Ken Russell was among the most provocative, creative, original and important directors in British film and television history but his career and legacy have long suffered under the media cliches of 'Madman' or 'Enfant Terrible' of British cinema - nicknames which have tended to delegitimise his status and pioneering role in post-war film and television culture. This scholarly edited collection refuses these terms and aims to not only reflect and further current critical research into Russell's work but to see Russell as the Renaissance man of British cinema. It brings together the work of new and established scholars as well as the reflections of those who knew and worked with Russell. ReFocus: The Films of Ken Russell offers new perspectives across the breadth of Russell's extensive career in television, film and other mediums, and seeks to better understand not only his reception, but the importance of collaboration to his practice, and the legacy of the man himself.

The Films of Jess Franco looks at the work of Jesus ""Jess"" Franco (1930-2013), one of the most prolific and madly inventive filmmakers in the history of cinema. He is best known as the director of jazzy, erotically charged horror movies featuring mad scientists, lesbian vampires, and women in prison, but he also dabbled in a multitude of genres from comedy to science fiction to pornography. Although he built his career in the ghetto of low-budget exploitation cinema, he managed to create a body of work that is deeply personal, frequently political, and surprisingly poetic. Editors Antonio Lazaro-Reboll and Ian Olney have assembled a team of scholars to examine Franco's offbeat films, which command an international cult following and have developed a more mainstream audience in recent years. Arguing that his multifaceted, paradoxical cinema cannot be pinned down by any one single approach, this edited volume features twelve original essays on Franco's movies written from a variety of different perspectives. This collection does not avoid the methodologies most commonly used in the past to analyze Franco's work-auteur criticism, genre criticism, and cult film criticism-yet it does show how Franco's films complicate these critical approaches. The contributors open up fresh avenues for academic inquiry by considering his oeuvre from a range of viewpoints, including transnational film studies, cinephilia studies, and star studies. The Films of Jess Franco seeks to address the scholarly neglect of this legendary cult director and to broaden the conversation around the director's work in ways that will be of interest to fans and academics alike.

This unique collection focuses on the work of legendary Swedish filmmaker Ingmar Bergman. Written in the wake of the centenary of Bergman's birth in 2018, the volume aims to combine new approaches to Bergman's films and writings with more traditional analyses. Established themes such as Bergman's interest in philosophy and psychology are addressed, but also less familiar topics, notably his relationship with Hollywood and his elaborate use of film music and autobiographical writing that characterised his later work. There are new analyses of aspects of Bergman's most famous films, including Smiles of a Summer Night and Fanny and Alexander, but also insightful readings of lesser-known works, such as Saraband and Sawdust and Tinsel. An electronic version of this book is available under a creative commons licence: manchesteropenhive.com/view/9789198557718/9789198557718.xml -- .

This landmark publication presents, for the first time ever, 500 of the very best and previously unpublished graphic works by cinema's master of film. Created in collaboration with RGALI - the Russian State Archive of Literature and Arts - this book traces Eisenstein's extraordinary life and career through the distinctive yet evolving styles of his drawings, from early childhood sketches to set and costume designs, and from surreal pshychoanalytic drawings to late abstract works. Foremost Eisenstein scholar Naum Kleiman brings fresh and incredible insights into the motivation and purpose of the drawings, and reflects upon excerpts from Eisenstein's own discursive texts, some published here for the first time. Comparative frames from Eisenstein's movies - scanned from the original film - together with a biographical introduction and a foreword by Martin Scorsese completes the revelatory and arresting picture.

The films of John Waters (b. 1946) are some of the most powerful send-ups of conventional film forms and expectations since Luis Bu-uel and Salvador Dali's "Un Chien Andalou." In attempting to reinvigorate the experience of movie-going with his shock comedy, Waters has been willing to take the chance of offending nearly everyone. His characters have great dignity and resourcefulness, taking what's different or unacceptable or grotesque about themselves, heightening it and turning it into a handmade personal style. The interviews collected here span Waters's career from 1965 to 2010 and include a new one exclusive to this edition.

Waters began making films in his hometown of Baltimore in 1964. Demonstrating an innate talent at capturing the hideous and crude and elevating it to art, he reached international acclaim with his outrageous shock comedy "Pink Flamingos." This landmark film redefined cinema and became a cult classic. Appearing in this and many of Waters's early films, his star Divine would consistently challenge gender definitions.

With "Polyester," Waters entered the mainstream. The film starred Divine as an unhappy housewife who romances a former teen idol played by Tab Hunter. Waters's commercial breakthrough, "Hairspray," told the story of Baltimore's televised sock-hop program, "The Corny Collins Show," and how one brave girl (Ricki Lake) used her platform as a dancer to end segregation in her town.

From "Serial Mom" and "Pecker" to "Cecil B. Demented," Waters continued to infiltrate the mainstream with his unique approach to filmmaking. As a visual artist, he was given a retrospective at the New Museum of Contemporary Art in 2004, which was shown at galleries around the world.

Norfolk Summer presents the story about the making of a film starring Julie Christie and Alan Bates Joseph Losey's award-winning movie The Go-Between was filmed entirely on location in Norfolk in 1970. The film charts the tragic story of a young boy's loss of innocence during a hot summer and stars Julie Christie and Alan Bates as a pair of lovers crossing class boundaries in late Victorian England. The production brought together the playwright Harold Pinter, who adapted L.P. Hartley's elegant novel for the screen, the acclaimed director Joseph Losey and a cast of international stars for ten weeks' filming in and around Melton Constable Hall in north Norfolk - a time of happy creativity, some tension and a good deal of comedy. But the idyllic summer only came about after years of bitter battling over the rights of the book, and it was to be followed by yet more intrigue and high drama, which culminated in the film's triumph at the 1971 Cannes Film Festival, where it won the prestigious Palme d'Or.

'If you are hungry for truth and beauty, read this book' Roisin Ingle, The Irish Times 'A demonstration of a will to live that is breathtaking ... a work of documentary poetry ... an extraordinary read' The Herald 'An unforgettable read about what it means to be alive' Woman's Way 'The world "inspirational" is over-used, but if ever a book deserved this epithet, this is it' Sunday Independent 'Sparsely and beautifully written .. the human spirit and will to live shines out of these pages' Irish Independent A No.1 bestseller, It's Not Yet Dark is an unforgettable book about relationships and family, about what connects and separates us as people and, ultimately, about what it means to be alive. In 2008, Simon Fitzmaurice was diagnosed with Motor Neurone Disease (mnd). He was given four years to live. In 2010, in a state of lung-function collapse, Simon knew with crystal clarity that now was not his time to die. Against all prevailing medical opinion, he chose to ventilate in order to stay alive. Here, the young filmmaker, a husband and father of five small children draws us deeply into his inner world. Written using an eye-gaze computer and told in simply expressed and beautifully stark prose, the result is an astonishing journey into a life which, though brutally compromised, is lived more fully and in the moment than most, revealing at its core the power of love its most potent.

The impact of French film critic Andre 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 Andre 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.

When Armando Bo and Isabel Sarli began making sexploitation films together in 1956, they provoked audiences by featuring explicit nudity that would increasingly become more audacious, constantly challenging contemporary norms. Their Argentine films developed a large and international fan base. Analyzing the couple's films and their subsequent censorship, Violated Frames develops a new, roughly constructed, and "bad" archive of relocated materials to debate questions of performance, authorship, stardom, sexuality, and circulation. Victoria Ruetalo situates Bo and Sarli's films amidst the popular culture and sexual norms in post-1955 Argentina, and explores these films through the lens of bodies engaged in labor and leisure in a context of growing censorship. Under Peron, manual labor produced an affect that fixed a specific type of body to the populist movement of Peronism: a type of body that was young, lower-classed, and highly gendered. The excesses of leisure in exhibition, enjoyment, and ecstasy in Bo and Sarli's films interrupted the already fragmented film narratives of the day and created alternative sexual possibilities.

An invaluable set of career-length interviews with the German genius hailed by Francois Truffaut as the most important film director alive. Most of what we've heard about Werner Herzog is untrue. The sheer number of false rumors and downright lies disseminated about the man and his films is truly astonishing. Yet Herzog's body of work is one of the most important in postwar European cinema. His international breakthrough came in 1973 with Aguirre, The Wrath of God, in which Klaus Kinski played a crazed Conquistador. For The Enigma of Kaspar Hauser, Herzog cast in the lead a man who had spent most of his life institutionalized, and two years later he hypnotized his entire cast to make Heart of Glass. He rushed to an explosive volcanic Caribbean island to film La Soufriere, paid homage to F. W. Murnau in a terrifying remake of Nosferatu, and in 1982 dragged a boat over a mountain in the Amazon jungle for Fitzcarraldo. More recently, Herzog has made extraordinary documentary films such as Little Dieter Needs to Fly. His place in cinema history is assured, and Paul Cronin's volume of dialogues provides a forum for Herzog's fascinating views on the things, ideas, and people that have preoccupied him for so many years.

With a career spanning four decades, Wes Craven (1939-2015) bridged independent exploitation cinema and Hollywood big-budget horror. A pioneer of the modern horror cinema, Craven directed such landmark films as The Last House on the Left, The Hills Have Eyes, A Nightmare on Elm Street, and Scream-considered not only classics of the genre, but examples of masterful filmmaking. Producing an impressive oeuvre that mixed intellectual concerns and political ideas, Craven utilized high-tension suspense, devastating visual brutality, and dark humor to evoke a unique brand of fear. Moreover, his films draw attention to the horror of American society-Namely racism, classism, and the traumas often associated with family. This collection of twenty-nine interviews-spanning from 1980 until his final interview in 2015-traces Craven's life and career, from his upbringing in a strict religious family and his life as an academic to his years toiling in exploitation cinema. The volume also chronicles Craven's ascendancy as an independent director, his work within the studio system, and his eventual triumph in mainstream cinema. Within the interviews gathered here, including three previously unpublished pieces, Craven reflects on failed projects and the challenges of working with studios while offering thoughtful meditations on the dynamics and appeal of horror. Wes Craven: Interviews cements Craven's legacy as a master of horror who left an indelible mark on the genre by forever altering expectations of-and approaches to-the cinema of fear.

During the early Hollywood sound era, studio director George Cukor produced nearly fifty films in as many years, famously winning the Best Director Oscar at the 1964 Academy Awards for My Fair Lady. His collaborations with so-called difficult actresses such as Katharine Hepburn, Judy Garland, and Marilyn Monroe unsettled producers even as his ticket sales lined their pockets. Fired from Gone with the Wind for giving Vivien Leigh more screen time than Clark Gable, Cukor quickly earned a doublesided reputation as a "woman's director." While the label celebrated his ability to help actresses deliver their best performances, the epithet also branded the gay director as suitable only for work on female-centered movies such as melodramas and romantic comedies. Desperate for success after a failed drag film nearly ended his career, Cukor swore to work within Hollywood's constraints. Nevertheless, What Price Hollywood? Gender and Sex in the Films of George Cukor finds that Cukor continued to explore gender and sexuality on-screen. Drawing on a broad array of theoretical lenses, Elyce Rae Helford examines how Cukor's award-winning and lesser-known films engage Hollywood masculinity and gender performativity through camp, drag, and mixed genres. Blending biography with critical analysis of more than twenty-five films, What Price Hollywood? tells the story of a once-ina- generation director who produced some of the best films in history.

Examines the politics of female authorship in relation to contemporary documentary practicesThis book, like its twin volume 'Female Authorship and the Documentary Image', centres on pressing issues in relation to female authorship in contemporary documentary practices. Addressing the politics of representation and authorship both behind and in front of the camera, a range of international scholars now expand the theoretical and practical framework informing the current scholarship on documentary cinema, which has so far neglected questions of gender.'Female Agency and Documentary Strategies' centres on how self-portraiture and contemporary documentary manifestations such as blogging and the prevalent usage of social media shape and inform female subjectivities and claims to truth. The book examines the scope of authorship and agency open to women using these technologies as a form of activism, centring on notions of relationality, selfhood and subjectivity, and includes interviews with Hong Kong based activist filmmaker and scholar Vivian Wenli Lin and Spanish documentarist Mercedes Alvarez.ContributorsAnna Backman Rogers, University of GothenburgLinda C. Ehrlich, Writer, Teacher, EditorKerreen Ely-Harper, Creative Media Researcher and Filmmaker Kristopher Fallon, University of California, DavisCadence Kinsey, University of YorkCarla Maia, Centro Universitario UNALidia Meras, Film Historian and ResearcherAnna Misiak, Falmouth UniversityKim Munro, Filmmaker, Artist and Teacher Kate Nash, University of LeedsJohn A. Riley, Woosong UniversityMonica Titton, University of Applied Arts and at the Academy of Fine Arts in ViennaBoel Ulfsdotter, Independent Scholar Gail Vanstone, York University, Toronto

A Times Literary Supplement Book of the Year, chosen by Tom Stoppard "A revelation."-Marc Weingarten, Washington Post Acclaimed film director Billy Wilder's early writings-brilliantly translated into English for the first time Before Billy Wilder became the screenwriter and director of iconic films like Sunset Boulevard and Some Like It Hot, he worked as a freelance reporter, first in Vienna and then in Weimar Berlin. Billy Wilder on Assignment brings together more than fifty articles, translated into English for the first time, that Wilder (then known as "Billie") published in magazines and newspapers between September 1925 and November 1930. From a humorous account of Wilder's stint as a hired dancing companion in a posh Berlin hotel and his dispatches from the international film scene, to his astute profiles of writers, performers, and political figures, the collection offers fresh insights into the creative mind of one of Hollywood's most revered writer-directors. Wilder's early writings-a heady mix of cultural essays, interviews, and reviews-contain the same sparkling wit and intelligence as his later Hollywood screenplays, while also casting light into the dark corners of Vienna and Berlin between the wars. Wilder covered everything: big-city sensations, jazz performances, film and theater openings, dance, photography, and all manner of mass entertainment. And he wrote about the most colorful figures of the day, including Charlie Chaplin, Cornelius Vanderbilt, the Prince of Wales, actor Adolphe Menjou, director Erich von Stroheim, and the Tiller Girls dance troupe. Film historian Noah Isenberg's introduction and commentary place Wilder's pieces-brilliantly translated by Shelley Frisch-in historical and biographical context, and rare photos capture Wilder and his circle during these formative years. Filled with rich reportage and personal musings, Billy Wilder on Assignment showcases the burgeoning voice of a young journalist who would go on to become a great auteur.

A fat guy with a deep voice who drank a lot of sherry? An unreliable film-maker who always went over time and over budget? One of the most innovative storytellers of the century? He was all of this and more. Welles shocked Broadway with his all-black voodoo version of Macbeth, challenged the US government with his production of The Cradle Will Rock, terrified America with his spoof radio broadcast of The War of the Worlds, and then at the tender age of 26, directed what many people consider the greatest American film ever made: Citizen Kane. What's in this Pocket Essential guide? As well as an introductory essay, each of Welles's films is individually reviewed and analysed, and there's a handy multimedia reference guide.

The representation of gender in film remains an intensely debated topic, particularly in academic considerations of US mainstream cinema where it is often perceived as perpetuating rigid, binary views of gender, and reinforcing patriarchal, dominant notions of masculinity and femininity. While previous scholarly discussion has focused on visual or narrative portrayals of gender, this book considers the ways that film sound - music, voice, sound effects and silence - is used to represent gender. Taking a socio-historical approach, Heidi Wilkins investigates a range of popular US genres including screwball comedy, the road movie and chick flicks to explore the ways that film sound can reinforce traditional assumptions about masculinity and femininity, impart ambivalent meanings to them, or even challenge and subvert the notion of gender itself. Case studies include His Girl Friday, Easy Rider and Bridesmaids.

Expanded cinema: avant-garde moving image works that claim new territory for the cinematic, beyond the bounds of familiar filmmaking practices and the traditional theatrical exhibition space. First emerging in the 1960s amidst seismic shifts in the arts, multi-screen films, live cinematic performance, light art, kinetic art, video, and computer-generated imagery - all placed under expanded cinema's umbrella - re-emerged at the dawn of the 2000s, opening a vast new horizon of possibility for the moving image, and perhaps even heralding the end of cinema as we know it. Cinema Expanded: Avant-Garde Film in the Age of Intermedia offers a bold new account of its subject, breaking from previous studies and from larger trends in film and art scholarship. Author Jonathan Walley argues that expanded cinema's apparent departure from the traditions and forms of cinema as we know it actually radically asserts cinema's nature and artistic autonomy. Walley also resituates expanded cinema within the context of avant-garde film history, linking it to a mode of filmmaking that has historically investigated and challenged the nature and limits of cinematic form. As an outgrowth of this tradition, expanded cinema offered a means for filmmakers within the avant-garde, regardless of their differing styles, formal concerns, and politics, to stake out cinema's unique aesthetic terrain - its ontology, its independence, its identity. In addition to reconsidering the better-known expanded cinema works of the 1960s and 70s by artists like Andy Warhol, Robert Whitman, and Nam June Paik, Cinema Expanded also provides the first scholarly accounts of scores of lesser-known works across more than 50 years. Making new arguments about avant-garde cinema in general and its complex meditations on the nature of cinema, it urgently addresses current and crucial debates about the fate of the moving image amidst a digital age of near-constant technological change.

One of Spain's most celebrated directors, Pedro Almodovar has won international recognition for his dark comedy-dramas like Women on the Verge of a Nervous Breakdown, All About My Mother and Volver. Reconceptualising Almodovar's films as theoretical and political resources, this innovative book examines a neglected aspect of his cinema: its engagement with the traumatic past, with subjective and collective memory, and with the ethical and political meanings that result from this engagement. With close readings of Almodovar's films from the 1990s and 2000s, including Bad Education and The Skin I Live In, Julian Daniel Gutierrez-Albilla explores how Almodovar's cinema mourns and witnesses the traces of trauma, drawing on theoretical approaches from trauma studies, psychoanalysis, philosophy, film studies and visual studies to suggest that his work proposes an ethical model based on our compassionate relations to others, and envisions a world co-inhabited by plurality and difference.

From the 1990s onwards the 'ethnographic turn in contemporary art' has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and problematically re-appropriated by the art world, curation has seldom caught the conceptual attention of anthropologists. Based on two years of participant-observation in Mexico City, Tarek Elhaik addresses this lacuna by examining the concept-work of curatorial platforms and media artists. Taking his cue from ongoing critiques of Mexicanist aesthetics, and what Roger Bartra calls 'the post-Mexican condition', Elhaik conceptualises curation less as an exhibition-oriented practice within a national culture, than as a figure of care and an image of thought animating a complex assemblage of inter-medial practices, from experimental cinema and installations to curatorial collaborations. Drawing on Gilles Deleuze and Paul Rabinow, the book introduces the concept of the 'Incurable-Image, ' an antidote to our curatorial malaise and the ethical substance for a post-social anthropology of images.

The most internationally renowned of Irish film directors, Neil Jordan's diverse work has spanned gothic horror ( "The Company of Wolves," 1984, and "Interview With the Vampire," 1994), Irish history ( "Michael Collins," 1996), literary adaptation ( "The End of the Affair," 1999) and sexual identity ( "The Crying Game," 1992, and "Breakfast on Pluto," 2005), while retaining a distinctive stylistic flair for fantasy and the carnivalesque. "The Cinema of Neil Jordan" discusses his entire output as part of the first comprehensive study of Jordan's career, looking beyond ideological and national concerns to view his films through the prism of Celtic folklore, fairy tales, the gothic, romanticism and postmodernism. Incorporating discussion of Jordan's award-winning literary work and benefiting from extensive access to Jordan's personal archives, this book explains the mythic and poetic impulses that suffuse the director's work.

The first truly interdisciplinary analysis to link Douglas Sirk's striking visual aesthetic to key movements in twentieth century art and architecture, this book reveals how the exaggerated artifice of Sirk's formal style emerged from his detailed understanding of the artistic debates that raged in 1920s Europe and the post-war United States. With detailed case studies of Final Chord and All That Heaven Allows, Victoria Evans demonstrates how Sirk attempted to dissolve the boundaries of cinema by assimilating elements of avant-garde art, architecture and design into the colour, composition and setting of many of his most well-known films. Treating Sirk's oeuvre as a continuum between his German and American periods, Evans argues that his mise-en-scene was the result of an interdisciplinary, transnational dialogue, and illuminates the broader cultural context in which his films appeared by establishing links between archival documents, Modernist manifestos and the philosophical writings of his peers.

The Cinema of Ettore Scola offers contemporary perspectives on Ettore Scola (1931-2016), one of the premier filmmakers of Italian cinema. Scola was a crucial figure in postwar Italy as a screenwriter of comedies in the 1950s and 1960s who later became one of the country's most beloved directors in the 1970s and 1980s with his bittersweet comedies and dramas on history, politics, and social customs. While Scola has received extensive attention from scholars based in Italy and France, Remi Lanzoni and Edward Bowen's edited volume is the first English-language book on Scola's cinematographic career. The volume (containing fourteen chapters) is organized in four parts, the first two of which focus both on Scola's contributions to Comedy Italian Style-as a screenwriter and director-and his commentaries on the history of Italy, Rome, and the film industry. The second half of the book is divided into sections on Scola's relationship to and use of place, politics, and legacy. Mariapia Comand's chapter begins the volume with an exploration of the development of Scola's narrative methods by examining his early work as an illustrator, ghostwriter, and screenwriter. Later, Brian Tholl approaches one of Scola's best-known and most frequently studied films, Una giornata particolare, from a less-explored perspective, namely its commentary on surveillance and internal exile, or confino, during the fascist period. At the close of the volume is a broad-sweeping tribute to and reflection on Scola's filmmaking by Gian Piero Brunetta, a leading historian of Italian cinema who developed a close relationship with Scola over the years, who reveals the varied narrative strategies linked to food that the director utilized for character development and social commentary. The Cinema of Ettore Scola makes Scola accessible to English-reading audiences and helps readers better understand his film style, the major themes of his work, and the representations of twentieth-century Italian history in his films.

Reanimated offers a new perspective on twenty-first century American horror film remakes. Counter to the critical dismissal of genre remakes as derivative rip-offs, Mee approaches the films as intertextual adaptations which have both drawn from and helped to shape horror since 2000. Covering films from The Texas Chainsaw Massacre (2003) to Candyman (2021), and identifying distinct cycles, production strategies and patterns of reception, this book illustrates the importance of the remake to contemporary horror cinema and addresses key cultural, industry and reception contexts. Rather than representing the death of horror, Reanimated argues that remaking instead demonstrates the genre's capacity for creative recycling, adaptation and evolution.

Martin Scorsese (b. 1942) has long been considered one of America's greatest cinematic storytellers. Over the last fifty years he has created some of the most iconic moments in American film, never afraid to confront controversial issues with passion. While few of his films are directly autobiographical, his upbringing in New York's Little Italy, the childhood asthma that kept him from playing sports, and his early desire to enter the priesthood all helped form his sensibilities and later shaped his distinct style. Community, religion, violence?these themes drive a Scorsese picture, and whether he examines the violence that bursts forth in the hand of Travis Bickle or the passion of Jesus Christ, Scorsese's mastery of the history, art, and craft of filmmaking is undeniable. This collection was originally edited by the late Peter Brunette in 1999 and is now revised and extensively updated by Robert Ribera. It traces Scorsese's evolution from the earliest days of the New American Cinema, his work with Roger Corman, and his days at New York University's film program to his efforts to preserve the legacy of cinema, his documentary work, and his recent string of successes. Among new movies discussed are The Departed, Hugo, and The Wolf of Wall Street, and the documentaries No Direction Home and The Blues. Scorsese stands out as a director, producer, scholar, preservationist, and icon. His work both behind the camera and in the service of its history are a cornerstone of American and world cinemas. In these interviews, Scorsese takes us from Elizabeth Street to the heights of Hollywood and all the journeys in between.

Mark Lewis' work functions as a critique of cinema, encouraging the viewer's awareness of the cliches, conventions and fragmentary nature of film, and how it has been constructed historically. In so doing, he also acknowledges its suggestive power, and the alluring, seductive visual qualities of the medium, whilst maintaining a certain critical distance in his extraction and re-evaluation of its components. This catalogue provides a survey of Lewis' film works from 1995-2000.