Roman Polanski's Repulsion (1965), starring Catherine Deneuve as a repressed and tormented manicurist, is a gripping, visually inventive descent into paranoia and self-destructive alienation. Emblematic of recurrent Polanski motifs, evinced in his student short films, in his striking debut feature, Knife in the Water (1962), and in subsequent features like Death and the Maiden (1994), Repulsion is a tour de force examination of crippling anxiety and the sinister potency of inanimate objects. Repulsion amplifies the realm of psychological horror by evoking the seething impact of increasing delusion, literal and figurative seclusion, and the consequences of one woman's foreboding sensitivity to the unsettling world that surrounds her. This Devil's Advocate considers Repulsion within the context of familiar horror tropes and the prevailing qualities of Polanski's broader oeuvre. Drawing on the research of Sigmund Freud, Julia Kristeva, Barbara Creed and others, concerning issues of abjection, the 'monstrous-feminine', and the psychology of horror spectatorship, this text focuses on central themes of isolation, sexuality and setting. Bookended by introductory biographical details and concluding with a roundup of the film's reception, Jeremy Carr situates Repulsion within the horror genre at large as well as its various off-shoots, such as the rape/revenge subgenre. There is also an analysis of the film's technical qualities, from its sound design to its brilliantly low-key special effects, all of which define the film as Polanski's most audaciously stylish realisation of dread and unease.

Jia Zhangke is praised as "the most internationally prominent and celebrated figure of the Six-Generation of Chinese filmmakers". This book provides an examination the content and forms of Jia's featured films and analyzes their merits and faults. Jia's films often narrate the lives of ordinary Chinese people against the backdrop of the political-economic changes. The author conducts an in-depth analysis of how this change have ferociously impinged upon the characters' living conditions since China integrated itself with the world economy in the high tide of accelerated globalization since the 1970s. The author focuses on discussing the "politics of dignity" expressed by Jia's allegorical renditions to explore the director's political unconsciousness and cultural-political notions. This book maps ten of Jia Zhangke's films onto three major themes: Jia's filmmaking and China in the market society; truth claims and political unconscious; "post-socialist modernity" in the age of globalization. This book will be of interest to students and scholars of Chinese film studies, as well as other disciplines, such as political science, sociology, anthropology, etc.

Unlike anything currently available, A Critical Companion to Tim Burton is a comprehensive, up-to-date analysis of all the works of one of the world's most renowned directors and artists. Written by some of the top scholars working in fields as diverse as philosophy, film and media studies, and literature, all chapters of this book illuminate for both scholars and fans alike the entire artistic career of Burton, giving attention to both his early works and his global blockbusters.

Taking at its starting point the idea that Kubrick's cinema has constituted an intellectual, cerebral, and philosophical maze in which many filmmakers (as well as thinkers and a substantial fringe of the general public) have gotten lost at one point or another, this collection looks at the legacy of Kubrick's films in the 21st century. The main avenues investigated are as follows: a look at Kubrick's influence on his most illustrious followers (Paul Thomas Anderson, the Coen Brothers, Christopher Nolan, Ridley Scott, and Lars von Trier, to name a few); Kubrick in critical reception; Kubrick in stylistic (camera movements, set designs, music), thematic (artificial intelligence, new frontiers- large and small), aesthetic (the question of genre, pastiche, stereoscopy) and political terms (paranoia, democracy and secret societies, conspiracy theories). The contributions coalesce around the concept of a Kubrickian substrate, rich and complex, which permeates our Western cultural landscape very much to this day, informing and sometimes announcing/reflecting it in twisted ways, 21 years after the director's death.

The director's authorial role in filmmaking - the extent to which a film reflects his or her individual style and creative vision - has been much debated among film critics and scholars for decades. Drawing on generations of criticism, this study describes how the designation ""auteur"" has gone from stylistic criterion to product label - in what has always been an essentially collaborative industry. Examining the controversy in relation to Hollywood directors, the author compares directors and would-be auteurs of the classic studio system with those of contemporary Hollywood and its new climate of cultural entrepreneurship.

Federico FelliniOCOs script for perhaps the most famous unmade film in Italian cinema, The Journey of G. Mastorna (1965/6), is published here for the first time in full English translation. It offers the reader a remarkable insight into FelliniOCOs creative process and his fascination with human mortality and the great mystery of death. Written in collaboration with Dino Buzzati, Brunello Rondi, and Bernardino Zapponi, the project was ultimately abandoned for a number of reasons, including FelliniOCOs near death, although it continued to inhabit his creative imagination and the landscape of his films for the rest of his career.

Marcus Perryman has written two supporting essays which discuss the reasons why the film was never made, compare it to the two other films in the trilogy La Dolce Vita and 8cents, and analyze the script in the light of ItOCOs a Wonderful Life and Fredric BrownOCOs sci-fi novel What Mad Universe. In doing so he opens up an entire world of connections to FelliniOCOs other films, writers and collaborators. It should be essential reading for students and academics studying FelliniOCOs work."

Academy Award-winning director William Friedkin (b. 1935) is best known for his critically and commercially successful films The French Connection and The Exorcist. Unlike other film school-educated filmmakers of the directors' era, Friedkin got his start as a mailroom clerk at a local TV station and worked his way up to becoming a full-blown Hollywood filmmaker by his thirties. His rapid rise behind the camera from television director to Oscar winner came with self-confidence and unorthodox methods. Known for his gritty and auteurist style, Friedkin's films tell the story of a changing America upended by crime, hypocrisy, the occult, and amorality. Although his subsequent films achieved varying levels of success, his cultural impact is undeniable. William Friedkin: Interviews collects fifteen articles, interviews, and seminars spanning Friedkin's career. He discusses early influences, early successes, awards, and current projects. The volume provides coverage of his directorial process, beliefs, and anecdotes from his time serving as the creative force of some of the biggest films of the 1970s and beyond-from his early days in Chicago, to his run-ins with Alfred Hitchcock, to firing guns on set and witnessing an actual exorcism in Italy. Through previously unpublished and obscure interviews and seminars, the story of William Friedkin's work and life is woven together into a candid and concise impression for cinephiles, horror junkies, and aspiring filmmakers alike. Readers will gain insight into Friedkin's genius from his own perspectives and discover the thoughts and processes of a true maverick of American cinema.

Missionaries played a fundamental role in introducing cinema into the developing world in the early twentieth century. These representatives of the Christian community diligently produced films about far-flung cultures to bolster fundraising for mission efforts around the globe. By the interwar period, a few husband-and-wife teams in Africa were making an array of films about vanishing cultures and the struggle to bring Christianity to indigenous populations. Images Out of Africa brings to light the remarkable expedition of one such team of filmmakers. In 1938, Virginia and Ray Garner, working for the Africa Motion Picture Project, ambitiously began making films in the Belgian Congo and French Cameroons, introducing film into villages for the first time. This book features Virginia Garner's recently rediscovered diaries, which highlight the challenges of making films in Africa in the 1930s and include rich descriptions of cross-cultural interactions and micro-negotiations with chiefs, headmen, and villagers.

The films of Ethan and Joel Coen have been embraced by mainstream audiences, but also have been subject to intense scrutiny by critics and cinema scholars. Movies such as Barton Fink, The Hudsucker Proxy, and Raising Arizona represent the filmmakers' postmodern tendencies, a subject many academics have written about at length. But is it enough to reduce their features as expressions of postmodernism or are there other ways of viewing their work-not only their individual films but their entire output as a collective whole? In Constructing the Coens: From Blood Simple to Inside Llewyn Davis, Allen H. Redmon looks beyond the postmodern sensibilities of every film written and directed by the Coens to find an unexpected range of recurring ideas expressed in and about contemporary film. In this volume, Redmon tackles all of the films in the Coen brothers' canon by examining-among other topics-narrative coherence in The Man Who Wasn't There, intertextuality in No Country for Old Men, and sexuality in Burn after Reading and O Brother, Where Art Thou? Additional chapters look at their films through the prisms of gender studies, adaptation studies, and a constructivist sensibility weaved throughout their work. Considering the whole of the Coens' output, as well as many of the topics being discussed in contemporary film studies, this book challenges viewers to reexamine their initial responses to these movies. By engaging both the familiar and foreign elements in each film, Constructing the Coens will appeal to fans of the brothers' cinema, but also to students and scholars of film theory, adaptation studies, queer theory, and gender studies.

For the casual film fan, Henry Hathaway is not a household name. But in a career that spanned five decades, Hathaway directed an impressive number of films and guided many actors and actresses to some their most acclaimed performances. He also helped launch the Hollywood careers of numerous actors such as Randolph Scott, Lee Marvin, Karl Malden, and Charles Bronson. His work on Niagara established Marilyn Monroe as a major star. Hathaway also guided John Wayne to his Academy Award-winning performance in the original version of True Grit. In Henry Hathaway: The Lives of a Hollywood Director, Harold N. Pomainville looks at the life and work of this Hollywood maverick. The author charts Hathaway's career from his first low budget Western in the early 1930s through his last film in 1974. In between, he focuses his attention of the films that brought the director acclaim, including The Lives of Bengal Lancer (1935)-for which Hathaway received an Oscar nomination-noir thrillers The House on 92nd Street and Kiss of Death, and his documentary-like production of Call Northside 777 with Jimmy Stewart. In this book, the author captures Hathaway's extroverted personality and keen intellect. He befriended some of the best known celebrities of his generation and was known for his loyalty, generosity, and integrity. He was also notorious in Hollywood for his powerful ego, explosive temper, and his dictatorial style on the set. Henry Hathaway: The Lives of a Hollywood Director is a must-read for anyone interested in the enduring work of this unheralded, but no-less-noteworthy, master of American cinema.

Both politically and aesthetically, the contemporary German and Austrian film landscape is a far cry from the early days of the medium, when critics like Siegfried Kracauer produced foundational works of film theory amid the tumult of the early twentieth century. Yet, as Leila Mukhida demonstrates in this innovative study, the writings of figures like Kracauer and Walter Benjamin in fact remain an undervalued tool for understanding political cinema today. Through illuminating explorations of Michael Haneke, Valeska Grisebach, Andreas Dresen, and other filmmakers of the post-reunification era, Mukhida develops an analysis centered on film aesthetics and experience, showing how medium-specific devices like lighting, sound, and mise-en-scene can help to cultivate political sensitivity in spectators.

Bruce Babington analyses the achievement of one of the central partnerships in British film history, the screenwriters of famous films by Hitchcock and Carol Reed, who became the producer-writer-directors of a succession of famous and well-loved films including Millions Like Us, Two Thousand Women, Waterloo Road, The Rake's Progress, I See a Dark Stranger, The Blue Lagoon and The Happiest Days of Your Life. This study of the pair is notable both for its contextualising of them within English and British culture over four decades, including British cinema's 'golden age' of the war and immediate post-war years, and for its close reading of films that have been critically neglected, despite their popularity. Scholarly but not pedantic, the book shows its subjects to be not ordinary mainstream practitioners but deceptively serious filmmakers registering the 'ideological weather' of wartime and post-war Britain in engaging and creative ways. -- .

From early silent features like The Lodger and Easy Virtue to his final film, Family Plot, in 1976, most of Alfred Hitchcock s movies were adapted from plays, novels, and short stories. Hitchcock always took care to collaborate with those who would not just execute his vision but shape it, and many of the screenwriters he enlisted including Eliot Stannard, Charles Bennett, John Michael Hayes, and Ernest Lehman worked with the director more than once. And of course Hitchcock s wife, Alma Reville, his most constant collaborator, was with him from the 1920s until his death. In Hitchcock and Adaptation: On the Page and Screen, Mark Osteen has assembled a wide-ranging collection of essays that explore how Hitchcock and his screenwriters transformed literary and theatrical source material into masterpieces of cinema. Some of these essays look at adaptations through a specific lens, such as queer aesthetics applied to Rope, Strangers on a Train, and Psycho, while others tackle the issue of Hitchcock as author, auteur, adaptor, and, for the first time, present Hitchcock as a literary source. Film adaptations discussed in this volume include The 39 Steps, Shadow of a Doubt, Lifeboat, Rear Window, Vertigo, Marnie, and Frenzy. Additional essays analyze Hitchcock-inspired works by W. G. Sebald, Don DeLillo, Bret Easton Ellis, and others. These close examinations of Alfred Hitchcock and the creative process illuminate the significance of the material he turned to for inspiration, celebrate the men and women who helped bring his artistic vision from the printed word to the screen, and explore how the director has influenced contemporary writers. A fascinating look into an underexplored aspect of the director s working methods, Hitchcock and Adaptation will be of interest to film scholars and fans of cinema s most gifted auteur."

Since the early 1980s, Jim Jarmusch has produced a handful of idiosyncratic films that have established him as one of the most imaginatively allusive directors in the history of American cinema. Three of his films-Dead Man (1995), Ghost Dog (1999), and The Limits of Control (2009)-demonstrate the director's unique take on Eastern and Aboriginal spirituality. In particular, they reflect Jarmusch's rejection of Western monotheism's fear-driven separation of life and death. While these films address historical issues of imperialism, colonialism, and genocide, they also demonstrate a uniquely spiritual form of resistance to conditions that political solutions have not resolved. The impact of Dead Man, Ghost Dog, and The Limits of Control cannot be fully felt without considering the multicultural sources from which the writer/director drew. In The Jarmusch Way, Julian Rice looks closely at these three films and explores their relation to Eastern philosophy and particular works of Western literature, painting, and cinema. This book also delves deeply into the films' association with Native American culture, a subject upon which Rice has written extensively. Though he has garnered a passionate following in some circles, Jarmusch remains critically underappreciated. Making a case that this director deserves far more serious attention than he has received thus far, The Jarmusch Way thoroughly discusses three of his most intriguing films.

The Naples-born director and screenwriter Paolo Sorrentino has, to date, written and directed nine films, winning an Oscar, a Bafta and a Golden Globe for The Great Beauty in 2013. In 2016, he created and directed his first TV series, The Young Pope, which starred Jude Law. John Malkovich joined the cast in 2020 for the follow-up series. He has established himself as a world-leading auteur with a list of critically acclaimed and award-winning films. This is an invaluable contribution to the existing literature on Sorrentino and is the first English language collection dedicated to this prolific director, who has emerged as one of the most compelling figures in twenty-first-century European film. International contributors from the UK, Italy, France, The Netherlands, Australia, Israel, Canada and the United States, Italy, Israel, France, UK, Australia, Canada, offer original interpretations of Sorrentino's work. They examine his recurrent grand themes of memory, nostalgia, ageing, love, thirst for fulfilment, search for the self, identity crisis, human estrangement, marginality, irony and power. In so doing, they offer new perspectives and unique cues for discussion, challenging established assumptions and interpretations. Important and current themes such as eco-cinema and post-secularism are addressed as well as the links between Sorrentino's highly visual cinema and artistic practice such as painting and architecture. While there are several books on Sorrentino available in Italian, none of these provide an authoritative account of his work; and language has restricted the readership. This is the first English-language collection focussed on Sorrentino, arguably the most successful and significant contemporary Italian filmmaker. The majority of the chapters included in this new book are original and it also includes a Foreword by Giancarlo Lombardi, Professor of Italian and Comparative Literature at CUNY, and an interview with renowned costume designer Carlo Poggioli, who has worked with Sorrentino on many productions. Some of the chapters were previously published in a special issue of the journal JICMS - The Journal of Italian Cinema and Media Studies in 2019. The new collection makes a significant coherent contribution to the field. Primary readership will be academics, researchers and scholars of Italian film and media studies. Also post-graduate students and upper level under-graduates. Potential to be used as textbook or as supplementary reading for undergraduate and graduate courses Given the subject, there is a possibility for some crossover appeal to a broader readership, but this is primarily a scholarly text.

This book distinguishes itself from earlier books on David Lynch by taking in-depth consideration of his entire oeuvre. Besides his films and the Twin Peaks series, David Lynch: Blurred Boundaries includes discussions of Lynch's paintings and drawings, music videos, commercials, short experimental works, digital projects on the YouTube channel David Lynch Theater and the Internet documentary The Interview Project, as well as the exhibition The Air is on Fire, which Jerslev regards as one of Lynch's main works. David Lynch: Blurred Boundaries offers a view of Lynch's total work, in which one medium or genre is no more important than the other. It discusses the ways in which Lynch has worked throughout his career with different art forms and has right from the start experimented with the blurring of boundaries between media and genres. And it discusses ways Lynch creates atmospheres by different audio-visual and visual means.

Blake Edwards (1922-2010) was a multitalented, versatile director constantly exploring who he was, not only in filmmaking but also in life. Often typecast as a comedy director, he also created westerns, thrillers, musicals, and heart-wrenching dramas. His strength as a filmmaker came from his ability to be a triple threat-writer, director, and producer-allowing him full control of his films, especially when the studio system failed him. Blake Edwards: Interviews highlights how the filmmaker created the hugely successful Pink Panther franchise; his long partnership with award-winning composer Henry Mancini; his principles of comedy as influenced by the comic greats of film history, especially silent comedies; his decades-long marriage and film collaborations with Julie Andrews; and his unique philosophy of life. Continually testing his abilities as a writer, which he considered himself to be above all other professions, Edwards did not hesitate to strip comedy from films that clearly and purposefully explored other genres with sharp, dramatic insight. He created thrilling suspense (Experiment in Terror); rugged westerns (Wild Rovers); riveting drama (Days of Wine and Roses); and bittersweet romance (Breakfast at Tiffany's). He also created musicals, namely Darling Lili and Victor/Victoria, showcasing the talents of Andrews. In fact, many of these films have been considered some of Edwards's finest in his appreciable career. Reinventing himself throughout his sixty-year career, Edwards found new outlets of expression that fueled his creativity to the very end. This long-overdue collection of published interviews explores the up and downs-and ups again-of a sometimes flawed but always gifted and often surprising filmmaker.

In this volume, editor Suranjan Ganguly collects eight of Stan Brakhage's most important interviews in which the filmmaker describes his conceptual frameworks, his theoriesof vision and sound, the importance of poetry, music, and the visual arts in relation to his work, his concept of the muse, and the key influences on his art-making. In doing so, Brakhage (1933-2003) discusses some of his iconic films, such as Anticipation of the Night, Dog Star Man, Scenes from Under Childhood, Mothlight, and Text of Light. One of the most innovative filmmakers in the history of experimental cinema, Brakhage made almost 350 films in his fifty-two year- long career. These films include psychodramas, autobiography, Freudian trance films, birth films, song cycles, meditations on light, and hand-painted films, some of which range from nine seconds to over four hours in duration. Born in Kansas City, Missouri, he lived most of his life in the mountains of Colorado, teaching for twenty-one years in the film studies program at the University of Colorado, Boulder. As a filmmaker, Brakhage's life-long obsession with what he called an "adventure in perception" made him focus on the act of seeing itself, which he tried to capture on film in multiple ways both with and without his camera and by scratching and painting on film. Convinced that there is a primary level of cognition that precedes language, he wrote of the "untutored eye" with which children can access ineffable visual realities. Adults, who have lostsuch primal sight, can "retrain" their eyes by becoming conscious of what constitutes true vision and the different ways in which they daily perceive the world. Brakhage's films experiment with such perceptions, manipulating visual and auditory experience in ways that continue to influence film today.

The six chapters assembled in The Kubrick Legacy showcase important trends in the evolution of filmmaker Stanley Kubrick's artistic legacy. In the 20 years since his death an enormous range of information and scholarship has surfaced, in part from the Kubrick estate's public preservation, archiving, exhibition and promulgation of the auteur's staggering collection of research materials and film artefacts. These essays from international scholars chart incarnations of the official Kubrick exhibition of extensive artifacts touring the globe for the past decade; the filmmaker's lasting impact on established authors with whom he collaborated; the profound influence of Kubrick's use of existing music in film scores; the exponential rise of conspiracy theories and (mis)interpretation of his work since his death; the repeated imitation of and homage to his oeuvre across decades of international television advertising; and the (re)discovery of Kubrick on screen in both documentary form and dramatic characterization. The Kubrick Legacy provides a tantalizing, critical snapshot of the enduring impact and influence of one of the twentieth century's most enigmatic and consummate screen artists.

Jean Renoir (1894-1979) is widely regarded as one of the most distinguished directors in the history of world cinema. In the 1930s he directed a string of films which stretched the formal, intellectual, political and aesthetic boundaries of the art form, including works such as Le Crime de Monsieur Lange, La Grande Illusion, La Bete humaine and La Regle du jeu. However, the great director's early work from the 1920s remains almost completely unknown, even to film specialists. If it is discussed at all, it is often seen to be of interest only insofar as it anticipates themes and techniques perfected in the later masterpieces. Renoir's films of the 1920s were sometimes unfinished, commercially unsuccessful, or unreleased at the time of their production. This book argues that to regard them merely as prefigurations of later achievements entails a failure to view them on their own terms, as searching, unsettled experiments in the meaning and potential of film art.

In 1968, Stanley Kubrick completed and released his magnum opus motion picture 2001: A Space Odyssey; a time that was also tremendously important in the formation of the psychoanalytic theory of Jacques Lacan. Bringing these figures together, Bristow offers a study that goes beyond, as the film did. He extends Lacan's late topological insights, delves into conceptualisations of desire, in G. W. F. Hegel, Alexandre Kojeve, and Lacan himself, and deals with the major themes of cuts (filmic and psychoanalytic); space; silence; surreality; and 'das Ding', in relation to the movie's enigmatic monolith. This book is a tour de force of psychoanalytic theory and space odyssey that will appeal to academics and practitioners of psychoanalysis and film studies, as well as to any fan of Kubrick's work.

Nicolas Winding Refn has emerged as a uniquely talented international filmmaker with an eye for visceral, iconic images. A 21st century mythmaker from his cult Pusher trilogy to the award-winning Drive and Only God Forgives, Refn infuses a sophisticated avant-garde sensibility with the grit of exploitation cinema. This book relates Refn's films to the ideas of Nietzsche, Canetti, Blanchot and others, and to aesthetic theory in general. It also asks why the West has become a largely artificial society, unable to generate new communal mythologies.

Jerzy Skolimowski is one of the most original Polish directors and one of only a handful who has gained genuine recognition abroad. This is the first monograph, written in English, to be devoted to his cinema. It covers Skolimowski's career from his early successes in Poland, such as Identification Marks: None and Barrier, through his emigre films, Deep End, Moonlighting and The Lightship, to his return to Poland where, in 2008, he made the internationally acclaimed Four Nights with Anna.

Ewa Mazierska addresses the main features of Skolimowski's films, such as their affinity to autobiographism and surrealism, while discussing their characters, narratives, visual style, soundtracks, and the uses of literature. She draws on a wide range of cinematic and literary texts, situating Skolimowski's work within the context of Polish and world cinema, and drawing parallels between his work and that of two directors, with whom he tends to be compared, Roman Pola ski and Jean-Luc Godard.

'Ewa Mazierska's monograph is the first book-length study of his Jerzy Skolimowski's] work, nearly half a century after his emergence as a one-man Polish New Wave ... Mazierska eschews a chronological survey in favour of five themed essays ... this approach allows her to make connections between outwardly disparate films and mount a convincing challenge to the received opinion that there are fundamental differences between his Polish and non-Polish output ... this is an important, desperately overdue book.' Sight & Sound

Ewa Mazierska is Professor of Contemporary Cinema, Department of Humanities, University of Central Lancashire. Her publications include Crossing New Europe: The European Road Movie (Wallflower Press, 2006), Dreams and Diaries: The Cinema of Nanni Moretti (Wallflower Press, 2004) and From Moscow to Madrid: Postmodern Cities, European Cinema (I.B. Tauris, 2003), all co-authored with Laura Rascaroli and Women in Polish Cinema (Berghahn Books, 2006), co-authored with El bieta Ostrowska."

Saccharine for some, poignant for others, Jacques Demy's 'enchanted' world is familiar to generations of French audiences accustomed to watching Christmas repeats of his fairytale Peau d'ane (1970) or seeing Catherine Deneuve and Francoise Dorleac prance and pirouette in Les Demoiselles de Rochefort (1966). Demy achieved international recognition with Les Parapluies de Cherbourg (1963), which was awarded the Palme d'Or at Cannes. However, beneath the apparently sugary coating of his films lie more philosophical reflections on some of the most pressing issues that preoccupy Western societies, including affect, subjectivity, self/other relations and free will. This wide-ranging book addresses many of the key aspects of Demy's cinema, including his associations with the New Wave, his unique approach to musicals, his adaptations of fairytales, his representations of gender and sexuality and his legacy as an iconic director for generations of audiences and filmmakers. -- .

Since the early 1970s, Steven Spielberg has directed more than two dozen films, many of which have achieved classic status. In addition to critical and commercial successes that include E.T. the Extra-Terrestrial, Schindler s List, Saving Private Ryan, and Lincoln, Spielberg s name has become synonymous with such thrilling adventure films as Jaws, Raiders of the Lost Ark, Jurassic Park, and Minority Report. Before he became a world-renowned filmmaker, however, Spielberg established himself on television, helming episodes of Rod Serling s Night Gallery; Marcus Welby, M.D.; and Columbo. But it was the small-screen version of a Richard Matheson short story that brought the young director s work to the attention of critics and viewers alike. In Steven Spielberg and Duel: The Making of a Film Career, Steven Awalt provides an exhaustive study commemorating the film that decisively launched the career of a major film artist. Through in-depth research and interviews with the film s creative and technical crew, the author tracks the film from genesis through production to release. Awalt conducted lengthy one-on-one interviews with Spielberg, Matheson, assistant director James Fargo, editor Frank Morriss, composer Billy Goldenberg, former MCA/Universal president Sidney J. Sheinberg, and writer-producer Steven Bochco, among others. Spielberg provided access to many rare documents from his archives, including multiple drafts of Duel s teleplay, the shooting schedule, shooting logistics breakdowns, and production correspondence. The first book-length examination of this important production in the director s early career, Steven Spielberg and Duel also includes the original teleplay by Matheson, four additional scenes created for the international theatrical release of the film, photos, and storyboards of the film s final sequence. A fascinating look behind the scenes of an acclaimed work, this book will interest not only scholars and film historians but anyone interested in the work of Richard Matheson and Steven Spielberg."