Individual film directors Books
University Press of Mississippi The Coen Brothers: Interviews
Book SynopsisJoel and Ethan Coen (b. 1954, 1957) started their careers in obscurity on a shoestring budget cajoled from family and friends in Minneapolis. Working entirely outside the studio system, the Coen brothers scored an unlikely first success in 1984 with their postmodern noir film Blood Simple. Two decades and nearly a dozen movies later, the Coens are now among the best-known writer/directors in Hollywood, turning out major studio releases featuring such stars as George Clooney, Catherine Zeta-Jones, and Tom Hanks. The Coens' films all share a distinctive, quirky ambience that critics have come to identify as ""that Coen brothers feeling."" Tricky moving camera work, frequent use of the voiceover, homages to directors and cinematic genres, a fascination with unexpected and off-kilter violence, and omnipresent black humor are all defining elements of the Coens' cinematic world. From such highly stylized movies as Barton Fink and The Man Who Wasn't There to more mainstream but dark comedies such as Raising Arizona, Intolerable Cruelty, and O Brother, Where Art Thou?, the Coens are equally at home with existential despair and comic exuberance and are known for scripts packed with an obvious love for language. This collection of their most important interviews spans twenty years and is the most comprehensive published on the brothers.
£23.96
£21.28
BearManor Media 100 Years of Brodies with Hal Roach: The Jaunty Journeys of a Hollywood Motion Picture and Television Pioneer
£24.50
BearManor Media Showmanship: The Cinema of William Castle
£16.50
BearManor Media Robert Florey, the French Expressionist
£19.57
BearManor Media The Cinematic Misadventures of Ed Wood
£23.63
BearManor Media Larry Cohen: The Stuff of Gods and Monsters
£32.29
BearManor Media Larry Cohen: The Stuff of Gods and Monsters (hardback)
£39.20
University Press of Mississippi Fred Zinnemann and the Cinema of Resistance
Book SynopsisFred Zinnemann directed some of the most acclaimed and controversial films of the twentieth century, yet he has been a shadowy presence in Hollywood history. In Fred Zinnemann and the Cinema of Resistance, J. E. Smyth reveals the intellectual passion behind some of the most powerful films ever made about the rise and resistance to fascism and the legacy of the Second World War, from The Seventh Cross and The Search to High Noon, From Here to Eternity, and Julia. Smyth's book is the first to draw upon Zinnemann's extensive papers at the Academy of Motion Picture Arts and Sciences and brings Fred Zinnemann's vision, voice, and film practice to life. In his engagement with the defining historical struggles of the twentieth century, Zinnemann fought his own battles with the Hollywood studio system, the critics, and a public bent on forgetting. Zinnemann's films explore the role of women and communists in the antifascist resistance, the West's support of Franco after the Spanish Civil War, and the darker side of America's national heritage. Smyth reconstructs a complex and conflicted portrait of Zinnemann's cinema of resistance, examining his sketches, script annotations, editing and production notes, and personal letters. Illustrated with seventy black-and-white images from Zinnemann's collection, Fred Zinnemann and the Cinema of Resistance discusses the director's professional and personal relationships with Spencer Tracy, Montgomery Clift, Audrey Hepburn, Vanessa Redgrave, and Gary Cooper; the critical reaction to his revisionist Western, High Noon; his battles over the censorship of From Here to Eternity, The Nun's Story, and Behold a Pale Horse; his unrealized history of the communist Revolution in China, Man's Fate; and the controversial study of political assassination, The Day of the Jackal. In this intense, richly textured narrative, Smyth enters the mind of one of Hollywood's master directors, redefining our knowledge of his artistic vision and practice.
£98.10
Bloomsbury Publishing Plc The Body and the Screen: Female Subjectivities in Contemporary Women’s Cinema
Book SynopsisWinner of the British Association of Film, Television and Screen Studies Best Book Prize 2018 Since the 1980s the number of women regularly directing films has increased significantly in most Western countries; in France, Claire Denis and Catherine Breillat have joined Agnès Varda in gaining international renown, while British directors Lynne Ramsay and Andrea Arnold have forged award-winning careers in feature film. This new volume in the “Thinking Cinema” series draws on feminist philosophers and theorists from Simone de Beauvoir on to offer readings of a range of the most important and memorable of these films from the 1990s and 2000s, focusing as it does so on how the films convey women's lives and identities. Mainstream entertainment cinema traditionally distorts the representation of women, objectifying their bodies, minimizing their agency, and avoiding the most important questions about how cinema can "do justice" to female subjectivity. Kate Ince suggests that the films of independent women directors are progressively redressing the balance, reinvigorating both the narratives and the formal ambitions of European cinema. Ince uses feminist philosophers to interpret such films as Sex Is Comedy, Morvern Callar, White Material, and Fish Tank anew, suggesting that a philosophical understanding of female subjectivity as embodied and ethical should underpin future feminist film study.Trade ReviewThe Body and the Screen makes a fine contribution to the field of film philosophy in its examination of how feminist phenomenology can be brought into dialogue with female subjectivity in film. * EuropeNow *This trenchant volume makes a fine and timely contribution to the field of film philosophy in its examination of how the work of leading feminist philosophers may be brought into dialogue with film. Through Simone de Beauvoir and others, Ince makes a case for rigorous thought about embodied female subjectivity as explored through cinema. This she addresses in close readings of works by the major British and French female directors of the last two decades. Whether in her discussion of the phenomenological geography of Agnès Varda's 'film-world' or of performed co-authorship in Sally Potter, Ince is an acute and erudite interlocutor. The Body and the Screen will quickly become a work of reference in its field. * Emma Wilson, Professor of French Literature and the Visual Arts, University of Cambridge, UK *Through insightful and attentive exploration of selected works by French and British women filmmakers of the last 25 years, Kate Ince demonstrates how feminist phenomenology, beginning with Simone de Beauvoir and continuing into the present decade, offers new and exciting ways of understanding women in, and, and of the cinema. Clearly and concisely written, Ince’s book is a tour de force exploration of the ways in which philosophy and women’s cinema can inform and enrich each other. * Judith Mayne, Emerita Professor of French, The Ohio State University, USA *Table of ContentsAcknowledgements List of Illustrations Chapter 1 Female Subjectivity in Philosophy and Theory Chapter 2 Feminist Film Studies and Women’s Cinema After Psychoanalysis Chapter 3 Body Chapter 4 Look Chapter 5 Speech Chapter 6 Performance Chapter 7 Desire Chapter 8 Freedom Conclusion Bibliography Filmography
£34.99
Book Case Engine Stanley Kubrick: The Odysseys
Book SynopsisApril 2, 2018 was the 50th anniversary of a 1968 premiere screening in Washington, D.C. of Stanley Kubrick's 2001: A Space Odyssey. The film remains the most fascinating cinematographic adventure given to experience. As a tribute to the masterpiece, and to the maestro himself, this essay which was first presented in 1995 as a scholarly paper explores the multiple connections to the Odyssean theme that one may find in Stanley Kubrick's filmography.Kubrick's unweaving and re-weaving of the cinematographic tapestry reflect his attachment to the changeability implied in the Odyssean theme, which has become the theme of questioning, the perpetual questioning of one's possibilities. The camera's shuttling back and forth in time, round and round in space, through the means of dolly movements, shots and reverse shots, circular and spiraling recurrences, equates the director's shuttling between classical and avant-garde techniques, between painting and photography, between musical intensity and spatial silence. A chassé-croisé which the pluricephal director utilizes with a view to producing new angles of view and new parallaxes: a constant Kubrickian experimentation of the cinematographic language.
£10.67
BearManor Media Robert Wise: The Motion Pictures (Revised Edition)
£25.74
BearManor Media J. Arthur Rank - the Rise and Fall of His Film Empire
£21.00
BearManor Media J. Arthur Rank - The Rise and Fall of His Film Empire (hardback)
£28.02
Independently Published 2001 between Kubrick and Clarke: The Genesis, Making and Authorship of a Masterpiece
£19.99
Dean Movshovitz Pixar Storytelling: Rules for Effective Storytelling Based on Pixar's Greatest Films
Book SynopsisPixar Storytelling is about effective storytelling rules based on Pixar’s greatest films. The book consists of ten chapters, each of which explores an aspect of storytelling that Pixar excels at. Learn what Pixar’s core story ideas all have in common, how they create compelling, moving conflict and what makes their films’ resolutions so emotionally satisfying. The book also examines Pixar’s character development, unique, intricate story structure and use of theme, all of which are key to the studio’s storytelling achievements. This book is great for writers interested in writing for animation or mainstream feature films, animators or aspiring directors who want to know how some of the best animated films work, and even Pixar fans or film buffs who are interested in learning more about the awesome world of storytelling.
£15.76
Monkey's Paw Publishing, Inc. Shooting Zodiac
£24.99
Bookside Press Coming From Not Knowing
£9.25
Bloomsbury Publishing PLC Powell and Pressburger: A Cinema of Magic Spaces
Book SynopsisThe film-making partnership of Michael Powell and Emeric Pressburger was one of the most remarkable and visionary in cinema. They made an extraordinary range of films, from The Spy in Black and The Life and Death of Colonel Blimp to A Canterbury Tale and The Red Shoes. With champions like Martin Scorsese and Francis Ford Coppola, and revived critical interest worldwide, they now find new generations of admirers. This illuminating new book looks closely at these classic films to explore their complex relationship to national identity, and their interest in exile, borderlands, utopias, escapism, art and fantasy. Moor reveals for example how the visual imagery of the films of the Second World War question current cinematic styles and how post war films like The Red Shoes and The Tales of Hoffman are in their highly expressive use of design, music and dance utterly international in character.Trade Review'Powell and Pressburger made beautiful, deviant and mongrel films that are famously un-pindownable. Moor's book challenges this belief in their rootlessness and shows how they fit into the movie genres, social history, empire, gender, nation, literature and iconography. He's particularly good on the postwar films, and brilliant on David Niven.' Mark Cousins 'Andrew Moor does full justice to the richness of their great films of the 1940s, and relates them in fascinating ways to the events of this pivotal decade in twentieth-century British history.' Charles Barr 'Essential reading for anyone engaging with the work of Powell and Pressburger.' Screen 'Eclectic and intellectually stimulating. - This book is clearly a labour of love, but that only adds to its worth and readability.' Historical Journal of Film and Television ' - A valuable text for both students and academics that is pertinent for study relating to postmodernism, cultural geography, postcolonial studies, gender studies, film studies, and the affect/effect of cinematic spaces on the spectator.' Journal of Popular Film and Television
£24.50
Boldwood Books Ltd The Rise: As seen on ITV - a gritty, glamorous thriller from Shari Low and TV's Ross King
Book SynopsisWhen we bury our secrets, they always come back to haunt us...Their rise was meteoric. Only a few years before, they had been three friends from Glasgow, just trying to survive tough lives of danger and dysfunction. But on one Hollywood evening in 1993, they were on the world’s biggest stage, accepting their Oscar in front of the watching world. That night was the beginning of their careers. But it was also the end of their friendship. Over the next twenty years, Mirren McLean would become one of the most powerful writers in the movie industry. Zander Leith would break box-office records as cinema’s most in-demand action hero. And Davie Johnson would rake in millions as producer of some of the biggest shows on TV. For two decades they didn’t speak, driven apart by a horrific secret. Until now… Their past is coming back to bite them, and they have to decide whether to run, hide, or fight. Because when you rise to the top, there’s always someone who wants to see you fall.An exciting new glam thriller for the fans of Taylor Jenkins Reid, Liane Moriarty and Jo Spain Previously published in the UK as TAKING HOLLYWOOD by Shari King.‘Brilliant, a white-knuckle ride of a novel. Gripping and wildly glamorous’ Tilly Bagshawe ‘It's a real slice of Hollywood and a brilliant read’ Gerard Butler ‘A glam, edgy thriller, just the way I like them’ Martina Cole ‘Sex, scandal and secrets galore’ Jackie Collins 'A high-stakes thriller with a dark, moving story at its core. Page-turning entertainment at its very best' - TJ Emerson ‘It's a thriller that’s gritty, sexy and a sensational page turner. You won't be able to put it down. I loved it!’ Lorraine Kelly 'I loved this Hollywood tale with deep Scottish roots. It’s dark, sinful, glittering and thrilling. An absolute adventure from the very first page' Carmen Reid 'The mean streets of Glasgow meet the glitz of Hollywood. A riveting read!' - Evie Hunter
£18.37
Bloomsbury Publishing PLC Outlaw Masters of Japanese Film
Book Synopsis"Outlaw Masters of Japanese Film" offers an extraordinary close-up of the hitherto overlooked golden age of Japanese cult, action and exploitation cinema from the early 1950s through to the late 1970s, and up to the present day. Having unique access to the top maverick filmmakers and Japanese genre film icons, Chris D. brings together interviews with, and original writings on, the lives and films of such transgressive directors as Kinji Fukasaku ("Battles Without Honour and Humanity"), Seijun Suzuki ("Branded to Kill") and Koji Wakamatsu ("Ecstasy of the Angels") as well as performers like Shinichi 'Sonny' Chiba ("The Streetfighter", "Kill Bill Vol. 1") and glamorous actress Meiko Kaji ("Lady Snowblood"). Bringing the story up-to-date with an overview of such Japanese 'enfants terrible' as Takashi Miike ("Audition") and Kiyoshi Kurasawa ("Cure"), this book also provides a compendium of facts and extras including filmographies, related bibliographies on genre fiction including Manga, and a section on female yakuzas. Illustrated with fantastic stills and posters from some of Japan's finest cult and action films, this is a veritable bible for fans and newcomers alike.Trade ReviewFor years now, Japanese movie mavericks have been confessing their secrets to Chris D. The resulting book is packed with information, resonant with insight, and a must for anyone who's ever wanted to explore the fringes of Japanese film and beyond.' - Patrick Macius, author of TokyoScope: The Japanese Cult Film Companion 'Profiling fourteen genre-defining and downright subversive filmmakers and actors who honed their craft on the wrong side of the cinematic tracks, Outlaw Masters of Japanese Film is long overdue. Chris D.'s boundless enthusiasm for and encyclopaedic knowledge of these films complement his probing interviews and informed commentary. Highly recommended for anyone with an interest in Japanese cinema.' - Stuart Galbraith IV, au thor of The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune ' Legends have a basis in both a perceived and a "virtual" reality. Chris D.'s book shows both sides, which is essential in understanding how filmmaking legends are born.' - Takashi Miike, director of Ichi, The Killer; Dead or Alive and Audition The Daily Yomiuri, 10th July 2005. Review by Colin Donald: 'With the fervour and diligence of the true film nerd, the tersely named Chris D. a writer, actor and rock band member, has collected the most comprehensive English guide in existence to this all-but-forgotten genre.' 'An excellent book by a knowledgeable and truly obsessed fan.' - The Japan TimesTable of ContentsAcknowledgements; Glossary; Introduction; 1. Kinji Fukasaku; 2. Eiichi Kudo; 3. Sinichi 'Sonny' Chiba; 4. Meiko Kaji; 5. Junya Sato; 6. Kihachi Okamoto; 7. Kazuo Ikehiro; 8. Masahiro Shinoda; 9. Yasuharu Hasebe; 10. Seijun Suzuki; 11. Teruo Ishii; 12. Koji Wakamatsu; 13. Takashi Miike; 14. Kiyoshi Kurosawa; Appendices; Selected Bibliography; Index.
£31.42
Bloomsbury Publishing PLC Dziga Vertov: Defining Documentary Film
Book SynopsisPioneer of political documentary and inventor of cinema verite, Dziga Vertov has exerted a decisive influence on directors from Eisenstein to Godard. Yet his reputation long rested upon a lone masterpiece, 'Man with a Movie Camera'. Recently, however Vertov has begun to be recognised as the creator of a body of innovative and distinct films and, as Jeremy Hicks argues, documentary as we know it today is unthinkable without the rediscovery of Vertov. This, the first book in English to cover the whole of Vertov's career, reveals him to be an auteur, allowing readers to combine the familiar and less familiar aspects of his filmmaking and thinking in a cohesive narrative. Jeremy Hicks demonstrates how Vertov draws on Soviet journalistic models for his transformation of newsreel into the new form of documentary film. Through analyses of "Cine-Pravda No 21" (Leninist Cine-Pravda), "Cine-Eye", "Forward Soviet!", "A Sixth Part of the Earth", "The Eleventh Year", "Man with a Movie Camera", "Enthusiasm", "Three Songs of Lenin", and "Lullaby", he shows how Vertov's greatest works combine authentic documentary footage ingeniously for tremendous rhetorical effect. Today, with the energetic revival of interest in documentary film, Vertov's reflexive and overtly partisan films are of great relevance; but they need to be better known and understood. This is the purpose of "Dziga Vertov - Defining Documentary Film".Table of ContentsPreface Acknowledgements List of Illustrations Introduction: Dziga Vertov- Defining Documentary Film 1. The Birth of Documentary from the Spirit of Journalism. Cine-Pravda. Cine-Eye 2. Vertov and Documentary Theory: 'The Goal Was Truth, the Means Cine-Eye.' 3. 'A Card Catalogue in the Gutter.' Stride, Soviet! A Sixth Part of the World Contents 4. New Paths: The Eleventh Year. Man with a Movie Camera 5. Sound and the Defence of Documentary: Enthusiasm 6. Documentary or Hagiography? Three Songs of Lenin 7. Years of Sound and Silence: Lullaby 8. Forward Dziga! Foreign and Posthumous Reception Bibliography Filmography Index
£30.43
Bloomsbury Publishing PLC Kenji Mizoguchi and the Art of Japanese Cinema
Book SynopsisKenji Mizoguchi is one of the three acclaimed masters - together with Yasujiro Ozu and Akira Kurosawa - of Japanese cinema. Kenji Mizoguchi and the Art of Japanese Cinema is the definitive guide to the life and work of one of the greatest film-makers of the twentieth century.Born at the end of the nineteenth century into a wealthy family, Mizoguchi's early life influenced the themes he would take up in his work. His father's ambitious business ventures failed and the family fell into poverty. His mother died and his elder sister was obliged to enter a geisha house to support the family. Her earnings paid for Mizoguchi's education. Weak and deluded men and strong, self-sacrificing women - these were to become the obsessive motifs of Mizoguchi's films.Mizoguchi's apprenticeship in cinema was peculiarly Japanese. His concerns - the role of women and the realist representation of the inequities of Japanese society - were not. Through two World Wars, Japan's culture changed. Though censored, Mizoguchi continued to produce films. It was only in the 1950s that Mizoguchi's astonishing cinematic vision became widely known outside Japan.Kenji Mizoguchi and the Art of Japanese Cinema tells the full story of this famously perfectionist, even tyrannical, director. Mizoguchi's key films, cinematographic techniques and his social and aesthetic concerns are all discussed and set in the context of Japan's changing popular and political culture.Trade Review'Kenji Mizoguchi was unquestionably one of the very greatest of all film-makers and now at last there is a book in English from a distinguished Japanese critic that tells us why. Few in the West have seen so many Mizoguchi films as Tadao Sato, nor studied them so deeply and with such sympathy. This is an invaluable book about a genius of the cinema.' Derek Malcolm, Honorary President of the International Federation of Film CriticsREVIEWS OF MIZOGUCHI'S WORK 'One of the 20th century's greatest filmmakers'New York Times'On equal terms with Eisenstein, Griffith and Renoir'Jean-Luc Godard'The Japanese director I admire the most'Akira Kurosawa'No praise is too high for him'Orson Welles'He is capable of going beyond the limitations of coherent logic, and conveying the deep complexity and truth of the impalpable connections and hidden phenomena of life'Andrei Tarkovsky'The greatest of all cineastes'Cahiers du Cinema'When the name Kenji Mizoguchi is intoTable of Contents1. An Original Spirit 2. Encountering the New Theatre 3. From New Theatre to Naturalism-Realism 4. Social Realism -The Time of Leftist Films - Metropolitan Symphony 5. The Fate of Matinee Idols 6. Man Imitates Art in Life 7. The Three Traditional Art (Geidomono) Films 8. A Difficult Woman 9. Recreating the Classics 10. The Last Works 11. The Dialectic of Camera and Performance 12. Looking Up, Looking Down 13. Yoda Yoshikata Chronology of Life and Work
£36.99
Bloomsbury Publishing PLC Writings, 1922-1934: Sergei Eisenstein Selected Works: v. 1
Book SynopsisI.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. Now in paperback for the first time, Volume 1 documents from the definitive Russian texts the complex course of Sergei Eisenstein's writings during the revolutionary years in the Soviet Union. It presents Eisenstein the innovative aesthetic thinker, socialist artist and humourist, passionately engaged in the debates over the art forms of the future. Importantly, this was also the period of Eisenstein's great silent masterpieces, 'The Strike', 'The Battleship Potemkin', 'October' and 'The General Line', and of his controversial sojourns in Hollywood and Mexico.
£31.42
Bloomsbury Publishing PLC Writings, 1934-1947: Sergei Eisenstein Selected Works: v. 3
Book SynopsisI.B.Tauris is delighted to announce the reissue in paperback in three volumes of the definitive, most comprehensive edition, in the finest translations and fully annotated, of the writings of this great filmmaker, theorist and teacher of film - and one of the most original aesthetic thinkers of the twentieth century. Volume 3 follows on from the 1922-34 writings of Volume 1 and parallels Volume 2's essays on the theory of montage. In the period covered by this volume, Eisenstein's film-making ran into the difficulties generated by the Soviet authorities' increasingly restrictive definition of Socialist Realism, by the show trials and the purges, the Second World War, and the post-war proclamation of rigid cultural orthodoxy by Stalin's henchman, Zhdanov. Here we experience Eisenstein's reaction to this hostile environment, as filmmaker, theorist and teacher, from his public obeisance over 'Bezhin Meadow' to his private defiance with 'Ivan the Terrible'.
£31.42
Bloomsbury Publishing PLC The Cinema of Tarkovsky: Labyrinths of Space and Time
Book SynopsisThe phenomenon of time was a central preoccupation of Tarkovsky throughout his career. His films present visions of time by temporal means - that is, in time. Tarkovsky does not represent time through coherent argument, Nariman Skakov proposes, rather he presents it and the viewer experiences the argument. This book explores the phenomenon of spatio-temporal lapse in Tarkovsky's cinema - from Ivan's Childhood (1962) to Sacrifice (1986). Dreams, visions, mirages, memories, revelations, reveries and delusions are phenomena which present alternative spatio-temporal patterns; they disrupt the linear progression of events and create narrative discontinuity. Each chapter is dedicated to the discussion of one of Tarkovsky's seven feature films and in each, one of these phenomena functions as a refrain. Skakov discusses the influence of the flow of and lapses in space and time on the viewer's perception of the Tarkovskian cinematic universe. He opens and closes his original and fascinating book on Tarkovsky's cinema by focusing on the phenomenon of time that is discussed extensively by the filmmaker in his main theoretical treatise Sculpting in Time, as well as in a number of interviews and public lectures.Trade Review'An illuminating long take of the creative work of one of the most enigmatic and thought-provoking filmmakers of the twentieth century. The book sets high standards not only for thinking about Tarkovsky, but for writing about cinema as such. By combining a reflection on the cinematic and the philosophical, this book transforms the boundaries of both.' - Dragan KujundA ic, Professor of Film and Media Studies and Slavic Studies, University of Florida; 'Before this book, Tarkovsky's preoccupation with "sculpting in time" had become a critical cliche. Here Skakov brings it alive again, offering a fresh, theoretically-informed and entirely original approach. He reveals Tarkovsky's work as creating "textural" temporality, offers fresh readings of the key films, and a compelling theoretical framework.' - Emma Widdis, Head of Department of Slavonic Studies, Cambridge UniversityTable of ContentsList of Illustrations Acknowledgements Note on Transliteration Preface: On Space(s) and Time(s) 1. Dreams of Ivan’s Childhood 2. Visions of Andrei Rublev 3. Phantasies of Solaris 4. Memories of Mirror 5. Revelations of Stalker 6. Recollections of Nostalghia 7. Illusions of Sacrifice Postscript Endnotes Filmography and Credits Bibliography Index
£29.44
Bloomsbury Publishing PLC The Films of Claire Denis: Intimacy on the Border
Book SynopsisThe films of Claire Denis probe the idea of global citizenship and trace the borderlines of family, desire, nationality and power. Her films, including Chocolat, Beau travail and White Material explore connections between national experience and individual circumstance, visualizing the complications of such dualities. Following a foreword by Wim Wenders, international contributors explore the themes she addresses in her films, such as kinship and landscape, neo-colonialism and New French Extremity. Original interviews with an editor, actor and two composers familiar with Denis's working style and with Denis herself, also reveal fresh facets of this intrepid filmmaker.Trade ReviewThis book compiles insightful essays and interviews concerning the work of one of the most innovative and particular narrative filmmakers of our time -- Claire Denis. I feel so lucky to have this remarkable body of films accessible to my consciousness! Thank you, Claire Denis. Jim Jarmusch Claire Denis's films are unequalled in contemporary cinema in their political rigour, sensitivity, artistic verve, and sheer sensuality. This beautiful, exploratory book responds to these films through interviews with the director and her collaborators, photographs and tributes, and through a series of coruscating critical essays from the finest writers in the field. Emma Wilson, Professor of French Literature and the Visual Arts, Cambridge University. Marjorie Vecchio has put together a stunning volume, full of intellectual verve and breathtaking insight that throws light on the work and critical impact of Claire Denis. Unpretentious yet spot on in terms of philosophical framing, the contributions will occupy a central place in the ever-growing archives of film criticism and the theoretical soundtrack that accompany every screening of our ability to think. Avital Ronell, Philosopher, New York University.Table of ContentsMarjorie Vecchio - Introduction Wim Wenders - Forward: “Klärchen“ 1. Interviews Martine Beugnet -‘To Let The Image Sing’: Conversations with Dickon Hinchliffe and Stuart Staples Kirsten Johnson - Interview with Nelly Quettier, Paris July 2011 - Interview with Alex Descas, Paris July 2011 Jean-Luc Nancy - Interview with Claire Denis, European Graduate School, Saas-Fee, Switzerland Summer 2011 (Trans. Nathalie Le Galloudec) 2. Relations Catherine Wheatley - La Famille Denis Sam Ishii-Gonzales - Reinventing Community, or Non-Relational Relations in Claire Denis’s I Can’t Sleep James S. Williams - Beyond the Other: Grafting Relations in the films of Claire Denis 3. Global Citizenship Cornelia Ruhe - Beyond Post-colonialism? From Chocolat to White Material Florence Martin - Trouble Every Day: The Neo-Colonialists bite back. Rafael Ruiz Pleguezuelos - Foreignness and Employment: A Study of the Role of Work in the Films of Claire Denis Jean-Luc Nancy - The Intruder According to Claire Denis (Trans. Anna Moschovakis) 4. Within film Noëlle Rouxel-Cubberly - Delivering: Claire Denis’s opening sequences Laura McMahon - Rhythms of Relationality: Denis and Dance Firoza Elavia - That Interrupting Feeling: Interstitial Disjunctions in Claire Denis’s L'Intrus Henrik Gustafsson - Points of Flight, Lines of Fracture: Claire Denis’s Uncanny Landscape Adam Nayman and Andrew Tracy - Arthouse/Grindhouse: Claire Denis and the “New French Extremity” Filmography Index
£28.46
Currency Press Pty Ltd There's a Fax from Bruce: Edited correspondence
Book Synopsis
£18.04
Bloomsbury Academic Theology and the Films of Christopher Nolan
Book SynopsisJoel Mayward is Assistant Professor of Christian Ministries, Theology and the Arts at George Fox University in Oregon. He is author of five books including The Dardenne Brothers' Cinematic Parables: Integrating Theology, Philosophy, and Film (2022) and the forthcoming Theology and the Films of Christopher Nolan (2025). He is also a cultural critic and writes about the intersection of art and religion.
£98.32
Simon & Schuster Audience-ology: How Moviegoers Shape the Films We
Book SynopsisDiscover the fascinating and secretive process of audience testing of Hollywood movies through these firsthand stories from famous filmmakers, studio heads, and stars.Audience-ology takes you to one of the most unknown places in Hollywood—a place where famous directors are reduced to tears and multi-millionaire actors to fits of rage. A place where dreams are made and fortunes are lost. From “the best in the business” (Sacha Baron Cohen), this book is the chronicle of how real people have written and rewritten America’s cinematic masterpieces by showing up, watching a rough cut of a new film, and giving their unfettered opinions so that directors and studios can salvage their blunders, or better yet, turn their movies into all-time classics. Each chapter informs an aspect or two of the test-screening process and then, through behind-the-scenes stories, illustrates how that particular aspect was carried out. Nicknamed “the doctor of audience-ology,” Kevin Goetz shares how he helped filmmakers and movie execs confront the misses and how he recommended ways to fix the blockbusters, as well as first-hand accounts from Ron Howard, Cameron Crowe, Ed Zwick, Renny Harlin, Jason Blum, and other Hollywood luminaries who brought you such films as La La Land, Chicago, Titanic, Wedding Crashers, Jaws, and Forrest Gump. Audience-ology explores one of the most important (and most underrated) steps in the filmmaking process with enough humor, drama, and surprise to entertain those with only a spectator’s interest in film, offering us a new look at movie history.Trade Review"Kevin’s analysis of my movies has been invaluable over the years. With a comedy, the number one objective is to find out, is it funny, and how do we make it funnier. Kevin is the best in the business.”—Sacha Baron Cohen, actor, writer, and producer“It takes about two years for my brother Bobby and I to make a movie—from writing it, casting it, shooting it, editing it—then one day you have to show it to the world and find out whether you just wasted two years of your life. Kevin is always at that nerve-wracking first screening—front and center—and thank God he is, because he’s like a movie whisperer who somehow knows all the right questions to ask the audience, so by the end of the night we know what’s working, and we know what’s not, and, most importantly, we know how to make the movie better. That’s Kevin’s job in a nutshell—to make movies better. And he does.”—Peter Farrelly, director, writer, producer, and Academy Award winner“Test screening a film is a terrifying experience but having Kevin in the room makes me break out in hives a lot less. The audience insight he has provided for our films has been vital, and it’s truly a sight to behold watching him work his magic. His ability to connect with and get inside the minds of an audience is unmatched.”—Charlize Theron, Academy Award winning actress and producer“On almost every comedy I have worked on in the last 20 years, Kevin has taken the movie through the testing process. Watching a focus group of your movies is like being in a bathroom stall at high school and hearing kids talk about you. Having Kevin there is always reassuring because he always is championing the filmmakers. His ability to analyze and interpret audiences is coupled with a real sense of how story works. He’s at once a scientist interpreting data and a psychologist shepherding audiences to reveal the answers a filmmaker is looking for. He is THE guy when it comes to focus groups and audience testing. And his results are undeniable.” —Ben Stiller, actor, writer, and producer. “The film media loves to gossip about who has “final cut” on a movie, but professionals know that what some contract says doesn’t matter much because in reality, the audience has final cut if you want a commercial hit. But getting an unbiased understanding of what the audience really thinks is not simple. Kevin Goetz is a master in aiding in this effort, as this book so entertainingly reveals.” —Tom Rothman, Chairman, Sony Pictures Entertainment Motion Picture Group“So much of what we do as filmmakers revolves around providing maximum impact and wish fulfillment for our target audience. From concept to completion, we are constantly making assumptions around what we think will give the viewer a positive and unforgettable experience. Kevin and his remarkable company serve as the last validator of those assumptions. Through his carefully crafted process of audience engagement, focus groups, and data mining, he has consistently been able to help find the line between what was intended and what actually worked. This critical work has, hands-down, been the determining factor in the success of my films. There is no version of me locking picture without first consulting Kevin and his company Screen Engine/ASI.“ —Nate Parker, actor, director, writer, and producer“I remember it like it was yesterday – the day of our first preview. Bohemian Rhapsody took me nearly 10 years to make. To say I was a ball of nerves is an understatement. When the lights came on, all I remember was seeing Kevin’s heartwarming smile from ear to ear. He leaned over and said, ‘You’ve got a massive hit on your hands,’ and all my nerves disappeared. To watch him work and know that the film you put your blood, sweat, and tears into is in the best of hands, is one of the greatest experiences. Kevin is truly the best in the business.” – Graham King, Academy Award winning producer“When I screen my movies, they are bad. Then Kevin asks the audience why they are bad. It is painful. Like re-breaking a leg so it heals right. Then somehow, with his help, we figure out what to do. Now that I think about it, he doesn’t get paid enough. But this book should make up the difference.” – Judd Apatow, director, writer, and producer“Whether you sit behind the camera or in front of it, in film school or in an office on a studio lot, or just face a screen as a movie lover, Audience-ology sheds light on how moviegoer feedback holds a special place in the final stages of filmmaking. The explanation of how the test screening process works is illustrated with fascinating stories that are the lore of Hollywood. I only wish this book had existed when I first started out in the business.” – Amy Pascal, producer and former Chairman of Sony Pictures Entertainment Motion Picture Group
£999.99
BoD - Books on Demand Escrime scénique
£34.10
Westworth Publishing Old Hollywood
£17.95
Brill The Cinema of Catherine Breillat
Book SynopsisIn The Cinema of Catherine Breillat, Bélot offers a detailed analysis of Breillat’s past and recent films. Breillat is one of the most internationally renowned French women filmmakers whose notoriety is built on her explicit representation of women’s sexuality. Most of her films rely on a female protagonist’s personal and intimate search of her self, characterised by her sexual journey. Facing censorship and controversy, Breillat’s films do not easily fit classification and place the viewer into an uncomfortable position. This study looks at Breillat as an independent cinema auteur entertaining a close relation with her films by exploring and positing women, from adolescence to adulthood, as sexual beings reflecting her films’ identity emanating from Breillat’s personal or intimate scenes.Trade Review"This is a sharp, engaging volume, offering a complex feminist introduction to the films of this uncompromising cineaste." - G. A. Foster, Choice, 55.6, February 2018. "Sophie Be´lot’s book is to be welcomed as another passionate engagement with Breillat, more in line with some of the best, partisan, French work, by Claire Clouzot and others. These French studies come in close to the director’s auteur persona, responding to and defending Breillat’s seductive, yet contestatory, ethos and visual style. [...] a lovely book that presents a vivid, engaged apprehension of its subject." - Emma Wilson, French Studies, 73.1, January 2019.Table of ContentsAcknowledgements List of Illustrations Introduction : Catherine Breillat’s ‘Scenes-in-Time’ The Personal as the Intimate The Intimate: ‘X’ for Censorship The Manuscript’s Structure and Synopsis 1 ‘Le Cinema de Catherine Breillat’ An Intertextual and Transgressive Cinema: Sex is Comedy and Une Vieille Maîtresse The Script of ‘Intimate Scenes’ in Sex is Comedy Breillat’s Original Film Adaptation : Une Vieille Maitresse 2 Viewing (Dis)-pleasure The ‘Cinematic Spectator’ in Tapage Nocturne 3 The Teen Years in Une vraie jeune fille, 36 fillette, and A ma soeur! The Repressive French Society Revisiting the Lolita Syndrome Real ‘Becomings’/Young Girls 4 A Male Adolescent Sexual Journey ‘The Male Crisis’? in Brève traversée 5 Adult Female Sexual Desire The Genre Film: Crime Drama in Sale comme un ange and Parfait Amour! Empowerment in Masochism: Romance and Anatomie de l’enfer Conclusion Adaptation of Fairy Tales: Reading and Dreaming Fairy Tales and Gender Expectations Intimacy in Catherine Breillat’s Cinema Bibliography Filmography
£97.60
Brill Scorsese and Religion
Book SynopsisScorsese and Religion concerns the religious vision of the great American filmmaker Martin Scorsese. Not only will this volume explore the foundation of Scorsese’s interest in religion—namely, his relation to the Catholic Church—but it will also highlight the religious breadth of Scorsese’s corpus. Ultimately, this book demonstrates that Scorsese’s cinematic “re-presentation” of reality brings together various religious influences (Catholicism, existentialism, Buddhism, etc.) and topics such as violence, morality, nihilism, and so on. The overarching claim is that Scorsese, who indeed once claimed that his “whole life” had been “movies and religion,” cannot be properly understood without reflecting on the ways in which his religious interests are expressed in and through his art.Table of Contents Acknowledgements List of Illustrations Notes on Contributors Introduction Christopher B. Barnett and Clark J. Elliston Part 1: Scorsese and Catholicism 1 The Catholic Scorsese – or How a Seminarian Turned to the Movies Marc Raymond 2 No Way Out: Martin Scorsese and the Ecclesial Imagination Guerric DeBona,osb Part 2: Religious Influences and Themes in Scorsese’s Cinema 3 Dostoevskian Elements in Scorsese’s Cinema Christopher B. Barnett 4 The Problem of Violence in Scorsese’s Films: The Catholic Gangster as Tragic Hero John McAteer 5 Violence and Redemption in Scorsese’s Films: A Girardian Reading Cari Myers 6 Scorsese as a Critic of Modernity: The Woman Question M. Gail Hamner Part 3: Scorsese and Religion: A Selective Filmography 7 The Last Temptation of Christ: Scorsese’s Jesus among Ordinary Saints Rhonda Burnette-Bletsch 8 Scorsese’s Kundun as Catholic Encounter with the Dalai Lama and His Tibetan Dharma Kerry P.C. San Chirico 9 Pity and Pardon in Scorsese’s Palimpsest, Bringing Out the Dead Gerard Loughlin 10 Martin Scorsese’s Screening Room: Theatricality, Psychoanalysis, and Modernity in Shutter Island Stephen Mulhall 11 Reinventing Human Experience: Hugo and the Theological Possibilities of Film Clark J. Elliston 12 The Wolf of Wall Street and Economic Nihilism D. Stephen Long 13 The Global Afterlives of Silence Darren J.N. Middleton and Mark W. Dennis Index of Bible References Index of Names and Subjects
£156.00
Amsterdam University Press Sergei M. Eisenstein: Notes for a General History
Book SynopsisOne of the iconic figures of the twentieth-century cinema, Sergei Eisenstein is best known as the director of The Battleship Potemkin. His craft as director and film editor left a distinct mark on such key figures of the Western cinema as Nicolas Roeg, Francis Ford Coppola, Sam Peckinpah and Akiro Kurosawa.This comprehensive volume of Eisenstein’s writings is the first-ever English-language edition of his newly discovered notes for a general history of the cinema, a project he undertook in 1946-47 before his death in 1948. In his writings, Eisenstein presents the main coordinates of a history of the cinema without mentioning specific directors or films: what we find instead is a vast genealogy of all the media and of all the art forms that have preceded cinema’s birth and accompanied the first decades of its history, exploring the same expressive possibilities that cinema has explored and responding to the same, deeply rooted, “urges” cinema has responded to. Cinema appears here as the heir of a very long tradition that includes death masks, ritual processions, wax museums, diorama and panorama, and as a medium in constant transformation, that far from being locked in a stable form continues to redefine itself.The texts by Eisenstein are accompanied by a series of critical essays written by some of the world’s most qualified Eisenstein scholars.Trade Review"Unpublishable during his lifetime, [Eisenstein's] elliptical, often cryptic texts were only recently exhumed from the Eisenstein archive; they are published in this impressive volume along with extended reflections contributed by eminent international film scholars (editors included) on the director's later film theory. Highly recommended" - S. Liebman, *Choice Magazine* "The notes for [Eisenstein's] publication, [...] accompanied by smart essays by a wide range of cinema scholars, all lovingly edited by Naum Kleiman and Antonio Somaini, reveal Eisenstein at his most intellectually ambitious and capacious." - *Film Quarterly* "This volume, to its great credit, expands productively the study of Eisenstein’s film theory as well as prompting new approaches to film history through discontinuities, jumps, and the resonance of past and present developments in art." - Zdenko Mandu¿ic, Saint Louis University, *Historical Journal of Film, Radio and Television*, 2017 Vol. 37Table of ContentsAcknowledgements Editorial Criteria Naum Kleiman, Foreword Antonio Somaini, Cinema as "Dynamic Mummification," History as Montage: Eisenstein's Media Archaeology Part 1 Sergei M. Eisenstein: Notes for a General History of Cinema 1. The Heir 2. Dynamic Mummification. Notes for a general history of cinema 3. Revelation in Storm and Thunder 4. In Praise of the Cine-chronicle 5. The Place of Cinema in the General System of the History of the Arts 6. Pioneers and Innovators Part 2: Essays 1. Ada Ackerman, What Renders Daumier's Art so Cinematic for Eisenstein? 2. François Albera, "The Heritage We Renounce?" Eisenstein in Historio-graphy 3. Luka Arsenjuk, The "Notes for a General History of Cinema" and the Dialectic of the Eisensteinian Image 4. Nico Baumbach, Act Now!, or For an Untimely Eisenstein 6. Jane Gaines, Eisenstein's Absolutely Wonderful, Totally Impossible Project 7. Abe Geil, Dynamic Typicality 8. Vinzenz Hediger, Archaeology vs. Paleontology: A Note on Eisenstein's "Notes for a General History of Cinema" 9. Mikhail Iampolski, Point - Pathos - Totality 10. Arun Khopkar, Distant Echoes 11. Pietro Montani, "Synthesis" of the Arts or "Friendy Cooperation" between the Arts? The "General History of Cinema" According to Eisenstein 12. Philip Rosen, Eisenstein's Mummy Complex: Temporality, Trauma, and a Distinction in Eisenstein's "Notes for a General History of Cinema" 13. Masha Salazkina, Natalie Ryabchikova, Sergei Eisenstein and the Soviet Models for the Sydt of Cinema: 1920s-1940s Bibliography Notes on Contributors Index of Names
£150.33
Amsterdam University Press Studying Film with André Bazin
Book SynopsisThe impact of French film critic André Bazin (1918-1958) on the development of film studies, though generally acknowledged, remains contested. A passionate initiator of film culture during his lifetime, his ideas have been challenged, defended and revived throughout his afterlife. Studying Film with André Bazin offers an entirely original interpretation of major concepts from Bazin’s legacy, such as auteur theory, realism, film language and the influence of film on other arts (poetry and painting in particular). By examining mostly unknown and uncollected texts, Blandine Joret explains Bazin’s methodology and adopts it in a contemporary reading, linking his ideas to major philosophical and scientific frameworks as well as more recent media practices such as advertising, CGI, 3D cinema and Virtual Reality. In tune with 21st-century concerns in media culture and film studies, this book addresses a wide readership of film scholars, students and cinephiles.Table of ContentsPREFACE CHAPTER I -- STUDYING FILM 1.1 YOUNG ART, OLD CRITICS 1.1.1 MYTH VERSUS HISTORY 1.1.2 CASE STUDY: CHAPLIN AND THE TALKIES 1.2 IN SEARCH OF A METHOD 1.2.1 THE ASEPTIC STUDY OF FILMOLOGY 1.2.2 A SOCIAL STUDY OF FILM 1.3 BAZIN'S MAYONNAISE THEORY CHAPTER II - THE ART OF REALITY 2.1 PARADOX: THE EXISTENCE OF FILM 2.1.1 EDITING PROHIBITED? CGI AND THE DUMMY OF DANGER 2.1.2 AUTHENTICITY: BAZIN'S SHARK AND SCHRÖDINGER'S CAT 2.1.3 THIS IS CINEMA! 2.2 INTEGRAL REALISM: REALITY AND CINEMA 'ULTIMATELY EQUAL' 2.2.1 NO MOMENT SUPRÁME: BAZIN OPPOSES ELLIPSIS (AND PHOTOGÉNIE) 2.2.2 BAZIN ON UMBERTO D: REFORMULATING THE PREGNANT INSTANT 2.2.3 THE ASYMPTOTE OF REALITY: REALITY ? CINEMA 2.3 BAZIN'S WAGER 2.3.1 CALCULATED RISK 2.3.2 LES JEUX SONT FAITS: RIEN NE VA PLUS? CHAPTER III - FILM AND THE OTHER ARTS 3.1 DEBATES ON CONTEMPORARY ART: BAZIN, MARCEL AND PORTMANN 3.1.1 THE INVENTION OF CINEMA IS A MYTH 3.1.2 BRUEGEL CINEMATOGRAPHER 3.1.3 'HOW EVERYTHING TURNS AWAY': ICARUS AS ANTI-WAR STATEMENT 3.2 CINEMA AND PAINTING 3.2.1 TWO REVOLUTIONS ON FILM: GEOGRAPHIC TEMPORALITY 3.3 CASE STUDY: VAN GOGH'S EAR 3.3.1 MYTHIC REALITY BECOMES FLESH 3.3.2 SELF-PORTRAITS WITH BANDAGED EAR: MIRROR AND MASK 3.4 RECREATION: THE LANGUAGE OF FILM CHAPTER IV - A MATTER OF FORM 4.1 FORM + CONTENT 4.1.1 FROM ADVERTISING TO POETRY IN BAZIN 4.1.2 DEPTH, WATER AND THE EVOLUTION OF FORMS 4.1.3 ON FLOATING BODIES: SERGE DANEY AND THE CASE OF LE GRAND BLEU 4.2 PERSPECTIVES ON 3-D 4.2.1 FROM A REALIST PERSPECTIVE: 'THE IMAGINARY IMAGE' 4.2.2 'WILL THIS BE THE TRIUMPH OF THE FAT?' 4.3 BAZIN PUT TO THE TEST: GODARD AND WENDERS 4.3.1 GOODBYE TO LANGUAGE 4.3.2 3D AS REALIST GRAMMAR 4.4 VR: COMPLETE FILM, OR TOTAL CINEMA? EPILOGUE: UNKNOWN ARTS, NEW MEDIA ICARUS IS THE INVENTOR OF FILM BAZIN'S HYPOTHESIS BIBLIOGRAPHY INDEX
£999.99
Amazon Digital Services LLC - Kdp A Preparação Da Atriz E Do Ator
£14.40
Amazon Digital Services LLC - Kdp Equations of Hope
£13.82
Amazon Digital Services LLC - Kdp Brady Corbet
£14.88
Dorling Kindersley Ltd Marvel Studios All Your Questions Answered
Book Synopsis
£11.04
Taylor & Francis Ltd Alfred Hitchcock
Book SynopsisâWill there ever be an end to the supply of books about Alfred Hitchcock?â, pleaded the Times Literary Supplement in 2008. It is a fair question for, as Michael Walker pointed out in Hitchcockâs Motifs, more has been written about Hitchcock (1899â1980) than any other film director. Indeed, Jane E. Sloanâs 1993 Hitchcock bibliography revealed that well over seventy-five scholarly books and nearly 1,000 articles had been published by 1990; and those figures have, of course, continued inexorably to rise.So, while the prospective viewer of Vertigo or Rear Window is likely to feel a compelling need for some preparation before consuming the film itself, the daunting quantity (and variable quality) of Hitchcock criticism makes it difficult to discriminate the useful from the tendentious, superficial, and otiose. That is why this new Routledge title, compiled by Neil Badmington, is so urgently needed. In four volumes, the collection meets the need for an authoritative reference work to allow researchers and students to make sense of the vast Hitchcock literature and the continuing explosion in research output. Users will now be able easily and rapidly to locate the best and most influential critical scholarship, work that is otherwise often inaccessible or scattered throughout a variety of specialist journals and books. With material gathered into one easy-to-use set, researchers and students can now spend more of their time with the key journal articles, book chapters, and other pieces, rather than on time-consuming (and sometimes fruitless) archival searches.The collection is supplemented with a comprehensive introduction newly written by the editor, which places the collected material in its historical and intellectual context. It is also fully indexed and includes an expertly compiled âThematic Guideâ to enable users readily to discover and follow thematic pathways through the assembled works. Alfred Hitchcock is an essential reference work and is destined to be valued as a vital research resource.
£1,187.50
Thames & Hudson Ltd Derek Jarmans Sketchbooks Deluxe Edition
Book SynopsisContaining poetry, drawings, pressed flowers, photographs, excerpts from scripts and notes, this book features Derek Jarman's sketchbooks that are part autobiography and part social history, bursting with the energy and creativity of this groundbreaking artist.Table of ContentsContents: ‘Foreword’ Tilda Swinton • ‘An Introduction to Derek Jarman as Film-maker’ Jon Savage • ‘Early Experiments with Film 1964–1977’ Andrew Logan • ‘Jubilee to Angelic Conversation 1978–1986’ Toyah Willcox • ‘Caravaggio 1986’ Christopher Hobbs • ‘The Last of England to War Requiem 1987–1989’ James Mackay • ‘The Garden 1990’ Howard Sooley • Edward II to Glitterbug 1991–1993 Neil Tennant • ‘Blue 1994–1997’ Keith Collins
£112.50
Faber & Faber Conclusions
Book Synopsis'What a life! What a career!' Harold Pinter'Boorman is one of the world's great directors, a master storyteller.' Paul AusterJohn Boorman is one of cinema's authentic visionaries whose travels have taken him from London in the Blitz to the pinnacle of Hollywood success: the man behind filmes such as Point Blank, Deliverance, Excalibur, Hope and Glory, and The General. Conclusions continues the story of his life that Boorman began with Adventures of a Suburban Boy and shares what has happened since its publication: films made (such as the award-winning The General) and unmade; new knowledge about the craft of film-making; and, ultimately, the story of of his kith and kin, including the death of his cherished elder daughter.Wielding a metaphorical Excalibur, Boorman's career has been a continual search for the truth that only art can convey, and this memoir shows him at his finest.
£15.00
Marion Boyars Publishers Ltd Stargazer
Book Synopsis
£9.95
Edinburgh University Press British Film Directors
Book SynopsisA reference guide to British film directors covering both contemporary and historically important figures.
£85.50
Edinburgh University Press British Film Directors
Book SynopsisA reference guide to British film directors covering both contemporary and historically important figures.Trade ReviewShail is to be congratulated for producing a useful introduction to the work of key British directors. -- James Chapman, University of Leicester Journal of British Cinema and Television As a basic primer on Brit movie-makers with a well-argued intro, Shail's book is hard to beat. 4 stars. -- Philip Kemp Total Film Shail is to be congratulated for producing a useful introduction to the work of key British directors. As a basic primer on Brit movie-makers with a well-argued intro, Shail's book is hard to beat. 4 stars.
£25.64
Edinburgh University Press Claude Chabrols Aesthetics of Opacity
Book SynopsisIn this first reappraisal of his filmography (1958-2009), readers are introduced to a new Chabrol, one influenced by Balzac, Magritte, Kubrick.
£85.50
Edinburgh University Press The Cinema of Ozu Yasujiro
Book SynopsisThis book offers a new interpretation of Ozu Yasujiro career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence.
£81.00
