Todd Haynes's films are intricate and purposeful, combining the intellectual impact of art cinema with the emotional accessibility of popular genres. They are also underpinned by a serious commitment to feminism and queer theory. From his 1985 student film about Arthur Rimbaud to his shapeshifting portrait of Bob Dylan in I'm Not There (2007) and the riveting HBO miniseries Mildred Pierce (2011), Haynes has made films whose complex weave of stories and characters reveals dark, painful intensities. His taste for narrative experimentation and pastiche is haunted by anguish. Rob White's highly readable book, which includes a major new interview with Haynes, is the first comprehensive study of the director's work. Special attention is paid to the fascination with music culture (from the Carpenters to glam rock) and to the rich pattern of allusions to, or affinity with, predecessor filmmakers (Fassbinder, Ophuls, Sirk, and many more). But White's chief concern is the persistence of a queer impulse to explore social coercion and the possibility that there may be some way of escaping its cruelty.
In a series of smart, informative essays, this book traces his career from its roots in New Queer Cinema to the Oscar-nomainated 'Far From Heaven.
With almost two decades of work, from the critically acclaimed low-budget Superstar: The Karen Carpenter Story to Far from Heaven (for which he was nominated for an Academy Award for screenwriting), Todd Haynes has established himself as ...
The volume illustrates the influence of feminist theory on Haynes’s aesthetic vision, most evident in his persistent interest in the political and formal possibilities afforded by the genre of the woman’s film.
Through intimate encounters with the life and work of five contemporary gay male directors, this book develops a framework for interpreting what it means to make a gay film or adopt a gay point of view.
The volume illustrates the influence of feminist theory on Haynes’s aesthetic vision, most evident in his persistent interest in the political and formal possibilities afforded by the genre of the woman’s film.
Mrs. Leacock: I do apologize, Mrs. Whitaker, but candid views are always the best. Cathy: Darling, this is Mrs. Leacock, the lady I told you about, from the Weekly Gazette. Frank: Ah, yes. The fine lady who wants to air all our dirty ...
A Film-maker I: Todd Haynes and the Pastiche of Authorship
Todd Haynes on Todd Haynes
Offers the script of the film about a glam rock star who, overwhelmed by his star persona, stages a fake assassination and disappears into oblivion until his secret is discovered by a journalist and former fan
Perhaps only a thirteen - year - old caring , and a world outside that bedroom winlike Nikki Reed could have found the exact note dow that has big bad wolves ...