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Books > Arts & Architecture > Performing arts > Films, cinema > Individual film directors, film-makers
Claude Chabrol's cinema is generally associated with a specific
type of psychological thriller, one set in the French provinces and
fascinated with murder, incest, fragmented families, unstable
spaces and inscrutable female characters. But Chabrol's films are
both deceptively accessible and deeply reflexive, and in this
innovative reappraisal of his filmography Catherine
Dousteyssier-Khoze explores the Chabrol who was influenced by
Balzac, Magritte and Stanley Kubrick. Bringing to the fore
Chabrol's 'aesthetic of opacity', the book deconstructs the
apparent clarity and comfort of his chosen genre, encouraging the
viewer to reflect on the relationship between illusion and reality,
and the status of the film image itself.
French filmmaker Christophe Honore challenges audiences with
complex cinematic form, intricate narrative structures, and
aesthetically dynamic filmmaking. But the limited release of his
films outside of Europe has left him largely unknown to U.S.
audiences. In Christophe Honore: A Critical Introduction, authors
David A. Gerstner and Julien Nahmias invite English-speaking
scholars and cineastes to explore Honore's three most recognized
films, Dans Paris (2006), Les Chansons d'amour (2007), and La Belle
personne (2008)-"the trilogy." Gerstner and Nahmias analyze
Honore's filmmaking as the work of a queer auteur whose cinematic
engagement with questions of family, death, and sexual desire
represent new ground for queer theory. Considering each of the
trilogy films in turn, the authors take a close look at Honore's
cinematic technique and how it engages with France's contemporary
cultural landscape. With careful attention to the complexity of
Honore's work, they consider critically contested issues such as
the filmmaker's cinematic strategies for addressing AIDS, the depth
of his LGBTQ politics, his representations of death and sexual
desire, and the connections between his films and the New Wave.
Anchored by a comprehensive interview with the director, the
authors incorporate classical and contemporary film theories to
offer a range of cinematic interventions for thinking queerly about
the noted film author. Christophe Honore: A Critical Introduction
reconceptualizes the relationship between film theory and queer
theory by moving beyond predominant literary and linguistic models,
focusing instead on cinematic technique. Students and teachers of
queer film will appreciate this thought-provoking volume.
Over the last five decades, the films of director Brian De Palma
(b. 1940) have been among the biggest successes (The Untouchables,
Mission: Impossible) and the most high-profile failures (The
Bonfire of the Vanities) in Hollywood history. De Palma helped
launch the careers of such prominent actors as Robert De Niro, John
Travolta, and Sissy Spacek (who was nominated for an Academy Award
as Best Actress in Carrie). Indeed Quentin Tarantino named Blow Out
as one of his top three favorite films, praising De Palma as the
best living American director. Picketed by feminists protesting its
depictions of violence against women, Dressed to Kill helped to
create the erotic thriller genre. Scarface, with its over-the-top
performance by Al Pacino, remains a cult favorite. In the
twenty-first century, De Palma has continued to experiment,
incorporating elements from videogames (Femme Fatale), tabloid
journalism (The Black Dahlia), YouTube, and Skype (Redacted and
Passion) into his latest works. What makes De Palma such a maverick
even when he is making Hollywood genre films? Why do his movies
often feature megalomaniacs and failed heroes? Is he merely a
misogynist and an imitator of Alfred Hitchcock? To answer these
questions, author Douglas Keesey takes a biographical approach to
De Palma's cinema, showing how De Palma reworks events from his own
life into his films. Written in an accessible style, and including
a chapter on every one of his films to date, this book is for
anyone who wants to know more about De Palma's controversial films
or who wants to better understand the man who made them.
Queer Theory and Brokeback Mountain examines queer theory as it has
emerged in the past three decades and discusses how Brokeback
Mountain can be understood through the terms of this field of
scholarship and activism. Organized into two parts, in the first
half the author discusses key canonical texts within queer theory,
including the work of writers as Judith Butler, Michel Foucault,
and Eve Kosofsky Sedgwick. He provides an historical account of the
questions these scholars have posed to our understanding of
sexualities-both normative and non-normative-in the historical past
and in contemporary life, as well as a discussion of the theories
of sexuality and gender offered by these scholars as these
phenomena shape the experiences of men and women in the genital,
bodily, erotic, discursive, and cultural dimensions. The second
part examines Ang Lee's 2005 feature film, Brokeback Mountain, in
order to understand the claims and insights of queer theory.
Tracing the film's adaptation by screenwriter Larry McMurtry of
Annie Proulx's 1997 short story of the same title, this portion of
the book examines the film's narrative about two working-class men
in the rural mid-20th-century U.S. and the meanings of the sexual
and emotional bond between the pair that develops over the course
of two decades.
Since 1996, Alexander Payne (b. 1961) has made six feature films
and a short segment of an omnibus movie. Although his body of work
is quantitatively small, it is qualitatively impressive. His movies
have garnered numerous accolades and awards, including two Academy
Awards for Best Adapted Screenplay. As more than one interviewer in
this volume points out, he maintains an impressive and unbroken
winning streak. Payne's stories of human strivings and follies,
alongside his mastery of the craft of filmmaking, mark him as a
contemporary auteur of uncommon accomplishment. In this first
compilation of his interviews, Payne reveals himself as a
captivating conversationalist as well. The discussions collected
here range from 1996, shortly after the release of his first film,
Citizen Ruth, to the 2013 debut of his film, Nebraska. Over his
career, he muses on many subjects including his own creative
processes, his commitment to telling character-centered stories,
and his abiding admiration for movies and directors from across
decades of film history. Critics describe Payne as one of the few
contemporary filmmakers who consistently manages to buck the
current trend toward bombastic blockbusters. Like the 1970s
director-driven cinema that he cherishes, his films are small-scale
character studies that manage to maintain a delicate balance
between sharp satire and genuine poignancy.
Philippe Grandrieux is one of cinema's only living true radicals
and feted as one of the most innovative and important film makers
of his generation. His consistently controversial work remains,
however, relatively unknown outside of the international art film
festival circuit. In this volume, the first book-length study of
the work of Grandrieux in any language, Greg Hainge provides an
overview and critical analysis of Grandrieux's entire career during
which he has produced works for television, video installations,
photography, performance pieces, documentary films, short films and
prize-winning feature films. As well as providing an overview, the
book argues that a critical appraisal of his work necessarily leads
us to problematize many of the critical orthodoxies that have been
formed in recent times, to reject the concept of a haptic cinema
and to supplant this instead with the idea of a sonic cinema.
Philippe Grandrieux is one of cinema's only living true radicals
and feted as one of the most innovative and important film makers
of his generation. His consistently controversial work remains,
however, relatively unknown outside of the international art film
festival circuit. In this volume, the first book-length study of
the work of Grandrieux in any language, Greg Hainge provides an
overview and critical analysis of Grandrieux's entire career during
which he has produced works for television, video installations,
photography, performance pieces, documentary films, short films and
prize-winning feature films. As well as providing an overview, the
book argues that a critical appraisal of his work necessarily leads
us to problematize many of the critical orthodoxies that have been
formed in recent times, to reject the concept of a haptic cinema
and to supplant this instead with the idea of a sonic cinema.
Warsaw- and London-based filmmakers Franciszka and Stefan Themerson
are often recognized internationally as pioneers of the 1930s
Polish avant-garde. Yet, from the turn of the century to the end of
the 1920s, Poland's literary and art scenes were also producing a
rich array of criticism and early experiments with the moving image
that set the stage for later developments in the avant-garde. In
this comprehensive and accessible study, Kamila Kuc draws on myriad
undiscovered archival sources to tell the history of early Polish
avant-garde movements-Symbolism, Expressionism, Futurism, and
Constructivism-and to reveal their impact on later practices in art
cinema.
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 Agnes 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 theorists and critics 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, and thereby reinvigorating both the narratives and the
formal ambitions of European cinema. Ince uses feminist
philosophers to cast a new veil over such films as Sex Is Comedy,
Morvern Callar, White Material, and Fish Tank; and includes a
timeline ofdevelopments in women's film-making and feminist film
theory from 1970 to 2011.
Greek film director Theo Angelopoulos is one of the most
influential and widely respected filmmakers in the world today, yet
his films are still largely unknown to the American public. In the
first book in English to focus on Angelopoulos's unique cinematic
vision, Andrew Horton provides an illuminating contextual study
that attempts to demonstrate the quintessentially Greek nature of
the director's work. Horton situates the director in the context of
over 3,000 years of Greek culture and history. Somewhat like Andrei
Tarkovsky in Russia or Antonioni in Italy, Angelopoulos has used
cinema to explore the history and individual identities of his
culture. With such far-reaching influences as Greek myth, ancient
tragedy and epic, Byzantine iconography and ceremony, Greek and
Balkan history, modern Greek pop culture including bouzouki music,
shadow puppet theater, and the Greek music hall tradition,
Angelopoulos emerges as an original "thinker" with the camera, and
a distinctive director who is bound to make a lasting contribution
to the art form.
In a series of films including "The Travelling Players," "Voyage
to Cythera," "Landscape in the Mist," "The Suspended Step of the
Stork," and most recently in "Ulysses' Gaze" starring Harvey Keitel
(winner of the 1995 Cannes Film Festival Grand Prix), Angelopoulos
has developed a remarkable cinematic style, characterized by
carefully composed scenes and an enormous number of extended long
shots. In an age of ever decreasing attention spans, Angelopoulos
offers a cinema of contemplation.
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An intimate, moving, dramatic story about the musicians in a great
orchestra who make music come alive in performance and recording.
The musicians here are members of the fabled Boston Symphony
Orchestra, led by conductor Seiji Ozawa, during a season
highlighted by Mahler's Second Symphony, The Resurrection.
This book is the first ever English-language study of Julien
Duvivier (1896-1967), once considered one of the world's great
filmmakers. It provides new contextual and analytical readings of
his films that identify his key themes and techniques, trace
patterns of continuity and change, and explore critical assessments
of his work over time. His career began in the silent era and ended
as the French New Wave was winding down. In between, Duvivier made
over sixty films in a long and at times difficult career. He was
adept at literary adaptation, biblical epic, and film noir, and
this groundbreaking volume illustrates in great detail Duvivier's
eclecticism, technical efficiency and visual fluency in works such
as Panique (1946) and Voici le temps des assassins (1956). It will
particularly appeal to scholars and students of French cinema
looking for examples of a director who could straddle the realms of
the popular and the auteur. -- .
Can blockbuster films be socially relevant or are they just
escapist diversions to entertain the masses and enrich the studios?
Not every successful film contains thoughtful commentary but some
that are marketed as pure entertainment do seriously engage social
issues. Popular science fiction films of the late 1970s and early
1980s-such as George Lucas' Star Wars trilogy, Ridley Scott's Alien
and Aliens, and James Cameron's Terminator films-present a critique
of our engagement with technology in a way that resonates with
1960s counterculture. As challengers of the status quo's
technological underpinnings, Luke Skywalker, Ellen Ripley and Sarah
Connor echo the once-popular social criticism of philosopher
Herbert Marcuse and speak directly to the concerns of people living
in a technologically complex society. The films of Lucas, Scott and
Cameron made money but also made us think about the world we live
in.
Learn about the visual and performing arts in The Movie Book. Part
of the fascinating Big Ideas series, this book tackles tricky
topics and themes in a simple and easy to follow format. Learn
about Movies in this overview guide to the subject, brilliant for
beginners looking to learn and experts wishing to refresh their
knowledge alike! The Movie Book brings a fresh and vibrant take on
the topic through eye-catching graphics and diagrams to immerse
yourself in. This captivating book will broaden your understanding
of Movies, with: - More than 100 of the best movies ever made
worldwide - Packed with facts, charts, timelines and graphs to help
explain core concepts - A visual approach to big subjects with
striking illustrations and graphics throughout - Easy to follow
text makes topics accessible for people at any level of
understanding The Movie Book is the perfect introduction to the
rich history of cinema like never before - from the golden age of
black-and-white films to international art-house and 21st-century
sci-fi, aimed at adults with an interest in the subject and
students wanting to gain more of an overview. Here you'll discover
more than 100 of the best movies ever made, uncovering the key
themes and big ideas behind the world's most celebrated cinematic
gems. Your Movie Questions, Simply Explained This book brings
cinema to life with iconic quotes and film stills, posters,
biographies of directors, actors, and actresses, along with
narrative timelines and images exploring key themes. If you thought
it was difficult to learn about the best cinematic masterpieces,
The Movie Book presents key information in an easy to follow
layout. Learn everything about your favourite movies, as well as
celebrated classics and the films to watch before you die, through
iconic quotes and stills, posters, biographies, memorabilia and
narrative timelines, through superb mind maps and step-by-step
summaries. The Big Ideas Series With millions of copies sold
worldwide, The Movie Book is part of the award-winning Big Ideas
series from DK. The series uses striking graphics along with
engaging writing, making big topics easy to understand.
Michael Rubbo's groundbreaking work has had a deep and enduring
impact on documentary filmmaking worldwide, though his name has
remained relatively unknown. In The Documentary Art of Michael
Rubbo, author D.B. Jones traces Rubbo's filmmaking from his days as
a film student at Stanford, through his twenty years at the
National Film Board of Canada, where Rubbo developed his distinct
documentary style. Jones then describes Rubbo's post-NFB venture
into feature film directing, followed by Rubbo's return to his
native Australia, first as an executive with the Australian
Broadcasting Corporation, and later as a director of feature-length
documentaries and maker of short, personal films for YouTube.
Exploring locales from Montreal to Vietnam, topics as diverse as
plastic surgery and French Marxism, and from interviewing Margaret
Atwood to documenting a failed attempt to interview Fidel Castro,
Rubbo's wide-ranging work establishes his innovative, personal,
lyric, and spontaneous documentary style. In The Documentary Art of
Michael Rubbo D.B. Jones reveals not only the depth of meaning in
Rubbo's films, but also the depth of their influence on filmmaking
itself.
This biography of Alfred Hitchcock is as intriguing, revealing,
perverse, and entertaining as any of his classic films. 'The best
book yet about the movies' most famous director' Publisher's Weekly
'No one will ever top Hitch' Jimmy Stewart One of cinema's greatest
directors, a virtuoso visual artist, and a genius of the suspense
genre, Alfred Hitchcock (1899-1980) is universally known for such
masterpieces as Strangers on a Train, Rear Window, Vertigo, North
by Northwest, Psycho, and The Birds. But he was also a famously
difficult and complex man, prone to arguing with studios and stars
alike. In writing this biography, John Russell Taylor, a
distinguished film critic and friend of Hitchcock's, enjoyed his
full cooperation. Based on numerous interviews, with photos from
the private family albums, and an in-depth study of the making of
his last film, this biography of the director is as intriguing,
revealing, perverse, and entertaining as any Hitchcock classic.
This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
In Hitchcock's Appetites, Casey McKittrick offers the first
book-length study of the relationship between Hitchcock's body size
and his cinema. Whereas most critics and biographers of the great
director are content to consign his large figure and larger
appetite to colorful anecdotes of his private life, McKittrick
argues that our understanding of Hitchcock's films, his creative
process, and his artistic mind are incomplete without considering
his lived experience as a fat man. Using archival research of his
publicity, script collaboration, and personal communications with
his producers, in tandem with close textual readings of his films,
feminist critique, and theories of embodiment, Hitchcock's
Appetites produces a new and compelling profile of Hitchcock's
creative life, and a fuller, more nuanced account of his auteurism.
In Japan and much of Europe, Ozu is widely considered to be one of
the finest film directors who ever lived. While Ozu has a strong
reputation in the West, his films are not as well-known or widely
appreciated in the U.S. as they are elsewhere. A notable exception
to this trend is film critic Roger Ebert, who recently wrote that
Ozu is one of his "three or four" favorite directors. Also, moving
beyond the view that Tokyo Story is a masterful exception in the
Ozu canon, Ebert sees Ozu's films as "nearly always of the same
high quality." Ozu International will reflect on Ebert's view of
Ozu by arguing that this director deserves broader recognition in
the U.S., and that his entire canon is worthy of serious study.
With the recent release of more than 15 Ozu DVDs in the Criterion
Collection, covering every phase of his career at least in part
(including silent films, black-and-white talkies, and color films),
Ozu International helps to fill a lingering gap in English-language
scholarship on Ozu by giving this new generation of scholars a
book-length forum to explore new critical perspectives on an
unfairly neglected director. Contributions include specialists in
Japanese culture, academics from a range of disciplines, and
professional films critics.
The Apu Trilogy is the fourth directorial monograph written by
influential film critic Robin Wood and republished for a
contemporary audience. Focusing on the famed trilogy from Indian
director Satyajit Ray, Wood persuasively demonstrates his ability
at detailed textual analysis, providing an impressively sustained
reading that elucidates the complex view of life in the trilogy.
Wood was one of our most insightful and committed film critics,
championing films that explore the human condition. His analysis of
The Apu Trilogy reveals and illuminates the films' profoundly
humanistic qualities with clarity and rigor, plumbing the
psychological and emotional resonances that arise from Ray's
delicate balance of performance, camerawork, and visual design.
Wood was the first English language critic to write substantively
about Ray's films, which made the original publication of his
monograph on The Apu Trilogy unprecedented as well as impressive.
Of late there has been a renewed interest in North America in the
work of Satyajit Ray, yet no other critic has come close to
equaling the scope and depth of Wood's analysis. In his
introduction, originally published in 1971, Wood says Ray's work
was met with indifference. In response, he offers possible reasons
why this occurred, including social and cultural differences and
the films' slow pacing, which contemporary critics tended to
associate with classical cinema. Wood notes Ray's admiration for
Western film culture, including the Hollywood cinema and European
directors, particularly Jean Renoir and his realist films.
Assigning a chapter to each Pather Panchali (1955), Aparajito
(1957) and The World of Apu (1959), Wood goes on to explore each
film more thoroughly. One of the aspects of this book that is
particularly rewarding is Wood's analytical approach to the trilogy
as a whole, as well as detailed attention given to each of the
three films. The book, with a new preface by Richard Lippe and
foreword by Barry Keith Grant, functions as a masterclass on what
constitutes an in-depth reading of a work and the use of critical
tools that are relevant to such a task. Robin Wood's The Apu
Trilogy offers an excellent account of evaluative criticism that
will appeal to film scholars and students alike.
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