *This book by Steven Awalt is a marvelously detailed and entertaining document of Spielberg’s humble beginnings as a director-for-hire for Universal Television, ultimately culminating in Duel. That film belied its budget-conscious TV origins in every way imaginable, with a truly cinematic look and tone that even impressed the likes of Frederico Fellini. . . .Even today, Duel is widely considered one of the greatest stand-alone made-for-TV films ever made, which broke traditional rules because a young, ambitious director wanted to make it something more than the usual Saturday night schedule filler. With this book, we totally appreciate Steven Spielberg’s inert genius and understand how he was able to parlay Duel’s success into what’s arguably the greatest directorial career of all time. This book is a must-read for any film fan. * Moviepilot *[T]he author’s exhaustive research taking in everything from Spielberg’s unplanned cameo, fisticuffs in the dubbing room and the penny-pinching at Universal that led to footage being recycled in an episode of the live-action The Incredible Hulk TV show. Matheson’s complete teleplay script and 25 pages of storyboards round out an indispensable purchase for any self-respecting fan. * Total Film *Table of ContentsAcknowledgements Chapter 1: It Began As It Would End — With a Crash Chapter 2: Richard Matheson and “Duel”: From Genesis to Short Story Chapter 3: Steven Spielberg, Universal Contract Director Chapter 4: A Well-Oiled Machine: Pre-Production Storyboards for Duel Chapter 5: Duel in the Sun: The Production, The Film Chapter 6: Cutting to the Chase: Post-Production Chapter 7: Premiere Chapter 8: On the Road with Duel Chapter 9: Legacy Appendix: Teleplay of Duel by Richard Matheson Additional Scenes Duel Maps Bibliography About the Author

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Book SynopsisIn 1963 Stanley Kubrick declared, Dr. Strangelove came from my desire to do something about the nuclear nightmare. Thirty years later, he was preparing to film another story about the human impulse for self-destruction. Unfortunately, the director passed away in 1999, before his project could be fully realized. However, fellow visionary Steven Spielberg took on the venture, and A.I. Artificial Intelligence debuted in theaters two years after Kubrick's death. While Kubrick's concept shares similarities with the finished film, there are significant differences between his screenplay and Spielberg''s production.In Kubrick's Story, Spielberg's Film: A.I. Artificial Intelligence, Julian Rice examines the intellectual sources and cinematic processes that expressed the extraordinary ideas of one great artist through the distinctive vision of another. A.I. is decidedly a Kubrick film in its concern for the future of the world, and it is both a Kubrick and a Spielberg film in the alienation of Trade ReviewRice, a retired English professor, takes a deep dive into the 2001 film A.I. Artificial Intelligence, concentrating on its background as a Stanley Kubrick project taken over by Steven Spielberg after Kubrick’s death. The writing is dense and scholarly, yet consistently inviting to the non-specialist. Throughout the text, Rice teases out the film’s thematic concerns and their resonances with other films in both Spielberg and Kubrick’s oeuvres, particularly Spielberg’s Close Encounters of the Third Kind, the work that created the initial bond between the two filmmakers; 2001: A Space Odyssey, Kubrick’s other, notably bleaker reflection on artificial intelligence; and the apocalyptic vision of Kubrick’s Dr. Strangelove. Rice’s work is eclectic and wide-reaching, with equal insight brought to bear on A.I.’s roots in Arthurian legend, Joseph Campbell’s concept of the hero’s journey, and Jungian archetypes, as well as its legacy as a cautionary tale about global warming. This eloquently written book will foster a deeper appreciation for a unique posthumous collaboration between two celebrated filmmakers, even for readers who aren’t fervent fans of the film itself. * Publishers Weekly *If there was ever a movie with a back-story worthy of a fascinating book, it's A.I….[I]t's a deeply detailed analysis of each director's narrative and visual ideals, delving deep into both filmographies to pull out similar imagery and themes which may have ultimately shaped the film that was finally released (two years after Kubrick's death). The author's recurring argument is that the directors shared more common ground than their reputations suggest. While A.I. is indeed analyzed in great detail - both narratively and aesthetically - other chapters look back to such work as Close Encounters, Dr. Strangelove, even the original novel of Pinocchio, in search of recurring themes like the apocalypse and parent/child relationships…. [For] those whose appreciation of either director extends beyond their films' mere entertainment value. * Free Kittens Movie Guide *

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Book SynopsisFrancois Truffaut called him, simply, the best . Jean Renoir is a towering figure in world cinema and fully justifies this monumental survey that includes contributions from leading international film scholars and comprehensively analyzes Renoir s life and career from numerous critical perspectives.Trade Review“Phillips and Vincendeau’s volume is intelligently organized, extremely comprehensive, and generously illustrated with images from many of the films. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionanls.” (Choice, 1 January 2014)Table of ContentsNotes on Contributors viii Acknowledgments xv Notes on the Text xvii Introduction: Renoir In and Out of His Time 1 Alastair Phillips and Ginette Vincendeau Part I Renoir in Close-Up 13 Section 1 Reassessing Renoir’s Aesthetics 15 1 Shooting in Deep Time: The Mise en Scène of History in Renoir’s Films of the 1930s 16 Martin O’Shaughnessy 2 The Exception and the Norm: Relocating Renoir’s Sound and Music 35 Charles O’Brien 3 The Invention of French Talking Cinema: Language in Renoir’s Early Sound Films 53 Michel Marie 4 Renoir and His Actors: The Freedom of Puppets 72 Christophe Damour 5 Design at Work: Renoir’s Costume Dramas of the 1950s 88 Susan Hayward Section 2 Critical Focus on Selected Films 107 6 Sur un air de Charleston, Nana, La Petite Marchande d’allumettes, Tire au flanc: Renoir and the Ethics of Play 108 Anne M. Kern 7 La Grande Illusion: Sound, Silence, and the Displacement of Emotion 121 Valerie Orpen 8 La Bête humaine: Double Murder at the Station at Le Havre 131 Olivier Curchod 9 La Règle du jeu: Lies, Truth, and Irresolution (A Critical Round Table) 144 Christopher Faulkner, Martin O’Shaughnessy, and V. F. Perkins 10 The River: Beneath the Surface with André Bazin 166 Prakash Younger Part II Renoir: The Wider View 177 Section 1 Renoir’s Filmmaking and the Arts 179 11 Seeing with His Own Eyes: Renoir and Photography 180 Alastair Phillips 12 Popular Songs in Renoir’s Films of the 1930s 199 Kelley Conway 13 Renoir and the Popular Theater of His Time 219 Geneviève Sellier 14 Theatricality and Spectacle in La Règle du jeu, Le Carrosse d’or, and Éléna et les hommes 237 Thomas Elsaesser 15 French Cancan: A Song and Dance about Women 255 Ginette Vincendeau 16 Social Roles/Political Responsibilities: The Evolving Figure of the Artist in Renoir’s Films, 1928–1939 270 Charles Musser Section 2 Renoir’s Place in the Critical Canon 291 17 Seeing through Renoir, Seen through Bazin 292 Dudley Andrew 18 Henri Agel’s Cinema of Contemplation: Renoir and Philosophy 313 Sarah Cooper 19 Renoir and the French Communist Party: The Grand Disillusion 328 Laurent Marie 20 “Better than a Masterpiece”: Revisiting the Reception of La Règle du jeu 347 Claude Gauteur 21 Renoir and the French New Wave 356 Richard Neupert 22 Renoir between the Public, the Professors, and the Polls 375 Ian Christie Part III Renoir, a National and a Transnational Figure 395 Section 1 Renoir, the Chronicler of French Society 397 23 Renoir under the Popular Front: Aesthetics, Politics, and the Paradoxes of Engagement 398 Brett Bowles 24 The Performance of History in La Marseillaise 425 Tom Brown 25 Toni: A Regional Melodrama of Failed Masculinity 444 Keith Reader 26 La Règle du jeu: A Document of French Everyday Life 454 Christopher Faulkner 27 Renoir’s Jews in Context 474 Maureen Turim Section 2 Renoir, the Transnational Figure 493 28 Renoir’s War 494 Julian Jackson 29 Interconnected Sites of Struggle: Resituating Renoir’s Career in Hollywood 514 Elizabeth Vitanza 30 The Southerner: Touching Relationships 533 Edward Gallafent 31 The Woman on the Beach: Renoir’s Dark Lady 544 Jean-Loup Bourget 32 Remaking Renoir in Hollywood 555 Lucy Mazdon Filmography 572 Select Bibliography 585 Index 592

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Book Synopsis''Read this wonderfully entertaining book: a unique story of a unique life in the world of world cinema'' Wes Anderson''Jim is as eloquent and elegant with words as with the camera . . . Read it and drink it in!'' Helena Bonham CarterIn Solid Ivory, a carefully crafted mosaic of memories, portraits, and reflections, the Academy Award-winning filmmaker James Ivory tells stories from his remarkable life and career as one of the most influential directors of his time. He often touches on his love affairs, looking back coolly and with unexpected frankness.From first meeting his collaborator and life partner, Ismail Merchant, at the Indian Consulate in New York to winning an Academy Award at age eighty-nine for Call Me by Your Name, Ivory writes with invariable fluency, wit, and perception about what made him who he is and how he made the movies for which he is known and loved.Solid Ivory, edited by Trade ReviewOver 20 films. Over 40 years. What collaboration in any medium has lasted so long, been so successful, so personal, so happy? James Ivory met Ismail Merchant (in 1961) and Ruth Prawer Jhabvala (in 1962), and one of the earliest, most durable, most independent of independent film families came to life. The widest varieties of stories (neorealist memoirs, literary adaptations, avant garde experiments) and settings (England, France, Italy, India, the Americas North and South); the broadest collection of superb actors and artists (Vanessa Redgrave, Paul Newman, Anthony Hopkins, Shashi Kapoor, Maggie Smith, Subrata Mitra!). Read this wonderfully entertaining book: a unique story of a unique life in the world of world cinema. * Wes Anderson *I met Jim when I was 18 . He was an introvert to Ismail's extrovert. I always wondered what was going on in his head. Now I know, and I'm so glad he's shared it.Jim is as eloquent and elegant with words as with the camera; here are almost a series of short stories of his life, vivid snapshots, told with an exacting eye. Every sentence is filled with his wry cadence, guided by his appreciation of things beautiful, amusing and unusual. We take the tour of his life which has as fascinating a cast and is set in locations as far flung and exotic as his films - except with way more sex. And I thank God I'm not in it. Jim is now in his ninth decade and I believe his secret elixir is a delight in life - read it and drink it in! -- Helena Bonham Carter'James Ivory write[s] with perfect elegance...there's nothing starchy or uptight about these scenes from his fascinating life' * The Sunday Times *'Full of humour, warmth and crystal-clear reminiscences from his personal and professional life, Ivory's narrative is witty, informative, gossipy and at times eye-poppingly frank' * The Lady *'There's something rather brilliant about a man heading towards his hundredth birthday demanding more explicit sex. Ivory is full of candour and randiness...[this] book will open the eyes, often very wide' * Times *'Consistently entertaining' * Guardian *'A languid, enjoyably gossipy memoir from one half of Merchant Ivory that after a fascinating exploration of well-off, small-town American life in the Thirties and Forties, quickly gets eye-opening' * Evening Standard *Ivory writes beautifully and delicately, and emerges as a true cinematic rarity; the auteur who wants everyone to have a nice time while they make their best work * TLS *

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