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.

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montes offers a detailed explication of Gilles Deleuze's writings on film - from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls's classic film Lola Montes as an example of how Deleuzian film theory can function in the practice of film interpretation.

The winner of two Academy Awards for Best Foreign Film in only five years, Asghar Farhadi (b. 1972) has become Iran's most prominent director since the late Abbas Kiarostami. Around the world, especially in the international festival circuit, Farhadi is considered one of the great dramatist filmmakers of his generation. His reputation and influence in his home country is even greater, though also prone to misunderstandings, controversies, and divided critical reception. This volume offers a unique perspective into Farhadi's career in several key respects. Beginning with his work in television, the interviews collected here chart his rise from theater student to Iranian dramatist to celebrated international filmmaker. The majority of the interviews were conducted in Persian and have been translated into English for the first time. In the course of his career, Farhadi has become the new hope for Iran. On both nights of his Oscar wins, Iranians flooded the streets with joy in a rare (and illegal) celebration. Yet, like other contemporary Iranian filmmakers who have struggled to reconcile their national identity with their global repute as international filmmakers, Farhadi is at once feted and under fire by his own government. In addition to making recent films outside Iran, he has taken advantage of his celebrity status to make controversial statements on topics ranging from Donald Trump to poverty and capital punishment in Iran. He even asked Iran's Judiciary to pardon Jafar Panahi, prompting the government to temporarily withdraw permission to shoot his renowned 2011 film A Separation. Asghar Farhadi: Interviews addresses the important dimensions that characterize contemporary Iranian filmmaking and shed light on what Farhadi sees as his role and responsibilities as an Iranian filmmaker in a global age.

One of the last representatives of a brand of serious, high-art cinema, Alexander Sokurov has produced a massive oeuvre exploring issues such as history, power, memory, kinship, death, the human soul, and the responsibility of the artist. Through contextualization and close readings of each of his feature fiction films (broaching many of his documentaries in the process), this volume unearths a vision of Sokurov's films as equally mournful and passionate, intellectual, and sensual, and also identifies in them a powerful, if discursively repressed, queer sensitivity, alongside a pattern of tensions and paradoxes. This book thus offers new keys to understand the lasting and ever-renewed appeal of the Russian director's Janus-like and surprisingly dynamic cinema - a deeply original and complex body of work in dialogue with the past, the present and the future.

In its heyday from the late 1950s until the early 1980s Italian horror cinema was characterised by an excess of gore, violence and often incoherent plot-lines. Films about zombies, cannibals and psychopathic killers ensured there was no shortage of controversy, and the genre presents a seemingly unpromising nexus of films for sustained critical analysis. But Italian horror cinema with all its variations, subgenres and filoni remains one of the most recognisable and iconic genre productions in Europe, achieving cult status worldwide. One of the manifestations of a rich production landscape in Italian popular cinema after the Second World War, Italian horror was also characterised by its imitation of foreign models and the transnational dimension of its production agreements, as well as by its international locations and stars. This collection brings together for the first time a range of contributions aimed at a new understanding of the genre, investigating the different phases in its history, the peculiarities of the production system, the work of its most representative directors (Mario Bava and Dario Argento) and the wider role it has played within popular culture.

'Read this wonderfully entertaining book: a unique story of a unique life in the world of world cinema' Wes Anderson 'Jim is as eloquent and elegant with words as with the camera . . . Read it and drink it in!' Helena Bonham Carter In Solid Ivory, a carefully crafted mosaic of memories, portraits, and reflections, the Academy Award-winning filmmaker James Ivory tells stories from his remarkable life and career as one of the most influential directors of his time. He often touches on his love affairs, looking back coolly and with unexpected frankness. From first meeting his collaborator and life partner, Ismail Merchant, at the Indian Consulate in New York to winning an Academy Award at age eighty-nine for Call Me by Your Name, Ivory writes with invariable fluency, wit, and perception about what made him who he is and how he made the movies for which he is known and loved. Solid Ivory, edited by Peter Cameron, is an utterly winning portrait of an extraordinary life told by an unmatched storyteller. 'Consistently entertaining' Guardian 'James Ivory write[s] with perfect elegance...there's nothing starchy or uptight about these scenes from his fascinating life' Sunday Times

Su Friedrich (b. 1954) has been described as an autobiographical filmmaker, an experimental filmmaker, a documentary filmmaker, an independent filmmaker, a feminist filmmaker, and a lesbian filmmaker-labels that she sprucely dodges, insisting time and again she is, quite simply, a filmmaker. Nevertheless, the influences of the experimental film culture and of the feminist and lesbian political ethos out of which she emerged resonate across her films to the present day. Su Friedrich: Interviews is the first volume dedicated exclusively to Friedrich and her work. The interviews collected here highlight the historical, theoretical, political, and economic dimensions through which Friedrich's films gain their unique and defiantly ambiguous identity. The collection seeks to give a comprehensive view of Friedrich's diverse body of work, the conditions in which her films were made, and how they have circulated and become understood within different contexts. The volume contains fifteen interviews-two previously unpublished-along with three autobiographical writings by Friedrich. Included are canonical early interviews, but a special focus is given to interviews that address her less-studied film production in the twenty-first century. Echoing across these various pieces is Friedrich's charmingly sardonic and defiant personality, familiar from her films. Her occasional resistance to an interviewer's line of questioning opens up other, unexpected lines of inquiry as it also provides insight into her distinct philosophy. The volume closes with a new interview conducted by the editors, which illuminates areas that remain latent or underdiscussed in other interviews, including Friedrich's work as a film professor and projects that supplement Friedrich's filmmaking, such as Edited By, an online historical resource dedicated to collecting information about and honoring the contributions of women film editors.

A brilliant biography of the young Orson Welles, from his prodigious childhood and youth, his triumphs with the Mercury Theatre, to the making of CITIZEN KANE. Vivid, vastly entertaining, this is the definitive Wells biography.

Born in Taiwan, Ang Lee is one of cinema's most versatile and daring directors. His ability to cut across cultural, national, and sexual boundaries has given him recognition in all corners of the world, the ability to work with complete artistic freedom whether inside or outside of Hollywood, and two Academy Awards for Best Director. He has won astounding critical acclaim for Crouching Tiger, Hidden Dragon (2000), which transformed the status of martial arts films across the globe, Brokeback Mountain (2005), which challenged the reception and presentation of homosexuality in mainstream cinema, and Life of Pi (2012), Lee's first use of groundbreaking 3D technology and his first foray into complex spiritual themes. In this volume, the only full-length study of Lee's work, Whitney Crothers Dilley analyzes all of his career to date: Lee's early Chinese trilogy films (including The Wedding Banquet, 1993, and Eat Drink Man Woman, 1994), period drama (Sense and Sensibility, 1995), martial arts (Crouching Tiger, Hidden Dragon, 2000), blockbusters (Hulk, 2003), and intimate portraits of wartime psychology, from the Confederate side of the Civil War (Ride with the Devil, 1999) to Japanese-occupied Shanghai (Lust/Caution, 2007). Dilley examines Lee's favored themes such as father/son relationships and intergenerational conflict in The Ice Storm (1997) and Taking Woodstock (2009). By looking at the beginnings of Lee's career, Dilley positions the filmmaker's work within the roots of the Taiwan New Cinema movement, as well as the larger context of world cinema. Using suggestive readings of both gender and identity, this new study not only provides a valuable academic resource but also an enjoyable read that uncovers the enormous appeal of this acclaimed director.

When "Hitchcock's Films" was first published, it quickly became known as a new kind of book on film - one that came to be considered a necessary text in the Hitchcock bibliography. When Robin Wood returned to his writings on Hitchcock's films and published "Hitchcock's Films Revisited" in 1989, the multi-dimensional essays took on a new shape - one that was tempered by Wood's own development as a critic. This new revised edition of "Hitchcock's Films Revisited" includes a substantial new preface in which Wood reveals his personal history as a film scholar - including his coming out as a gay man, his views on his previous critical work, and how his writings, his love of film, and his personal life have remained deeply intertwined through the years. This revised edition includes all original eighteen essays and a new chapter on Marnie titled "Does Mark Cure Marnie? Or, 'You Freud, Me Hitchcock.'"

Luis Bunuel: A Life in Letters provides access for the first time to an annotated English-language version of around 750 of the most important and most widely relevant of these letters. Bunuel (1900-1983) came to international attention with his first films, Un Chien Andalou (with Dali, 1929) and L'Age d'Or (1930): two surprisingly avant-garde productions that established his position as the undisputed master of Surrealist filmmaking. He went on to make 30 full-length features in France, the US and Mexico, and consolidated his international reputation with a Palme d'Or for Viridiana in 1961, and an Academy Award in 1973 for The Discreet Charm of the Bourgeoisie. He corresponded with some of the most famous writers, directors, actors and artists of his generation and the list of these correspondents reads like a roll call of major twentieth-century cultural icons: Fellini, Truffaut, Vigo, Aragon, Dali, Unik - and yet none of this material has been accessible outside specialist archives and a very small number of publications in Spanish and French.

Ana Kokkinos is an Australian screenwriter, producer and director who has worked in film and television for almost thirty years. Best known for her fictional films - Antamosi, Only the Brave, Head On, The Book of Revelation and Blessed - her work is often bold and confrontational in its exploration of the alienation, estrangement and visceral distresses of those outside the mainstream. In the first major study of the director, Ana Kokkinos: An Oeuvre of Outsiders offers new readings of and across her fictional oeuvre by broadly tracing the deployment of the outsider as an organising motif.

Each of the thirty-nine films that Wise has directed is presented here in photographs, a complete cast and credits listing, a story synopsis, and, most importantly, Robert Wise's own comments. Robert Wise on His Films is illustrated with 270 photographs and includes a short biographical portrait of Wise that draws heavily on his own words and Forewords by director Arthur Hiller and screenwriter Nelson Gidding.

Largely forgotten during the last 20 years of his life, the Soviet filmmaker Dziga Vertov (1896-1954) has occupied a singular and often controversial position over the past sixty years as a founding figure of documentary, avant-garde, and political-propaganda film practice. Creator of Man with a Movie Camera" (1929), perhaps the most celebrated non-fiction film ever made, Vertov is equally renowned as the most militant opponent of the canons of mainstream filmmaking in the history of cinema. This book, the first in a three-volume study, addresses Vertov's youth in the largely Jewish city of Bialystok, his education in Petrograd, his formative years of involvement in filmmaking, his experiences during the Russian Civil War, and his interests in music, poetry and technology.

The 1976 premiere of Face to Face came at the height of director-screenwriter Ingmar Bergman's career. Prestigious awards and critical acclaim had made him into a leading name in European art cinema, yet today Face to Face is a largely overlooked and dismissed work. This book tells the story of its rise and fall. It presents a new portrait of Bergman as a political artist exploring a new medium with huge public impact: television. Inspired by Henrik Ibsen, feminism, and alternative psychotherapy, he made a series of portraits of the modern bourgeois family focusing on the plight of women; Face to Face followed in the tracks of The Lie (1970) and Scenes from a Marriage (1973). By his workbooks, engagement planners, and other archival material, we can trace his investigation into the heart of repressive family structures to eventually glimpse a way out. This volume culminates in an extensive study of the two-year process from the first outlines of the screenplay to the reception and aftermath of Face to Face. It thus offers a unique insight into Bergman's world, his ideas and artistry during a turbulent time in cinema history.

An engrossing biography of one of the most influential filmmakers in cinematic history "A cool, cerebral book about a cool, cerebral talent. . . . A brisk study of [Kubrick's] films, with enough of the life tucked in to add context as well as brightness and bite."-Dwight Garner, New York Times "An engaging and well-researched primer to the work of a cinematic legend."-Library Journal Kubrick grew up in the Bronx, a doctor's son. From a young age he was consumed by photography, chess, and, above all else, movies. He was a self-taught filmmaker and self-proclaimed outsider, and his films exist in a unique world of their own outside the Hollywood mainstream. Kubrick's Jewishness played a crucial role in his idea of himself as an outsider. Obsessed with rebellion against authority, war, and male violence, Kubrick was himself a calm, coolly masterful creator and a talkative, ever-curious polymath immersed in friends and family. Drawing on interviews and new archival material, David Mikics for the first time explores the personal side of Kubrick's films.

One of the most well regarded of non-Western film directors, responsible for acknowledged classics like Tokyo Story (1953), Ozu Yasujiro worked during a period of immense turbulence for Japan and its population. This book offers a new interpretation of Ozu's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence. Firmly situating him within the context of the Japanese film industry, Woojeong Joo examines Ozu's work as a studio director and his relation to sound cinema, and looks in-depth at his wartime experiences and his adaptation to postwar Japanese society. Drawing on Japanese materials not previously examined in western scholarship, this is a groundbreaking new study of a master of cinema.

Ingmar Bergman Revisited is a collection of new essays based on a major international symposium held in Stockholm in 2005 on the legacy of one of cinema's most towering figures. Moving beyond simple auteurist readings of Bergman as a cinematic artist, the writings here evaluate the theatrical and literary sides of Bergman's work to reconsider the achievements of the Swedish director, up to his last film "Saraband" (2003). Several essays result from research in Bergman's own personal archive, and amongst the subjects discussed are Bergman's stage adaptations of Shakespeare, his fascination with still photography and issues of identity, and the influence of philosophy and psychology on his work. With contributors including Thomas Elsaesser, Birgitta Steene and Janet Staiger, and a foreword written by Liv Ullmann, Ingmar Bergman Revisited forms a landmark study of one of Sweden's great cultural icons, emphasising how Bergman should be understood with reference to an eclectic range of his artistic interests.

Roger Ebert wrote the first film review that director Martin Scorsese ever received--for 1967's "I Call First," later renamed "Who's That Knocking at My Door"--creating a lasting bond that made him one of Scorsese's most appreciative and perceptive commentators. "Scorsese by Ebert" offers the first record of America's most respected film critic's engagement with the works of America's greatest living director, chronicling every single feature film in Scorsese's considerable oeuvre, from his aforementioned debut to his 2008 release, the Rolling Stones documentary "Shine a Light."

In the course of eleven interviews done over almost forty years, the book also includes Scorsese's own insights on both his accomplishments and disappointments. Ebert has also written and included six new reconsiderations of the director's less commented upon films, as well as a substantial introduction that provides a framework for understanding both Scorsese and his profound impact on American cinema.

"Given their career-long back-and-forth, this collection makes perfect sense. . . . In these reconsiderations, Ebert invites us into his thought processes, letting us see not just what he thinks, but how he forms his opinions. Ebert's insights into Scorsese are terrific, but this book offers the bonus of further insights into Ebert himself."--"Time Out Chicago"

"Ebert, film critic for the "Chicago Sun-Times," is an unabashed fan of Scorsese, whom he considers 'the most gifted director of his generation.' . . . Of special note are interviews with Scorsese over a 25-year period, in which the director candidly discusses his body of work."--"Publishers Weekly"

The first collection dedicated to David Bowie's acting career shows that his film characterisations and performance styles shift and reform as decoratively as his musical personas. Though he was described as the most influential pop artis of the 20th century, whose work became synonymous with mask, mystery, sexual excess and ch-ch-ch-changing genres, Bowie also applied his genius to the craft of acting. Bowie's considerable filmography is systematically examined in 12 scholarly essays that include tributes to Bowie's performance craft in other media forms. Classic films such as The Prestige and Merry Christmas, Mr. Lawrence, cult hits Labyrinth and The Man Who Fell To Earth, as well as lesser-known roles in The Image, Christiane F. and Broadway hit The Elephant Man are viewed, not simply through the lens of Bowie's mega-stardom, but as the work of a serious actor with inimitable talent. This compelling analysis celebrates the risk-taking intelligence and bravura of David Bowie: actor, mime, mimic and icon.

"The Cinema of Ken Loach" examines the connection between art and politics that distinguishes the work of this leading British film director, whose work includes such landmarks of British cinema as "Kes," "Land and Freedom," and "Bread and Roses." Each chapter explores changes in his style by interpreting one or two films, augmented with original archive research and new interviews.

The writer Marguerite Duras was a key figure in post-war French cinema, pioneering innovations such as the disjunction of film and image, and the primacy given to voices, silence and music. Her multisensorial approach opened up new spaces for the female experience to be expressed. Although she worked with some of the best French visual technicians and musicians of her time, critiques have often neglected the visual and sonic aesthetics of her films, and their effects on spectators. Drawing on theories of embodiment and spectatorship, this book analyses the tactility and multisensoriality of Duras' films, and how they relate to her female-centred perspective.

This is the first in-depth look at Reginald LeBorg, the quintessential Hollywood contract director, who worked constantly during the 1940s and 50s at such studios as Universal, PRC, and Monogram, making a series of beautiful and resonant films under severe constraints of time and budget. Here, in a book-length interview recorded a year before his death in 1989, LeBorg looks back at all his work Destiny, Calling Doctor Death, Weird Woman, The Flight That Disappeared, Jungle Woman, Diary of A Madman, San Diego I Love You, and many others, and discusses his impatience with "fans" who don't bother to screen his more interesting non-Gothic films, describes studio life during the 1940s, and gives the reader insights into his personal life. With stills and a thorough filmography.

Bringing to light the long-shrouded symbolism and startling spiritual depth that renowned director Stanley Kubrick packed into every detail of his iconic films, this book excavates the subtle ways that Kubrick calls attention to universal truths and shocking realities still pervading our society. This book cites the master director's use of encoded graphic symbols, signifying light effects, doppelgangers, esoteric color-coding, and framing techniques that communicate Kubrick's underlying topics. Beginning with an exploration of the inspirational themes of his classic science fiction film 2001: A Space Odyssey, including the multilayered meaning of the Monolith, this book then traces how those themes and symbols are encoded in the films that followed during the director's impressive career. It reveals the oblique methods Kubrick used to underscore a wide range of humanitarian alarms covered in films as diverse as A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut, and the surprising links these films have to one another. Kubrick's early films such as Lolita, Spartacus, Dr. Strangelove, and Paths of Glory are also explored.

Becoming a TV director is nothing like other professions. There is no road map. Traditionally, the only way to break in was through access to a powerful mentor to show you the way ... until now! This book of interviews with working TV directors provides 16 mentors who show you exactly how they did it. No two stories are exactly alike. These deeply personal interviews are honest and insightful in-depth portraits of a diverse range of successful women and men. For the first time in the 100-plus year history of the entertainment industry there are increasing opportunities to rise into the director's chair. This book reflects the hope and promise of a new era. Half of the directors interviewed are women, and half men. Together they represent a broadly diverse group. Open the cover and discover the mentor you deserve.