Individual film directors Books
Columbia University Press Crooked but Never Common
Book SynopsisIn Crooked, but Never Common, Stuart Klawans combines a critic's insight and a fan's enthusiasm to offer deeper ways to think about and enjoy Preston Sturges's work. He provides an in-depth appreciation of all ten of the writer-director's major movies.Trade ReviewFrom one of our finest critics, an elegant and deftly argued contribution to our appreciation of the great and glorious Preston Sturges. Stuart Klawans teases out inspired connections in the culture surrounding the director—the books, paintings, and legends that fed the artistry of a man who refused to call himself an artist. The kind of book that makes you want to dive back into the films for fresh stimulation and delight. -- Molly Haskell, film critic and authorStuart Klawans has extended and upended the field with takes that are as witty and audacious as his subject. One has only to read his wry unpacking of the contradictions in Sullivan’s Travels or his sympathetic dissections of my own favorites, The Lady Eve and Unfaithfully Yours. Klawans really knows these films, has a nuanced understanding of cinema in general, writes beautifully, and is the best, most trustworthy guide imaginable to the genius of Preston Sturges. A triumph. -- Phillip Lopate, author of Totally, Tenderly, TragicallyStuart Klawans’s deep dive into the films of Preston Sturges is a gift for cinephiles. Whether providing context or close analysis, his tone is witty and accessible as well as erudite and profound. -- Annette Insdorf, author of Cinematic Overtures: How to Read Opening ScenesNobody wrote better screenplays than Preston Sturges, whose dialogue remains among the most sparkling ever committed to the screen. Yet, until now, his achievements as a visual artist have been overlooked. Klawans’s wonderful new study has finally remedied that, demonstrating that Sturges was an artist as skilled with the camera as he was with a typewriter. -- Richard Peña, director emeritus, New York Film Festival, and professor of film and media studies, Columbia University[A] portrait of a director with a gift for character development and 'head-spinning dialogue executed at high speed' by an author with a keen critical eye and plenty of flair in his own writing. Film buffs will relish this. * Publishers Weekly *It’s obvious Klawans has pored over Sturges’s films. After reading his thoughtful analyses, film buffs will want to rewatch them, armed with new insights. * Library Journal, starred review *[Klawans] carefully shows how these complicated comedies work, exploring what one might call Sturges’s ‘moral universe,’ which can be more unforgiving toward 1940s America than the surface froth suggests. . . The author deserves admiration for taking Sturges’s comedy seriously. * Wall Street Journal *A perceptive, exceptionally well-composed and earnest evaluation. * Film International *[An] incisive, compelling, and spirited analysis of the screwball maestro’s life and oeuvre. * The Arts Fuse *The book is both a compelling biography of Sturges and a close read of his films, and Klawans writes with great wit and insight. * The Film Stage *An invaluable, in-depth examination of the style and substance of 10 of Sturges' finest films. * Pop Culture Classics *Crooked, but Never Common brings new perspective to old movies that are in many minds better remembered for their motley assortments of expertly deployed character actors—among them William Demarest, Franklin Pangborn, Jimmy Conlin, and Eugene Pallette—than for their depth and magnificent construction. * Air Mail *A well-argued read for Sturges connoisseurs. * Total Film *A fine book by one of the best critics in the country. -- Antonio Monda * La Repubblica *[Klawans's] prose positively sizzles at every turn, in what is sure to be a defining study of Sturges’s films. * Times Literary Supplement *Klawans is a virtuoso writer and a savvy political thinker . . . Sturges's personal dilemmas flicker within an entertainment that becomes even more complex and stylish when we detect their traces. * Cineaste *Table of Contents1. Instead of an Introduction: A Rhetoric of Preston Sturges2. Ya Can’t Get Away from Arithmetic: The Great McGinty3. He Thinks He Has Ideas: Christmas in July4. I’m Not a Poet, I’m an Ophiologist: The Lady Eve5. As You Are, So Shall You Remain: Sullivan’s Travels6. Topic A: The Palm Beach Story7. Homo Sapiens, the Wise Guy: Triumph Over Pain8. Psycholology: The Miracle of Morgan’s Creek9. That’s All You Know How to Hurt: Hail the Conquering Hero10. You Arouse the Artist in Me: The Sin of Harold Diddlebock11. Every Emotion Was Exaggerated: Unfaithfully Yours 12. Instead of a Conclusion: A Genealogy of Preston SturgesAcknowledgmentsBibliographyIndex
£19.80
Columbia University Press Billy Wilder
Book Synopsis
£23.80
Dorling Kindersley Ltd Marvel Studios All Your Questions Answered
Book Synopsis
£10.39
Penguin Books Ltd Unquiet
Book Synopsis''Linn Ullmann has written something of beauty and solace and truth. I don''t know how she managed to sail across such dangerous waters'' RACHEL CUSKHe is a renowned Swedish filmmaker and has a plan for everything. She is his daughter, by the actress he directed and once loved. Each summer of her childhood, the daughter visits the father at his remote Faro island home on the edge of the Baltic Sea.Now that she''s grown up - a writer, with children of her own - and he''s in his eighties, they envision writing a book together, about old age, language, memory and loss. She will ask the questions. He will answer them. The tape recorder will record.But it''s winter now and old age has caught up with him in ways neither could have foreseen. And when the father is gone, only memories, images and words -- both remembered and recorded - remain. And from these the daughter begins to write her own story, in the pages which become this book.Heart-breaking Trade ReviewLinn Ullmann has written something of beauty and solace and truth. I don't know how she managed to sail across such dangerous waters * Rachel Cusk *This magnificent, elegant work is pure tour de force... one of the best things I've read in a long, long time * Ali Smith *[An] exquisite and warm novel ... Among Norway's contemporary writers, Ullmann might be the finest sentence by sentence * John Freeman *Unquiet is a wonderfully absorbing and moving family story told with a directness, naturalness, and grace that can only result from Linn Ullmann's close attention to the eloquent details of day-to-day life, her honest embrace of herself and the people close to her, and a keen sensitivity to language and the high demands of good writing * Lydia Davis *I've long admired Linn Ullmann's fiction, and Unquiet is her masterpiece. Based on her upbringing as the child of two great artists, it is the portrait of complex loves; of a youth divided and inspired by diametrically opposed creative influences; and of the ravages of age. Calm yet fierce, exquisitely rendered, this novel imprints itself indelibly?as if you, too, had been there * Claire Messud *Ullmann navigates the dangerous and fissile territory... with great power. I am in awe * Edmund de Waal *Effortlessly lucid, full of grace and restraint * Sunday Times *A powerful and unsettling hybrid of memoir, fiction and meditation ... The work of a lifetime * Guardian *
£8.54
MO - University of Illinois Press Atom Egoyan
Book SynopsisAn integrated analysis of Egoyan's contemplative cinemaTrade Review"This persuasive book brings Egoyan's films vibrantly alive, while at the same time offering compelling, intelligent and thought-provoking analysis."Times Higher Education"Wilson brings a fresh perspective to Egoyan's work, particularly insofar as gender and sexuality are concerned. Her analysis is elegant, and her writing is beautiful. Required reading for anyone interested in Atom Egoyan."--Judith Mayne, author of Claire DenisTable of ContentsPreface | ix Acknowledgments | xiii ON FOREIGENNESS AND FAMILIES | 1 Next of Kin (1984) 12 Family Viewing (1987) 22 Speaking Parts (1989) 34 The Adjuster (1991) 47 Calendar (1993) 61 Exotica (1994) 73 The Sweet Hereafter (1996) 88 Felicia's Journey (1999) 102 Ararat (2002) 115 Where the Truth Lies (2005) 128 INTERVIEW WITH ATOM AGOYAN | 137 Filmography | 147 Bibliography | 153 Index | 159
£91.00
University of Illinois Press Kelly Reichardt
Book SynopsisKelly Reichardt''s 1994 debut River of Grass established her gift for a slow-paced realism that emphasizes the ongoing, everyday nature of emergency. Her work since then has communed with--yet remained apart from--postwar European realisms, the American avant-garde, independent film, and the emerging slow cinema movement. Katherine Fusco and Nicole Seymour read such Reichardt films as Wendy and Lucy and Night Moves to consider the root that emergency shares with emergence --the slowly unfolding or the barely perceptible. They see Reichardt as a filmmaker preoccupied with how environmental and economic crises affect those living on society''s fringes. Her spare plots and slow editing reveal an artist who recognizes that disasters are gradual, with effects experienced through duration rather than sudden shock. Insightful and boldly argued, Kelly Reichardt is a long overdue portrait of a filmmaker who sees emergency not as a break from the everyday, but as a version of it. Trade Review“The organizational structure is superb, as the concepts they’ve isolated seem excitingly to cut to the heart of Reichardt’s motifs. . . . These pages dazzlingly force their readers-as Reichardt’s films force their viewers their viewers- to reflect on the political implications of our empathy, or lack thereof, to imagine other kinds of relationships beyond empathy and judgment."--Cineaste "Kelly Reichardt remains well-reasoned and persuasive throughout in its detail and conviction, casting a keen eye towards the context of Reichardt's career, both in film and in the wider socio-political landscape. Perhaps most importantly of all, it is a tribute to and analysis of an invaluable, distinctively modern American director." --Historical Journal of Film, Radio, and Television "Fusco and Seymour's book offers a satisfyingly complex approach to the political import of her [Reichardt's] contributions to contemporary cinema." --ASAP Journal"An engaging and thoughtful book. Fusco and Seymour persuasively use political theory and affect studies to analyze Reichardt's unique deployment of realist traditions and the politics of temporality in her films. The authors' striking insights illuminate the filmmaker's style and her importance not only in contemporary art and indie cinema spheres but for American cinema more broadly."—Elena Gorfinkel, coeditor of Taking Place: Location and the Moving Image
£77.35
University of Illinois Press Jan Svankmajer Contemporary Film Directors
Book SynopsisTrade Review"Keith Johnson’s Jan Švankmajer is a triumph: a bold, synoptic, and elegantly written conceptual survey that brings fully to life the animating ideas of the Czech surrealist artist-filmmaker. Attending to the work of animation as a philosophy of life rather than an aesthetic technique alone, Johnson’s book lucidly presents Švankmajer’s art as the bearer of 'a vital, emergent, biopolitical, ethical, and ecological outlook.' Featuring detailed analyses of the artist’s full body of cinematic, artistic, and curatorial work, as well as an illuminating set of interviews, Jan Švankmajer presents the Czech artist in vital, living color."--Jonathan Eburne, author of Surrealism and the Art of Crime
£77.35
University of Illinois Press Lana and Lilly Wachowski
Book SynopsisLana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world''s most influential transgender media producers, and their coming out retroactively put trans* aesthetics at the very center of popular American culture. Cáel M. Keegan views the Wachowskis'' films as an approach to trans* experience that maps a transgender journey and the promise we might learn 'to sense beyond the limits of the given world.' Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearranTrade Review"His attention to the sensorial and material--traced vividly through his method of close reading--are necessary approaches for scholars working to account for how race and gender intersect within trans* cinema." --Transgender Studies Quarterly"An admirable, focused study of the Wachowski sisters, best known for their postmillennial science fiction films, especially The Matrix franchise....makes a case for considering their work alongside the canon of new queer cinema, despite their exclusion from that corpus at the time of its formation. Highly recommended." --Choice"This book is a revelation! Leaving behind the more pedestrian methods of examining cinematic narratives of transgender lives, Cael Keegan goes one huge step beyond. With this book on Lana and Lilly Wachowski, we have in our hands the first book to consider the transgender content of the Wachowskis' massively influential cinematic practice. The trans* cinema of the Wachowskis is, according to Keegan, not just disruptive and wildly imaginative, although it is definitely that, it also represents an expansion of the popular imagination and a very different sense of life in and beyond the matrix. Keegan gives a masterful account of the Wachowskis' world and drops his readers down the rabbit hole of a trans* altered reality. Bon voyage."--Jack Halberstam, author of Gaga Feminism: Sex, Gender, and the End of Normal"Keegan approaches trans* in the Wachowskis' cinema not in terms of literal, figurative representation but rather as a lens through which new forms and narratives may be evinced. Trans* thus becomes at once an ideological critique, method, and sensory experience." --Film Quarterly"A beautifully poetic--detailed and elaborate, yet at the same time cohesive and linear--work of trans* inquiry and critique. At its heart, Keegan offers a 'loving' and critical technology of sensing, a somatechnical disposition with which one may be immersed in the Wachowskis' offer to sense differently, through the trajectories of gender and cinema." --Somatechnics"This captivating book does more than argue persuasively for the centrality of the Wachowskis' oeuvre in the recent history of cinema: it demonstrates how their embodied transgender experience is a central component of their aesthetic vision, and how transgender experience has become paradigmatic of visual semiotic practices in the increasingly ubiquitous digital media environment. Keegan offers lucid close readings of the entire Wachowski filmography, while also mapping generative points of overlap and intersection between cinema studies and trans studies. It makes a significant contribution to both fields."--Susan Stryker, founding coeditor, Transgender Studies Quarterly
£77.35
University of Illinois Press Cinematic Encounters
Book SynopsisTrade Review"Rosenbaum is arguably America's greatest living film critic. This stimulating collection forms a kind of essay about the types of dialogues and meditations that one can have about a film or a body of films. It is often absolutely riveting."--Alan Williams, author of Republic of Images: A History of French Filmmaking"Given the power and voraciousness of his mind, Jonathan Rosenbaum could dominate and devour everything in his path if he wanted to, like the bullying movies he abhors. But with his openness of spirit, he prefers films that let you question and participate. Those are also his activities in Cinematic Encounters, as he converses with great and good filmmakers he admires and swaps ideas and enthusiasms with his cinephile friends. Open the book and you, too, are welcome to join in."--Stuart Klawans, film critic, The Nation
£77.35
University of Illinois Press D.W. Griffith and the Origins of American Narrat
Book SynopsisTrade ReviewWinner of the Theatre Library Association Award, 1991."The definitive work on Griffith's early career. . . . Will solidify the way in which film scholars, critics, and teachers conceive of not only Griffith's crucial contributions to film history but all early filmmaking in the U.S."--David Desser, coauthor of American Jewish Filmmakers: Traditions and Trends"An all-encompassing vision of D.W. Griffith's early work. Gunning's study is full of new information and places the Biographs in a lucid historical-critical context that will serve any future scholar who ventures into the realm of early cinema."--Joyce E. Jesionowski, author of Thinking in Pictures: Narrative Structure in D. W. Griffith's Biograph Films"A must purchase for motion picture buffs and historians."--Morse Press-News
£19.79
University of Illinois Press Peckinpah
Book SynopsisAssesses Peckinpah's stature as a major artist and details the unbelievably shoddy treatment afforded his films by hostile producers and studio hit menTrade Review"In this new, expanded, and handsomely printed edition of his 1980 study, Seydor demonstrates that any discussion of Peckinpah's films has to be contained in both the context of the politics of Hollywood and the greater American literary tradition... For any student of American film or of American Western literature, this volume is a must. It's hard to imagine trying to teach a film course-not merely a course in western film but in any film-without it... Exceedingly well written and thoroughly documented...[this book is] a thorough study of one American artist's work, his pain, and his incredible contribution to our culture." - Clay Reynolds, Western American Literature "Seydor in his brilliant book makes us realize how movies such as The Wild Bunch or Ride the High Country emerged not so much from a single, fertile imagination as from the dusty crossroads of America's quintessential mythic tale and Peckinpah's own peculiar unconscious. The Western seemed made for Peckinpah... Seydor is an academic with a doctorate and a film editor with impressive feature credentials. He brings both experiences to bear in this thoughtful, elegantly written book. " - Gregg Bachman, Creative Screenwriting "Reading Seydor's book is galvanizing; it makes the reader a devout believer in the power of the medium, convincing him or her that celluloid running through a projector's gate can beam great art onto a white wall." DGA Magazine "Exceedingly well written and thoroughly documented ..[A] thorough study of one American artist's work, his pain and his contribution to our culture." - Express News, San Antonio, TX ADVANCE PRAISE "The new edition of Peckinpah: The Western Films-A Reconsideration is literally incomparable-the only study of the works of a major film director by a critic who writes both as a former academician with a Ph.D. in literature and as a voting member of that far more exclusive National Academy of Motion Picture Arts and Sciences. After all these years, this is more than ever a trail-blazing book, required reading for lovers of film and literature, and for literary theorists as well as cinema theorists." - Hershel Parker, author of Melville: A Biography, Volume 1, 1819-1855 "The most comprehensive and penetrating critical study of Peckinpah's work." - Variety"Stands as a shining example of how a single book from a small publisher can have a profound and lasting impact on our culture. The most penetrating study of Peckinpah, as well as one of the finest pieces of film criticism ever written... It taught me how to look at movies." - From the Foreword by David Weddle, author of If They Move, Kill 'Em: The Life and Times of Sam Peckinpah REVIEWS FROM EARLIER EDITION "First-rate... Its enthusiasm for its subject is among its prime values, for it teaches us to understand, or to understand anew, an artist we may have overlooked, or dismissed, or misinterpreted." - Frank McConnell, Quarterly Review of Film Studies "Solid and sophisticated... Seydor writes of Peckinpah's films in finer detail than anyone else has." - Ernest Callenbach, Film Quarterly "At a time when Sam Peckinpah's reputation is scraping bottom, Paul Seydor's critical study bravely asserts Peckinpah's importance...A valuable study of a major auteur director." - Choice "This intensively researched, admiring, but never merely worshipful study of the westerns of Sam Peckinpah is one of the best tributes any director has yet received." - Booklist "Important... Interestingly ties Peckinpah into the 'cult of masculinity' so indigenous to American culture and literature." - Library Journal "Few critics have documented the agonies of Hollywood moviemaking as scarily well as Paul Seydor does in Peckinpah: The Western Films." - Michael Sragow, Los Angeles Herald Examiner "An exceptional job of explaining the central role of violence in [Peckinpah's] films." - Michael T. Isenberg, The Midwest Review "The book is rich in its insight into the mythology of the West, and the author is most illuminating when he discusses the exploitation of these myths by Peckinpah in developing the favorite themes of regeneration and individualism. Seydor's accomplishment is considerable." - Timothy P. Donovan, Journal of the West "A long overdue tribute to the screenwriter-director of action western movies... An exceptionally well-made biography of an astute writer-director that will stand as a definitive analysis." - David Winston York, West Coast Review of Books "Six of the director's movies, unified by themes, feelings and ideas, are incisively appraised by Paul Seydor. In-depth interviews bring out Peckinpah's complex personality, his assertive views on film art and his impatience with outsiders' perceptions of his style." - George L. George, American Cinematographer "A masterful critic ... correctly assesses Peckinpah's stature as a major artist and details the unbelievably shoddy treatment afforded his films by hostile producers and studio hit men." - Grover Lewis, New West "A highly literate work which will provide Peckinpah fans with more arguments in support of his brilliance." - Mark Busby, Western American Literature "Seydor's analysis of The Wild Bunch ... is one of the finest analyses of a film that I have ever read, and his chapters on Peckinpah's other westerns are equally brilliant." - Kenneth Seib, Fresno Bee "Sam Peckinpah is, arguably, the greatest American film maker to emerge since the Second World War. Paul Seydor's work chronicles and critiques his Western films, unearths new material on his early years, and follows Peckinpah's unsteady course through the wilderness of Hollywood. Seydor argues for this unique director's place alongside artists the magnitude of Melville and Hemingway-both a powerful premise and a compelling reading experience." - Walter Hill "A great critical study of a great filmmaker. Seydor's new revision of his own book is a must read for anyone interested in Peckinpah, the Western, or American film." - Ron Shelton, film writer/director
£22.49
University of Illinois Press Abel Ferrara
Book SynopsisNicole Brenez argues for Abel Ferrara’s place in a line of grand inventors who have blurred distinctions between industry and avant-garde film, including Orson Welles, Monte Hellman, and Nicholas Ray. Rather than merely reworking genre film, Brenez understands Ferrara’s oeuvre as formulating new archetypes that depict the evil of the modern world. Focusing as much on the human figure as on elements of storytelling, she argues that films such asBad Lieutenantexpress this evil through visionary characters struggling against the inadmissible (inadmissible behavior, morality, images, and narratives).Trade Review"Brenez argues that provocateur Abel Ferrara invents new forms for his optimistic filmic studies of contemporary political and psychic evil. Brenez conveys her challenging argument in chewable sections. Each point draws from across Ferarra's large canon, and she makes convincing connections to other works. Recommended."--Choice"This is a provocative book. It is also a work of great originality. Brenez's energetic intellect and passion for her subject are evident on every page. . . . It makes you want to go back to the films, to see them as Brenez has seen them. In fact, this was the very first thing that I did when I finished reading this book. I started watching the films of Abel Ferrara again."--Screening The Past"[Brenez's] book illuminates a director whom American critics have too often overlooked. Its mixture of fannish enthusiasm and academic erudition is a new, welcome voice."--Cineaste“Passionate. . . . Devotees of Ferrara who are comfortable with theoretical language will find this a fascinating performance of high critical intensity.”--Film International“Brenez does the best job to date in defending an underappreciated American director not only in terms of aesthetics, but also for his ethical reflections on the crimes and abuses of the past century. A truly remarkable achievement.”--Jonathan RosenbaumTable of ContentsAcknowledgments | xi A CINEMA OF NEGATION | 1 Some Ethical Stakes in Ferrara's Cinema 1 What Is Passion? Central Figures of Hypermorality 22 "Going to the End of Being" 68 Self-Consciousness: The Visionaries 110 Cinema and Symbolic Reparation 150 INTERVIEW: ABEL FERRARA | 165Filmography | 173Bibliography | 193Index | 199
£16.14
University of Illinois Press Jane Campion
Book Synopsis In considering Jane Campion''s early award-winning short films on through international sensationThe Pianoand beyond, Kathleen McHugh traces the director''s distinctive visual style as well as her commitment to consistently renovating the conventions of 'women''s films.' By refusing to position her female protagonists as victims, McHugh argues, Campion scrupulously avoids the moral structures of melodrama, and though she often works with the narratives, mise-en-scene, and visual tropes typical of that genre, her films instead invite a distanced or even amused engagement. Jane Campionconcludes with four brief, revelatory interviews and a filmography. Campion spoke twice with Michel Ciment—after the screening of her short and medium-length films at the Cannes Film Festival 1986, and three years later, after the Cannes screening ofSweetie.Judith Lewis narrates a Beverly Hills interview with Campion that followed the release ofHoly Smoke,and Trade Review"This is an original, witty, and highly nuanced reading of Campion's films that takes into account a wide range of aesthetic and cultural influences on the filmmaker and her work. Wonderfully responsive to the films and informed by a non-dogmatic feminist sensibility, the book builds in power as it progresses. In sum: superb writing, superior scholarship, and stimulating—indeed, exciting—to read."--Vivian Sobchack, author of The Address of the Eye: A Phenomenology of Film Experience"Astute and well-structured study of Campion’s films."--Library Journal"McHugh supplies close . . . critical readings of Campion's films, offering thorough analyses of Campion's visual approach and recurrent subject matter—female self-expression, familial and sexual relationships, and gender roles, all of which evince the filmmaker's 'complicated relationship with feminism.'"--Booklist"Kathleen McHugh is a . . . clear and conscientious writer who takes care to make her research visible and to spell out any possibly unfamiliar ideas. She has the academic knack for seizing upon parallels, oppositions, and ironies and working through their permutations. . . . McHugh proves to be a good practical critic. She gives a detailed and convincing account of the dream-like logic of Campion's narratives."--Australian Book Review"A great strength of McHugh's book is the illuminating and evocative descriptions of the films themselves. The effect on the reader is twofold: it makes one want to watch the films again, and it provides insights into the way in which films are constructed in terms of craft. McHugh demonstrates a strong background that bridges both theory and production."--Senses of Cinema
£16.14
University of Illinois Press Atom Egoyan
Book SynopsisThe films of Atom Egoyan immerse the viewer in a world of lush sensuality, melancholia, and brooding obsession. From his earliest films Next of Kin and Family Viewing, to his coruscating Exotica and recent projects such as Where the Truth Lies, Egoyan has paid infinite attention to narrative intricacy and psychological complexity. Traumatic loss and its management through ritual return as themes in his films as he explores personal scenarios of mourning and broader issues of genocide, exile, and postmemory, in particular in relation to his own Armenian heritage. In this study, Emma Wilson closely analyzes the range of Egoyan''s films and their visual textures, emotional control, and perverse beauty. Offering a full-scale chronological overview of Egoyan''s work on films up to and including Where the Truth Lies, Wilson shows the persistence and development of certain structures and themes in Egoyan''s cinema: questions of exile and nostalgia, traumaTrade Review"This persuasive book brings Egoyan's films vibrantly alive, while at the same time offering compelling, intelligent and thought-provoking analysis."Times Higher Education"Wilson brings a fresh perspective to Egoyan's work, particularly insofar as gender and sexuality are concerned. Her analysis is elegant, and her writing is beautiful. Required reading for anyone interested in Atom Egoyan."--Judith Mayne, author of Claire DenisTable of ContentsPreface | ix Acknowledgments | xiii ON FOREIGENNESS AND FAMILIES | 1 Next of Kin (1984) 12 Family Viewing (1987) 22 Speaking Parts (1989) 34 The Adjuster (1991) 47 Calendar (1993) 61 Exotica (1994) 73 The Sweet Hereafter (1996) 88 Felicia's Journey (1999) 102 Ararat (2002) 115 Where the Truth Lies (2005) 128 INTERVIEW WITH ATOM AGOYAN | 137 Filmography | 147 Bibliography | 153 Index | 159
£16.14
MO - University of Illinois Press Albert Maysles
Book SynopsisA penetrating study of one of America's most talented and controversial documentariansTrade Review"A detailed and insightful study of the work of the pioneering documentary filmmaker Albert Maysles."--Screening The Past "Detailed, insightful readings of individual films and overall assessment of Maysles' career welcomely emphasize aesthetic aspects, and a revealing interview with Maysles . . . concludes."--Booklist"McElhaney's biography runs like a classic Maysles brother film, sticking to the facts, letting personal back story slip in here and there, and presenting an end-of-the-book Q&A as a sort of DVD commentary track."--Los Angeles Times“Joe McElhaney makes a persuasive case that [Albert Maysles] belongs among the likes of Joel and Ethan Coen, Roman Polanski and Neil Jordan.”--PopMatters
£16.14
University of Illinois Press JeanPierre and Luc Dardenne
Book Synopsis For well over a decade, Jean-Pierre and Luc Dardenne have produced highly original and ethically charged films that immerse their audiences in an intense and embodied viewing experience. Their work has consistently attracted international recognition, including the rare feat of two Palmes d''Or at Cannes. In this first book-length study of the Belgian brothers, Joseph Mai delivers sophisticated close analyses of their directorial style and explores the many philosophical issues dealt with in their films (especially the ethics of Emmanuel Levinas). Mai discusses the Dardennes'' varied and searching career from its inception in the late 1970s, starting with the working-class political consciousness and lost utopias of their documentary period; passing through their transition toward fictional narrative, experimental techniques, and familial themes; and finishing with a series of in-depth and philosophically informed interpretations of the brothers'' more recent work. In sucTrade Review"Meticulously researched and fluently written, it makes a very substantial and important contribution to the literature on two enormously important film-makers."--H-France Review"In this masterful, efficient study, Mai reviews their canon with sensitivity, insight, and respectful objectivity. Recommended."--Choice"An innovative, intelligent introduction to the work of Jean-Pierre and Luc Dardenne. Mai delivers a lucid, critically engaged account of the filmmakers' influences and their own unique style.”--Sarah Cooper, Reader in Film Theory and Aesthetics, King's College London"Intelligently argued. . . . A keenly observed account of the Dardennes' work, and whets the appetite for new, or renewed, viewings of the film."--Modern & Contemporary France
£16.14
University of Illinois Press Alejandro Gonzalez Inarritu
Book Synopsis This in-depth study of Mexican film director Alejandro González Iñárritu explores his role in moving Mexican filmmaking from a traditional nationalist agenda towards a more global focus. Working in the United States and in Mexico, Iñárritu crosses national borders while his movies break the barriers of distribution, production, narration, and style. His features also experiment with transnational identity as characters emigrate and settings change. In studying the international scope of Iñárritu''s influential films Amores Perros, 21 Grams, and Babel, Celestino Deleyto and María del Mar Azcona trace common themes such as human suffering and redemption, chance, and accidental encounters. The authors also analyze the director''s powerful visual style and his consistent use of multiple characters and a fragmented narrative structure. The book concludes with a new interview with Iñ&aTrade Review"An excellent analysis of the director’s style."--PopMatters"An important contribution on the work of one of the most interesting contemporary filmmakers. Through meticulous analysis and attention to detail, style and structure, the authors offer an in-depth analysis of the work of Alejandro González Iñárritu."--Miscelánea: A Journal of English and American Studies"A model of impeccable scholarship and writing. Alejandro González Iñárritu is unquestionably one of the most interesting and important contemporary filmmakers in Latin America, and this study demonstrates a solid and secure understanding of Iñárritu's role in moving Mexican filmmaking toward a more globalized focus."--David William Foster, author of Mexico City and Contemporary Mexican Filmmaking
£16.14
University of Illinois Press D.A. Pennebaker
Book Synopsis This volume is the first book-length study of the extensive career and prolific works of D.A. Pennebaker, one of the pioneers of direct cinema, a documentary form that emphasizes observation and a straightforward portrayal of events. With a career spanning decades, Pennebaker''s many projects have included avant-garde experiments (Daybreak Express), ground-breaking television documentaries (Primary), celebrity films (Dont Look Back), concert films (Monterey Pop), and innovative fusions of documentary and fiction (Maidstone). Exploring the concept of 'performing the real,' Keith Beattie interprets Pennebaker''s films as performances in which the act of filming is in itself a performative transgression of the norms of purely observational documentary. He examines the ways in which Pennebaker''s presentation of unscripted everyday performances is informed by connections between documentary filmmaking and other experimental Trade Review"A welcome addition to the Contemporary Film Directors Series."--Documentary "Filled with useful historical and technical details, this enthusiastic study of one of documentary cinema's most important filmmakers will convert some skeptics and create many new admirers of D.A. Pennebaker's work." --Joe McElhaney, author of Albert Maysles"Enlightening. . . . A useful look at the work of an affable, masterful documentary filmmaker who somehow managed to be in the midst of some of the major cultural turning points of the twentieth centrury."-- Journal of Film and VideoTable of ContentsAcknowledgments PERFORMING THE REAL Concert / Film; Collaborative / Filmmaking; Portraiture; Rehearsal INTERVIEW WITH D.A.PENNEBAKER Filmography; Bibliography; Index
£16.14
University of Illinois Press Dario Argento
Book Synopsis Commanding a cult following among horror fans, Italian film director Dario Argento is best known for his work in two closely related genres, the crime thriller and supernatural horror, as well as his influence on modern horror and slasher movies. In his four decades of filmmaking, Argento has displayed a commitment to innovation, from his directorial debut with 1970''s suspense thriller The Bird with the Crystal Plumage to 2009''s Giallo. His films, like the lurid yellow-covered murder-mystery novels they are inspired by, follow the suspense tradition of hard-boiled American detective fiction while incorporating baroque scenes of violence and excess. While considerations of Argento''s films often describe them as irrational nightmares, L. Andrew Cooper uses controversies and theories about the films'' reflections on sadism, gender, sexuality, psychoanalysis, aestheticism, and genre to declare the anti-rational logic of Argento''s oeuvre. Approaching the films Trade Review "Contained in these pages are innumerable facts that illuminate the production, content, and backstory of these films and their maker. A thoroughly well researched book."--Film Matters"Cooper's text is deep and probing, throwing light onto the darkness and the bloodletting of Argento's world."--PopMatters.com "A novel and interesting approach to Argento's oeuvre. Cooper's interrogation of authorial style and theoretical readings of the films are thorough, insightful, and astute." --Brigid Cherry, coeditor of Twenty-first-century Gothic
£20.98
University of Illinois Press Christian Petzold
Book Synopsis In eleven feature films across two decades, Christian Petzold has established himself as the most critically celebrated director in contemporary Germany. The best-known and most influential member of the Berlin School, Petzold''s career reflects the trajectory of German film from 1970s New German Cinema to more popular fare in the 1990s and back again to critically engaged and politically committed filmmaking. In the first book-length study on Petzold in English, Jaimey Fisher frames Petzold''s cinema at the intersection of international art cinema and sophisticated genre cinema. This approach places his work in the context of global cinema and invites comparisons to the work of directors like Pedro Almodovar and Rainer Werner Fassbinder, who repeatedly deploy and reconfigure genre cinema to their own ends. These generic aspects constitute a cosmopolitan gesture in Petzold''s work as he interprets and elaborates on cult genre films and popular genres, including Trade Review"An incisive and eye-opening overview of the work so far of Christian Petzold, arguably the most important and recognized film director working in German cinema today. Analytically rigorous yet accessible, Fisher's work will certainly be welcomed by many readers interested in contemporary German filmmaking and the development of international art cinemas in general. A great book."--Lutz Koepnick, author of The Dark Mirror: German Cinema between Hitler and Hollywood "Fisher's approachable book should be enough to inspire retrospectives in cine-clubs and archives alike."--Slant"Perceptive. . . . Jaimey Fisher sees the filmmaker as an exemplary cultural figure in post-reunification Germany for his wariness over the country's history as well as its newfound eagerness to embrace Reagan-Thatcher economics."--Shepherd Express"It is… impossible to overstate the significance of Christian Petzold, Jaimey Fisher's superb analysis of what many consider post-unification of German cinema's most important director… Fisher's well- researched and lucidly written analysis allows Petzold's oeuvre to become part of a 'neighborhood' of contemporary world cinema greats such as David Lynch, Todd Haynes, Kim Ki-Duk, Jim Jarmusch, Michael Haneke, Lars von Trier, and Steven Soderbergh."--Seminar; A Journal of Germanic Studies"Fisher's book offers an excellent sense of the kinds of characters, themes, and styles one finds in Petzold's work. He establishes Petzold as an auteur with global reach."--German Studies Review
£22.22
University of Illinois Press Germaine Dulac
Book SynopsisExplores the artistic and sociopolitical currents that shaped Germaine Dulac's approach to cinema while interrogating the ground breaking techniques and strategies she used to critique conservative notions of gender and sexuality.Trade ReviewResearch in the Humanities Award, University of Wisconsin-Milwaukee, 2015. “Williams's book is exemplary in tying together the multiple personal, political, social, and artistic strains running through Dulac's oeuvre. Although it may be surprising that we are only now getting the first book-length consideration of Dulac's career, it was well worth the wait.”--Afterimage "With its deft combination of biography, history, and criticism, Williams's book is now, and will likely remain for some time the resource on Dulac's life and work."--Choice "Within the burgeoning realm of archivally-based feminist film historiography, especially around early cinema, it is the singular achievement of Tami Williams's study of the career of Germaine Dulac that it manifests similar lessons about biography and offers us a thick rendition of a life that was so consequential in so many domains yet little known in its extension to most researchers. . . . The importance of Williams's book lies in the ways it goes beyond Dulac's life and career per se to offer a veritable picture of independent French cinema between the wars and especially to use the one life as a lesson about the possible place of women within that broader picture."--Film Quarterly"Tami Williams has produced a monumental, extraordinarily well-researched, highly readable portrait of one of the most significant figures in the history of cinema.... There is, quite literally, no other book like it anywhere, in any language. It is the first book of its kind and will always be the best." --Sandy Flitterman-Lewis, author of To Desire Differently: Feminism and the French Cinema"An authoritative, scholarly survey of one of France’s pioneer female filmmakers. Germaine Dulac: A Cinema of Sensations is a fascinating text for cinephiles and Francophiles alike. It may render any subsequent biographical attempts at Dulac as redundant when compared to such a comprehensive study."--Shepherd Express"[M]akes a significant contribution to the field of film study, offering the most thorough account yet of this important artist's life and work.... The research behind this manuscript is astounding . . . drawing upon a massive amount of primary source material few scholars have taken the trouble to examine."--Charles O'Brien, author of Cinema's Conversion to Sound: Technology and Film Style in France and the U.S."Williams's study is a pleasure to read, a model of feminist film history, and an achievement that suggests many avenues for future research."--French Studies"Williams delivers primary scholarship of the highest order. Her jargon-free prose blends biographical narrative, institutional histories of Belle Epoque feminism and syndicalism, economic and industrial considerations, as well as close analyses of films that survived and reconstructions of those that did not."--French Review
£21.59
University of Illinois Press Jan Svankmajer
Book SynopsisTrade Review"Keith Johnson’s Jan Švankmajer is a triumph: a bold, synoptic, and elegantly written conceptual survey that brings fully to life the animating ideas of the Czech surrealist artist-filmmaker. Attending to the work of animation as a philosophy of life rather than an aesthetic technique alone, Johnson’s book lucidly presents Švankmajer’s art as the bearer of 'a vital, emergent, biopolitical, ethical, and ecological outlook.' Featuring detailed analyses of the artist’s full body of cinematic, artistic, and curatorial work, as well as an illuminating set of interviews, Jan Švankmajer presents the Czech artist in vital, living color."--Jonathan Eburne, author of Surrealism and the Art of CrimeTable of ContentsCoverTitleContentsAcknowledgmentsANIMIST CINEMAHumiliation, or Object LifeOn the Marionette CinemaAnti-Illusion: Fantasy in G Minor and Et CeteraCombinatorics: The Last Trick and Game with StonesTragedies without Actors: The Ossuary and Fall of the House of UsherWunderkammer, or Creaturely LifeAmateur Play: Historia naturaeImpersonal Play: Picnic with WeissmannChild’s Play: Down to the Cellar, Alice, and Little OtikHaptics, or Animal LifeYou Are What You Eat: FoodThe Art of Conversation: Dimensions of DialoguePlease Touch: Conspirators of PleasureImagination, or Political LifeAs Above, So Below: Faust(Ab)normalization: The Flat, A Quiet Week in the House, and The Death of Stalinism in BohemiaAbsolute Freedom: LunacySurvival, or Ecological LifeFlat Ontology: Surviving LifeEthical Misanthropy: HmyzINTERVIEWS WITH JAN SVANKMAJERFilmographyBibliographyIndex
£16.14
University of Illinois Press Kelly Reichardt
Book SynopsisTrade Review“The organizational structure is superb, as the concepts they’ve isolated seem excitingly to cut to the heart of Reichardt’s motifs. . . . These pages dazzlingly force their readers-as Reichardt’s films force their viewers their viewers- to reflect on the political implications of our empathy, or lack thereof, to imagine other kinds of relationships beyond empathy and judgment."--Cineaste "Kelly Reichardt remains well-reasoned and persuasive throughout in its detail and conviction, casting a keen eye towards the context of Reichardt's career, both in film and in the wider socio-political landscape. Perhaps most importantly of all, it is a tribute to and analysis of an invaluable, distinctively modern American director." --Historical Journal of Film, Radio, and Television "Fusco and Seymour's book offers a satisfyingly complex approach to the political import of her [Reichardt's] contributions to contemporary cinema." --ASAP Journal"An engaging and thoughtful book. Fusco and Seymour persuasively use political theory and affect studies to analyze Reichardt's unique deployment of realist traditions and the politics of temporality in her films. The authors' striking insights illuminate the filmmaker's style and her importance not only in contemporary art and indie cinema spheres but for American cinema more broadly."—Elena Gorfinkel, coeditor of Taking Place: Location and the Moving Image
£16.14
University of Illinois Press Lana and Lilly Wachowski
Book SynopsisTrade Review"His attention to the sensorial and material--traced vividly through his method of close reading--are necessary approaches for scholars working to account for how race and gender intersect within trans* cinema." --Transgender Studies Quarterly"An admirable, focused study of the Wachowski sisters, best known for their postmillennial science fiction films, especially The Matrix franchise....makes a case for considering their work alongside the canon of new queer cinema, despite their exclusion from that corpus at the time of its formation. Highly recommended." --Choice"This book is a revelation! Leaving behind the more pedestrian methods of examining cinematic narratives of transgender lives, Cael Keegan goes one huge step beyond. With this book on Lana and Lilly Wachowski, we have in our hands the first book to consider the transgender content of the Wachowskis' massively influential cinematic practice. The trans* cinema of the Wachowskis is, according to Keegan, not just disruptive and wildly imaginative, although it is definitely that, it also represents an expansion of the popular imagination and a very different sense of life in and beyond the matrix. Keegan gives a masterful account of the Wachowskis' world and drops his readers down the rabbit hole of a trans* altered reality. Bon voyage."--Jack Halberstam, author of Gaga Feminism: Sex, Gender, and the End of Normal"Keegan approaches trans* in the Wachowskis' cinema not in terms of literal, figurative representation but rather as a lens through which new forms and narratives may be evinced. Trans* thus becomes at once an ideological critique, method, and sensory experience." --Film Quarterly"A beautifully poetic--detailed and elaborate, yet at the same time cohesive and linear--work of trans* inquiry and critique. At its heart, Keegan offers a 'loving' and critical technology of sensing, a somatechnical disposition with which one may be immersed in the Wachowskis' offer to sense differently, through the trajectories of gender and cinema." --Somatechnics"This captivating book does more than argue persuasively for the centrality of the Wachowskis' oeuvre in the recent history of cinema: it demonstrates how their embodied transgender experience is a central component of their aesthetic vision, and how transgender experience has become paradigmatic of visual semiotic practices in the increasingly ubiquitous digital media environment. Keegan offers lucid close readings of the entire Wachowski filmography, while also mapping generative points of overlap and intersection between cinema studies and trans studies. It makes a significant contribution to both fields."--Susan Stryker, founding coeditor, Transgender Studies Quarterly
£16.14
University of Illinois Press Cinematic Encounters Interviews and Dialogues
Book SynopsisTrade Review"Rosenbaum is arguably America's greatest living film critic. This stimulating collection forms a kind of essay about the types of dialogues and meditations that one can have about a film or a body of films. It is often absolutely riveting."--Alan Williams, author of Republic of Images: A History of French Filmmaking"Given the power and voraciousness of his mind, Jonathan Rosenbaum could dominate and devour everything in his path if he wanted to, like the bullying movies he abhors. But with his openness of spirit, he prefers films that let you question and participate. Those are also his activities in Cinematic Encounters, as he converses with great and good filmmakers he admires and swaps ideas and enthusiasms with his cinephile friends. Open the book and you, too, are welcome to join in."--Stuart Klawans, film critic, The Nation
£17.99
Indiana University Press JeanLuc Godard Cinema Historian
Book SynopsisProvides a guide to the wide-ranging cinematic, aesthetic, and cultural forces that shaped Godard's groundbreaking ideas on the history of cinema.Trade ReviewOverall, Jean-Luc Godard: Cinema Historian is quite simply a brilliant book, a sustained meditation on Godard's approach to history and his Histoire(s) du cinema, but also an extraordinary summation of Godard's entire career. * Year's Work in Critical and Cultural Theory *Witt provides a thorough account of Histoire(s) du cinéma's genesis and an erudite yet highly readable exegesis of its manifold narratives and ramifications * French Studies *Witt tackles his subject, in what is his first sole-authored book, in such an unfussy manner and without the elliptical quality tainting much Godard commentary—artsy, complicated prose trying to compensate for a kernel of confusion—that the experience of reading Cinema Historian is like a door swinging open. * New Left Review *[T]here is little to find fault with in Witt's methodically argued, rigorously researched and compellingly written text. It almost seems as if he has left no stone unturned in attempting to decipher Histoire(s) du cinéma, even if the futile nature of such an endeavour is freely admitted: there will always, in Godard's work, be elements that remain impenetrable to his exegetes. * Senses of Cinema *What Witt communicates nicely . . . is the richness and depth of Godard's project. Histoire(s) du cinéma is a work that needs to be engaged with on its own terms, but its complexity and strength are only enhanced by the kind of detailed analysis that Witt and others have begun to provide it with. * Film Quarterly *There has been a slew of important books lately devoted to post-60s Godard [] But none seems quite as durable—either a beautiful object or as a user-friendly intellectual guide—as Jean-Luc Godard: Cinema Historian, Witt's superbly lucid jargon-free book about Histoire(s) du cinéma. Copiously illustrated with frame enlargements that complement the text without ever seeming redundant, this examination of the philosophical, historical and aesthetic underpinnings of Godard's masterwork isn't only about a four and-a-half-hour video; it's also about the work's separate reconfigurations as a series of books, a set of CDs and a 35mm feature of 84 minutes. * Sight & Sound *Highly recommended. * Choice *Michael Witt's Jean-Luc Godard: Cinema Historian . . . [is] one of the most vital film books of recent memory. * Spectrum Culture *Table of ContentsAcknowledgmentsIntroduction: Godard's Theorem1. Histoire(s) du cinéma: A History2. The Prior and Parallel Work3. Models and Guides4. The Rise and Fall of the Cinematograph5. Cinema, Nationhood, and the New Wave6. Making Images in the Age of Spectacle7. The MetamorphosesEnvoiWorks by GodardNotesSelect BibliographyIndex
£20.99
Indiana University Press The Epic Cinema of Kumar Shahani
Book SynopsisExamines the major works of leading Indian film director Kumar Shahani and explores the reaches of modernist film aesthetics in its international form.Trade Review"It is a rare gift of intuition and understanding for a scholar to bestow on the artist who is her object of study the same beauty and elegance of expression that attracted her to the artist's work in the first place. Such is the gift that Laleen Jayamanne has bestowed on the oeuvre of Indian filmmaker, Kumar Shahani." -Sumita Chakravarty, author of National Identity in Indian Popular Cinema, 1947-1987 "What would cinematic thought be like refracted through the master filmmakers of Asia? As dazzling in performance as it is daring in conception, this breathtaking book weaves a response by working through the very fabric of Shahani's cinema and his affinities with other visionaries such as Baz Luhrmann. Giving us epic as living tradition and cinema as heritage for the future, Jayamanne is a rare, primary critic at the top of her creative powers. A landmark work for 21st century cinema studies." -Meaghan Morris, University of Sydney "Laleen Jayamanne allows herself to be (as she says) 'led astray' by one of cinema's most challenging contemporary practitioners to produce an entirely original interpretative frame for Kumar Shahani. She sees Shahani's work through material practices drawn from the South Asian subcontinent, even as she places him in a cinema peopled by such unlikely compatriots as Rocha and Pasolini, Kubrick and Paradyanov, and even Baz Luhrmann. Throwing light on this practice are concepts drawn as much from Eugenio Barba and Suely Rolnik as from D.D. Kosambi. Jayamanne's 'epic cinema' is revealed as deeply paradoxical, but capable of astonishing connections, relays of meaning and associations of ideas." -Ashish Rajadhyaksha, Senior Fellow, Centre for the Study of Culture and Society "This very personal book, rich in cinematographic crossreferences, will hopefully awaken the American film public to the unique experimental work of Kumar Shahani, scarcely known here, which opens film to some of its unexplored possibilities." -Fredric R. Jameson, Duke UniversityTable of ContentsPreface1. To Arrive at the Station: trains of thought2. To Leave the Factory: with cloth & film3. To Derail Thought: of infinity as motif or walking4. In the Beginning was Sound Nad: Tarang (Wave)5. Lapidary Dynamisms: river, stone, icon6. A Second Nervous system: Acting and Thinking7. Shahani and others8. Modulating Avatars: Shahani's Unit9. Memory of the World: Archive FeverNotesFilmographyBibliographyIndex
£62.90
Indiana University Press The Epic Cinema of Kumar Shahani
Book SynopsisExamines the major works of leading Indian film director Kumar Shahani and explores the reaches of modernist film aesthetics in its international form.Trade Review"It is a rare gift of intuition and understanding for a scholar to bestow on the artist who is her object of study the same beauty and elegance of expression that attracted her to the artist's work in the first place. Such is the gift that Laleen Jayamanne has bestowed on the oeuvre of Indian filmmaker, Kumar Shahani." -Sumita Chakravarty, author of National Identity in Indian Popular Cinema, 1947-1987 "What would cinematic thought be like refracted through the master filmmakers of Asia? As dazzling in performance as it is daring in conception, this breathtaking book weaves a response by working through the very fabric of Shahani's cinema and his affinities with other visionaries such as Baz Luhrmann. Giving us epic as living tradition and cinema as heritage for the future, Jayamanne is a rare, primary critic at the top of her creative powers. A landmark work for 21st century cinema studies." -Meaghan Morris, University of Sydney "Laleen Jayamanne allows herself to be (as she says) 'led astray' by one of cinema's most challenging contemporary practitioners to produce an entirely original interpretative frame for Kumar Shahani. She sees Shahani's work through material practices drawn from the South Asian subcontinent, even as she places him in a cinema peopled by such unlikely compatriots as Rocha and Pasolini, Kubrick and Paradyanov, and even Baz Luhrmann. Throwing light on this practice are concepts drawn as much from Eugenio Barba and Suely Rolnik as from D.D. Kosambi. Jayamanne's 'epic cinema' is revealed as deeply paradoxical, but capable of astonishing connections, relays of meaning and associations of ideas." -Ashish Rajadhyaksha, Senior Fellow, Centre for the Study of Culture and Society "This very personal book, rich in cinematographic crossreferences, will hopefully awaken the American film public to the unique experimental work of Kumar Shahani, scarcely known here, which opens film to some of its unexplored possibilities." -Fredric R. Jameson, Duke UniversityTable of ContentsPreface1. To Arrive at the Station: trains of thought2. To Leave the Factory: with cloth & film3. To Derail Thought: of infinity as motif or walking4. In the Beginning was Sound Nad: Tarang (Wave)5. Lapidary Dynamisms: river, stone, icon6. A Second Nervous system: Acting and Thinking7. Shahani and others8. Modulating Avatars: Shahani's Unit9. Memory of the World: Archive FeverNotesFilmographyBibliographyIndex
£21.59
Indiana University Press Ten Arab Filmmakers
Book SynopsisTrade ReviewTen Arab Filmmakers contributes in a positive, meaningful way to the general advancement of MENA studies in American institutions of higher education, encouraging students and the general public to learn about the Arab world from diverse perspectives. * Journal of North African Studies *Gugler has done an admirable job taking the reader on a complex but passionate journey through the work of ten Arab fi lmmakers. * Black Camera *Illustrated with arresting stills and superbly edited, this volume is sharp, incisive, and thought provoking. . . . Essential. * Choice *Ten Arab Filmmakers represents a timely and important resource for educators, scholars, and students. * Studies in Eastern European Cinema *Table of ContentsIntroduction: Auteur Directors, Political Dissent, and Social Critique Josef Gugler1. Nabil Maleh: Syria's Leopard (Syria) Christa Salamandra2. Jocelyne Saab: A Lifetime Journey in Search of Freedom and Beauty (Lebanon) Dalia Said Mostafa3. Michel Khleifi: Filmmaker of Memory (Palestine) Tim Kennedy4. Elia Suleiman: Narrating Negative Space (Palestine) Refqa Abu-Remaileh5. Youssef Chahine: Devouring Mimicries or Juggling with Self and Other (Egypt) Viola Shafik6. Daoud Abd El-Sayed: Parody and Borderline Existence (Egypt) Viola Shafik7. Yousry Nasrallah: The Pursuit of Autonomy in the Arab and European Film Markets (Egypt) Benjamin Geer8. Mohamed Chouikh: From Anti-colonial Commemoration to a Cinema of Contestation (Algeria) Guy Austin9. Merzak Allouache: (Self-)Censorship, Social Critique and the Limits of Political Engagement in Contemporary Algerian Cinema (Algeria) Will Higbee10. Nabil Ayouch: Transgression, Identity, and Difference (Morocco) Jonathan SmolinFilm IndexName Index
£21.59
Indiana University Press The Politics and Poetics of Black Film
Book SynopsisTrade ReviewOne of the most sensitive films about black life ever made in this country.1993 * on the film Nothing But a Man *Table of ContentsIntroduction: Nothing But a Man and the Question of Black Film / David C. Wall and Michael T. MartinFilmmaker Statements Michael Roemer Robert M. YoungEssays Demanding Dignity: Nothing But a Man / Bruce Dick and Mark Vogel Nothing But a Man / Thomas Cripps The Derailed Romance in Nothing But a Man / Karen Bowdre Can't Stay, Can' Go: What is History to a Cinematic Imagination / Terri Francis Civil Rights, Labor, and Sexual Politics on Screen in Nothing But a Man / Judith SmithInterviews Historicity and Possibility in Nothing But a Man: A Conversation with Khalil Muhammad / David C. Wall and Michael T. Martin Cinematic Principles and Practice at Work in Nothing But a Man: A Conversation with Robert Young / Michael T. Martin and David C. WallScreenplay Nothing But a ManPress Kit from Cinema V Distributing, Inc. (1965)Filmographies Michael Roemer Robert M. YoungSelect Bibliography
£59.40
Indiana University Press The Politics and Poetics of Black Film Nothing
Book SynopsisTrade ReviewOne of the most sensitive films about black life ever made in this country.1993 * on the film Nothing But a Man *Table of ContentsIntroduction: Nothing But a Man and the Question of Black Film / David C. Wall and Michael T. MartinFilmmaker Statements Michael Roemer Robert M. YoungEssays Demanding Dignity: Nothing But a Man / Bruce Dick and Mark Vogel Nothing But a Man / Thomas Cripps The Derailed Romance in Nothing But a Man / Karen Bowdre Can't Stay, Can' Go: What is History to a Cinematic Imagination / Terri Francis Civil Rights, Labor, and Sexual Politics on Screen in Nothing But a Man / Judith SmithInterviews Historicity and Possibility in Nothing But a Man: A Conversation with Khalil Muhammad / David C. Wall and Michael T. Martin Cinematic Principles and Practice at Work in Nothing But a Man: A Conversation with Robert Young / Michael T. Martin and David C. WallScreenplay Nothing But a ManPress Kit from Cinema V Distributing, Inc. (1965)Filmographies Michael Roemer Robert M. YoungSelect Bibliography
£21.59
Indiana University Press Oscar Micheaux and His Circle AfricanAmerican
Book SynopsisTrade ReviewAn extremely valuable contribution to the history of African American art. -- Toni MorrisonThe 14 essays cover a range of topics, from overviews of black American performance and cinemas, to detailed analyses of Micheaux films, to thoughtful discussion of the work and impact of other groups of African American performers and filmmakers. The essays are lively and readable, casting light on an underrepresented fact of American film history. * Library Journal *An extremely valuable contribution to the history of African American art. -- Toni MorrisonThe 14 essays cover a range of topics, from overviews of black American performance and cinemas, to detailed analyses of Micheaux films, to thoughtful discussion of the work and impact of other groups of African American performers and filmmakers. The essays are lively and readable, casting light on an underrepresented fact of American film history. * Library Journal *Table of ContentsContentsThe Touring Package: Programs and Credits AcknowledgmentsIntroduction: Oscar Micheaux and Race Movies of the Silent Period / Pearl Bowser, Jane Gaines, and Charles MusserI. Overviews1. Black Silence and the Politics of Representation / Clyde R. Taylor2. The Notion of Treatment: Black Aesthetics and Film / based on an interview with Peter Hessli and additional contributions from Pearl Bowser, A. J. Jafa3. From Shadows 'n Shufflin' to Spotlights and Cinema: The Lafayette Players, 1915-1932 / Sr. Francesca Thompson4. The African-American Press and Race Movies, 1909-1929 / Charlene RegesterII. Oscar Micheaux5. Oscar Micheaux's Within Our Gates: The Possibilities for Alternative Visions / Michele Wallace6. Within Our Gates: From Race Melodrama to Opportunity Narrative / Jane Gaines7. Oscar Micheaux's The Symbol of the Unconquered: Text and Context / Pearl Bowser and Louise Spence8. To Redream the Dreams of White Playwrights: Reappropriation and Resistance in Oscar Micheaux's Body and Soul / Charles Musser9. Black Patriarch on the Prairie: National Identity and Black Manhood in the Early Novels of Oscar Micheaux / Jayna Brown10. Telling White Lies: Oscar Micheaux and Charles W. Chesnutt / Corey CreekmurIII. Micheaux's Contemporaries11. Planes, Trains, and Automobiles: The Flying Ace, the Norman Company, and the Micheaux Connection / Phyllis Klotman12. Colored Players Film Corporation An Alternative to Micheaux / Charles Musser Lost, then Found: The Wedding Scene from The Scar of Shame (1929) / Pearl Bowser13. Richard D. Maurice and the Maurice Film Company / Pearl Bowser and Charles Musser14. Cinematic Foremothers: Zora Neale Hurston and Eloyce King Patrick Gist / Gloria J. GibsonAppendix A. The Reemergence of Oscar Micheaux: A Timeline and Bibliographic Essay / J. Ronald GreenAppendix B. An Oscar Micheaux Filmography: From the Silents through His Transition to Sound (1919—1931) / Compiled by Charles Musser, Corey Creekmur, Pearl Bowser, Charlene Regester, Ron Green, and Louise SpenceAppendix C. A Colored Players Film Corporation Filmography / Compiled by Charles MusserAppendix D. Norman Film Manufacturing Company: Production and Theatrical Release Dates for All-Black-Cast Films / Compiled by Phyllis KlotmanNotesBibliography / Compiled by Kristen Barnes, Jane Gaines, Fred Neumann, and Hank OkazakiAbout the ContributorsCreditsIndex
£18.04
Indiana University Press Visions of AvantGarde Film Polish Cinematic
Book SynopsisTrade ReviewKuc's ambitious project provides a comprehensive view of Polish avant-garde film before 1945, making a solid contribution to the experimental cinema field of studies and showing how illuminating an account based on sources other than realized films can be for early avant-garde cinema. * Slavic Review *Kamila Kuc's Visions of Avant-Garde Film is devoted to the beginnings of the Polish film avant-garde. The author of this volume proposes an original perspective, paying attention to phenomena that have not been yet described or that have been so far ignored. Her reflection focuses on the relationship between the film and other areas of the avant-garde. [This] book is not only valuable by filling the gap in the literature devoted to early Polish experimental cinema, but also an original proposal of an 'alternative' cinema history. * Kwartalnik Filmowy *[E]very chapter [is] a revelation in this still understudied area of Eastern European cinema. * Canadian Journal of Film Studies *Table of ContentsPrefaceAcknowledgmentsIntroductionPart One: Proto-Cinematic Phase: The Pioneers (1896 - 1918)1. "The Cinematograph" and Historical Consciousness: Actualities and the Early Experiments with Film in the Polish Territories2. Discovering Medium Specificity: The First Polish Claims for Film as Art3. The First Polish Experiment with Film: Feliks Kuczkowski's Animation in the Context of the International Avant-GardePart Two: Polish Avant-Garde Movements and Film (1919 - 1945)4. Karol Irzykowski's The Tenth Muse: Animated Film as the Highest Form of Film Art5. The Theoretical Apparatus: Polish Futurism and Avant-Garde Film6. Polish Avant-Garde Films, Discourses, and the Concept of Photogénie7. Polish Avant-Garde Film and ConstructivismConclusionSelected BibliographyIndex
£55.80
Indiana University Press Visions of AvantGarde Film
Book SynopsisTrade ReviewKuc's ambitious project provides a comprehensive view of Polish avant-garde film before 1945, making a solid contribution to the experimental cinema field of studies and showing how illuminating an account based on sources other than realized films can be for early avant-garde cinema. * Slavic Review *Kamila Kuc's Visions of Avant-Garde Film is devoted to the beginnings of the Polish film avant-garde. The author of this volume proposes an original perspective, paying attention to phenomena that have not been yet described or that have been so far ignored. Her reflection focuses on the relationship between the film and other areas of the avant-garde. [This] book is not only valuable by filling the gap in the literature devoted to early Polish experimental cinema, but also an original proposal of an 'alternative' cinema history. * Kwartalnik Filmowy *[E]very chapter [is] a revelation in this still understudied area of Eastern European cinema. * Canadian Journal of Film Studies *Table of ContentsPrefaceAcknowledgmentsIntroductionPart One: Proto-Cinematic Phase: The Pioneers (1896 - 1918)1. "The Cinematograph" and Historical Consciousness: Actualities and the Early Experiments with Film in the Polish Territories2. Discovering Medium Specificity: The First Polish Claims for Film as Art3. The First Polish Experiment with Film: Feliks Kuczkowski's Animation in the Context of the International Avant-GardePart Two: Polish Avant-Garde Movements and Film (1919 - 1945)4. Karol Irzykowski's The Tenth Muse: Animated Film as the Highest Form of Film Art5. The Theoretical Apparatus: Polish Futurism and Avant-Garde Film6. Polish Avant-Garde Films, Discourses, and the Concept of Photogénie7. Polish Avant-Garde Film and ConstructivismConclusionSelected BibliographyIndex
£25.19
Indiana University Press Fatih Akins Cinema and the New Sound of Europe
Book SynopsisAt a time when belonging and identity in Europe is complicated by questions of race, ethnicity, religion, and citizenship, Berna Gueneli explores the transnational works of acclaimed Turkish-German filmmaker and auteur Fatih Akın, demonstrates how Akın's aesthetics intersect with politics to reshape notions of Europe, European cinema, and cinematic history. Trade ReviewFatih Akın's Cinema and The New Sound of Europe, the first book-length monograph on Akın, not only covers a missing part in the scholarship but also opens up new chapters in our understanding of Turkish German Cinema. * Journal of Religion and Film *Gueneli has provided a sound analysis of Fatih Akın's early work that will prove a stepping-stone for further research. -- Florian Gassner * Monatshefte *Table of ContentsAcknowledgmentsIntroduction: Fatih Akın: A Contemporary Filmmaker From Germany1. Mapping Europe: The Road Movie Genre and Transnational European Space in Film2. The Sound of Polyphony: Multilingualism, Multiethnicity, and Linguistic Empowerment in Head-On3. The Sound of Music: Transnational Soundscapes4. Expanding the Scope of European Cinema: Akın's Cinematic Imagining of a Diverse Europe in ContextConclusion: Intertextual Film—Transnational Film—Transnational Film HistoryBibliography, Filmography/Discography, and Online SourcesIndex
£25.19
Indiana University Press The Invention of Robert Bresson
Book SynopsisTrade ReviewColin Burnett's The Invention of Robert Bresson is a breathtaking act of scholarship. The portrait of Bresson that emerges here, in biographical, cultural and aesthetic terms, is the most complete one that we have to date and will likely ever see. Burnett is as concerned to trace Bresson's relation to figures like Max Ernst as he is to show us just how deep Bresson's involvement was with Coco Chanel and the world of advertising. This is not the Bresson most of us have imagined. But even beyond the book's contribution to Bresson scholarship and French film studies, which is already considerable, Burnett offers us a new way of thinking about what he calls "a cultural marketplace," a mode of inquiry that will invigorate single author studies by way of the painstaking detail Burnett's model gives to the aesthetic and industrial forces at work at the various stages in an auteur's development, which inform, but do not determine in any simple way, the kind of decisions that a filmmaker is forced to make. For those of us who believe in the importance of single author studies, this book comes as a massive breath of fresh air. For those of you who believe auteurism has run its course, I dare you to read The Invention of Robert Bresson. It will not be easy, I predict, to maintain your resistance. -- Brian PriceColin Burnett keeps historical questions front and center as he explains Bresson's creative role within the lively cultural marketplace of post-WWII French cinema. The Invention of Robert Bresson goes beyond the confines of the usual auteur study, revealing the many innovative ways that Bresson promoted his personal style, while also participating fully in the artistic and critical context of his era. Burnett re-energizes our interest in this rewarding auteur and his place within a rich, unprecedented cinéphilia. -- Richard NeupertAn essential book for those interested in cinema authorship, French film and visual culture, and the iconoclastic Robert Bresson. Burnett's bold intervention takes Bresson down off his marble plinth and makes him a flesh-and-blood practitioner once again, in fierce conversation with the artistic and industrial situations that nourished his work. Burnett's real achievement is to make us look at Bresson—and postwar French cinema in all its troubled creative ferment—profoundly anew again. -- Tim PalmerFrench director Robert Bresson is celebrated among cinephiles for his distinctively spare films, and with this volume Burnett contributes considerably to the scholarship on this auteur. . . . Essential. * Choice *Burnett offers us an important contribution to work on Bresson, which signicantly expands and complements existing, more tex trather-than-context-bound studies. * French Studies *Table of ContentsAcknowledgmentsIntroductionPart One: Alternative Institutions1. Under the Aegis of Surrealism: How a Publicity Artist Became the Manager of an Independent Film Company2. The Rise of the Accursed: When Bresson was Co-President of an Avant-Garde Ciné-ClubPart Two: Vanguard Forms3. Purifying Cinema: The Provocations of Faithful Adaptation and First-Person Storytelling in "Ignace de Loyola" (1948) and Journal d'un curé de campagne (1951)4. Theorizing the Image: Bresson's Challenge to the Realists—Sparse Set Design, Acting and Photography from Les anges du péché (1943) to Une femme douce (1969)5. Vernacularizing Rhythm: Bresson and the Shift Toward Dionysian Temporalities—Plot Structure and Editing from Journal d'un curé de campagne (1951) to L'argent (1983)AfterwordSelected BibliographyIndex
£55.80
Indiana University Press Truffaut on Cinema
Book SynopsisTrade Review"Ably edited by Gillain and translated by Alistair Fox, the volume gathers nearly all of Truffaut's writings on his own films, from his breakthrough with The 400 Blows in 1959 to his final film, Confidentially Yours (1983). The writings reveal a Truffaut who was as incisive and direct in assessing his own work as he was in assessing the work of other directors." -W.W. Dixon, University of Nebraska—Lincoln * CHOICE *Table of ContentsPreface to the English Edition (2017)Preface (1988)AcknowledgmentsA Note on the Translation1. Childhood2. The New Wave3. The Auteur Theory4. 1954: Une visite; 1957: Les Mistons; 1958: Histoire d'eau5. 1959: The 400 Blows6. 1960: Shoot the Pianist7. 1962: Jules and Jim8. 1962: Antoine and Colette9. 1966: The Soft Skin10. 1966: Fahrenheit 45111. 1967: The Bride Wore Black12. 1968: Stolen Kisses13. May 196814. 1959-1968: Overview 115. 1969: Mississippi Mermaid16. 1970: The Wild Child17. 1970: Bed and Board18. 1971: Two English Girls19. 1972: A Gorgeous Girl like Me20. 1973: Day for Night21. 1969-1974: Overview 222. 1975: The Story of Adele H23. 1976: Small Change24. 1977: The Man Who Loved Women25. 1978: The Green Room26. 1979: Love on the Run27. 1980: The Last Metro28. 1981: The Woman Next Door29. 1983: Confidentially Yours30. 1975-1984: Overview 3SourcesList of Films Discussed by Truffaut Index
£62.90
Indiana University Press Truffaut on Cinema
Book SynopsisTrade Review"Ably edited by Gillain and translated by Alistair Fox, the volume gathers nearly all of Truffaut's writings on his own films, from his breakthrough with The 400 Blows in 1959 to his final film, Confidentially Yours (1983). The writings reveal a Truffaut who was as incisive and direct in assessing his own work as he was in assessing the work of other directors." -W.W. Dixon, University of Nebraska—Lincoln * CHOICE *Table of ContentsPreface to the English Edition (2017)Preface (1988)AcknowledgmentsA Note on the Translation1. Childhood2. The New Wave3. The Auteur Theory4. 1954: Une visite; 1957: Les Mistons; 1958: Histoire d'eau5. 1959: The 400 Blows6. 1960: Shoot the Pianist7. 1962: Jules and Jim8. 1962: Antoine and Colette9. 1966: The Soft Skin10. 1966: Fahrenheit 45111. 1967: The Bride Wore Black12. 1968: Stolen Kisses13. May 196814. 1959-1968: Overview 115. 1969: Mississippi Mermaid16. 1970: The Wild Child17. 1970: Bed and Board18. 1971: Two English Girls19. 1972: A Gorgeous Girl like Me20. 1973: Day for Night21. 1969-1974: Overview 222. 1975: The Story of Adele H23. 1976: Small Change24. 1977: The Man Who Loved Women25. 1978: The Green Room26. 1979: Love on the Run27. 1980: The Last Metro28. 1981: The Woman Next Door29. 1983: Confidentially Yours30. 1975-1984: Overview 3SourcesList of Films Discussed by Truffaut Index
£27.90
Indiana University Press Boats on the Marne
Book SynopsisTrade Review"Boats on the Marne once and for all establishes Jean Renoir as the supreme artist of the 20th century's supreme art. With long-shots of startling philosophical backdrops that dissolve into delicate close-ups of Renoir's inimitable style, Prakash Younger shows how a staggering string of masterpieces progressively penetrated the conundrums of 1930s France until La règle du jeu grasped, like no other artwork let alone film, the full comic tragedy of our modernity."—Dudley Andrew, Author of 'What Cinema Is!'"In Boats on the Marne, Prakash Younger deploys a sophisticated philosophical approach to Renoir's films of the 1930s, demonstrating their coherent and reflective response to what he calls 'the historical dangers of the times'. His ambitious model of 'dialogic auteurism' melds innovative close analysis of Renoir's 'dispassionate' camerawork with a scrupulous understanding of his films' multiple cultural genealogies and historical contexts. In particular, the in-depth analysis of La Règle du jeu illuminates the film's structure as an evocative portrait of civilization that is then ruthlessly destroyed. Younger successfully reactivates a Bazinian model of Renoir criticism to propose a profoundly ethical understanding of cinematic ontology and its picturing of the contingency of human social relations. His erudite yet deeply personal work will be welcomed by Renoir and film-and-philosophy scholars alike."—Alastair Phillips and Ginette Vincendeau, Editors of 'A Companion to Jean Renoir'Table of ContentsPreface: The Enigma of La Règle du JeuIntroduction: Jean Renoir, Cinephilosopher1. Genesis and Style of the French Renoir2. Escaping from Flaubert or, Reflecting on Romanticism3. Loving the Distance or, Historical Experience and the Fruits of Reflection4. La Règle du Jeu or, Putting Modernity in QuestionConclusion: Why La Règle du Jeu MattersBibliographyIndex
£62.90
Indiana University Press Boats on the Marne
Book SynopsisTrade Review"Boats on the Marne once and for all establishes Jean Renoir as the supreme artist of the 20th century's supreme art. With long-shots of startling philosophical backdrops that dissolve into delicate close-ups of Renoir's inimitable style, Prakash Younger shows how a staggering string of masterpieces progressively penetrated the conundrums of 1930s France until La règle du jeu grasped, like no other artwork let alone film, the full comic tragedy of our modernity."—Dudley Andrew, Author of 'What Cinema Is!'"In Boats on the Marne, Prakash Younger deploys a sophisticated philosophical approach to Renoir's films of the 1930s, demonstrating their coherent and reflective response to what he calls 'the historical dangers of the times'. His ambitious model of 'dialogic auteurism' melds innovative close analysis of Renoir's 'dispassionate' camerawork with a scrupulous understanding of his films' multiple cultural genealogies and historical contexts. In particular, the in-depth analysis of La Règle du jeu illuminates the film's structure as an evocative portrait of civilization that is then ruthlessly destroyed. Younger successfully reactivates a Bazinian model of Renoir criticism to propose a profoundly ethical understanding of cinematic ontology and its picturing of the contingency of human social relations. His erudite yet deeply personal work will be welcomed by Renoir and film-and-philosophy scholars alike."—Alastair Phillips and Ginette Vincendeau, Editors of 'A Companion to Jean Renoir'Table of ContentsPreface: The Enigma of La Règle du JeuIntroduction: Jean Renoir, Cinephilosopher1. Genesis and Style of the French Renoir2. Escaping from Flaubert or, Reflecting on Romanticism3. Loving the Distance or, Historical Experience and the Fruits of Reflection4. La Règle du Jeu or, Putting Modernity in QuestionConclusion: Why La Règle du Jeu MattersBibliographyIndex
£26.99
Indiana University Press Race and the Revolutionary Impulse in The Spook
Book SynopsisTable of ContentsAcknowledgementsIntroduction: The Spook Who Sat by the Door / Michael T. Martin and David C. Wall1. Writer/Producer's Statement: The Making of The Spook Who Sat by the Door / Sam Greenlee2. "[D]uality is a survival tool. It's not a disease": Interview with Sam Greenlee on The Spook Who Sat By the Door / Michael T. Martin and David C. Wall3. Cinema as Political Activism: Contemporary Meanings in The Spook Who Sat by the Door / Marilyn Yaquinto4. Persistently Displaced: Situated Knowledges and Interrelated Histories in The Spook Who Sat by the Door / Samantha N. Sheppard5. Subverting the System: The Politics and Production of The Spook Who Sat By the Door / Christine Acham6. The Spook Who Sat By the Door, Screenplay / Sam Greenlee and Melvin ClayAppendix A: Press KitAppendix B: National Film Registry Entry, The Spook Who Sat by the Door / Michael T. Martin and David C. WallAppendix C: Sam Greenlee: Biography and Select BibliographyAppendix D: Ivan Dixon: Biography and Select FilmographyIndex
£45.00
Indiana University Press Race and the Revolutionary Impulse in The Spook
Book SynopsisTable of ContentsAcknowledgementsIntroduction: The Spook Who Sat by the Door / Michael T. Martin and David C. Wall1. Writer/Producer's Statement: The Making of The Spook Who Sat by the Door / Sam Greenlee2. "[D]uality is a survival tool. It's not a disease": Interview with Sam Greenlee on The Spook Who Sat By the Door / Michael T. Martin and David C. Wall3. Cinema as Political Activism: Contemporary Meanings in The Spook Who Sat by the Door / Marilyn Yaquinto4. Persistently Displaced: Situated Knowledges and Interrelated Histories in The Spook Who Sat by the Door / Samantha N. Sheppard5. Subverting the System: The Politics and Production of The Spook Who Sat By the Door / Christine Acham6. The Spook Who Sat By the Door, Screenplay / Sam Greenlee and Melvin ClayAppendix A: Press KitAppendix B: National Film Registry Entry, The Spook Who Sat by the Door / Michael T. Martin and David C. WallAppendix C: Sam Greenlee: Biography and Select BibliographyAppendix D: Ivan Dixon: Biography and Select FilmographyIndex
£16.14
Indiana University Press Fatih Akins Cinema and the New Sound of Europe
Book SynopsisAt a time when belonging and identity in Europe is complicated by questions of race, ethnicity, religion, and citizenship, Berna Gueneli explores the transnational works of acclaimed Turkish-German filmmaker and auteur Fatih Akın, demonstrates how Akın's aesthetics intersect with politics to reshape notions of Europe, European cinema, and cinematic history. Trade ReviewFatih Akın's Cinema and The New Sound of Europe, the first book-length monograph on Akın, not only covers a missing part in the scholarship but also opens up new chapters in our understanding of Turkish German Cinema. * Journal of Religion and Film *Gueneli has provided a sound analysis of Fatih Akın's early work that will prove a stepping-stone for further research. -- Florian Gassner * Monatshefte *Table of ContentsAcknowledgmentsIntroduction: Fatih Akın: A Contemporary Filmmaker From Germany1. Mapping Europe: The Road Movie Genre and Transnational European Space in Film2. The Sound of Polyphony: Multilingualism, Multiethnicity, and Linguistic Empowerment in Head-On3. The Sound of Music: Transnational Soundscapes4. Expanding the Scope of European Cinema: Akın's Cinematic Imagining of a Diverse Europe in ContextConclusion: Intertextual Film—Transnational Film—Transnational Film HistoryBibliography, Filmography/Discography, and Online SourcesIndex
£55.80
Indiana University Press The Birth of a Nation The Cinematic Past in the
Book SynopsisTrade ReviewIt is beyond time that we recognize that any discussion of Birth as cinematic art must be grounded in an understanding of Birth as racist propaganda. This is the major contribution of Martin's collection. * H-Slavery *Table of ContentsPrefaceAcknowledgmentsIntroduction: Revisiting [As it Were] the "Negro Problem" in The Birth of a Nation: Looking Back and in the Present / Michael T. MartinPart I: National/Transnational in Historical Time1. Birth of a Nation's Long Century / Cara Caddoo2. Great Moments From The Birth of a Nation: Collecting and Privately Screening Small Gauge Versions / Andy Uhrich3. D.W. Griffith's The Birth of a Nation: Transnational and Historical Perspectives / Melvyn Stokes4. Defining National Identity: The Birth of a Nation From America to South Africa / Peter Davis5. Is Birth of a Nation a Western? / Alex LichtensteinPart II: Representational and Rhetorical Strategies6. Serial Melodramas of Black and White: The Birth of a Nation and Within Our Gates / Linda Williams7. The Rhetoric of Historical Representation in Griffith's The Birth of a Nation / Lawrence HowePart III: Cinematic Iterations in the Present8. Something Else Besides a Western: Django Unchained's Generic Miscegenations / Paula Massood9. 12 Years a Slave and The Birth of a Nation: Two Moments in Representing Race / Julia Lesage10. Engineering Different Equations in the Wake of Birth of a Nation: Blackface and Racial Politics in Bamboozled and Dear White People / Anne-Marie Paquet-Deyris11. Race, Space, Sexuality, and Suffering in The Birth of a Nation and Get Hard / David C. Wall12. Anger or Laughter? The Dialectics of Response in The Birth of a Nation / Chuck KleinhansIndex
£17.99
Indiana University Press Sex Politics and Comedy The Transnational Cinema
Book SynopsisTrade ReviewGiven its emphasis on identites sexual and ethinc, queerness and Jewishness, and its power to reveal the resistant potential of a mainstream artist, McCormick's work is ideally conceived for today's intellectual priorities. -- Alan Lareua, University of Wisconsin-Oskosh * Monatshefte *Table of ContentsAcknowledgmentsIntroduction: Transnational Jewish ComedyI. Berlin: Sex, Spectacle, and Anarchy1. From the Jewish "Bad Boy" to the "Bad Girl": Early Comedies, 1914–1919 2. Bad Girls and the Costume Epics: 1919–1922 3. Bad Girls Untamed: Anarchic/Fantastic Comedies (1919–1922)II. Hollywood: From European Sophistication to Anti-Fascist Screwball4. Sex & Sophistication: Comedies & Operettas, 1924–19345. Pushing the Boundaries in Pre-Code Hollywood, 1931–19346. Screwball Politics: American Populism & European Politics, 1935–417. Coming Out as Jewish: To Be or Not to Be (1942)Epilogue: Twilight of a Cosmopolitan, 1943–47BibliographyFilmography Index
£67.15
Indiana University Press Sex Politics and Comedy The Transnational Cinema
Book SynopsisTrade ReviewGiven its emphasis on identites sexual and ethinc, queerness and Jewishness, and its power to reveal the resistant potential of a mainstream artist, McCormick's work is ideally conceived for today's intellectual priorities. -- Alan Lareua, University of Wisconsin-Oskosh * Monatshefte *Table of ContentsAcknowledgmentsIntroduction: Transnational Jewish ComedyI. Berlin: Sex, Spectacle, and Anarchy1. From the Jewish "Bad Boy" to the "Bad Girl": Early Comedies, 1914–1919 2. Bad Girls and the Costume Epics: 1919–1922 3. Bad Girls Untamed: Anarchic/Fantastic Comedies (1919–1922)II. Hollywood: From European Sophistication to Anti-Fascist Screwball4. Sex & Sophistication: Comedies & Operettas, 1924–19345. Pushing the Boundaries in Pre-Code Hollywood, 1931–19346. Screwball Politics: American Populism & European Politics, 1935–417. Coming Out as Jewish: To Be or Not to Be (1942)Epilogue: Twilight of a Cosmopolitan, 1943–47BibliographyFilmography Index
£34.20
University of Texas Press Rewrite Man
Book SynopsisThis lively biography of the screenwriter of 1980s hit movies Top Gun, Beverly Hills Cop II, Beetlejuice, and Batman illuminates issues of film authorship that have become even more contested in the era of blockbuster filmmaking.Trade Review"The bulk of the book details his role in the creation of numerous successful films, including Batman, Beetlejuice, and Top Gun, and his battles to get his contributions to the filmed scripts formally recognized. Skaaren’s skill and efficiency—he rewrote Top Gun in just 10 days—became legendary, and Macor explains how the changes he made to characterizations improved them." * Publishers Weekly *"A remarkable piece of scholarship detailing the inner workings of Hollywood screenwriting in the 1980s, WGA regulations and politics, and the psychology of a highly creative and driven Minnesotan-turned-Texan who had 'Spielbergian' ambitions." * Historical Journal of Film, Radio, and Television *Table of Contents Introduction One. From Hallingdal to Houston Two. Hollywood on the Colorado Three. Breaking Away Four. Highway to the Danger Zone Five. Hollywood Gothic Six. One Hit After Another Seven. Batmania Eight. The Man Hollywood Trusts Conclusion Acknowledgments Notes Select Bibliography Index
£25.19
University of Texas Press Race on the QT
Book SynopsisAsserting that race has been the cornerstone of most of Quentin Tarantino's films, this book uncovers the racial politics, progressive and regressive, hidden on the QT in the director's work from Reservoir Dogs and Pulp Fiction to Inglourious Basterds aTrade ReviewNama’s book traces the racial topicality of Tarantino’s films to his fascination with the subversive and racially empowering features of Blaxploitation cinema. It confronts the racial frankness in Tarantino’s films rather than the man himself, examining what they say about race in America with a critical dynamism and a clarity of perspective that makes enjoyable and provocative reading. * Times Literary Supplement *Table of Contents Acknowledgments Introduction Chapter 1. Reservoir Dogs and True Romance Chapter 2. Pulp Fiction and Jackie Brown Chapter 3. Kill Bill: Vol. 1, Kill Bill: Vol. 2, and Death Proof Chapter 4. Inglourious Basterds and Django Unchained Coda Notes Bibliography Index
£17.09
