Christopher Nolan occupies a rare realm within the Hollywood mainstream, creating complex, original films that achieve both critical acclaim and commercial success. In The Traumatic Screen, Stuart Joy builds on contemporary applications of psychoanalytic film theory to consider the function and presentation of trauma across Nolan's work, arguing that the complexity, thematic consistency and fragmentary nature of his films mimic the structural operation of trauma. From 1997's Doodlebug to 2017's Dunkirk, Nolan's films highlight cinema's ability to probe the nature of human consciousness while commenting on the relationship between spectator and screen. Joy examines Nolan's treatment of trauma - both individual and collective - through the formal construction, mise en scene and repeated themes of his films. The argument presented is based on close textual analysis and a methodological framework that incorporates the works of Sigmund Freud and Jacques Lacan. The first in-depth, overtly psychoanalytic understanding of trauma in the context of the director's filmography, this book builds on and challenges existing scholarship in a bold new interpretation of the Nolan canon.

Cronenberg on Cronenberg charts Cronenberg's development from maker of inexpensive 'exploitation' cinema to internationally renowned director of million-dollar movies, and reveals the concerns and obsessions which continue to dominate his increasingly rich and complex work. This edition brings Cronenberg's work up-to-date with an additional chapter on Crash.

Derek Jarman's Sketchbooks - Deluxe Edition. Edited by Stephen Farthing and Ed Webb-Ingall. With a preface by Tilda Swinton. Featuring contributions from Keith Collins, Christopher Hobbs, Andrew Logan, James Mackay, Jon Savage, Howard Sooley, Neil Tennant and Toyah Willcox. DELUXE SLIPCASED EDITION. INCLUDES THREE PRINTS. Containing poetry, drawings, pressed flowers, photographs, excerpts from scripts and notes, Derek Jarman's sketchbooks are part autobiography and part social history, bursting with the energy and creativity of this groundbreaking artist. This publication collates the best of Jarman's sketchbooks to reveal the detailed planning and emotional engagement behind each of his films in more depth than ever before. This deluxe edition is limited to 500 copies, each presented in a cloth-covered slipcase. Each numbered copy is accompanied by three prints reproduced from the sketchbooks, housed in an envelope tipped into the book. The book, which is covered in real blue cloth with gold foil blocking on the spine and in a debossed recess on the frontboard, is c.15% larger than the standard edition. 196 illustrations, 187 in colour, 31.0 x 24.0cm, 256pp, ISBN 978 0 500 517185 . GBP150.00 slipcased hardback + 3 prints

Although best known as an Academy Award winning actor, Sean Penn's directorial works The Indian Runner (1991), The Crossing Guard (1995), The Pledge (2001), and Into the Wild (2007), consist of some of the most interesting and singular films made in the United States over the past twenty years. Each of Penn's directorial films and much of the cinema he has acted in are set in an immediate past in which a "stalled" time and a restricted locale apply narrative constraints. At the same time, these films all feature a sophisticated web of intertextual relations, involving actors, songs, books, films, and directors, and the political lineage to which Penn belongs, which reveal the deep cultural structures that concern each particular film.

The Kid Stays in the Picture is considered to be one of the best Hollywood memoirs ever, and now Robert Evans' sensational life story continues in his much anticipated follow-up, The Fat Lady Sang. Told with Bob's unmistakable voice and panache, The Fat Lady Sang is full of even more outrageous and unbelievable stories about one of the most turbulent times in Hollywood. Told in the same irresistible style that made The Kid Stays in the Picture one of the most acclaimed memoirs of our time, The Fat Lady Sang chronicles Evans' triumphant recovery from a devastating series of strokes, with the aid of neurologists, physical therapists and old friends like Warren Beatty, Jack Nicholson, Sumner Redstone, and Beverly D'Angelo. Along the way, he shares new stories from throughout his career, with cameos by everyone from Jimmy Cagney, Tyrone Power, Darryl Zanuck, Ava Gardner, Errol Flynn, and Grace Kelly to President John F. Kennedy, Frank Sinatra, Brigitte Bardot, Catherine Deneuve, Ali MacGraw, John Wayne, Alain Delon, Henry Kissinger, President Reagan, and Pope John Paul II, to Dustin Hoffman, Roman Polanski, Helmut Newton, P. Diddy, Wes Craven, Slash, 50 Cent, Snoop Dogg, and more. The Fat Lady Sang finds The Kid as brazen as ever, refusing to slow down even as the fat lady opened her mouth to belt out those final notes.

Matthew Solomon's study of Chaplin's The Gold Rush (1925) provides an in-depth discussion of the film's production and reception history, placing it in the context of the turn-of-the-century Alaska Klondike gold rush, and analyses the film's narrative and formal features, particularly its references to music-hall performance styles and tropes.

Standing apart from celebrated Iranian ideals of war and martyrdom, revolutionary filmmaker Abbas Kiarostami was known as a man who praised life and celebrated it in all his works. Creating films for more than 40 years during times of unending war and political turmoil, Kiarostami promoted the Sufi tradition of seeing God as part of nature and the pre-Islamic Zoroastrian ideal of environmental protection. Kiarostami's self-image as a citizen of the world, his renunciation of war, and his concern for the future of nature cement his importance within the art form of poetic cinema. Addressing Kiarostami's illumination of humanity's self-destructive tendencies, author Julian Rice presents a detailed analysis of twelve individual films, from Homework (1989) to Like Someone in Love (2012). Departing from concerns of spectatorship or film in general, Rice's book portrays the human and spiritual core of Kiarostami. Connected to all other humans and to the earth we all inhabit, Kiarostami's vision remains a powerful message for film scholars and peaceful people everywhere.

Spike Lee has directed, written, produced, and acted in dozens of films that present an expansive, nuanced, proudly opinionated, and richly multifaceted portrait of American society. As the only African-American filmmaker ever to establish a world-class career, Lee has paid acute attention to the experiences of racial and ethnic minorities. But white men and women also play important roles in his movies, and his interest in class, race, and urban life hasn't prevented his films from ranging over broad swaths of the American scene in stories as diverse as the audiences who view them. His defining trait is a willingness to raise hard questions about contemporary America without pretending to have easy answers; his pictures are designed to challenge and provoke us, not ease our minds or pacify our emotions. The opening words of his 1989 masterpiece "Do the Right Thing" present his core message in two emphatic syllables: "Wake up ""Spike Lee's America" is a vibrant and provocative engagement not only with the work of a great filmmaker, but also with American society and politics.

If cinema can be approached as poetry and philosophy, it is because of Jean Epstein. Cocteau, Bunuel (who was his assistant), Hitchcock, Pasolini and Godard, and theoreticians Kracauer, Deleuze and Ranciere are directly influenced by Epstein's pioneering film work, writings, and concepts. This book is the first in English to examine his oeuvre comprehensively. An avant-garde artist and an anti-elitist intellectual, Epstein wanted to craft moments of pure transformative cinema. Using familiar genres - melodramas and documentaries - he hoped to heal viewers of all classes and hasten social utopia. A lover of cinema as cognitive and sensorial technology, and a poet of the screen, he pushed cinematography - as photogenie - towards the experimental sublime, through daring close-ups, rhythmic montage, slow motion, even reverse motion. Polish-born, half-Jewish, and the author of a treatise on homosexuality, Epstein has been unfairly relegated to the shadows of film history. This book restores him to the limelight of interwar world cinema, on a par with Renoir, Lang, Capra and Eisenstein. -- .

No one knows more about everything - especially everything rude, clever, and offensively compelling - than John Waters. The man in the pencil-thin mustache, auteur of the transgressive movie classics Pink Flamingos, Polyester, the original Hairspray, Cry-Baby, and A Dirty Shame, is one of the world's great sophisticates, and in Mr. Know-It-All he serves it up raw: how to fail upward in Hollywood; how to develop musical taste from Nervous Norvus to Maria Callas; how to build a home so ugly and trendy that no one but you would dare live in it; more important, how to tell someone you love them without emotional risk; and yes, how to cheat death itself. Through it all, Waters swears by one undeniable truth: "Whatever you might have heard, there is absolutely no downside to being famous. None at all." Studded with cameos of Waters's stars, from Divine and Mink Stole to Johnny Depp, Kathleen Turner, Patricia Hearst, and Tracey Ullman, and illustrated with unseen photos from Waters's personal collection, Mr. Know-It-All is Waters's most hypnotically readable, upsetting, revelatory book - another instant Waters classic. 'Waters doesn't kowtow to the received wisdom, he flips it the bird . . . [Waters] has the ability to show humanity at its most ridiculous and make that funny rather than repellent' Jonathan Yardley, The Washington Post 'Carsick becomes a portrait not just of America's desolate freeway nodes - though they're brilliantly evoked - but of American fame itself' Lawrence Osborne, The New York Times Book Review

"The finest filmmaker of my lifetime . . . Bergman was a born spinner of tales." --Woody Allen In this new paperback edition, Ingmar Bergman presents an intimate view of his own unique body of work in film. His career spanned forty years and produced more than fifty films, many of which are considered classics: The Seventh Seal, The Virgin Spring, Persona, Smiles of a Summer Night, Wild Strawberries, and Fanny and Alexander, to name but a few. When he began this book, Bergman had not seen most of his movies since he made them. Resorting to scripts and working notebooks, and especially to memory, he comments brilliantly and always cogently on his failures as well as his successes; on the themes that bind his work together; on his concerns, anxieties, and moments of happiness; on the relationship between his life and art. Readers are allowed a glimpse of the inner workings behind his well-known masterpieces: his anxiety and pain as he edited a 312 minute Fanny and Alexander for a three-hour feature film release; his attempt to reconcile the towering figures of his parents with Wild Strawberries. He relates his own starkly honest view of his great triumphs and quiet failures. More clearly than ever before, Images allows us to listen to his "voice of genius" (Woody Allen, New York Times Book Review).

The work of the experimental filmmaker Lutz Mommartz (*1934) has been shaking up the art and film community for more than 50 years. Ever since he embarked on his career as an artist in the 1960s, Mommartz has been thinking out of the box. Rejecting the cliches of the movie industry, he aimed to bring about a radical new beginning of film - with a focus on aesthetic and social goals. In 1967, he soared to the top of the German avantgarde as a self-taught filmmaker after his surprising success at the renowned experimental film festival in Knokke, Belgium. Not only was he one of the founding members of the legendary Creamcheese bar populated by artists, but he also participated in influential festivals and exhibitions such as the documenta 4 (1968). From this time onward, he belonged to the circle of filmmakers who pressed ahead with "the other cinema" against the mainstream film industry and promoted alternative distribution systems. In 1975, Mommartz became the first professor of film at the Kunstakademie Dusseldorf and headed the film class until 1999. During a career spanning more than 50 years, Mommartz produced an impressive body of short and experimental films, feature films, and documentary recordings of Dusseldorf's art scene. The two-volume publication provides an introduction into his diverse oeuvre and highlights thematic and associative connections between his films. Text in English and German. Published to accompany an exhibition at Kunsthalle Dusseldorf, between 21 November 2020 and 7 February 2021.

The films of John Carpenter cover a tremendous range and yet all bear his clear personal stamp. From the horrifying (Halloween) to the touching (Starman) to the controversial (The Thing) to the comic (Big Trouble in Little China), his films reflect a unique approach to filmmaking and singular views of humanity and American culture. This analysis of Carpenter's films includes a historical overview of his career, and in-depth entries on each of his films, from 1975's Dark Star to 1998's Vampires. Complete cast and production information is provided for each. The book also covers those films written and produced by Carpenter, such as Halloween II and Black Moon Rising, as well as Carpenter's work for television. Appendices are included on films Carpenter was offered but turned down, the slasher films that followed in the wake of the highly-successful Halloween, the actors and characters who make repeated appearances in Carpenter's films, and ratings for Carpenter's work. Notes, bibliography, and index are included.

In this book Richard Ayoade -- actor, writer, director, and amateur dentist -- reflects on his cinematic legacy as only he can: in conversation with himself. Over ten brilliantly insightful and often erotic interviews, Ayoade examines Ayoade fully and without mercy, leading a breathless investigation into this once-in-a-generation visionary. They have called their book Ayoade on Ayoade: A Cinematic Odyssey. Take the journey, and your life will never be the same again.

The first comprehensive study of the films of Guillermo del Toro, "The Golden Labyrinth" covers all del Toro's work to date--from "Pan's Labyrinth" to "Hellboy II" to the upcoming production of "The Hobbit"--and goes further, covering their inspirations, genesis, and production.

A key figure in the ongoing legacy of modern cinema, David Lynch designs environments for spectators, transporting them to inner worlds built by mood, texture, and uneasy artifice. We enter these famously cinematic interiors to be wrapped in plastic, the fundamental substance of Lynch's work. This volume revels in the weird dynamism of Lynch's plastic worlds. Exploring the range of modern design idioms that inform Lynch's films and signature "mise-en-scene, " Justus Nieland argues that plastic is at once a key architectural and interior design dynamic in Lynch's films, an uncertain way of feeling essential to Lynch's art, and the prime matter of Lynch's strange picture of the human organism. Nieland's study offers striking new readings of Lynch's major works ("Eraserhead, Blue Velvet, Wild at Heart, Mulholland Dr., Inland Empire") and his early experimental films, placing Lynch's experimentalism within the aesthetic traditions of modernism and the avant-garde; the genres of melodrama, film noir, and art cinema; architecture and design history; and contemporary debates about cinematic ontology in the wake of the digital. This inventive study argues that Lynch's plastic concept of life--supplemented by technology, media, and sensuous networks of an electric world--is more alive today than ever.

Today's Hollywood screenplays have a uniform appearance, but it has not always been this way. The earliest film writing used theatrical plays and prose fiction as models, and the silent cinemas of Germany, Russia and the United States all developed their own traditions, culminating in the unique 'screen poetry' of Carl Mayer. Hollywood studios adapted to writing for sound in different ways, while European author-directors such as Ingmar Bergman made film writing as personal a form of expression as poetry. Later, American writers as diverse as William Goldman, David Mamet and Charlie Kaufman showed that the screen writer could be as important and distinctive a figure as any director, while today's digital technology is transforming screenwriting once again. Steven Price traces the history of the screenplay, illustrating its transformations with detailed discussion of a wide range of examples from the beginnings of cinema to the present day.

For more than five decades, Woody Allen has been one of the most critically acclaimed talents in American cinema. Allen has been nominated for best director seven times by the Academy of Motion Picture Arts and Sciences-winning for his 1977 film Annie Hall-and he has received more Oscar nominations for best screenplay than any other individual. But Allen's accomplishments are not limited to the big screen. In addition to writing and directing nearly fifty films-many of which he starred in-Allen has been a television writer, a stand-up comedian, a playwright, and the author of several short stories. The Woody Allen Encyclopedia is a compendium of information and commentary about every aspect of Allen as an artist. In this volume, Thomas S. Hischak details all of Allen's works for the cinema, television, and the stage, as well as all of his fiction; his comedy albums; his performances in other directors' movies; and even documentaries about him. In addition to such critically acclaimed films as Sleeper, Manhattan, Hannah and Her Sisters, Zelig, Crimes and Misdemeanors, Match Point, and Midnight in Paris, entries in this volume feature many of his collaborators, including actors, actresses, cinematographers, editors, designers, producers, and cowriters. This resource also highlights themes in Allen's work, the music he utilizes in his films, and his working methods, as well as box-office figures and awards. An extensive and comprehensive overview of this artist's remarkable career, The Woody Allen Encyclopedia is a must-have for film aficionados and will be of great interest to all readers, from professors and students to Allen's most devoted fans.

Ernst Lubitsch (1982-1947) was one of the most successful and influential German filmmakers in American film comedy. In this volume, Rick McCormick argues for a more transnational view of Lubitsch's career and films with respect to nationality, ethnicity, migration, class, sexuality, and gender. McCormick focuses on Lubitsch's Jewishness, which is inseparable from the distinct transnational character of the director, categorizing his early films as "Jewish comedies" where Lubitsch strikes a tenuous balance between Jewish humor, antisemitic jokes, stereotypes, and the incorporation of antifascist subjects into his popular films. Above all, the larger political issues at stake in Lubitsch's work are brought forward: German-Jewish perspectives and experiences, the subtle treatment of covert political and social messages, and the relationship of comedy, especially sexual comedy, to emancipatory politics and, in particular, to the turbulent politics of Europe and the United States in the first half of the twentieth century. The book discusses in depth the following films by Lubitsch: The Pride of the Firm (1914), Shoe Palace Pinkus (1916), Meyer From Berlin (1918), I Don't Want to Be a Man (1918), The Oyster Princess (1919), Madame Dubarry (1919), The Doll (1919), Sumurun (1920), The Wildcat (1921), The Marriage Circle (1924), The Student Prince in Old Heidelberg (1927), The Love Parade (1929), The Man I Killed (1932), Trouble in Paradise (1932), Design for Living (1933), Ninotchka (1939), The Shop Around the Corner (1940), and To Be or Not to Be (1942).

Fifty Hollywood Directors introduces the most important, iconic and influential filmmakers who worked in Hollywood between the end of the silent period and the birth of the blockbuster. By exploring the historical, cultural and technological contexts in which each director was working, this book traces the formative period in commercial cinema when directors went from pioneers to industry heavyweights.

Each entry discusses a director s practices and body of work and features a brief biography and suggestions for further reading. Entries include:

• Frank Capra
• Cecil B DeMille
• John Ford
• Alfred Hitchcock
• Fritz Lang
• Orson Welles
• DW Griffith
• King Vidor

This is an indispensible guide for anyone interested in film history, Hollywood and the development of the role of the director."

Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinema to his later writings for Cahiers du Cinema, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself,his own experiments, obsessions, discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950-1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard's career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

Harmony Korine: Interviews tracks filmmaker Korine's stunning rise, fall, and rise again through his own evolving voice. Bringing together interviews collected from over two decades, this unique chronicle includes rare interviews unavailable in print for years and an extensive, new conversation recorded at the filmmaker's home in Nashville. After more than twenty years, Harmony Korine (b. 1973) remains one of the most prominent and yet subversive filmmakers in America. Ever since his entry into the independent film scene as the irrepressible prodigy who wrote the screenplay for Larry Clark's Kids in 1992, Korine has retained his stature as the ultimate cinematic provocateur. He both intelligently observes modern social milieus and simultaneously thumbs his nose at them. Now approaching middle age, and more influential than ever, Korine remains intentionally sensationalistic and ceaselessly creative. He parlayed the success of Kids into directing the dreamy portrait of neglect, Gummo, two years later. With his audacious 1999 digital video drama Julien Donkey-Boy, Korine continued to demonstrate a penchant for fusing experimental, subversive interests with lyrical narrative techniques. Surviving an early career burnout, he resurfaced with a trifecta of insightful works that built on his earlier aesthetic leanings: a surprisingly delicate rumination on identity (Mister Lonely), a gritty quasi-diary film (Trash Humpers), and a blistering portrait of American hedonism (Spring Breakers), which yielded significant commercial success. Throughout his career he has also continued as a mixed-media artist whose fields included music videos, paintings, photography, publishing, songwriting, and performance art.

Satyajit Ray, one of the greatest auteurs of twentieth century cinema, was a Bengali motion-picture director, writer, and illustrator who set a new standard for Indian cinema with his Apu Trilogy: Pather Panchali (Song of the Little Road) (1955), Aparajito (The Unvanquished) (1956), and Apur Sansar (The World of Apu) (1959). His work was admired for its humanism, versatility, attention to detail, and skilled use of music. He was also widely praised for his critical and intellectual writings, which mirror his filmmaking in their precision and wide-ranging grasp of history, culture, and aesthetics. Spanning forty years of Ray's career, these essays, for the first time collected in one volume, present the filmmaker's reflections on the art and craft of the cinematic medium and include his thoughts on sentimentalism, mass culture, silent films, the influence of the French New Wave, and the experience of being a successful director. Ray speaks on the difficulty of adapting literary works to screen, the nature of the modern film festival, and the phenomenal contributions of Jean-Luc Godard and the Indian actor, director, producer, and singer Uttam Kumar. The collection also features an excerpt from Ray's diaries and reproduces his sketches of famous film personalities, such as Sergei Eisenstein, Charlie Chaplin, and Akira Kurosawa, in addition to film posters, photographs by and of the artist, film stills, and a filmography. Altogether, the volume relays the full extent of Ray's engagement with film and offers extensive access to the thought of one of the twentieth-century's leading Indian intellectuals.

Movies have never been the same since MTV. While the classic symphonic film score promised direct insight into a character's mind, the expanded role of popular music has made more ambiguous the question of when, if ever, we are allowed to see or share a character's emotions. As a result, the potential for irony and ambiguity has multiplied exponentially, and characterization and narrative capacities have fragmented. At the most basic level, this new aesthetic has required filmgoers to renegotiate some of their most basic instinctual connections with the human voice and with any sense of a filmmaking self. Music videos widened the creative vocabulary of filmmaking: they increased speeds of event in cinema and deflecting filmmakers from narrative, characterization, and storytelling toward a concentration on situation, feeling, mood, and time. Popular Music and the New Auteur charts the impact of music videos on seven visionary directors: Martin Scorsese, Sofia Coppola, David Lynch, Wong Kar-Wai, the Coen brothers, Quentin Tarantino, and Wes Anderson. Ashby and his contributors define these filmmakers' relation to the soundtrack as their key authorial gesture. These filmmakers demonstrate a fresh kind of cinematic musicality by writing against music rather than against script, and allowing pop songs a determining role in narrative and imagery. Featuring important new theoretical work by some of the most stimulating and provocative writers in the area today, Popular Music and the New Auteur will be required reading for all who study film music and sound. It will also be particularly relevant for readers in popular music studies, and its intervention in the ongoing debate on auteurism will make it necessary reading in film studies.