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British Film-Makers

Comprehensive overview of the director's body of work which yields new insights on the established classics of Lean's career as well as its lesser-known treasures

Williams M: David Lean

David Lean

Introduction
1. Cutting and coward: David Lean's early career and In Which We Serve (1942), This Happy Breed (1944) and Blithe Spirit (1945)
2. Nineteenth century blues: Great Expectations (1946), Oliver Twist (1948), Madeleine (1950) and Hobson's Choice (1954)
3. Women in love: Brief Encounter (1945), The Passionate Friends (1949) and Summer Madness (1955)
4. Men of Vision: The Sound Barrier (1952), The Bridge on the River Kwai (1957) and Lawrence of Arabia (1962)
5. Feminising the epic: Doctor Zhivago (1965), Ryan's Daughter (1970) and A Passage to India (1984)
Select Bibliography
Index

Wendy Toye

The Bloomsbury Companions to Contemporary Filmmakers

The most comprehensive and authoritative academic examination of David Lynch's work and career.

David Lynch

From childhood, Christopher Miles was fascinated by celluloid. This love of the moving image announced itself early: he was just 12 when the BBC screened his first film in 1951. To be a filmmaker, Miles had to sidestep parental plans to enrol him in the family steelworks. He had already been filming in communist China and Argentina when he escaped to Paris where he made his first professional film. Later, working mostly in Europe and America, Miles made a string of intriguing and unusual films, two exploring his obsession with D.H. Lawrence, others bringing works by Jean Anouilh and Jean Genet to the big screen. He writes revealingly of his relationship with his father, of whether he is related to the royal family, and of the host of key figures in the film industry he worked with. Among the stars of his films are Ian McKellen, Ava Gardner, John Gielgud, Susannah York, Franco Nero and Charlotte Rampling. This compelling account goes behind the scenes, setting the films in context and giving the reader a very personal view of contemporary film-making.

Memoir Of A Filmmaker

Carrying the Can

Great Stage Directors

This volume assesses the accomplishments of three mid-20th-century, North American stage directors: Harold Clurman, Orson Welles, and Margo Jones. Though their theatre-making endeavours were distinct, each produced work that challenged preconceived notions of theatre-making, all while working within the structure of a company. As directors drawn to the potential rewards of collaboration, all also were keenly adept at understanding how the relationship with a company of collaborators is often marked by struggle and crisis. The essays in this volume explore how these accomplished directors not only created bold work, but also drew on the complex energies of the theatre companies with which they worked to reimagine the shape and scope of theatre directing. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each major North American theatre director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

Harold Clurman, Orson Welles, Margo Jones

Great North American Stage Directors Volume 2

Performance Books

An Introduction to the Work and Principles of Augusto Boal

The Theatre of the Oppressed in Practice Today

John Ford's America

A practical and motivational guide to self-starting and sustaining a career as a theatre director.

100 Notes on Theatre Directing

The Graft of the Art

The classic thrillers of Alfred Hitchcock, including Vertigo, North by Northwest and Psycho, achieved much of their power from the music of legendary Academy Award winner Bernard Herrmann (Citizen Kane, Taxi Driver). In this book, author Steven C. Smith delivers an intimate account of how the reserved, but deeply anxious, Hitchcock found his ideal creative partner in the cantankerous, but deeply romantic, Herrmann. Their collaboration ended in a bitter break; but today, the music from their movies is more popular than ever, heard in Quentin Tarantino blockbusters and Lady Gaga music videos. Smith takes us inside the friendship between "Benny and Hitch," and explains why Herrmann's pulse-quickening music has become the soundtrack of our own anxious times.

The Friendship and Film Scores That Changed Cinema

Hitchcock and Herrmann

Melland Schill Perspectives on International Law

Cinematic Perspectives on International Law

Céline Sciamma and the Dawn of Post-Auteurism

Building a Feminocentric Canon

Sean Redmond's work fills an important gap in the scholarship on the European-inspired auteur working within the Hollywood cinema machine, Kathryn Bigelow. Structured to meet the needs of both the student and scholar, Redmond's volume situates Bigelow within her historical and critical context, exploring key collaborative relationships and new ways of watching her films. Beginning with Bigelow's biography, Redmond surveys the evolution of Kathryn's career as a Hollywood outsider with movies such as The Set-up (1978) and Near Dark (1987) to Hollywood blockbusters like Point Break (1991), The Hurt Locker (2010) and Zero Dark Thirty (2012).One of the key determinants of this volume is to locate Bigelow as a filmmaking artist who is able to transcend the collective, industrial, and commercial constraints of the Hollywood cinema machine to individually author her films in innovative and transgressive ways. Bigelow is contextualised as a contemporary auteur, with a distinct visual style who returns to the same themes and obsessions, and as a filmmaker who pushes cinematic boundaries, both in terms of film form and the representation of gender and sexuality.

Kathryn Bigelow

Studies in Metamodernism: Theory and Criticism across the Disciplines

In this book, Kevin Corbett argues that as we reconsider postmodern cinema bridging the 20th and 21st centuries, this time period marks the transition and overlap from the cultural logic of postmodernism to the still-emerging cultural logic of metamodernism. From this premise, Corbett tracks the emergence of these elements over the course of Taika Waititi's career in film and television. At first glance, Taika Waititi's film and television work seems quite scattered. But on closer examination the variation that characterizes the writer-director's output reflects a 21st-century cultural shift that has arguably replaced (or is replacing) postmodernism as the dominant paradigm. This new paradigm has been called metamodernism. At the core of this post-postmodern worldview is the idea of oscillation: how creative and cultural products move back-and-forth between ironic distance and affective connection. In this book, Corbett examines how Waititi's films and TV shows often bounce between humor and other devices that generate insincerity and disengagement and other elements that invite audiences to sincerely affectively connect with the characters and story. Waititi has made touching, sometimes heart wrenching stories with children and young adults as central characters (Boy, Hunt for the Wilderpeople, Jojo Rabbit, Reservation Dogs), quirky character sketches and whacky parodies (Eagle vs. Shark, What We Do in the Shadows, Our Flag Means Death), and two Marvel movies (Thor: Ragnarok and Thor: Love and Thunder). Ultimately, the variations among Waititi's work as a whole - and especially the variations in tone within the individual films and programs - reveals their metamodern nature.

The Metamodern Cinema of Taika Waititi

A spectacular celebration of the first 50 years of Industrial Light &amp; Magic (ILM), the award-winning visual effects house behind the Star Wars saga, Indiana Jones, E.T., Terminator 2, and Jurassic ParkIndustrial Light &amp; Magic: 50 Years of Innovation is the official decade-by-decade visual retrospective of the legendary visual effects house. Founded by Star Wars creator George Lucas in 1975, ILM has won 16 Academy Awards in Best Visual Effects and pushed the boundaries of what can be visually realized in storytelling, from the big screen to emerging technologies such as streaming television, 3D immersive adventures, and more. Breaking down ILM's evolution in visual effects decade-by-decade, 50 Years of Innovation features stunning visuals and analysis of the creative and technical processes from concept to execution, and highlights 50 of their key projects that have helped shape the visual effects industry. Concluding with a look at both the future of ILM and the visual effects industry at large, the key creative forces at ILM speculate about what the next 50 years may have in store for the innovators that transformed entertainment forever.

Industrial Light & Magic: 50 Years of Innovation

David Lean

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