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Examines an under-analysed period of Robert Altman's career
Provides new critical perspectives on the Altman oeuvre Features
original interviews with key Altman collaborators Offers case
studies of Popeye, Tanner '88, Come Back to the Five & Dime,
Jimmy Dean, Jimmy Dean, Cookie's Fortune and A Prairie Home
Companion, among others Illuminating the industrial, cultural and
aesthetic significance of the later years of one of American
cinema's most influential auteurs, this anthology combines
scholarly essays, original interviews with Robert Altman's
collaborators and previously unseen photographs from the Robert
Altman Papers held at the Special Collections Research Center,
University of Michigan Library. The book considers post-1970s
Altman as a way to rethink and reconceive his authorship, expanding
our understanding of the development of Altman's personal aesthetic
and production practices; his adaptation of existing source
material; the representation of sex, gender and identity in his
films; his relation to the changing landscape of American
independent cinema; and his unfinished projects. Interviews with
key Altman collaborators like Alan Rudolph, Ira Deutchman and Anne
Rapp highlight their contributions to Altman's career. Rather than
place aside the extensive work on Robert Altman to date, this
comprehensive book offers texture and depth to previous ways of
thinking about Altman's creativity and contribution to American
cinema.
Examines an under-analysed period of Robert Altman's career.
More than a century after its emergence, classical Hollywood cinema
remains popular today with cinephiles and scholars alike. Resetting
the Scene: Classical Hollywood Revisited, edited by Philippa Gates
and Katherine Spring, showcases cutting-edge work by renowned
researchers of Hollywood filmmaking of the studio era and proposes
new directions for classical Hollywood studies in the twenty-first
century. Resetting the Scene includes twenty-six accessible
chapters and an extensive bibliography. In Part 1, Katherine
Spring's introduction and David Bordwell's chapter reflect on the
newest methods, technological resources, and archival discoveries
that have galvanized recent research of studio filmmaking. Part 2
brings together close analyses of film style both visual and sonic
with case studies of shot composition, cinematography, and film
music. Part 3 offers new approaches to genre, specifically the film
musical, the backstudio picture, and the B-film. Part 4 focuses on
industry operations, including the origins of Hollywood,
cross-promotion, production planning, and talent management. Part 5
offers novel perspectives on the representation of race, in regard
to censorship, musicals, film noir, and science fiction. Part 6
illuminates forgotten histories of women's labor in terms of
wartime propaganda, below-the-line work, and the evolution of star
persona. Part 7 explores the demise of the studio system but also
the endurance of classical norms in auteur cinema and screenwriting
in the post-classical era. Part 8 highlights new methods for
studying Hollywood cinema, including digital resources as tools for
writing history and analyzing films, and the intersection of film
studies with emergent fields like media industry studies. Intended
for scholars and students of Hollywood film history, Resetting the
Scene intersects with numerous fields consonant with film studies,
including star studies, media industry studies, and critical race
theory.
More than a century after its emergence, classical Hollywood cinema
remains popular today with cinephiles and scholars alike. Resetting
the Scene: Classical Hollywood Revisited, edited by Philippa Gates
and Katherine Spring, showcases cutting-edge work by renowned
researchers of Hollywood filmmaking of the studio era and proposes
new directions for classical Hollywood studies in the twenty-first
century. Resetting the Scene includes twenty-six accessible
chapters and an extensive bibliography. In Part 1, Katherine
Spring's introduction and David Bordwell's chapter reflect on the
newest methods, technological resources, and archival discoveries
that have galvanized recent research of studio filmmaking. Part 2
brings together close analyses of film style both visual and sonic
with case studies of shot composition, cinematography, and film
music. Part 3 offers new approaches to genre, specifically the film
musical, the backstudio picture, and the B-film. Part 4 focuses on
industry operations, including the origins of Hollywood,
cross-promotion, production planning, and talent management. Part 5
offers novel perspectives on the representation of race, in regard
to censorship, musicals, film noir, and science fiction. Part 6
illuminates forgotten histories of women's labor in terms of
wartime propaganda, below-the-line work, and the evolution of star
persona. Part 7 explores the demise of the studio system but also
the endurance of classical norms in auteur cinema and screenwriting
in the post-classical era. Part 8 highlights new methods for
studying Hollywood cinema, including digital resources as tools for
writing history and analyzing films, and the intersection of film
studies with emergent fields like media industry studies. Intended
for scholars and students of Hollywood film history, Resetting the
Scene intersects with numerous fields consonant with film studies,
including star studies, media industry studies, and critical race
theory.
A groundbreaking filmmaker dogged by controversy in both his
personal life and career, Elia Kazan was one of the most important
directors of postwar American cinema. In landmark motion pictures
such as A Streetcar Named Desire, On the Waterfront, East of Eden,
and Splendor in the Grass, Kazan crafted an emotionally raw form of
psychological realism. His reputation has rested on his Academy
award-winning work with actors, his provocative portrayal of
sexual, moral, and generational conflict, and his unpopular
decision to name former colleagues as Communists before the House
Un-American Activities Committee in 1952. But much of Kazan's
influential cinematic legacy remains unexamined. Arriving in the
wake of his centenary, Kazan Revisited engages and moves beyond
existing debates regarding Kazan's contributions to film, tackling
the social, political, industrial, and aesthetic significance of
his work from a range of critical perspectives. Featuring essays by
established film critics and scholars such as Richard Schickel
(Time), Victor Navasky (The Nation), Mark Harris (Entertainment
Weekly), Kent Jones (Film Comment), Jonathan Rosenbaum (Essential
Cinema, 2004), Jeanine Basinger (The Star Machine, 2007), and Leo
Braudy (On the Waterfront, 2008), this book is a must for diehard
cinephiles and those new to Kazan alike.
Contributors include: JEANINE BASINGER, LEO BRAUDY, LISA
DOMBROWSKI, HADEN GUEST, MARK HARRIS, KENT JONES, PATRICK KEATING,
SAVANNAH LEE, BRENDA MURPHY, VICTOR NAVASKY, BRIAN NEVE, JONATHAN
ROSENBAUM, RICHARD SCHICKEL, ANDREW TRACY, and SAM WASSON.
A cigar-chomping storyteller who signaled "Action!" by shooting a
gun, Samuel Fuller has been lionized as one of the most distinctive
writer/directors ever to emerge from Hollywood. In such films as
The Steel Helmet, Pickup on South Street, Shock Corridor, and The
Big Red One, Fuller gleefully challenged classical and generic
norms--and often standards of good taste--in an effort to shock and
arouse audiences. Tackling war, crime, race, and sexuality with a
candor rare for any period, Fuller's maverick vision was tested by
Hollywood's transition from the studio system to independent
filmmaking. Now, in the first full account of all of the director's
audaciously original work, author Lisa Dombrowski brings his career
into new relief. The Films of Samuel Fuller features close analysis
of Fuller's pictures and draws on previously untapped production
and regulatory files, script notes, and interviews to explore how
artistic, economic, and industrial factors impacted Fuller's career
choices and shaped the expression of his personal aesthetic. Fans
of Fuller and American cinema will welcome this in-depth study of a
provocative director who embodied both the unique opportunities and
challenges of postwar filmmaking.
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