(Limelight). A ground-breaking critical survey of the talented, audacious, and influential directors Hal Hartley, Jim Jarmusch, Spike Lee, John Sayles, Quentin Tarantino, among others who, dominating the "independent scene," have revitalized American film. Illustrated throughout, index.

The Cambridge Spies continue to fascinate - but one of them, John Cairncross, has always been more of an enigma than the others. He worked alone and was driven by his hostility to Fascism rather than to the promotion of Communism. During his war-time work at Bletchley Park, he passed documents to the Soviets which went on to influence the Battle of Kursk. Geoff Andrews gained exclusive access to the Cairncross papers and secrets, and has spoken to friends, relatives and former colleagues. In his portrait, a complex individual emerges – a scholar as well as a spy – whose motivations have often been misunderstood. After his resignation from the Civil Service, Cairncross moved to Italy and there he rebuilt his life as a foreign correspondent, editor and university professor. This gave him new circles and friendships – which included the writer Graham Greene – while he always lived with the fear that his earlier espionage would come to light. The full account of Cairncross's spying, his confession and his dramatic public exposure as the ‘fifth man’ is told here for the first time, unveiling the story of his post-espionage life.

James Klugmann appears as a shadowy figure in the legendary history of the Cambridge spies. As both mentor and friend to Donald Maclean, Guy Burgess and others, Klugmann was the man who manipulated promising recruits deemed ripe for conversion to the communist cause. This perception of him was reinforced following the release of his MI5 file and the disclosure of Soviet intelligence files in Moscow, which revealed he played a key part in the recruitment of John Cairncross, the 'fifth man', and had a pivotal war-time role in the Special Operations Executive, helping shift Churchill and the allies to support Tito and the communist partisans in Yugoslavia. In this book, Geoff Andrews reveals Klugmann's story in full for the first time, uncovering the motivations, conflicts and illusions of those drawn into the world of communism - and the sacrifices they made on its behalf.

Philosophy and Football: The PFFC Story is the extraordinary account of how a team of friends kicking a ball about in Regent's Park was transformed by European travel in the shadow of Brexit. Playing in shirts adorned with the words of Camus, Shankly and Cantona among others, Philosophy Football FC created its own philosophy in opposition to modern football. Its occasional players travelled from London to take part in tournaments in unique venues such as a national football stadium in Rome, a Spanish bullring in Bilbao and Taksim Square in Istanbul. Practising its 'slow foot' philosophy, it exported the idea of a revolutionary and more complex three-sided football. Inspired by European culture, PFFC was transformed from a team that regularly lost heavily to winning three consecutive London league championships. Over 25 years PFFC attracted players from 24 countries and six continents. Its story illustrates the power of football to reach people from all walks of life: to travel, play, eat, drink, win and lose together.

The Cambridge Spies continue to fascinate - but one of them, John Cairncross, has always been more of an enigma than the others. He worked alone and was driven by his hostility to Fascism rather than to the promotion of Communism. During his war-time work at Bletchley Park, he passed documents to the Soviets which went on to influence the Battle of Kursk. Now, Geoff Andrews has access to the Cairncross papers and secrets, and has spoken to friends, relatives and former colleagues. A complex individual emerges - a scholar as well as a spy - whose motivations have often been misunderstood. After his resignation from the Civil Service, Cairncross moved to Italy and here he rebuilt his life as a foreign correspondent, editor and university professor. This gave him new circles and friendships - which included the writer Graham Greene - while he always lived with the fear that his earlier espionage would come to light. The full account of Cairncross's spying, his confession and his dramatic public exposure as the 'fifth man' will be told here for the first time, while also unveiling the story of his post-espionage life.

Sixty years after its release, Singin' in the Rain (1951) remains one of the best loved films ever made. Yet despite dazzling success with the public, it never received its fair share of critical analysis. Gene Kelly's genius as a performer is undeniable. Acknowledged less often is his innovatory contribution as director. Peter Wollen's illuminating study of Singin' in the Rain does justice to this complex film. In a brilliant shot-by-shot analysis of the famous title number, he shows how skilfully Kelly weaves the dance and musical elements into the narrative, successfully combining two distinctive traditions within American Dance: tap and ballet. At the time of the film's production, its scriptwriters Betty Comden and Adolph Green, and indeed Kelly himself, were all under threat from McCarthyism. Wollen describes how the fallout from blacklisting curtailed the careers of many of those who worked on the film and argues convincingly that the film represents the high point in their careers. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Geoff Andrew looks at the film's legacy and celebrates the passion, lucidity and originality of Wollen's analysis. Summing up its enduring appeal, Andrew writes: 'Singin' in the Rain isn't just a musical, it's a movie about the movies.'

From a humble background in Barry, where his father was a butcher and local politician in the formative years of the new town, Cyril Lakin studied at Oxford, survived the First World War, and went on to become a Fleet Street editor, radio presenter and war-time member of parliament. As literary editor of both the Daily Telegraph and the Sunday Times, Lakin was at the centre of a vibrant and radical generation of writers, poets and critics, many of whom he recruited as reviewers. He gained a parliamentary seat and served in the National Government during World War II. The different worlds he inhabited, from Wales to Westminster, and across class, profession and party, were facilitated by his relaxed disposition, convivial company, and ability to cultivate influential contacts. An effective talent-spotter and catalyst for new projects, he preferred pragmatism over ideology and non-partisanship in politics: a moderate Conservative for modern times.

From a humble background in Barry, where his father was a butcher and local politician in the formative years of the new town, Cyril Lakin studied at Oxford, survived the First World War, and went on to become a Fleet Street editor, radio presenter and war-time member of parliament. As literary editor of both the Daily Telegraph and the Sunday Times, Lakin was at the centre of a vibrant and radical generation of writers, poets and critics, many of whom he recruited as reviewers. He gained a parliamentary seat and served in the National Government during World War II. The different worlds he inhabited, from Wales to Westminster, and across class, profession and party, were facilitated by his relaxed disposition, convivial company, and ability to cultivate influential contacts. An effective talent-spotter and catalyst for new projects, he preferred pragmatism over ideology and non-partisanship in politics: a moderate Conservative for modern times.

This is the sixth and final volume of L&W's comprehensive history of the British Communist Party, covering the debates of the last years - a period of accelerated change and reassessment, and ultimately dissolution. The book begins by situating the CPGB within the major social and cultural changes of the 1960s, and documents the hopes for renewal that were symbolised by the new social movements associated with May 68, and the Prague spring. It ends with the collapse of the party and the fall of the Berlin Wall. Despite all the new thinking and idealism, the party could not hold together. The book covers the Young Communist League's engagement with popular culture in the 1960s; the influence of the new social movements, especially feminism; the party's strong presence in the trade unions; CPGB relations with the Labour Party and labour movement; the increasing influence of Gramsci within the party, especially among a new generation of intellectuals; the Communist Universities of London; the influence of Eurocommunism; and the rise and fall of Marxism Today. Geoff Andrews is Lecturer and Staff Tutor in Politics at the Open University, and a co-editor of Soundings. He has written widely on the history of the left, and on contemporary Italian politics. His publications include Citizenship (1991) and - with Nina Fishman and Kevin Morgan - Opening the Books: Essays on the Cultural and Social History of the Communist Party (1995). He is currently completing a new book, Not a Normal Country: Italy under Berlusconi.

The Iranian director Abbas Kiarostami burst onto the international film scene in the early 1990s and was widely regarded as one of the most distinctive and talented modern-day directors. His major features - including Through the Olive Trees (1994), Taste of Cherry (1997) and The Wind Will Carry Us (1999) - are relatively modest in scale, contemplative and humanist in tone. In 2002, with 10, Kiarostami broke new ground, fixing one or two digital cameras on a car's dashboard to film ten conversations between the driver (Mania Akbari) and her various passengers. The results are astonishing: though formally rigorous, even austere, and documentary-like in its style, 10 succeeds both as emotionally affecting human drama and as a critical analysis of everyday life in modern Tehran. In his study of the film, Geoff Andrew considers 10 within the context of Kiarostami's career, of Iranian cinema's renaissance, and of international film culture. Drawing on a number of detailed interviews he conducted with both Kiarostami and his lead actress, Andrew sheds light on the unusual methods used in making the film, on its political relevance, and on its remarkably subtle aesthetic. He also argues that 10 was an important turning-point in the career of a film-maker who was not only one of contemporary cinema's most accomplished practitioners but also one of its most radical experimentalists.

The great Armenian-American director Rouben Mamoulian (1897-1987) remains a favourite among film-makers, his films combining great technical originality with a uniquely poetic visual style. Mamoulian's technical innovations are evident from his first film, Applause (1923), in which he incorporated two separate soundtracks into one printing, thus overcoming the difficulty of sound levels which had frustrated the pioneer directors of 'talkies', and in Dr Jekyll and Mr Hyde (1931), in which he used synthetic sound painted directly onto the soundtrack. Such inventive solutions to film-making challenges were linked to Mamoulian's abiding sense of the magic of the cinema. Heused colour as a dramatic ingredient in the first three-strip Technicolour film, Becky Sharp (1935), and his musicals Summer Holiday (1948) and Silk Stockings (1957) were remarkable in their time for the way in which the dance was used to enhance the drama and to illuminate character. And for Garbo, in Queen Christina (1933) he created the framework for her greatest role. Tom Milne's classic study, first published in 1969, provides a film-by-film analysis of Mamoulian's career and challenges widespread critical assumptions about the director's oeuvre. In his foreword to this new edition, Geoff Andrew recognises Milne's careful and insightful analysis of Mamoulian's expressive and imaginative style and asks whether this unique director ought to be considered as an auteur. Andrew also pays tribute to Milne's elegant, witty and eclectic critical style and hails him as one the most important and influential British writers on film. TOM MILNE (1926-2005) was a leading British film critic, contributing to Sight & Sound, the Monthly Film Bulletin, The Observer, The Financial Times and The Times during his career. During the 1960s he worked at the British Film Institute as Associate Editor of Sight & Sound and Editor of The Monthly Film Bulletin. His other publications include a monograph on Joseph Losey (1967), a short study on the Danish director Carl Theodor Dreyer (1971) and an anthology of interviews and writings on Jean-Luc Godard (1972) that he edited and translated. Foreword by GEOFF ANDREW, Head of Film Programme at BFI Southbank, UK, and the author of several books including Nicholas Ray: Poet of Nightfall (BFI, 2004) and, in the BFI Film Classics series, volumes on Kieslowski's Three Colours Trilogy and Kiarostami's 10.

Films like In a Lonely Place, Johnny Guitar, They Live by Night, and most of all Rebel Without a Cause were to ensure cult status for Ray as one of the most revered of all American 'maverick' auteurs. This new edition of Geoff Andrew's unique and acclaimed study of his films discusses Ray's stylistic artistry and abiding thematic concerns, and his work with such legends as James Dean, Humphrey Bogart, James Mason, Joan Crawford and Richard Burton. Above all the book shows how the vivid emotional authenticity of his films, coupled with his special brand of visual expressionism and his eloquently voiced disenchantment with the American Dream, were in established for him a profoundly loyal following in America and Europe that lasts to this day.
This new edition, which covers all of Ray's films, includes an updated introduction and fresh reflections on the enduring importance in the 21st century of one of the greatest directors to have worked in Hollywood.

This work serves as an introduction to, and an overview of, key issues and themes in the history of the Communist Party in Britain, and an assessment of the CP's changing historiography, particularly in view of the availability of previously inaccessible archives.;Thirteen contributors examine particular aspects of the party's history from the early Comintern period, to the events in Hungary in 1956 and the Eurocommunism and cultural politics of recent years. The scope of the book is deliberately broad, covering not only the more conventional aspects of CP participation in the labour movement, but also the broader cultural influence of the party on writers, artists, scholars, activists and opinion-formers at various stages in its history.

The great Armenian-American director Rouben Mamoulian (1897-1987) remains a favourite among film-makers, his films combining great technical originality with a uniquely poetic visual style. Mamoulian's technical innovations are evident from his first film, Applause (1923), in which he incorporated two separate soundtracks into one printing, thus overcoming the difficulty of sound levels which had frustrated the pioneer directors of 'talkies', and in Dr Jekyll and Mr Hyde (1931), in which he used synthetic sound painted directly onto the soundtrack. Such inventive solutions to film-making challenges were linked to Mamoulian's abiding sense of the magic of the cinema. Heused colour as a dramatic ingredient in the first three-strip Technicolour film, Becky Sharp (1935), and his musicals Summer Holiday (1948) and Silk Stockings (1957) were remarkable in their time for the way in which the dance was used to enhance the drama and to illuminate character. And for Garbo, in Queen Christina (1933) he created the framework for her greatest role. Tom Milne's classic study, first published in 1969, provides a film-by-film analysis of Mamoulian's career and challenges widespread critical assumptions about the director's oeuvre. In his foreword to this new edition, Geoff Andrew recognises Milne's careful and insightful analysis of Mamoulian's expressive and imaginative style and asks whether this unique director ought to be considered as an auteur. Andrew also pays tribute to Milne's elegant, witty and eclectic critical style and hails him as one the most important and influential British writers on film. TOM MILNE (1926-2005) was a leading British film critic, contributing to Sight & Sound, the Monthly Film Bulletin, The Observer, The Financial Times and The Times during his career. During the 1960s he worked at the British Film Institute as Associate Editor of Sight & Sound and Editor of The Monthly Film Bulletin. His other publications include a monograph on Joseph Losey (1967), a short study on the Danish director Carl Theodor Dreyer (1971) and an anthology of interviews and writings on Jean-Luc Godard (1972) that he edited and translated. Foreword by GEOFF ANDREW, Head of Film Programme at BFI Southbank, UK, and the author of several books including Nicholas Ray: Poet of Nightfall (BFI, 2004) and, in the BFI Film Classics series, volumes on Kieslowski's Three Colours Trilogy and Kiarostami's 10.

The Slow Food movement was set up in Italy as a response to the dominance of fast food chains, supermarkets and large-scale agribusiness. It seeks to defend what it calls 'the universal right to pleasure' and promotes an alternative approach to food production and consumption based on the promotion of 'good, clean and fair' local products. This is the first in-depth study of the fascinating politics of Slow Food, which in twenty years has grown into an international organisation with more than 80,000 members in over 100 countries. With its roots in the 1960s and 1970s counter-culture, Slow Food's distinctive politics lie in the unity between gastronomic pleasure and environmental responsibility. The movement crosses the left-right divide to embrace both the conservative desire to preserve traditional rural communities and an alternative 'virtuous' idea of globalisation. Geoff Andrews shows that the alternative future embodied in Slow Food extends to all aspects of modern life. The Slow Food Story presents an extensive new critique of fast-moving, work-obsessed contemporary capitalist culture.

The Slow Food movement was set up in Italy as a response to the dominance of fast food chains, supermarkets and large-scale agribusiness. It seeks to defend what it calls 'the universal right to pleasure' and promotes an alternative approach to food production and consumption based on the promotion of 'good, clean and fair' local products. This is the first in-depth study of the fascinating politics of Slow Food, which in twenty years has grown into an international organisation with more than 80,000 members in over 100 countries. With its roots in the 1960s and 1970s counter-culture, Slow Food's distinctive politics lie in the unity between gastronomic pleasure and environmental responsibility. The movement crosses the left-right divide to embrace both the conservative desire to preserve traditional rural communities and an alternative 'virtuous' idea of globalisation. Geoff Andrews shows that the alternative future embodied in Slow Food extends to all aspects of modern life. The Slow Food Story presents an extensive new critique of fast-moving, work-obsessed contemporary capitalist culture.

James Klugmann appears as a shadowy figure in the legendary history of the Cambridge spies. As both mentor and friend to Donald Maclean, Guy Burgess and others, Klugmann was the man who manipulated promising recruits deemed ripe for conversion to the communist cause. This perception of him was reinforced following the release of his MI5 file and the disclosure of Soviet intelligence files in Moscow, which revealed he played the key part in the recruitment of John Cairncross, the 'fifth man', as well as his pivotal war-time role in the Special Operations Executive in shifting Churchill and the allies to support Tito and the communist partisans in Yugoslavia. In this book, Geoff Andrews reveals Klugmann's story in full for the first time, uncovering the motivations, conflicts and illusions of those drawn into the world of communism and the sacrifices they made on its behalf.