Individual film directors Books

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Book SynopsisIs Michael Mann an auteur? Mann is a formidable filmmaking personality, no doubt, but the notion that today's celebrity cult of director immediately correlates with the mysterious sect of 'auteur' is questionable and deserves to be investigated. In doing so this book strives to emulate the methodology of the man himself, by ranging over not only the films he has made, from 1979’s The Jericho Mile to 2015's Blackhat, but also the scope of intellectual interests that they exemplify in an attempt to mine the commonalities, themes and traits that may suggest the presence of an auteur. Through his investigation of Mann's filmography and the personality that flows through it, author Deryck Swan provides the reader with accessible and new ways of thinking about his films to date, including, amongst myriad other things, references to painter Morris Louis, desert modernism, West Coast prison culture, Chicago Mayor Richard M. Daley, Strain Theory, journalist Mike Royko, Chicago's Auditorium building and a largely forgotten Charles Bronson film.

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Book SynopsisEven by the time Senegalese filmmaker Ousmane Sembène (1923-2007) was forty, he had lived an exceptional life. He joined the French army during World War II and moved from Senegal to France in 1948. There he worked for automaker Citroën, as well as on the docks of Marseille. Exposed to Marxism, he participated in railroad strikes and trade union movements. His early novels and short story collections gained him literary recognition both in Senegal and throughout sub-Saharan Africa. In his fortieth year, Sembène directed the short film Borom Sarret, one of the first films directed by a black African and a movie that brought African cinema to the consciousness of the West. Sembène's subsequent films--including Black Girl, Mandabi, Xala, Ceddo, Faat Kiné, and Moolaadé--address contemporary African society and cultural issues with the filmmaker's characteristic wit and subtle satire. Known for urban themes and complex female protagonists, Sembène's movies, both in French and in his native language Wolof, are considered pioneering masterworks of African cinema. Ousmane Sembène: Interviews collects conversations from the mid-1960s to 2005, and spans the breadth of his filmmaking career while also touching on his literary work and his role as a public intellectual. Many of these interviews appear here in English for the first time and come from French, German, African diaspora, and Senegalese periodicals. Annett Busch is a writer based in Munich, Germany. Her work has appeared in Spex, CameraAustria, and Kolik. Max Annas of Cologne, Germany, is an author whose work has appeared in Filmdienst and Ecrans d'Afrique, as well as in several books.

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Book SynopsisFerryman of Memories: The Films of Rithy Panh is an unconventional book about an unconventional filmmaker. Rithy Panh survived the Cambodian genocide and found refuge in France where he discovered in film a language that allowed him to tell what happened to the two million souls who suffered hunger, overwork, disease, and death at the hands of the Khmer Rouge. His innovative cinema is made with people, not about them—even those guilty of crimes against humanity. Whether he is directing Isabelle Huppert in The Sea Wall, following laborers digging trenches, or interrogating the infamous director of S-21 prison, aesthetics and ethics inform all he does. With remarkable access to the director and his work, Deirdre Boyle introduces readers to Panh’s groundbreaking approach to perpetrator cinema and dazzling critique of colonialism, globalization, and the refugee crisis. Ferryman of Memories reveals the art of one of the masters of world cinema today, focusing on nineteen of his award-winning films, including Rice People, The Land of Wandering Souls, S-21: The Khmer Rouge Killing Machine, and The Missing Picture.Trade Review"I do not know another film director today with a more complete understanding of human experience--of its precariousness and pain as well as its deepest joys. Rithy Panh presents the harshest of realities in a way that dwells on beauty, sensuality, and light. He paints with the lightest of touches, using music, pacing, and timing with the precision, emotion, and unity of an orchestra. Ferryman of Memories is a welcome introduction to his unique work.” -- Angelina Jolie * actress, filmmaker, and humanitarian *"Boyle focuses on Cambodian documentary director/screenwriter Rithy Panh, who has published five books, produced 20 feature films, established a film center in Cambodia, and been acclaimed worldwide. [Ferryman of Memories] examines each film, folding them into the narrative of Panh’s life. An admirable book that will likely increase visibility of Panh’s remarkable films." * Library Journal, STARRED *"Through her deep engagement with Rithy Panh and his films, Boyle offers us a timely reminder of Cambodia’s difficult history, of superpower complicity, and how the impact of the Khmer Rouge’s short brutal reign continues to mark Cambodian people today." -- Annie Goldson * professor and officer of the New Zealand Order of Merit at the University of Auckland * “Deirdre Boyle's training as both media historian and psychotherapist provides a major resonance in this outstanding book on one of current cinema's best directors, Rithy Panh. Moving between personal memoir and film analysis, Boyle sweeps the reader into the Cambodian genocide as an extraordinary chapter in twentieth-century history.” -- Raya Morag * professor of cinema studies at The Hebrew University of Jerusalem, and author of Perpetrator Cinema *"Like Claude Lanzmann regarding the Shoah, no other film director than Rithy Panh has managed to make visible, audible, and imaginable the uncanny world of the Khmer Rouge that brought Cambodia into hell. Seeing in Panh a modern Charon who transports human souls to the other side, Deirdre Boyle guides us through a disturbing journey where suffering and trauma, but also grieving and redemption, are pervasive." -- Vicente Sánchez-Biosca * professor of visual culture and author of The Death in Their Eyes *Table of Contents Preface Prologue 1 Uncle Rithy and the Cambodian Tragedy 2 The Return: Discovering the Gaze 3 The Khmer Rouge: Three Years, Eight Months, Twenty-One Days 4 Perpetrators and Survivors: The S-21 Trilogy Interlude: Dark Tourism 5 After the Wars: Fiction and Nonfiction 6 Colonialism: France and Cambodia 7 Remembering the Past, Mourning the Dead 157 Epilogue Acknowledgments Appendix 1. "Confronting Images of Ideology: An Interview with Rithy Panh by Deirdre Boyle" Appendix 2. "On a Morality of Filming: A Conversation between Rithy Panh and Deirdre Boyle" Notes Films and Books by Rithy Panh Index

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Book SynopsisStanley Kubrick Produces provides the first comprehensive account of Stanley Kubrick’s role as a producer, and of the role of the producers he worked with throughout his career. It considers how he first emerged as a producer, how he developed the role, and how he ultimately used it to fashion himself a powerbase by the 1970s. It goes on to consider how Kubrick’s centralizing of power became a self-defeating strategy by the 1980s and 1990s, one that led him to struggle to move projects out of development and into active production. Making use of overlooked archival sources and uncovering newly discovered ‘lost’ Kubrick projects (The Cop Killer, Shark Safari, and The Perfect Marriage among them), as well as providing the first detailed overview of the World Assembly of Youth film, James Fenwick provides a comprehensive account of Kubrick’s life and career and of how he managed to obtain the level of control that he possessed by the 1970s. Along the way, the book traces the rapid changes taking place in the American film industry in the post-studio era, uncovering new perspectives about the rise of young independent producers, the operations of influential companies such as Seven Arts and United Artists, and the whole field of film marketing. Trade Review"Author James Fenwick discusses his new book Stanley Kubrick Produces"— William Ramsey Investigates podcast "Centrally concerned with financing, project development, production logistics, management styles and marketing, this book is a groundbreaking contribution to the ever-expanding literature on Stanley Kubrick, a must-read for scholars and fans. Based on exhaustive archival research, this study skillfully relates Kubrick’s work on his films and on numerous unrealised projects to key developments in the American film business from the 1950s onwards, and tells a compelling story about the meteoric rise and, yes, the fall of one of the twentieth century’s most important filmmakers." — Peter Krämer, author of the BFI film classics on 2001: A Space Odyssey and Dr. Strangelove "Bolstered with a tremendous amount of research in the Stanley Kubrick Archives at the University of the Arts London, Fenwick highlights how dedicated Kubrick was to maintaining control of his work from the very beginning of his career."— Psychobabble "James Fenwick has combed the archives, including Kubrick’s own as well as others, to fill a missing gap in our knowledge of this legendary filmmaker, namely his role as a producer particularly in those early decades from the 1940s through the 1960s. By locating Kubrick in the economic, industrial and production contexts in which he worked, Fenwick provides an invaluable service to scholars, fans, and critics, adding a dimension to our understanding of his working practices hitherto unachieved. In so doing, Fenwick challenges the image of Kubrick as a controlling producer and future scholarship, including my own, will have to take his findings into account." — Nathan Abrams, author of Stanley Kubrick: New York Jewish Intellectual "We know about Kubrick the director, but this book digs into his production credits. By utilizing overlooked archives and lots of Kubrick projects including 'The Cop Killer,' 'Shark Safari,' and 'The Perfect Marriage,' Fenwick serves up a comprehensive account of the legendary director’s life and career from start to finish. "— IndieWire "The World Assembly of Youth and Archival Serendipity" by James Fenwick http://iamhist.net/2021/01/world-assembly-youth-archival-serendipity/— IAMHIST BlogTable of ContentsContents Introduction Part I The Emergence of a Film Producer 1928-1955 1 The Beginning, 1928-1951 2 The Unknown Early Years, 1951-1953 3 The New York ‘Film School’, 1953-1955 Part II The Harris-Kubrick Pictures Corporation 1955-1962 4 The New UA Team, 1955-1956 5 New Modes of Producing, 1957-1959 6 Swords, Sandals, Sex and Soviets, 1959-1962 Part III Polaris Productions and Hawk Films 1962-1969 7 The Establishment of a Producing Powerhouse, 1962-1964 8 Kubrick versus MGM, 1964-1969 Part IV The Decline of a Film Producer 1970-1999 9 Kubrick and Warner Bros., 1970-1980 10 The End, 1980-1999 Epilogue Appendix I: World Assembly of Youth credits Appendix II: Filmography Acknowledgements About the Author Notes Index

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Book SynopsisStanley Kubrick Produces provides the first comprehensive account of Stanley Kubrick’s role as a producer, and of the role of the producers he worked with throughout his career. It considers how he first emerged as a producer, how he developed the role, and how he ultimately used it to fashion himself a powerbase by the 1970s. It goes on to consider how Kubrick’s centralizing of power became a self-defeating strategy by the 1980s and 1990s, one that led him to struggle to move projects out of development and into active production. Making use of overlooked archival sources and uncovering newly discovered ‘lost’ Kubrick projects (The Cop Killer, Shark Safari, and The Perfect Marriage among them), as well as providing the first detailed overview of the World Assembly of Youth film, James Fenwick provides a comprehensive account of Kubrick’s life and career and of how he managed to obtain the level of control that he possessed by the 1970s. Along the way, the book traces the rapid changes taking place in the American film industry in the post-studio era, uncovering new perspectives about the rise of young independent producers, the operations of influential companies such as Seven Arts and United Artists, and the whole field of film marketing. Trade Review"Author James Fenwick discusses his new book Stanley Kubrick Produces"— William Ramsey Investigates podcast "Centrally concerned with financing, project development, production logistics, management styles and marketing, this book is a groundbreaking contribution to the ever-expanding literature on Stanley Kubrick, a must-read for scholars and fans. Based on exhaustive archival research, this study skillfully relates Kubrick’s work on his films and on numerous unrealised projects to key developments in the American film business from the 1950s onwards, and tells a compelling story about the meteoric rise and, yes, the fall of one of the twentieth century’s most important filmmakers." — Peter Krämer, author of the BFI film classics on 2001: A Space Odyssey and Dr. Strangelove "Bolstered with a tremendous amount of research in the Stanley Kubrick Archives at the University of the Arts London, Fenwick highlights how dedicated Kubrick was to maintaining control of his work from the very beginning of his career."— Psychobabble "James Fenwick has combed the archives, including Kubrick’s own as well as others, to fill a missing gap in our knowledge of this legendary filmmaker, namely his role as a producer particularly in those early decades from the 1940s through the 1960s. By locating Kubrick in the economic, industrial and production contexts in which he worked, Fenwick provides an invaluable service to scholars, fans, and critics, adding a dimension to our understanding of his working practices hitherto unachieved. In so doing, Fenwick challenges the image of Kubrick as a controlling producer and future scholarship, including my own, will have to take his findings into account." — Nathan Abrams, author of Stanley Kubrick: New York Jewish Intellectual "We know about Kubrick the director, but this book digs into his production credits. By utilizing overlooked archives and lots of Kubrick projects including 'The Cop Killer,' 'Shark Safari,' and 'The Perfect Marriage,' Fenwick serves up a comprehensive account of the legendary director’s life and career from start to finish. "— IndieWire "The World Assembly of Youth and Archival Serendipity" by James Fenwick http://iamhist.net/2021/01/world-assembly-youth-archival-serendipity/— IAMHIST BlogTable of ContentsContents Introduction Part I The Emergence of a Film Producer 1928-1955 1 The Beginning, 1928-1951 2 The Unknown Early Years, 1951-1953 3 The New York ‘Film School’, 1953-1955 Part II The Harris-Kubrick Pictures Corporation 1955-1962 4 The New UA Team, 1955-1956 5 New Modes of Producing, 1957-1959 6 Swords, Sandals, Sex and Soviets, 1959-1962 Part III Polaris Productions and Hawk Films 1962-1969 7 The Establishment of a Producing Powerhouse, 1962-1964 8 Kubrick versus MGM, 1964-1969 Part IV The Decline of a Film Producer 1970-1999 9 Kubrick and Warner Bros., 1970-1980 10 The End, 1980-1999 Epilogue Appendix I: World Assembly of Youth credits Appendix II: Filmography Acknowledgements About the Author Notes Index

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Book SynopsisJurassic Park (1993) is one of Steven Spielberg’s most beloved films. Over twenty-five years on from its original release, it has accrued four sequels, a legion of worldwide fans, and a wide range of merchandise covering everything from action figures and board games to comic books and video games. As such, the film is widely acknowledged as one of the most significant blockbusters of the 1990s, a position underlined by its pioneering use of CGI to resurrect the dinosaurs with more realism than ever before. However, there's much more to Jurassic Park than a simple special effects extravaganza. Spielberg’s career was in flux at the time of the film's release, and this contribution to the Constellations series explores this shift by analyzing the film in a number of ways. First, it considers how Spielberg blends science fiction and horror, and how the mix of those two genres affects the film and its message. Then it looks at what the film has to say about humanity's relationship with nature, its commentary on the bond between an audience and the fantasy of cinema, and, finally, its thoughts on the manifestation of violence and control in men. It does this through close analysis of key characters, story points, and scenes, and the film's place within the context of Spielberg's career as a whole.

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

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

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

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

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a huge range and FREE tracked UK delivery on ALL orders.

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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 SynopsisTrade Review"[Young Orson] takes the directorial hero from his birth to the threshold of 'Citizen Kane.' I've only just started it and can so far confess to fascination and pleasure; the wealth of detail and the measured tempo are up to the Shakespearean complexity of Welles's character." -- New Yorker "McGilligan's Orson is a Welles for a new generation...McGilligan's book vibrates with uncertainty and risk, and it hums with the possibility that talented people actually can realize their dreams in the forms they choose." -- BookForum "No one writes biographies of film legends like Patrick McGilligan... It is a meticulous recreation of Welles's life and achievement up to 1941." -- Daily Beast "Welles's native brilliance and his ascent from producing plays as a boy at the Todd School to his conquest of New York theater and radio as an adult has seldom been documented with more clarity." -- Library Journal (starred review) "To read this book is to be taken with just how much meaningful work [Welles] packed into his youth, and awestruck by the self-assurance with which he approached his burgeoning career... With McGilligan's superb biography, we have the definitive portrait of Welles in his youth." -- San Francisco Chronicle Book Review "Engrossing ... Exhaustively researched but well-paced and stuffed with beguiling detail, this is a vivid, sympathetic portrait of Welles's youthful promise and achievement, before the misfires and compromises of his later years." -- Publishers Weekly "A richly detailed, often nuanced study of Welles' life and work. It's a welcome addition to the burgeoning shelf of books on one of America's most distinctive talents... Although Young Orson reads easily, it is powered by an evenhanded, almost scholarly rigor." -- Milwaukee Journal Sentinel "Must reading for anyone interested in the history of film." -- Mark Levine, Booklist (starred review) "Exhaustively researched but well-paced and stuffed with beguiling detail, this is a vivid, sympathetic portrait of Welles's youthful promise and achievement, before the misfires and compromises of his later years." -- Publishers Weekly "An indefatigable reporter and masterful biographer, McGilligan has unearthed endless revelations that will change our view of Welles's. This book is a constant joy to read, showing that the truth about Welles's upbringing and youthful artistic triumphs is even more remarkable than the legend." -- Joseph McBride, author of What Ever Happened to Orson Welles? and Searching for John Ford "No other biographer has done such a superb job of investigating Orson Welles's Midwestern origins and dazzling early success. McGilligan convincingly refutes untruths and myths that others have accepted. This is by far the best book on the most formative period of Welles's life." -- James Naremore, author of The Magic World of Orson Welles "A prodigious and illuminating account of the extraordinary life of Orson Welles up to when he turned from theater and radio to launch his fabled movie career. McGilligan blends valuable new reporting with insights from existing sources to draw a bold portrait of the master that can fairly be called definitive." -- George Stevens, Jr., producer and founder of the American Film Institute "In many ways,Young Orson is my favorite of all the Welles biographies to date. The overall portrait of Welles's character and background that emerges, uncharacteristically sympathetic, is both dense and persuasive - and a page-turning pleasure to read." -- Jonathan Rosenbaum, author of Goodbye Cinema, Hello Cinephilia

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Book SynopsisAlexander Walker's Stanley Kubrick, Director is the only book ever written with Kubrick's cooperation.

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