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Author: Carter Matthew Carter
Publisher: Edinburgh University Press
ISBN: 1474403026
Category : Performing Arts
Languages : en
Pages : 240
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Book Description
From Destination Tokyo (1943) to The Battle of the Villa Fiorita (1965), Delmer Daves was responsible for a unique body of work, but few filmmakers have been as critically overlooked in existing scholarly literature. Often regarded as an embodiment of the self-effacing craftsmanship of classical and post-War Hollywood, films such as Broken Arrow (1950) and 3:10 to Yuma (1957) reveal a filmmaker concerned with style as much as sociocultural significance. As the first comprehensive study of Daves's career, this collection of essays seeks to deepen our understanding of his work, and also to problematize existing conceptions of him as a competent, conventional and even naive studio man.
Author: Carter Matthew Carter
Publisher: Edinburgh University Press
ISBN: 1474403026
Category : Performing Arts
Languages : en
Pages : 240
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Book Description
From Destination Tokyo (1943) to The Battle of the Villa Fiorita (1965), Delmer Daves was responsible for a unique body of work, but few filmmakers have been as critically overlooked in existing scholarly literature. Often regarded as an embodiment of the self-effacing craftsmanship of classical and post-War Hollywood, films such as Broken Arrow (1950) and 3:10 to Yuma (1957) reveal a filmmaker concerned with style as much as sociocultural significance. As the first comprehensive study of Daves's career, this collection of essays seeks to deepen our understanding of his work, and also to problematize existing conceptions of him as a competent, conventional and even naive studio man.
Author: Herman Wouk
Publisher: Open Road Media
ISBN: 1504096584
Category : Fiction
Languages : en
Pages : 1192
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Book Description
A writer finds wealth, fame, and sorrow in midcentury Manhattan in “a tremendous novel . . . full of wisdom and pain” by the #1 New York Times–bestselling author (Los Angeles Times). Arthur Youngblood Hawke, an ex-Navy man, moves from hardscrabble rural Kentucky to New York, hoping to make his mark on the literary world. His first novel becomes an instant hit, and he is toasted by critics and swept along on a tide of celebrity. But as Hawke gives himself over to the lush life that gilds artistic success—indulging in an affair with an older married woman and a flirtation with his editor, dabbling in real estate developments as his second novel brings him massive wealth and even bigger opportunities—he soon finds himself in a self-destructive downward spiral. Inspired by the life of Thomas Wolfe, and spanning from the Manhattan publishing world to Hollywood to Europe, Youngblood Hawke is both a riveting saga of postwar glamor and a poignant tale of one man’s rise and fall. “A big, powerful, exciting novel . . . Wouk has a tremendous narrative gift.” —San Francisco Chronicle “As searing and accurate a picture of New York in the late 1940s and 1950s as Bonfire of the Vanities was of its period. . . . And icing the cake are some marvelous Hollywood sections, including the best agent-in-action-on-two-telephones scenes ever captured in print.” —Los Angeles Times
Author: Brian Brems
Publisher: Rowman & Littlefield
ISBN: 1666915297
Category : Performing Arts
Languages : en
Pages : 297
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Book Description
In The Films of Walter Hill: Another Time, Another Place, Brian Brems explores how, as action emerged as a full-fledged genre of cinema, Walter Hill established his position in the genre, first as a screenwriter and then as a director. Hill, Brems argues, helped merge the thematic and stylistic concerns of the Western and film noir into a new action cinema, establishing a reputation for mythic, highly-stylized storytelling driven by a relentless pace. Through analyses of Hill’s filmography, this book demonstrates his consistent use of the architecture of classical storytelling to help codify the language of the action movie. These observations are supported by extensive conversations with Walter Hill and several of his on-screen collaborators, including Lance Henriksen, Sigourney Weaver, David Patrick Kelly, James Renmar, and William Sadler. Ultimately, Brems positions Hill as a key American film artist, whose work has inspired countless imitations.
Author: Ronald Bergan
Publisher: Penguin
ISBN: 0756691885
Category : Performing Arts
Languages : en
Pages : 354
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Book Description
Film is the world's most popular artistic medium. What began as a novelty at country fairs rapidly became the consummate art form of the twentieth century, spanning both popular culture and high art. The Film Book enables you to identify different cinematic genres, appreciate the style of celebrated directors, see how a film is made, and understand why the greatest movies deserve their reputation. The book is unique in encompassing each of these key aspects and, as such, outspans the many other guides and film companions on the market. The guide is split into seven distinct sections, each of which deals with a particular aspect of film. The first of these chapters is a detailed history of the art form over the last 120 years, charting its evolution from a musical event accompanied by pictures, through its numerous developments and innovations-talking pictures; color film; video and DVD; online films; computer-generated special effects; and the modern 3D experience. The second shows how these techniques are applied in practice, taking the reader behind the camera to explore the film-making process and find out who's who on set, offering a useful insight into how movies are brought to life. Sections 3 to 6 look at the films themselves. Providing an overview of cinematic styles and genres, the third section covers everything from westerns, musicals, and sci-fi to arthouse cinema, the avant-garde, and the cult movie, whilst the fourth compares and contrasts the major styles of international cinema, with key schools, movements, directors, and films. The fifth section profiles 100 of the film industry's greatest and most influential directors, listing their key works and assessing their cinematic legacy, whilst the sixth section discusses 100 key cinematic works which invented, extended, or reinvented the art form. The closing section of the book is an interesting, and often provocative, range of lists compiled by a variety of film associations, publications, and institutions. Comprehensive, authoritative, and written with passion and verve, The Film Book is a unique treasure-trove of a guide that will appeal to anyone who loves movies. Table of Contents Prelims (5pp) Introduction (4pp) The story of film (56pp) 1896-1919: The Birth of Cinema 1920-1929: Silence is Golden 1930-1939: The Cinema Comes of Age 1940-1949: The Cinema Goes to War 1950-1959: The Cinema Fights Back 1970-1979: Independence Days 1980-1989: The International Years 1990-: Celluloid to Digital How movies are made (20pp) Pre-production Production Post-production World cinema (52pp) Africa The Middle East Iran Eastern Europe (including Poland, Hungary, and the Czech Republic) The Balkans (including Yugoslavia, Bugaria, Romania, Greece, and Turkey) Russian The Nordic countries (including Finland, Sweden, Norway, and Denmark) Germany France Italy United Kingdom Spain Portugal Canada Central America South America (including Argentina, Brazil, Mexico, and Chile) Australian and New Zealand China, Hong Kong, and Taiwan Japan Korea India Movie genres (52pp) Action-adventure Animation Avant-garde Biopic Comedy Costume drama Cult Disaster Documentary Epic Film Noir Gangster Horror Martial Arts Melodrama Musicals Propaganda Science Fiction and Fantasy Serials Series Teen Thrillers War Westerns 100 Key directors (92pp) Woody Allen Pedro Almodo ́var Robert Altman Michelangelo Antonioni Ingmar Bergman Bernado Bertolucci Tod Browning Luis Bun~uel Tim Burton Jane Campion Frank Capra Marcel Carne ́ Charlie Chaplin Chen Kaige Joel and Ethan Coen Francis Ford Coppola David Cronenburg George Cukor Michael Curtiz Cecil B. DeMille Jonathan Demme Brian De Palma Vittorio De Sica Stanley Donen Carl Drayer Clint Eastwood Blake Edwards Sergei Eisenstein Rainer Werner Fassbinder Federico Fellini Victor Fleming John Ford Milos Forman Abel Gance Jean-Luc Godard D.W. Griffith Howard Hawks Werner Herzog Alfred Hitchcock Hou Hsiao-Hsien John Huston Peter Jackson Elia Kazan Buster Keaton Krzysztof Kieslowski Fritz Lang David Lean Ang Lee Spike Lee Sergio Leone Ernst Lubitsch George Lucas Sidney Lumet David Lynch Alexander Mackendrick Joseph L. Mankiewicz Sam Mendes Lewis Milestone Vincente Minnelli F.W. Murnau Max Ophu ̈ls Yasujiro Ozu Georg Wilhelm Pabst Pier Paolo Pasolini Sam Peckinpah Roman Polanski Michael Powell/Emeric Pressburger Nicholas Ray Satyajit Ray Carol Reed Jean Renoir Eric Rohmer Roberto Rossellini John Schlesinger Martin Scorsese Ridley Scott Stephen Spielberg Josef von Sternberg Oliver Stone Erich von Stroheim Quentin Tarantino Andrei Tarkovsky Jacques Tati Franc ̧ois Truffaut Dziga Vertov Luchino Visconti Andrzej Wajda Raoul Walsh Peter Weir Orson Welles William Wellman Wim Wenders Billy Wilder Robert Wise John Woo William Wyler Franco Zeffirelli Zhang Yimou 100 Key Movies (52pp) Birth of a Nation (D.W. Griffith, 1915) The Cabinet of Dr. Caligari (Robert Wiene, 1919) Nosferatu: A Symphony of Terror (F.W. Murnau, 1921) Nanook of the North (Robert Flaherty, 1922) The Battleship Potemkin (Sergei Eisenstein, 1925) Metropolis (Fritz Lang, 1926) Napole ́on (Abel Gance, 1927) An Andalucian Dog (Un Chien Andalou) (Luis Bun~uel, 1928) The Passion of Joan of Arc (Carl Dreyer, 1928) All Quiet on the Western Front (Lewis Milestone, 1930) The Blue Angel (Joseph von Sternberg, 1930) City Lights (Charlie Chaplin, 1931) 42nd Street (Lloyd Bacon, 1933) Duck Soup (Leo McCarey, 1933) King Kong (Merian Cooper/Ernest Schoedsack, 1933) L'Atalante (Jean Vigo, 1934) Snow White and the Seven Dwarfs (Walt Disney, 1937) Olympia (Leni Riefenstahl, 1938) The Rules of the Game (La Re`gle du Jeu) (Jean Renoir, 1939) Gone with the Wind (Victor Fleming, 1939) The Philadelphia Story (George Cukor, 1940) His Girl Friday (Howard Hawks, 1940) The Grapes of Wrath (John Ford, 1940) Citizen Kane (Orson Welles, 1941) The Maltese Falcon (John Huston, 1941) The Little Foxes (William Wyler, 1941) To Be or Not To Be (Ernst Lubitsch, 1942) In Which We Serve (Noe ̈l Coward, 1942) Casablanca (Michael Curtiz, 1942) Ossessione (Luchino Visconti, 1942) Children of Paradise (Les Enfants du Paradis) (Marcel Carne ́, 1945) A Matter of Life and Death (Michael Powell/Emeric Pressburger, 1946) It's a Wonderful Life (Frank Capra, 1946) Bicycle Thieves (Ladri Di Biciclette) (Vittorio de Sica, 1948) Letter from an Unknown Woman (Max Ophu ̈ls, 1948) Passport to Pimlico (Henry Cornelius, 1949) The Third Man (Carol Reed, 1949) Orpheus (Orphe ́e) (Jean Cocteau, 1950) Rashomon (Akira Kurosawa, 1950) Singin' in the Rain (Gene Kelly/Stanley Donen, 1952) Tokyo Story (Yasujiro Ozu, 1953) On the Waterfront (Elia Kazan, 1954) All That Heaven Allows (Douglas Sirk, 1955) Rebel Without a Cause (Nicholas Ray, 1955) Pather Panchali (Satyajit Ray, 1955) The Night of the Hunter (Charles Laughton, 1955) The Seventh Seal (Ingmar Bergman, 1957) Vertigo (Alfred Hitchcock, 1958) Ashes and Diamonds (Andrzej Wajda, 1958) The 400 Blows (Franc ̧ois Truffaut, 1959) Some Like it Hot (Billy Wilder, 1959) Breathless (A Bout de Souffle) (Jean-Luc Godard, 1960) La Dolce Vita (Federico Fellini, 1960) Saturday Night and Sunday Morning (Karel Reisz, 1960) L'Avventura (Michelangelo Antonioni, 1960) Last Year in Marienbad (Alain Resnais, 1961) Lawrence of Arabia (David Lean, 1962) Dr. Strangelove (Stanley Kubrick, 1964) The Battle of Algiers (Gillo Pontecorvo, 1965) The Sound of Music (Robert Wise, 1965) Andrei Rublev (Andrei Tarkovsky, 1966) The Chelsea Girls (Andy Warhol, 1966) Bonnie and Clyde (Arthur Penn, 1967) The Wild Bunch (Sam Peckinpah, 1969) Easy Rider (Dennis Hopper, 1969) The Conformist (Bernardo Bertolucci, 1969) The Godfather (Francis Ford Coppola, 1972) Aguirre, Wrath of God (Werner Herzog, 1972) Nashville (Robert Altman, 1975) In the Realm of the Senses (Ai No Corrida) (Nagisa Oshima, 1976) Taxi Driver (Martin Scorsese, 1976) Annie Hall (Woody Allen, 1977)
Author: James Bawden
Publisher: University Press of Kentucky
ISBN: 0813197546
Category : Literary Collections
Languages : en
Pages : 389
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Book Description
For decades, James Bawden and Ron Miller have established themselves as maestros of provocative interviews, giving fans unmatched insights into the lives of Hollywood A-listers. In their fourth collection, the authors pay tribute to film pioneers who lit up Tinseltown from the 1930s through the 1960s. They Made the Movies features conversations with legendary directors who created many of film's all-time classics, including Frank Capra (It's A Wonderful Life, 1946), Richard Fleischer (20,000 Leagues Under the Sea, 1954), Alfred Hitchcock (Psycho, 1960), Ralph Nelson (Lilies of the Field, 1963), Robert Wise (The Sound of Music, 1965), and Chuck Jones (How the Grinch Stole Christmas! 1966). Tantalizing firsthand details about many acclaimed films are revealed, such as the revelation of Mervyn LeRoy's first-choice of lead actress for The Wizard of Oz ("Shirley Temple... but Shirley couldn't sing like Judy [Garland]"), Billy Wilder's insights on directing ("You have to be a sycophant, a sadist, a nurse, a philosopher"), and how megaproducer Hal B. Wallis purchased an unproduced play titled Everybody Comes to Rick's and transformed it into Casablanca ("The part [of Sam] almost went to Lena Horne, but I thought she was too beautiful"). The authors also celebrate the contributions of marginalized filmmakers such as Ida Lupino, James Wong Howe, Oscar Micheaux, and Luis Valdez, who prevailed in Hollywood despite the discrimination they faced throughout their careers. They Made the Movies appeals to film and television enthusiasts of all ages.
Author: Douglas Brode
Publisher: Rowman & Littlefield
ISBN: 1793615128
Category : Performing Arts
Languages : en
Pages : 297
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Book Description
Focusing on twenty-first century Western films, including all major releases since the turn of the century, the essays in this volume cover a broad range of aesthetic and thematic aspects explored in these films, including gender and race. As diverse contributors focus on the individual subgenres of the traditional Western (the gunfighter, the Cavalry vs. Native American conflict, the role of women in Westerns, etc.), they share an understanding of the twenty-first century Western may be understood as a genre in itself. They argue that the films discussed here reimagine certain aspects of the more conventional Western and often reverse the ideology contained within them while employing certain forms and clichés that have become synonymous internationally with Westerns. The result is a contemporary sensibility that might be referred to as the postmodern Western.
Author: Christopher Beach
Publisher: Wayne State University Press
ISBN: 081433542X
Category : Performing Arts
Languages : en
Pages : 206
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Book Description
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.
Author: Lee Clark Mitchell
Publisher: University of Nebraska Press
ISBN: 1496210719
Category : Social Science
Languages : en
Pages : 336
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Book Description
For more than a century the cinematic western has been America’s most familiar genre, always teetering on the verge of exhaustion and yet regularly revived in new forms. Why does this outmoded vehicle—with the most narrowly based historical setting of any popular genre—maintain its appeal? In Late Westerns Lee Clark Mitchell takes a position against those critics looking to attach “post” to the all-too-familiar genre. For though the frontier disappeared long ago, though men on horseback have become commonplace, and though films of all sorts have always, necessarily, defied generic patterns, the western continues to enthrall audiences. It does so by engaging narrative expectations stamped on our collective consciousness so firmly as to integrate materials that might not seem obviously “western” at all. Through plot cues, narrative reminders, and even cinematic frameworks, recent films shape interpretive understanding by triggering a long-standing familiarity audiences have with the genre. Mitchell’s critical analysis reveals how these films engage a thematic and cinematic border-crossing in which their formal innovations and odd plots succeed deconstructively, encouraging by allusion, implication, and citation the evocation of generic meaning from ingredients that otherwise might be interpreted quite differently. Applying genre theory with close cinematic readings, Mitchell posits that the western has essentially been “post” all along.
Author: Jeff Jaeckle
Publisher: Edinburgh University Press
ISBN: 1474439969
Category : History
Languages : en
Pages : 272
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Book Description
Traces Kopple's entire career to date, including her deft navigations of independent documentary production, ethical relationships between filmmaker and subject, and the shifting digital media landscape. Provides cultural contexts for Kopple's films, including representations of class, gender, sexuality and race . Assesses the contours of Kopple's critical reputation and popularity, including her influence on contemporary filmmakers.
Author: David Goodis
Publisher: Library of America
ISBN: 1598534467
Category : Fiction
Languages : en
Pages : 255
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Book Description
For the first time, the best work of a distinctive master of American noir is available in authoritative e-book editions from The Library of America. David Goodis experienced a brief celebrity when his novel Dark Passage (1946) became the basis for a popular movie starring Humphrey Bogart and Lauren Bacall. The story of a man railroaded for his wife’s murder and forced to assume a different identity after escaping from prison becomes in Goodis’s hands a lyrical evocation of urban fear and loneliness. Other David Goodis novels available as Library of America E-Book Classics include: Nightfall, The Burglar, The Moon in the Gutter, and Street of No Return.
