A filmmaker whose work exhibits a wide range of styles and approaches, Louis Malle (1932-1995) was the only French director of his generation to enjoy a significant career in both France and the United States. Although Malle began his career alongside members of the French New Wave like Francois Truffaut, Jean-Luc Godard, and Claude Chabrol, he never associated himself with that group. Malle is perhaps best known for his willingness to take on such difficult or controversial topics as suicide, incest, child prostitution, and collaboration with the Nazis during World War II. His filmography includes narrative films like Zazie dans le Metro, Murmur of the Heart, Atlantic City, My Dinner with Andre, and Au revoir les enfants, as well as several major documentaries. In the late 1970s, Malle moved to the United States, where he worked primarily outside of the Hollywood studio system. The films of his American period display his keen outsider's eye, which allowed him to observe diverse aspects of American life in settings that ranged from turn-of-the-century New Orleans to present-day Atlantic City and the Texas Gulf Coast. Louis Malle: Interviews covers the entirety of Malle's career and features seventeen interviews, the majority of which are translated into English here for the first time. As the collection demonstrates, Malle was an extremely intelligent and articulate filmmaker who thought deeply about his own choices as a director, the ideological implications of those choices, and the often-controversial themes treated in his films. The interviews address such topics as Malle's approach to casting and directing actors, his attitude toward provocative subject matter and censorship, his understanding of the relationship between documentary and fiction film, and the differences between the film industries in France and the US. Malle also discusses his sometimes-challenging work with such actors as Brigitte Bardot, Pierre Blaise, and Brooke Shields, and sheds new light on the making of his films.

Claude Chabrol (1930-2010) was a founding member of the French New Wave, the group of filmmakers that revolutionized French filmmaking in the late 1950s and early 1960s. One of the most prolific directors of his generation, Chabrol averaged more than one film per year from 1958 until his death in 2010. Among his most influential films, Le Beau Serge, Les Cousins, and Les Bonnes Femmes established his central place within the New Wave canon. In contrast to other filmmakers of the New Wave such as Jean-Luc Godard and Eric Rohmer, Chabrol exhibited simultaneously a desire to create films as works of art and an impulse to produce work that would be commercially successful and accessible to a popular Audience. The seventeen interviews in this volume, most of which have been translated into English for the first time, offer new insights into Chabrol's remarkably wide-ranging filmography, providing a sense of his attitudes and ideas about a number of Subjects. Chabrol shares anecdotes about his work with such actors as Isabelle Huppert, Gerard Depardieu, and Jean Yanne, and offers fresh perspectives on other directors including Jean-Luc Godard, Fritz Lang, and Alfred Hitchcock. His mistrust of conventional wisdom often leads him to make pronouncements intended as much to shock as to elucidate, and he frequently questions established ideas and normative attitudes toward moral, ethical, and social behaviors. Chabrol's intelligence is far-reaching, moving freely between philosophy, politics, psychology, literature, and history, and his iconoclastic spirit, combined with his blend of sarcasm and self-deprecating humor, give his interviews a tone that hovers between a high moral seriousness and a cynical sense of hilarity in the face of the world's complexities.

Teenager Ruben, entrusted with a time travelling cube, must save the world... it's not just a toy. The Cube has been brought to Earth by a time-travelling, biomechanical, shape-shifting alien dude, from a badass murderous nation, from a dusty corner of the cosmos, who are hell-bent on the annihilation of all breathing life forms. This alien nation needs somewhere new to live and Earth fits their requirements almost perfectly, once they have evicted the current tenants. The powerful object becomes the centre of a jealous and deadly power struggle and is nearly destroyed in a war between royal Hungarian twin brothers circa 898A.D. in Central Europe. Remains of the damaged Cube pass down through the generations, until it falls into the hands of young, twenty-first- century, Ruben Novak. Ruben is your average teenager about to spend his summer vacation surfing, swimming, and hanging out at the beach in L.A. with his girlfriend. His preordained destiny, written many hundreds of years ago, means the fun must stop and his gap year will have to wait. However, part of the alien cleansing process has already begun, with a ring of detonating spore bombs dumping deadly DNA-altering nano-particles high up in the upper atmosphere. The atomic clock is ticking, and Ruben hasn't even had breakfast yet. Guided by a powerful Overlord alien being, via the Cube, he will travel through time on five dangerous adventures to collect the remnants of the device needed to restore its full functionality and solve the ultimate puzzle: how to preserve life on Earth. At every twist and turn Ruben will be pursued by the mysterious and deadly Time-Warriors who are determined to take the Cube from him. They are a well-organised team of merciless henchmen whose actions are being directed, through time. Ruben's mission is critical; only he and the Cube will prevent the total annihilation of life on Earth

Intended as a concise but thorough introduction to the various movements of twentieth century American poets, this book will help readers understand and analyze modern and contemporary poems. It covers the work of major modernists such as Robert Frost, Ezra Pound, Wallace Stevens, and Marianne Moore, as well as the poets of the Harlem Renaissance, the New Critics, the Confessionals, and the Beats.

Examining the evolution of American film comedy since the beginning of the sound era (c. 1930), Christopher Beach focuses on how language, class, and social relationships in early sound comedies by the Marx Brothers, the screwball comedies of the 1930s by Capra, Sturges and others, and 1950s comedies of Frank Tashlin and Vincente Minnelli, and contemporary films by Woody Allen, Whit Stillman, and the Coen brothers. Beach argues that sound and narrative expanded the semiotic and ideological potential of a film, providing moments of genuine social critique and also mass entertainment. Christopher Beach teaches at the University of California, Irvine, and has taught at the University of Montana and Claremont Graduate University. He is the author of three books on American poetry, including Poetic Culture (Northwestern, 1999). This is his first book on film.

Intended as a concise but thorough introduction to the various movements of twentieth century American poets, this book will help readers understand and analyze modern and contemporary poems. It covers the work of major modernists such as Robert Frost, Ezra Pound, Wallace Stevens, and Marianne Moore, as well as the poets of the Harlem Renaissance, the New Critics, the Confessionals, and the Beats.

Winner of the 2022 Nobel Prize in Literature Originally published in 1977, Do What They Say or Else is the second novel by French author Annie Ernaux. Set in a small town in Normandy, France, the novel tells the story of a fifteen-year-old girl named Anne, who lives with her working-class parents. The story, which takes place during the summer and fall of Anne's transition from middle school to high school, is narrated in a stream-of-consciousness style from her point of view. Ernaux captures Anne's adolescent voice, through which she expresses her keen observations in a highly colloquial style. As the novel progresses and Anne's feelings about her parents, her education, and her sexual encounters evolve, she grows into a more mature but also more conflicted and unhappy character, leaving behind the innocence of her middle school years. Not only must she navigate the often-confusing signals she receives from boys, but she also finds herself moving further and further away from her parents as she surpasses their educational level and worldview.

A filmmaker whose work exhibits a wide range of styles and approaches, Louis Malle (1932-1995) was the only French director of his generation to enjoy a significant career in both France and the United States. Although Malle began his career alongside members of the French New Wave like Francois Truffaut, Jean-Luc Godard, and Claude Chabrol, he never associated himself with that group. Malle is perhaps best known for his willingness to take on such difficult or controversial topics as suicide, incest, child prostitution, and collaboration with the Nazis during World War II. His filmography includes narrative films like Zazie dans le Metro, Murmur of the Heart, Atlantic City, My Dinner with Andre, and Au revoir les enfants, as well as several major documentaries. In the late 1970s, Malle moved to the United States, where he worked primarily outside of the Hollywood studio system. The films of his American period display his keen outsider's eye, which allowed him to observe diverse aspects of American life in settings that ranged from turn-of-the-century New Orleans to present-day Atlantic City and the Texas Gulf Coast. Louis Malle: Interviews covers the entirety of Malle's career and features seventeen interviews, the majority of which are translated into English here for the first time. As the collection demonstrates, Malle was an extremely intelligent and articulate filmmaker who thought deeply about his own choices as a director, the ideological implications of those choices, and the often-controversial themes treated in his films. The interviews address such topics as Malle's approach to casting and directing actors, his attitude toward provocative subject matter and censorship, his understanding of the relationship between documentary and fiction film, and the differences between the film industries in France and the US. Malle also discusses his sometimes-challenging work with such actors as Brigitte Bardot, Pierre Blaise, and Brooke Shields, and sheds new light on the making of his films.

The image that appears on the movie screen is the direct and tangible result of the joint efforts of the director and the cinematographer. A Hidden History of Film Style is the first study to focus on the collaborations between directors and cinematographers, a partnership that has played a crucial role in American cinema since the early years of the silent era. Christopher Beach argues that an understanding of the complex director-cinematographer collaboration offers an important model that challenges the pervasive conventional concept of director as auteur. Drawing upon oral histories, early industry trade journals, and other primary materials, Beach examines key innovations like deep focus, color, and digital cinematography, and in doing so produces an exceptionally clear history of the craft. Through analysis of several key collaborations in American cinema from the silent era to the late twentieth century such as those of D. W. Griffith and Billy Bitzer, William Wyler and Gregg Toland, and Alfred Hitchcock and Robert Burks this pivotal book underlines the importance of cinematographers to both the development of cinematic technique and the expression of visual style in film.

This title analyzes the films and filmmaking career of director Hal Ashby, placing his work in the cultural context of filmmaking in the 1970s. Hal Ashby directed eleven feature films over the course of his career and was an important figure in the Hollywood Renaissance of the late 1960s and 1970s. Though he was a member of the same generation of filmmakers as Martin Scorsese, Francis Ford Coppola, and Robert Altman, Ashby has received comparatively little critical or scholarly validation for his work. Author Christopher Beach argues that despite his lower profile, Ashby was an exceptionally versatile and unusually creative director. Beach focuses primarily on Ashby's first seven films - "The Landlord", "Harold and Maude", "The Last Detail", "Shampoo", "Bound for Glory", "Coming Home", and "Being There" - to analyze Ashby's contributions to filmmaking culture in the 1970s. The first two chapters of this volume provide an overview of Ashby's filmmaking career, as Beach makes the case for Ashby's status as an auteur and provides a biographical survey of Ashby's most productive and successful decade, the 1970s. In the following chapters, Beach analyzes groups of films to uncover important thematic concerns in Ashby's work, including the treatment of a young male protagonist in "The Landlord" and "Harold and Maude", the representation of the U.S. military in "The Last Detail" and "Coming Home", and the role of television and mass media in "Shampoo" and "Being There". Beach also examines the crucial role of the musical score in Ashby's films, as well as the rapid decline of the director's career after Being There. "The Films of Hal Ashby" is based on Beach's extensive use of unpublished archival materials, as well as a number of interviews with actors, directors, producers, cinematographers, and others involved in the making of Ashby's films. This volume will interest film and television scholars, as well as readers interested in filmmakers of the 1970s.

Claude Chabrol (1930-2010) was a founding member of the French New Wave, the group of filmmakers that revolutionized French filmmaking in the late 1950s and early 1960s. One of the most prolific directors of his generation, Chabrol averaged more than one film per year from 1958 until his death in 2010. Among his most influential films, Le Beau Serge, Les Cousins, and Les Bonnes Femmes established his central place within the New Wave canon. In contrast to other filmmakers of the New Wave such as Jean-Luc Godard and Eric Rohmer, Chabrol exhibited simultaneously a desire to create films as works of art and an impulse to produce work that would be commercially successful and accessible to a popular Audience. The seventeen interviews in this volume, most of which have been translated into English for the first time, offer new insights into Chabrol's remarkably wide-ranging filmography, providing a sense of his attitudes and ideas about a number of Subjects. Chabrol shares anecdotes about his work with such actors as Isabelle Huppert, Gerard Depardieu, and Jean Yanne, and offers fresh perspectives on other directors including Jean-Luc Godard, Fritz Lang, and Alfred Hitchcock. His mistrust of conventional wisdom often leads him to make pronouncements intended as much to shock as to elucidate, and he frequently questions established ideas and normative attitudes toward moral, ethical, and social behaviors. Chabrol's intelligence is far-reaching, moving freely between philosophy, politics, psychology, literature, and history, and his iconoclastic spirit, combined with his blend of sarcasm and self-deprecating humor, give his interviews a tone that hovers between a high moral seriousness and a cynical sense of hilarity in the face of the world's complexities.

The image that appears on the movie screen is the direct and tangible result of the joint efforts of the director and the cinematographer. A Hidden History of Film Style is the first study to focus on the collaborations between directors and cinematographers, a partnership that has played a crucial role in American cinema since the early years of the silent era. Christopher Beach argues that an understanding of the complex director-cinematographer collaboration offers an important model that challenges the pervasive conventional concept of director as auteur. Drawing upon oral histories, early industry trade journals, and other primary materials, Beach examines key innovations like deep focus, color, and digital cinematography, and in doing so produces an exceptionally clear history of the craft. Through analysis of several key collaborations in American cinema from the silent era to the late twentieth century such as those of D. W. Griffith and Billy Bitzer, William Wyler and Gregg Toland, and Alfred Hitchcock and Robert Burks this pivotal book underlines the importance of cinematographers to both the development of cinematic technique and the expression of visual style in film.