In 1963 Stanley Kubrick declared, "Dr. Strangelove came from my desire to do something about the nuclear nightmare." Thirty years later, he was preparing to film another story about the human impulse for self-destruction. Unfortunately, the director passed away in 1999, before his project could be fully realized. However, fellow visionary Steven Spielberg took on the venture, and A.I. Artificial Intelligence debuted in theaters two years after Kubrick's death. While Kubrick's concept shares similarities with the finished film, there are significant differences between his screenplay and Spielberg's production. In Kubrick's Story, Spielberg's Film: A.I. Artificial Intelligence, Julian Rice examines the intellectual sources and cinematic processes that expressed the extraordinary ideas of one great artist through the distinctive vision of another. A.I. is decidedly a Kubrick film in its concern for the future of the world, and it is both a Kubrick and a Spielberg film in the alienation of its central character. However, Spielberg's alienated characters evolve through friendships, while Kubrick's protagonists are markedly alone. Rice explores how the directors' disparate sensibilities aligned and where they diverged. By analyzing Kubrick's treatment and Spielberg's finished film, Rice compares the imaginations of two gifted but very different filmmakers and draws conclusions about their unique conceptions. Kubrick's Story, Spielberg's Film is a fascinating look into the creative process of two of cinema's most profound auteurs and will appeal to scholars of film as well as to fans of both directors.

In The Twelve Lives of Alfred Hitchcock Edward White explores the Hitchcock phenomenon-what defines it, how it was invented, what it reveals about the man at its core and how its legacy continues to shape our cultural world. The book's twelve chapters illuminate different aspects of Hitchcock's life and work: "The Boy Who Couldn't Grow Up"; "The Murderer"; "The Auteur"; "The Womanizer"; "The Fat Man"; "The Dandy"; "The Family Man"; "The Voyeur"; "The Entertainer"; "The Pioneer"; "The Londoner"; "The Man of God". Each of these angles reveals something fundamental about the man he was and the mythological creature he has become, presenting not just the life Hitchcock lived, but also the various versions of himself that he projected and those projected on his behalf. White's portrayal illuminates a vital truth: Hitchcock was more than a Hollywood titan; he was the definitive modern artist and his significance reaches far beyond the confines of cinema.

This important work fills the need for a reasonably priced yet comprehensive volume on major directors in the history of Japanese film. With clear insight and without academic jargon, Jacoby examines the works of over 150 filmmakers to uncover what makes their films worth watching.

Included are artistic profiles of everyone from Yutaka Abe to Isao Yukisada, including masters like Kinji Fukasaku, Juzo Itami, Akira Kurosawa, Takashi Miike, Kenji Mizoguchi, Yasujiro Ozu, and Yoji Yamada. Each entry includes a critical summary and filmography, making this book an essential reference and guide.

UK-based Alexander Jacoby is a writer and researcher on Japanese film.

Howard Hawks (1896-1977) is one of America's great film directors. During a career that spanned fifty years and produced more than forty films, this writer, producer, and director made highly successful movies and managed to maintain remarkable artistic control during a time when studio moguls usually ruled. Hawks conquered virtually every genre, including action/adventure, comedy, western, film noir, gangster, science fiction, and musical films.

The remarkable diversity of his work may have kept Hawks from being as easily recognized as his contemporaries Alfred Hitchcock and John Ford. Hawks brought a unique stamp to all of his films by mixing dramatic and comedic elements, manipulating gender conventions, emphasizing story and dialogue, and eschewing cinematic trickery and sentimentality. His classic oeuvre includes films such as "Scarface," "Only Angels Have Wings," "His Girl Friday," "Sergeant York," "Bringing Up Baby," "The Big Sleep," "Red River," "Gentlemen Prefer Blondes," and "Rio Bravo."

This collection of interviews takes the reader from talks with his admirers in the French press to revealing discussions late in his life. By his own admission, Hawks was above all a storyteller. These interviews are replete with entertaining anecdotes. "Howard Hawks: Interviews" is a diverse collection offering valuable access to the life and career of one of the most fiercely independent filmmakers in the history of Hollywood.

Scott Breivold is an associate librarian at California State University, Los Angeles, and director of the university library's music and media center.

W.K.L. Dickson was Thomas Edison's assistant in charge of the experimentation that led to the Kinetoscope and Kinetograph the first commercially successful moving image machines. In 1891 1892, he established what we know today as the 35mm format. Dickson also designed the Black Maria film studio and facilities to develop and print film, and supervised production of more than 100 films for Edison. After leaving Edison, he became a founding member of the American Mutoscope Company, which later became the American Mutoscope & Biograph, then Biograph. In 1897, he went to England to set up the European branch of the company. Over the course of his career, Dickson made between 500 and 700 films, which are studied today by scholars of the early cinema. This well-illustrated book offers a window onto early film history from the perspective of Dickson's own oeuvre."

A brilliant approach to the queerness of one of Taiwan's greatest auteurs A critical figure in queer Sinophone cinema-and the first director ever commissioned to create a film for the permanent collection of the Louvre-Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy offers a fascinating, systematic method for analyzing the queerness of Tsai's films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai's films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai's cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai's body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema.

Pudovkin is listed amongst the great and the good of twentieth century directors: his influence is acknowledged by such diverse figures as Hitchcock and Kubrick, Zavattini and Mamet, and Walter Benjamin usedhis work as a vital source forhis studies of the aesthetics and cultural politics of the period. Vsevelod Pudovkin: Classic Works of the Soviet Avant-Garde is the first book on Pudovkin for more than twenty-five years. It covers his career from his apprenticeship with Gardin and Kuleshov in the early '20s to his sound films of the early '30s. It discusses films on which Pudovkin worked as director, as collaborator and in which he appeared, from the famous troika, The Mother, The End of St Petersburg and Storm over Asia to the lesser known The Mechanics of the Brain and The Living Corpse. Pudovkin's art is placed in the context of his contribution to the cultural and political fervour of Soviet Russia after the Revolution, and especially the theoretical disputes with his contemporary Eisenstein. The book also suggests broader alignments within European avant-garde movements and takes a close look at the influence D. W. Griffith exerted over this giant of early Soviet film-making. Vsevelod Pudovkin: Classic Films of the Soviet Avant-Garde is the companion volume to Richard Taylor's translations of Pudovkin's writings, The Pudovkin Collection.

Of all the American filmmakers who emerged from the 1970s, Francis Ford Coppola (b. 1939) may be the one most passionately revered by both critics and mainstream audiences.

The "Godfather" and "The Godfather: Part II" are landmark epics whose shots and dialogue sequences have become wholly absorbed by popular culture. "Apocalypse Now," his visionary reworking of Joseph Conrad's "Heart of Darkness," remains an enduring and controversial template for all future films about the Vietnam War.

Coppola's films featured pivotal roles for such actors as Robert Duvall, Al Pacino, Diane Keaton, Gene Hackman, and Harrison Ford and cemented the reputations of Marlon Brando and Robert De Niro. His production company, American Zoetrope, helped to launch the careers of directors George Lucas, John Milius, and Carroll Ballard.

"Francis Ford Coppola: Interviews" shows Coppola to be both an intensely personal auteur and a studio-savvy Hollywood player. From the beginning of his career to the present, these conversations reveal him to be brash, candid, sensitive, and willing to engage in heated debate. He reiterates his desire to change the Hollywood system from within and talks openly about the creation of his independent film production company. Featuring interviews conducted by film critics Michael Sragow and Gene D. Phillips and the "New Yorker's" Lillian Ross, among others, the volume shows how Coppola has evolved from hotshot film maverick to elder statesman of American cinema.

Gene D. Phillips, S.J., is a professor of English and film history at Loyola University, Chicago. He is the author of several books on film, including "Godfather: The Intimate Francis Ford Coppola," and is the editor of "Stanley Kubrick: Interviews" (University Press of Mississippi).

Rodney Hill is a doctoral candidate in theater and film at the University of Kansas, and his work has been published in such periodicals as "Literature/Film Quarterly" and "Post Script." He cowrote with Gene D. Phillips "The Encyclopedia of Stanley Kubrick."

"Directors and Designers "explores the practice of scenography--the creation of perspective in the design and painting of stage scenery--and offers new insight into the working relationships of the people responsible for these theatrical transformations. With contributions from leading practitioners and theorists, editor Christine White describes the way in which the roles of director and designer have developed over time. Featuring chapters on theater and site-specific performance, theatrical communication and aesthetics, and the cognitive reception of design by the audience, this volume provides a valuable resource on current approaches to scenography for professionals and students.

A feminist study of the mood, texture, tone, and multifaceted meaning of director Sofia Coppola's aesthetic through her most influential and well-known films. A Choice Outstanding Academic Title 2019 "With this book Rogers has produced a sophisticated and impassioned analysis of Coppola's work... Rogers's main argument - that Coppola manipulates pleasurable images to unsettle rather than mollify us - is utterly convincing. If nothing else, this certainly hits home in relation to my own enchantment with Coppola's work."-Bright Lights Film Journal All too often, the movies of Sofia Coppola have been dismissed as "all style, no substance." But such an easy caricature, as this engaging and accessible survey of Coppola's oeuvre demonstrates, fundamentally misconstrues what are rich, ambiguous, meaningful films. Drawing on insights from feminist philosophy and psychology, the author here takes an original approach to Coppola, exploring vital themes from the subversion of patriarchy in The Virgin Suicides to the "female gothic" in The Beguiled. As Rogers shows, far from endorsing a facile and depoliticized postfeminism, Coppola's films instead deploy beguilement, mood, and pleasure in the service of a robustly feminist philosophy. From the Introduction: Sofia Coppola possesses a highly sophisticated and intricate knowledge of how images come to work on us; that is, she understands precisely how to construct an image - what to add in and what to remove - in order to achieve specific moods, tones and cinematic affects. She knows that similar kinds of images can have vastly different effects on the viewer depending on their context.... This monograph is an extended study of Coppola's outstanding ability to think through and in images.

This book traces the development of Richard Linklater's Boyhood from its audacious concept through its tenacious production to its celebrated reception, placing it within the context of cinematic parables about children to demonstrate its distinctive vision. Timothy Shary, author of numerous studies on the history of teen cinema, evaluates the film's many messages about youth and adolescence within the context of early twenty-first century American culture, illuminating how Linklater's singular vision of the otherwise ordinary life of a boy reveals potent universal truths about all people.

Italian film director Pier Paolo Pasolini's ""trilogy of life,"" a series of three cinematic adaptations of medieval texts, includes ""The Decameron"" (1970), ""The Canterbury Tales"" (1971) and ""Arabian Nights"" (1973). Much more than simple retellings, the films demonstrate a modern auteur's purposefully idealized and stylized vision of the period, and each uniquely comments on narrativity within the texts. In ""The Decameron"" and ""The Canterbury Tales"", Pasolini himself plays the artist Giotto and Geoffrey Chaucer, respectively, affording him positions of considerable narrative power in the films. As Giotto suggests at the end of ""The Decameron"", Pasolini's films dream the original texts, offering his own poetic visualization, in a way that is meant to revive the reading of his sources through irreverent cinematic homage. This book explores Pasolini's visualized narrative in the first two films of the trilogy, showing how film becomes an alternative form of storytelling that allows auteurs like Pasolini to adapt, in varying degrees of faith, classic sources while displaying new artistic visions. The book first studies the two films in detail and puts them in perspective within the trilogy. Next, it interprets both films from a wider perspective, recounting misinterpretations, expounding upon Pasolini's ideological vision, and defending the oft-criticized adaptations. Finally, the conclusion discusses how the films represent innovation over strict adaptation, and considers the paradox of rendering, non-realistically, the essence of original works. Appendices offer charts with information on the narrative structures of the films and the correspondences between them. A bibliography and a Pasolini filmography are included.

Richard Bare is primarily known as the sole director of the television series Green Acres, but his Hollywood career spanned over 40 years, starting with his USC student film, So You Want to Give Up Smoking, which resulted in a long-term contract at Warner Bros. He has directed over a dozen feature films and over 400 television shows, including Maverick, 77 Sunset Strip, The Virginian, and the Twilight Zone. Follow Bare through his many years in the film industry, which brought him into contact with Hollywood's biggest stars, like Gary Cooper, Betty Hutton, Debbie Reynolds, Eva Gabor, Eddie Albert, and Charlie Chaplin, as well as producers Steven Spielberg, George Lucas, and Walt Disney. Bare opens with a gripping story of how he and the crew of MGM's The Islanders almost lost their lives in a devastating plane crash in the Caribbean Sea. Includes filmography.

An obscure independent filmmaker until Halloween (1978), John Carpenter has been applauded for his classic sense of compositions, yet reviled for his "B-film" sensibility. This second edition of the first book-length analysis finds in Carpenter's films a vision of a profound but unexpected order in the universe. The author analyzes Carpenter's early independent work, his made-for-television movies, his big Hollywood films (The Fog, Escape from New York, The Thing, Stephen King's Christine, Starman), his more recent independent work (Big Trouble in Little China, Prince of Darkness, They Live), and his contributions to films he did not direct. This edition fully updates the 1990 edition with attention to the films made since that date. With a chronology of Carpenter's career, a detailed filmography, photos, brief plot synopses, and a thorough index, this volume will be treasured by film scholars and fans alike.

Known for his visual style as well as for his experimentation in virtually every genre of narrative cinema, award-winning director Sidney J. Furie also has the distinction of having made Canada's first ever feature-length fictional film in English, A Dangerous Age (1957). With a body of work that includes The Ipcress File (1965), Lady Sings the Blues (1972), and The Entity (1982), he has collaborated with major stars such as Marlon Brando, Frank Sinatra, Robert Redford, and Michael Caine, and his films have inspired some of Hollywood's most celebrated directors, including Stanley Kubrick and Quentin Tarantino. In this first biography of the prolific filmmaker, author Daniel Kremer offers a comprehensive look at the director's unique career. Furie pioneered techniques such as improvisation in large-scale film productions, and sometimes shot his films in sequence to develop the characters from the ground up and improve the performers' in-the-moment spontaneity. Not only has Stanley Kubrick acknowledged that Furie's The Boys in Company C (1978) informed and influenced Full Metal Jacket (1987), but Martin Scorsese has said that he considers The Entity to be one of the scariest horror films of all time. However, Furie was often later criticized for accepting lowbrow work, and as a result, little serious study has been devoted to the director. Meticulously researched and enhanced by Kremer's close relationship with the filmmaker, this definitive biography captures the highs and lows of an exceptional but underexamined career, taking readers behind the scenes with a director who was often ahead of his time.

Quentin Tarantino is one of the best-known living American filmmakers in the world, and the story of his career has been the subject of a number of books and articles. But what do his films mean? In this new study, Edward Gallafent does not look at Tarantino's story but at the films themselves. He asks to what extent Tarantino can be seen as a specifically American filmmaker, with the kinds of preoccupations and interests that have formed part of Hollywood's traditions, and also how he explores the expressive possibilities of current cinema. The book concentrates on the main feature films of Tarantino's career so far: Reservoir Dogs, Pulp Fiction, Jackie Brown, and the two volumes of Kill Bill. Apart from Kill Bill the films are not treated individually, but in terms of some of the subjects that connect them together, such as success and tradition, their notorious deployment of violence, and Tarantino's approach to story-telling: his interest in presenting events out of chronological order. The book also covers adaptations of Tarantino's work, looking at the screenplays of True Romance and Natural Born Killers as well as the films made from them, and compares Tarantino's approach to adapting Elmore Leonard with that of another important American filmmaker, Paul Schrader. The aim of the book is to explore these topics and to take the reader back to what the American critic Robert Warshow called the 'actual, immediate experience of seeing and responding to the movies'. It is designed to appeal both to those who were excited by the films on first seeing them in the cinema and to those taking the opportunity of reconsidering them on the screen or on DVD.

The work of Andrzej Wajda, one of the world's most important filmmakers, shows remarkable cohesion in spite of the wide ranging scope of his films, as this study of his complete output of feature films shows. Not only do his films address crucial historical, social and political issues; the complexity of his work is reinforced by the incorporation of the elements of major film and art movements. It is the reworking of these different elements by Wajda, as the author shows, which give his films their unique visual and aural qualities.

The pioneering film director and theorist Sergei Eisenstein is known for the unequalled impact his films have had on the development of cinema. Less is known about his remarkable and extensive writings, which present a continent of ideas about film. Robert Robertson presents a lucid and engaging introduction to a key area of Eisenstein's thought: his ideas about the audiovisual in cinema, which are more pertinent today than ever before. With the advent of digital technology, music and sound now act as independent variables combined with the visual medium to produce a truly audiovisual result. Eisenstein explored in his writings this complex, exciting subject with more depth and originality than any other practitioner, and this is an accessible and original exploration of his ideas. Winner of the Kraszna Krausz Foundation's And/Or Award for Best Moving Image Book of 2009, "Eisenstein on the Audiovisual" is essential reading for students and practitioners of the audiovisual in cinema and related audiovisual forms, including theatre, opera, dance and multimedia.

The cinematic output of Australian director Peter Weir has garnered numerous awards and widespread critical acclaim - from his early short films of the 1970s to the Hollywood hits he's helmed since 1985, including the likes of Witness, Dead Poets Society, The Truman Show and Master and Commander. Drawing on contemporary concepts from transnational cinema studies, this book investigates Weir's entire three-decade career, paying particular attention to his journey from his native Sydney, with its largely auteur-driven national cinema, to the multimillion-dollar Hollywood film industry with its many genre conventions. Along the way, the author explores a host of questions accompanying this move, including Weir's status as a transnational filmmaker and a more generalized discussion of the critically controversial idea of the auteur. Rounding out this volume are interviews with leading Hollywood filmmakers who discuss Weir's work.

Documentary Resistance: Social Change and Participatory Media offers a new approach to understanding the networked capacity of documentary media to create public commons areas, crafting connections between unlikely interlocutors. In this process communities invest in the exchange of documentary moving image discourse around politics and social change. This book advances a new argument suggesting that documentary's capacity for social change is found in its ability to establish forms of collective identification and political agency capable of producing and sustaining activist media cultures. It advances the creation of a conceptual, theoretical, and historical space in which documentary and social change can be examined, drawing upon research in cinema, media, and communication studies as well as cultural theory to explore how political ideas move into participatory action. This book takes a distinctive approach, understanding how struggles for social justice are located, reflected, and represented on the documentary screen, but also in pre- and post-production processes. To address this living history, this project includes over sixty unpublished field interviews with documentary filmmakers, critics, funders, activists, and distributors.

In America, few film directors attain the coveted status of auteur. With huge production costs and complex studio systems, it is rare for a single person to gain the level of creative control over all aspects of the filmmaking process -- from screenwriting to editing to the sought-after "final cut" -- that the auteur possesses. Francis Ford Coppola, author Gene Phillips argues, is one of the better known modern exceptions.The force behind such popular and critically acclaimed films as Apocalypse Now and the Godfather trilogy, Coppola has imprinted his distinct style on each of his movies -- and subsequently on the landscape of American popular culture. In Godfather, Phillips argues that Coppola has repeatedly bucked the Hollywood "factory system" in an attempt to create distinct films that reflect his own artistic vision -- often to the detriment of his career and finances.Phillips blends biography, studio history, and film criticism to complete the most comprehensive work on Coppola ever written. Phillips conducted interviews with the director and his colleagues and examined Coppola's production journals and screenplays. Phillips also reviewed rare copies of Coppola's student films, his early excursions into soft-core pornography, and his less celebrated productions such as One from the Heart and Tucker: The Man and His Dream. The result is the definitive assessment of one of Hollywood's most enduring and misunderstood mavericks.

A hefty compilation of essays (both pictorial and prose), notes, concept sketches and interviews by (and with) Hayao Miyazaki. Arguably the most respected animation director in the world, Miyazaki is the genius behind Howl's Moving Castle, Princess Mononokeand the Academy Award-winning film, Spirited Away.

Amid extraordinary controversy at the Academy Awards ceremony in 1999, Elia Kazan was belatedly presented a Lifetime Achievement Award for his distinguished career as a director of American films. Despite the protests regarding his "friendly" testimony at the HUAC hearings in 1952, there was never any question that Kazan's cinematic accomplishments merited the long-overdue award. Few would dispute his being one of the great creative artists of the twentieth century.

Born an Anatolian Greek in Istanbul in 1909, Kazan emigrated with his parents from Turkey to the United States when he was four. As a young New York director, Kazan revolutionized American theater with his productions of "A Streetcar Named Desire" and "Death of a Salesman." He was the director also of some of Hollywood's most acclaimed films, including "A Tree Grows in Brooklyn," "Gentleman's Agreement," "A Streetcar Named Desire," "Viva Zapata ," "East of Eden," and "On the Waterfront." Nevertheless, all his accomplishments since 1952 were greatly affected by his decision during the Cold War to testify at the HUAC hearings and to give the names of Communists he knew in the film industry.

In this collection as he discusses his social themes, his relationship with actors, his collaborations with writers, and his film style, Kazan is passionate, blunt, and often colorfully opinionated. The interviews cover nearly forty years and reveal a man who is remarkably thoughtful, candid, and willing to discuss any aspect of his long career. He speaks of his close relationships with Tennessee Williams, Arthur Miller, Marlon Brando, and James Dean; of his involvement with the Group Theatre, the Actors Studio, Lincoln Center, and "method" acting; of his many artistic successes and failures; and of his difficult decision to testify at the HUAC hearings.

William Baer, an associate professor of English at the University of Evansville, is the author of "The Unfortunates" and the editor of "Conversations with Derek Walcott" (University Press of Mississippi).