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With her gripping film The Hurt Locker, Kathryn Bigelow (b. 1951)
made history in 2010 by becoming the first woman to win an Oscar
for Best Director. Since then she has also filmed history with her
latest movie, which is about the mission to kill Osama Bin Laden.
She is one of Hollywood's brightest stars, but her roots go back
four decades to the very non-Hollywood, avant-garde art world of
New York City in the 1970s. Her first feature The Loveless (1982)
reflected those academic origins, but subsequent films such as the
vampire-Western Near Dark (1987), the female vigilante movie Blue
Steel (1989), and the surfer crime thriller Point Break (1991)
demonstrated her determination to apply her aesthetic sensibilities
to popular, genre filmmaking. The first volume of Bigelow's
interviews ever published, Peter Keough's collection covers her
early success with Near Dark, the frustrations and disappointments
she endured with films such as Strange Days (1995) and K-19: The
Widowmaker (2002), and her triumph with The Hurt Locker. In
conversations ranging from the casual to the analytical, Bigelow
explains how her evolving ambitions and aesthetics sprang from her
earliest aspirations to be a painter and conceptual artist in New
York in the 1970s and then expanded to embrace Hollywood filmmaking
when she was exposed to renowned directors such as John Ford,
Howard Hawks, Don Siegel, Sam Peckinpah, and George Roy Hill. Peter
Keough, Boston, Massaschusetts, is film editor at the Boston
Phoenix. He is the editor of Flesh and Blood: The National Society
of Film Critics on Sex, Violence, and Censorship and has published
in the Chicago Sun-Times, the Chicago Tribune, and Sight &
Sound.
In For Kids of All Ages, members of the National Society of Film
Critics celebrate the wonder of childhood in cinema. In this
volume, original essays commissioned especially for this collection
stand alongside classic reviews from prominent film critics like
Jay Carr and Roger Ebert. Each of the seven sections in this
collection takes on a particular aspect of children’s cinema,
from animated features to adaptations of beloved novels. The films
discussed here range from the early 1890s to the present. The
contributors draw on personal connections that make their insights
more trenchant and compelling. The essays and reviews in For Kids
of All Ages are not just a list of recommendations—though plenty
are included—but an illuminating, often personal study of
children’s movies, children in movies, and the childish wonder
that is the essence of film.
With her gripping film The Hurt Locker, Kathryn Bigelow (b. 1951)
made history in 2010 by becoming the first woman to win an Oscar
for Best Director. Since then she has also filmed history with her
latest movie, Zero Dark Thirty, which is about the mission to kill
Osama Bin Laden. She is one of Hollywood's brightest stars, but her
roots go back four decades to the very non-Hollywood, avant-garde
art world of New York City in the 1970s. Her first feature The
Loveless reflected those academic origins, but such subsequent
films such as the vampire-Western Near Dark, the female vigilante
movie Blue Steel, and the surfer-crime thriller Point Break
demonstrated her determination to apply her aesthetic sensibilities
to popular, genre filmmaking. The first volume of Bigelow's
interviews ever published, Peter Keough's collection covers her
early success with Near Dark; the frustrations and disappointments
she endured with films such as Strange Days and K-19: The
Widowmaker; and her triumph with The Hurt Locker. In conversations
ranging from the casual to the analytical, Bigelow explains how her
evolving ambitions and aesthetics sprang from her earliest
aspirations to be a painter and conceptual artist in New York in
the 1970s and then expanded to embrace Hollywood filmmaking when
she was exposed to such renowned directors as John Ford, Howard
Hawks, Don Siegel, Sam Peckinpah, and George Roy Hill.
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