An updated and expanded version of this classic study of contemporary American film, the new edition of A Cinema of Loneliness reassesses the landscape of American cinema over the past decade, incorporating discussions of directors like Judd Apatow and David Fincher while offering assessments of the recent, and in some cases final, work from the filmmakers--Penn, Scorsese, Stone, Altman, Kubrick--at the book's core.
... 295, 406-407 Herrick, Robert, 429 Herrmann, Bernard, 221, 233 Herzog, Werner, 143 high-angle shots, 246-247 history, 72-74 Hitchcock, Alfred, 4, 18-19, 25, 50, 54, 102,137,154,186,187,193, 200, 202, 213, 221, 222, 235, 236, 248-249, ...
In this 20th anniversary edition, Kolker continues and expands his inquiry into the phenomenon of cinematic representation of culture by updating and revising the chapters on Kubrick, Scorsese, Altman and Spielberg.
Ed. Ian Cameron. New York: Praeger, 1969. Horton, Andrew S., and Joan Magretta, eds. Modern European Filmmakers and the Art of Adaptation. New York: Frederick Ungar, 1981. Some interesting essays on films and their literary sources.
With such films as Last tango in Paris and 1900, Bernardo Bertolucci emerged in the 1970s as one of the most eminent--and controversial--directors of contemporary international cinema. Now Robert Phillip...
... and instead creates a sense of stasis that can be seen as a part of the feminine stereotypes (darkness, passivity) of the title sequence and its imagery, not to mention the whole Orphic bent of Vertigo's narrative and structure.
Dark Star looks at the phenomenon of an actor who redefined the 'film star'. Gautam Chintamani's engaging narrative tries to make sense of what it was that made Rajesh Khanna and what accounted for his extraordinary fall.
In an early scene at the desert lodge where she and her husband meet, she rides along the ridge of a canyon in a cold blue dawn, scattering her beloved father's ashes in defiant handfuls, her face set as in stone.
This new book provides a critical apparatus for "reading" the media students take for granted: clarifying the form and structure, history, production, reception, and the ways the media relate to one another and the audience that attends to ...
And finally, there is the meeting with Ziegler in the billiard room of his stately home, next to the orgy the most important non-submersible unit. The scene summarizes the color scheme of the entire film: the deep blue of night outside ...
The essays in this collection, commissioned from a wide variety of scholars, examine in detail various possible readings of the film and its historical context.