The films of the late French filmmaker Robert Bresson, once thought formidable both because of the somberness of their subject matter and the austerity of the filmmaker's style, have in the last decade found a new audience. In part, this is owing to the rarely acknowledged but profound influence his style has had on later filmmakers-from Chantal Akerman to Michael Haeneke. This book looks at Bresson's body of work not only by coming to terms with its thematic preoccupations and the development of its unique authorial style, but also in terms of the ouvre's seminal place in the history of film. The filmic rhetoric that Bresson pursued was nothing less than an effort to create an exemplary form of film narrative, throwing off the conventions of the theater and acting that still dominate mainstream filmmaking. In this respect, Bresson's films are no less ground-breaking than those of D.W. Griffith and Sergei Eisenstein. In addition, while few who have written about Bresson would deny the highly personal and idiosyncratic nature of his work, its autobiographical dimension has never been fully explored. This constitutes a rich vein for investigation and the films-in both their subject matter and style-mirror and trace the aesthetic and psychological dispositions of the filmmaker. What one discovers in these explorations is a deeper relationship between the filmmaker and his literary models-especially the novelists Georges Bernanos and Fyodor Dostoevsky. With both, he also shares convictions about the "fallennature of humanity, an attitude of mourning for the loss of childhood innocence, a strong preoccupation with Christian theology, and the role evil and sexuality play in our lives. In this book Bresson's sources, style, and biography are explored via a chronological investigation of his films, yielding a dense analysis worthy of this master filmmaker.

The Work of Terrence Malick: Time-Based Ecocinema develops a timely ecocinema approach to film analysis illuminated by Benjamin's notion of the turn of time. Current work on Malick's films emphasizes the spatial dynamics of his cinema, particularly as it pertains, from within a phenomenological framework, to the viewer's experience of films. This book redirects scholarly attention to the way Malick's directorial work shapes time and duration, laying new groundwork for the analysis of how films unsettle nature-culture binaries in modernity. The study performs this intervention through a rigorous engagement with Walter Benjamin's work on time, violence and technologies and the emergent figural approach to aesthetics in film studies. Each of these methods has important precedents in film studies and other fields. The combination of methods performed in this book contributes to understanding the relevance of a time-based approach to Malick's films and the practical implications of a time-based relation to history in contemporary ecocinema discourses.

Among the most innovative and influential filmmakers of the twentieth century, Alain Resnais (1922-2014) did not originally set out to become a director. He trained as an actor and film editor and, during the sixty-eight years of his working life, delved into virtually every corner of filmmaking, working at one time or another as screenwriter, assistant director, camera operator and cinematographer, special effects coordinator, technical consultant, and even author of source material. From such award-winning documentaries as Van Gogh and Night and Fog to the groundbreaking dramas Hiroshima mon amour, Last Year at Marienbad, and Muriel, Resnais's films experiment with such themes as consciousness, memory, and the imagination. Distinguishing himself from associations with the French New Wave movement, Resnais considered his films to be ""anti-illusionist,"" never allowing his spectators to forget they were watching a work of art. In Alain Resnais: Interviews, editor Lynn A. Higgins collects twenty-one interviews with the filmmaker, twelve of which are translated into English for the first time. Spanning his entire career from his early short subjects to his final feature film, the volume highlights Resnais's creative strategies and principles, illuminates his place in world cinema history, and situates his work relative to the New Wave, American film, and experimental filmmaking more broadly. Like his films, the interviews collected here reveal a creator who is at once an intellectual, a philosopher, an entertainer, a craftsman, and an artist.

Without a big budget, special effects team, or professional actors and crew members, Herschell Gordon Lewis created films that he himself admits were trash. Yet, while Gordon's softcore porn (""The Adventures of Lucky Pierre"") and heavy-duty gore (""The Gruesome Twosome"") were never blockbuster films, they were popular drive-in fare in the sixties and seventies. They have had a strong influence over more recent productions, and they have created for Lewis his own special niche in the world of exploitation and horror film. The history of Lewis the man and the filmmaker is a surprising one. Behind titles like ""Blood Feast"" and ""The Gore-Gore Girls"" is a warm and friendly gentleman whose road to his own brand of film glory was paved with disappointments, surprising successes, and lots and lots of fake blood. His career is examined in detail, with personal anecdotes and insights into making really gross movies on really small budgets. A filmography is included, and photographs, many of them rare, complement the text.

Something needs to be changed--be it through the revolutionary overthrow of social conditions, the liberating force of passion, the contemplation and creation of works of art, or the exploration of an unresolved past. Luchino Visconti's films are models for the failure of such attempts. They show that this failure arises whenever people cling to possibilities that stand opposed to the reality of their lives. Does Adorno not write: "The place of utopia is blocked off by possibility, never by immediate reality"? "Visconti: Insights into Flesh and Blood" draws on aesthetics, film theory, and practical philosophy to propose an original interpretation of the melodramas of a great European director. In the encounter with Visconti's art, we come to see that something has changed already.

"If I had a talent for anything, it was a talent for knowing who was talented."

Mike Medavoy is a Hollywood rarity: a studio executive who, though never far from controversy, has remained well loved and respected through four decades of moviemaking. What further sets him apart is his role in bringing to the screen some of the most acclaimed Oscar-winning films of our time: Apocalypse Now, One Flew Over the Cuckoo's Nest, Amadeus, The Silence of the Lambs, Philadelphia, and Sleepless in Seattle are just some of the projects he green-lighted at United Artists, Orion, TriStar, his own Phoenix Pictures.

"The ultimate lose-lose situation for a studio executive: to wind up with a commercial bomb and a bad movie."

Of course, there are the box office disasters, and the films, as Medavoy says, "for which I should be shot." They, too, have a place in his fascinating memoir -- a pull-no-punches account of financial and political maneuvering, and of working with the industry's brightest star power, including Steven Spielberg, Martin Scorsese, Francis Ford Coppola, Kevin Costner, Robert De Niro, Jodie Foster, Sharon Stone, Michael Douglas, Meg Ryan, and countless others.

"Putting together the elements of a film is a succession of best guesses."

Medavoy speaks out on how movie studio buyouts have stymied the creative process and brought an end to the "hands-off" golden age of filmmaking. An eyewitness to Hollywood history in the making, he gives a powerful and poignant view of the past and future of a world he knows intimately.

Leos Carax is a study of the films of this popular enfant terrible of contemporary French cinema. The key ingredients and influences of Carax's four films (including Les Amants du Pont Neuf and Pola X) are examined here: Paris, pop music, flanerie and amour fou, mannerist and neo-baroque aesthetics, the Nouvelle Vague and contemporary naturalist cinema. philosophy of Cahiers-based film criticism to theories of art and literature, in order to disentangle the complex web of biographical mythology, formal and intellectual cinematic concerns, flamboyant imagery and intertextual references woven by Carax and his films in the last two decades of the 20th century. Daly and Dowd argue that critical instincts seeking the key to the visionary poetics of Carax's cinema can most profitably directed towards the recent history of maverick mannerist and baroque auteurs. From Ruiz and Rivette to Garrel and Techine, and their explorations of the powers of the false, rather than Godard or the cinema du look fraternity of Besson and Beineix. fans and scholars of contemporary French cinema.

As a pioneer of the French New Wave, Jacques Rivette was one of a group of directors who permanently altered the world's perception of cinema by taking the camera out of the studios and into the streets. His films, including Paris nous appartient, Out 1: Noli me tangere, Celine et Julie vont en bateau--Phantom Ladies Over Paris, La belle noiseuse, Secret defense, and Va savoir are extraordinary combinations of intellectual depth, playfulness, and sensuous beauty. In this study of Rivette, Mary M. Wiles provides a thorough account of the director's career from the burgeoning French New Wave to the present day, focusing on the theatricality of Rivette's films and his explorations of the relationship between cinema and fine arts such as painting, literature, music, and dance. Wiles also explores the intellectual interests that shaped Rivette's approach to film, including Sartre's existentialism, Barthes's structuralism, and the radical theater of the 1960s. The volume concludes with Wiles's insightful interview with Rivette.

"What an amazingly inspirational book, filled with powerful stories and beautiful images. I truly love and recommend it. Thank you, Barbara Hammer "--Sadie Benning, artist

"Barbara Hammer's genius is an erotic genius, one rich in intuitive intelligence. HAMMER reveals a spirit that is at once youthful and worldly, full of conviction, and often optimistic, bold, ravenous, and celebratory."--Cecilia Dougherty, artist
"HAMMER is a brilliant and shimmering feast of art and activism. Barbara's fearless queer intelligence illuminates every page."--John Greyson, filmmaker
"Now the gift of Hammer's sounds and images is matched by that of her words. Beautifully designed and illustrated, HAMMER is a striking book, from its title to its impact."--Patricia White, author of "Uninvited: Classical Hollywood Cinema and Lesbian Representability"
"A candid and colorful memoir, HAMMER offers valuable primary source material and original feminist film theory by a pioneer of avant-garde American cinema."--Livia Bloom, film curator
"Barbara Hammer is a true cinematic pioneer; her tremendous body of work continues to inspire audiences and artists alike."--Jenni Olson, LGBT film historian

HAMMER is the first book by influential filmmaker Barbara Hammer, whose life and work have inspired a generation of queer, feminist, and avant-garde artists and filmmakers. The wild days of non-monogamy in the 1970s, the development of a queer aesthetic in the 1980s, the fight for visibility during the culture wars of the 1990s, her search for meaning as she contemplates mortality in the past ten years--HAMMER includes texts from these periods, new writings, and fully contextualized film stills to create a memoir as innovative and disarming as her work has always been.

Barbara Hammer has made over eighty films and video works over the past forty years. Her experimental films of the 1970s often dealt with taboo subjects such as menstruation, female orgasm, and lesbian sexuality. In the 1980s she used optical printing to explore perception and the fragility of 16mm film life itself. Her documentaries tell the stories of marginalized peoples who have been hidden from history. Her most recent work, "A Horse is Not a Metaphor," won the 2009 Teddy Award for Best Short Film at the Berlin International Film Festival. A retrospective screening of her work will be presented at the Museum of Modern Art in spring 2010 and will travel to the Reina Sophia in Madrid and the Tate Modern in London.

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.

Narrative and spectacle describe two extremes of film content, but the oeuvres of John Cassavetes and David Cronenberg resist such categorization. Instead, Robert Furze argues, the defining characteristic of Cassavetes and Cronenberg's respective approaches is that of 'visceral' cinema - a term that illustrates the anxiety these filmmakers provoke in their audiences. Cassavetes demonstrates this through disregard for plot structure and character coherence, while Cronenberg's focus is on graphic depictions of mutilation, extreme forms of bodily transformation and violence. The Visceral Screen sets out to articulate alternative ways of appreciating film aesthetics outside the narrative/spectacle continuum. Cassavetes and Cronenberg are established auteurs, but the elements of their films that appear to be barriers to their artistic status - for example, slipshod method and lingering violence or pre-digital special effects - are reassessed in The Visceral Screen as other indicators of creativity. In this way, Furze encourages debates of what makes a film good or bad - beyond how much it is seen to adhere to particular, established models of filmmaking.

This volume contains twenty in-depth studies of prominent New Zealand directors, producers, actors, and cinematographers. ""New Zealand Filmmakers"" outlines and examines three major constituent groups who are responsible for the industry as it appears today: those involved in pioneering film in New Zealand, those associated with the New Wave of the 1970s and 1980s, and those post - mid-1980s visionaries and fantasists who have produced striking individual productions. A comprehensive introduction situates the New Zealand film industry in cultural, historical, and ideological contexts.The book displays the diversity of filmmaking in New Zealand and highlights the specific industrial, aesthetic, and cultural concerns that have created a film culture of international significance. With the majority of the contributions in the book containing analysis developed through dialogue with the filmmakers, ""New Zealand Filmmakers"" is an authoritative study of the film industry in New Zealand. Each essay also includes a thorough and definitive filmography, detailing the full nature of the work produced by each individual, with key titles highlighted.Filmmakers covered in this volume include Barry Barclay, David Blyth, Jane Campion, Roger Donaldson, Rudall Hayward, Peter Jackson, John Laing, Bruno Lawrence, Len Lye, Alison Maclean, Merata Mita, Ian Mune, Geoff Murphy, Leon Narbey, John O'Shea, Gaylene Preston, John Reid, Vincent Ward, Jennifer Ward-Lealand, and Peter Wells. This collection is illustrated with 50 film prints, many of which have never before been published. With the New Zealand film industry poised to become a center of film production and already a major topic of critical interest, this volume will find many interested readers among film scholars and educators.

Independent Female Filmmakers collects original and previously published essays, interviews, and manifestos from some of the most defining and groundbreaking independent female filmmakers of the last 40 years. Featuring material from the seminal magazine The Independent Film and Video Monthly-a leading publication for independent filmmakers for several decades-as well as new interviews conducted with the filmmakers, this book, edited by Michele Meek, presents a unique perspective into the ethnically and culturally diverse voices of women filmmakers whose films span narrative, documentary, and experimental genres and whose work remains integral to independent film history from the 1970s to the present. Independent Female Filmmakers also includes a biographical profile of each filmmaker, as well as an online resource with links to additonal interviews and a sample course syllabus. The filmmakers in this book include: * Lisa Cholodenko (High Art, The Kids Are All Right) * Martha Coolidge (Valley Girl, Real Genius, Introducing Dorothy Dandridge) * Cheryl Dunye (The Watermelon Woman, Stranger Inside) * Miranda July (The Future, Me And You And Everyone We Know) * Barbara Kopple (Harlan County USA, Wild Man Blues) * Maria Maggenti (The Incredibly True Adventures of Two Girls in Love) * Deepa Mehta (Fire, Earth, Water) * Trinh T. Minh-ha (Surname Viet, Given Name Nam, Night Passage) . . . and more!

Ben Hecht had seen his share of death-row psychopaths, crooked ward bosses, and Capone gun thugs by the time he had come of age as a crime reporter in gangland Chicago. His grim experience with what he called "the soul of man" gave him a kind of uncanny foresight a decade later, when a loose cannon named Adolf Hitler began to rise to power in central Europe. In 1932, Hechtsolidified his legend as ""the Shakespeare of Hollywood"" with his thriller Scarface, the Howard Hughes epic considered the gangster movie to end all gangster movies. But Hecht rebelled against his Jewish bosses at the movie studios when they refused to make films about the Nazi menace. Leveraging his talents and celebrity connections to orchestrate a spectacular one-man publicity campaign, he mobilized pressure on the Roosevelt administration for an Allied plan to rescue Europe's Jews. Then after the war, Hecht became notorious, embracing the labels "gangster" and "terrorist" in partnering with the mobster Mickey Cohen to smuggle weapons to Palestine in the fight for a Jewish state. The Notorious Ben Hecht: Iconoclastic Writer and Militant Zionist is a biography of a great twentieth century writer that treats his activism during the 1940s as the central drama of his life. It details the story of how Hecht earned admiration as a humanitarian and vilification as an extremist at this pivotal moment in history, about the origins of his beliefs in his varied experiences in American media, and about the consequences. Who else but Hecht could have drawn the admiration of Ezra Pound, clowned around with Harpo Marx, written Notorious! and Spellbound with Alfred Hitchcock, launched Marlon Brando's career, ghosted Marilyn Monroe's memoirs, hosted Jack Kerouac and Salvador Dali on his television talk show, and plotted revolt with Menachem Begin? Any lover of modern history who follows this journey through the worlds of gangsters, reporters, Jazz Age artists, Hollywood stars, movie moguls, political radicals, and guerrilla fighters will never look at the twentieth century in the same way again.

With 25 essays that embrace a wide spectrum of topics and perspectives including intertextuality, transnationality, gender representation, repetition, the use of music, color, and sound, depiction of time and space in human affairs, and Wong s highly original portrayal of violence, A Companion to Wong Kar-Wai is a singular examination of the prestigious filmmaker known around the world for the innovation, beauty, and passion he brings to filmmaking. * Brings together the most cutting edge, in-depth, and interesting scholarship on arguably the greatest living Asian filmmaker, from a multinational group of established and rising film scholars and critics * Covers a huge breadth of topics such as the tradition of the jianghu in Wong's films; queering Wong's films not in terms of gender but through the artist's liminality; the phenomenological Wong; Wong's intertextuality; America through Wong's eyes; the optics of intensities, thresholds, and transfers of energy in Wong's cinema; and the diasporic presence of some ladies from Shanghai in Wong's Hong Kong * Examines the political, historical, and sociological influence of Wong and his work, and discusses his work from a variety of perspectives including modern, post-modern, postcolonial, and queer theory * Includes two appendices which examine Wong s work in Hong Kong television and commercials

Now available in paperback, this is the first academic book dedicated to the filmmaking of the three-best known Mexican-born directors, Guillermo del Toro, Alejandro Gonzalez Inarritu and Alfonso Cuaron. Deborah Shaw examines the career trajectories of the directors and presents a detailed analysis of their most significant films with a focus on both the texts and the production contexts in which they were made. These include studies on del Toro's Cronos/Chronos, El laberinto del fauno/Pan's Labyrinth, and Hellboy II: The Golden Army; Inarritu's Amores Perros, 21 Grams and Babel; and Cuaron's Solo con tu pareja/Love in the Time of Hysteria, Y tu mama tambien, and Children of Men. The Three Amigos will be of interest to all those who study Hispanic and Spanish cinema in particular, and world and contemporary cinema in general. -- .

Over the course of his long directing career. Woody Allen has porirayed contemporary American life with an unmistakable mixture of irony, neurotic obsession, and humor. "Woody Allen on Woody Allen is a unique self-portrait of this uncompromising filmmaker that offers a revealing account of his life and work. In a series of rare, in-depth interviews, Allen brings us onto the sets and behind the scenes of all his films. Since its original Publication, "Woody Allen on Woody Allen has been the primary source of Allen's own thoughts on his work, childhood, favorite films, and inspirations. Now updated with one hundred pages of new material that brings us up to his "Hollywood Ending. Woody Allen on Woody Allen is and required addition to any cinephile's library.

The Bloomsbury Handbook to Sofia Coppola offers the first comprehensive overview of the director's impressive oeuvre. It includes individual chapters on her films, including The Virgin Suicides (1999), Lost in Translation (2003), Marie Antoinette (2006), Somewhere (2010), The Bling Ring (2013), The Beguiled (2017), and On the Rocks (2020). While focused on her films, contributors also consider Coppola's shorter works for television, commercials and music videos, as well as explorations of the distinct elements of her signature style: cinematography, production/costume design, music, and editing. Additional chapters provide insights into the influences on her work, its popular and scholarly reception, and interpretations of key themes and issues. The international team of contributors includes leading scholars of film, music, fashion, celebrity and gender studies, visual and material culture, reception studies, as well as industry professionals. Their interdisciplinary insights capture the complexities of Coppola's work and its cultural significance.

A Companion to Werner Herzog showcases over two dozen original scholarly essays examining nearly five decades of filmmaking by one of the most acclaimed and innovative figures in world cinema. * First collection in twenty years dedicated to examining Herzog s expansive career * Features essays by international scholars and Herzog specialists * Addresses a broad spectrum of the director s films, from his earliest works such as Signs of Life and Fata Morgana to such recent films as The Bad Lieutenant and Encounters at the End of the World * Offers creative, innovative approaches guided by film history, art history, and philosophy * Includes a comprehensive filmography that also features a list of the director s acting appearances and opera productions * Explores the director s engagement with music and the arts, his self-stylization as a global filmmaker, his Bavarian origins, and even his love-hate relationship with the actor Klaus Kinski

They haven't spoken for 12 years. Can they fall in love in 12 days? 'Snap-crackling with wit and energy, ridiculously enjoyable' MHAIRI MCFARLANE 'Fresh, funny and beautifully written. Niamh Hargan is going to be huge' SOPHIE COUSENS 'A sweepingly romantic debut . . . it's sexy, escapist and FUN - everything a romantic comedy should be!' LAURA JANE WILLIAMS 'Smart, funny and sizzling with chemistry - but with a big, tender heart' CRESSIDA MCLAUGHLIN 'I adored this thoughtful, funny, intelligent and very hot romcom' SARRA MANNING 'A sparkling, witty debut from a talented new voice' LAUREN HO 'Funny, smart and very romantic . . . the perfect escape' ALEX BROWN ____________________ Lizzy Munro is working at the Cannes Film Festival, in a job that involves a lot more admin than red-carpet glamour. There, Ciaran Flynn is the man everyone is talking about: heartthrob of the moment and director of the most romantic movie of the year. What nobody knows is that twelve years ago, they were best friends . . . and they haven't spoken since. But when Ciaran's film runs into trouble, there's only one person he can turn to. Is twelve days enough to save not only Ciaran's film, but also the spark he and Lizzy once shared? ____________________ READERS ARE LOVING TWELVE DAYS IN MAY: 'If you want a fun, romantic book to sweep you off your feet this summer: look no further' 'Such a lovely debut novel about finding a spark again . . . warm and full of joy' 'I finished this book in one sitting. I would definitely recommend' 'The writing is outstanding and the plot extremely original' 'This has all of the makings of a great story: romance, a twisted past, Cannes festival, and the dreamy taste of Tunnocks'

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.

Documentary films are the rock and roll of our times. Why are they made? Who are in the tribe of documentary film-makers? Do their films really change the world?

Eighteen years ago, Nick Fraser created BBC Storyville, producing films that won Oscars, BAFTAs, and Peabody Awards. He found film-makers from all across the world covering important subjects in documentaries. In Say What Happened he describes the frenzied, intense world of documentary film-making, tracing its history back to the early pioneers, such as Dziga Vertov and his ground-breaking Man with a Movie Camera. The book deals with the British documentary tradition founded by John Grierson, and discusses the work of American masters such as the Maysles brothers, Frederick Wiseman and D.A. Pennebaker, as well as Europeans such as Marcel Ophuls, Claude Lanzmann, Chris Marker, and Werner Herzog. He interviews acclaimed documentary film-makers and discusses the work of Ken Burns, Errol Morris, and Joshua Oppenheimer, among others across the globe, as well as listing his top one-hundred documentaries, and where readers can watch them.

In a world beset with 'fake news', he argues documentaries are better at getting at the verities about life and death and that the new journalism will come from films made using new technology.

Silent-era film scholarship has all too often focused on a handful of German directors, including Fritz Lang, F. W. Murnau and Ernst Lubitsch, but little attention has been paid to arguably one of the most influential filmmakers of the period: Paul Leni.This collection the first comprehensive English-language study of Leni's life and career offers new insights into his national and international films, his bold forays into scenic design and his transition from German to Hollywood filmmaking. The contributors give fresh insights into Leni's most influential films, including Waxworks (1924), The Cat and the Canary (1927) and The Man Who Laughs (1928), and explores such lesser-known productions as The Diary of Dr. Hart (1918), Backstairs (1921) and the Rebus film series (1925 7). Engaging with new historical, analytical, and theoretical perspectives on Leni's work, this book is a groundbreaking exploration of a cinematic pioneer.

This comprehensive study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through his eclectic and controversial body of work. This volume undertakes a close analysis of a TV series directed by Winterbottom and sixteen of his films ranging from television dramas to transnational co-productions featuring Hollywood stars, and from documentaries to costume films. The critique is centered on Winterbottom's collaborative working practices, political and cultural contexts, and critical reception. Arguing that his work delineates a 'cinema of borders', this study examines Winterbottom's treatment of sexuality, class, ethnicity, and national and international politics, as well as his quest to adequately narrate inequality, injustice, and violence.