Series in Individual Directors
Books in Individual Directors
Action, Action, Action
Studies the force of action, motion, and vision in the early cinema of Hollywood director Raoul Walsh. Director of over 150 films from 1912 to 1964, Raoul Walsh was a core figure in Hollywood from its beginnings to the end of the studio system. Perhaps best known for such films as The Big Trail (starring John Wayne in his first leading role), High Sierra , and White Heat , Walsh cut his teeth under D. W. Griffith, and, like his contemporary John Ford, found a style and signature in his silent cinema and early talkies. Through close analysis of seven of his films, six shot between 1915 and 1933 and one a remake from 1956, and stressing the visual character of their settings and situations, Tom Conley examines how composition and montage-or action-often overtake the crisp narratives these films convey. Rife with contradiction, they ask us to see what makes them possible and how they contend with prevailing codes. Films discussed include Regeneration (1915); Sadie Thompson (1928) and a likely avatar, The Revolt of Mamie Stover (1956); The Cock-Eyed World (1929); The Big Trail (1930); Me and My Gal (1932); and The Bowery (1933).
Action, Action, Action
Studies the force of action, motion, and vision in the early cinema of Hollywood director Raoul Walsh. Director of over 150 films from 1912 to 1964, Raoul Walsh was a core figure in Hollywood from its beginnings to the end of the studio system. Perhaps best known for such films as The Big Trail (starring John Wayne in his first leading role), High Sierra , and White Heat , Walsh cut his teeth under D. W. Griffith, and, like his contemporary John Ford, found a style and signature in his silent cinema and early talkies. Through close analysis of seven of his films, six shot between 1915 and 1933 and one a remake from 1956, and stressing the visual character of their settings and situations, Tom Conley examines how composition and montage-or action-often overtake the crisp narratives these films convey. Rife with contradiction, they ask us to see what makes them possible and how they contend with prevailing codes. Films discussed include Regeneration (1915); Sadie Thompson (1928) and a likely avatar, The Revolt of Mamie Stover (1956); The Cock-Eyed World (1929); The Big Trail (1930); Me and My Gal (1932); and The Bowery (1933).
American Stranger
Reconstructs how Ray became a "rebel auteur" in cinema culture. How does cinema culture imagine one of its favorite figures, the rebel? The reputation of the American director Nicholas Ray provides a particularly notable example. Most famous for Rebel Without a Cause , Ray has since been canonized as a "rebel auteur" and celebrated for seeking a personal vision and signature style under the industrial pressures of Classical Hollywood during its late studio period. In American Stranger , Will Scheibel reconstructs how Ray's reputation developed over time, analyzing the different historical practices of modernism that set new horizons for artistic rebellion in postwar cinema. Drawing on biographical legends, interviews, film reviews, articles in both national newspapers and international film magazines, and star promotion and publicity, Scheibel examines the contexts in which Ray's reputation was constructed. These include the consolidation of director-based film criticism and the rise of film studies as an academic discipline; star performances and personifications of the rebel male in Ray's films; the counterculture in which Ray promoted himself as a teacher and worked as a political avant-gardist; and the art cinemas of Jean-Luc Godard, Wim Wenders, and Jim Jarmusch, each of whom were influenced by Ray. In addition to Rebel Without a Cause , Scheibel also analyzes such classic films as The Lusty Men and In a Lonely Place , as well as collaborative, less-examined films from his later career outside of Hollywood, We Can't Go Home Again and Lightning Over Water . Reconstructing the evolution of Ray's place in cinema culture, this intellectual history measures the standards for both rebellion and convention, for the vanguard and the establishment, that determine an artistic reputation.
American Stranger
Reconstructs how Ray became a "rebel auteur" in cinema culture. How does cinema culture imagine one of its favorite figures, the rebel? The reputation of the American director Nicholas Ray provides a particularly notable example. Most famous for Rebel Without a Cause , Ray has since been canonized as a "rebel auteur" and celebrated for seeking a personal vision and signature style under the industrial pressures of Classical Hollywood during its late studio period. In American Stranger , Will Scheibel reconstructs how Ray's reputation developed over time, analyzing the different historical practices of modernism that set new horizons for artistic rebellion in postwar cinema. Drawing on biographical legends, interviews, film reviews, articles in both national newspapers and international film magazines, and star promotion and publicity, Scheibel examines the contexts in which Ray's reputation was constructed. These include the consolidation of director-based film criticism and the rise of film studies as an academic discipline; star performances and personifications of the rebel male in Ray's films; the counterculture in which Ray promoted himself as a teacher and worked as a political avant-gardist; and the art cinemas of Jean-Luc Godard, Wim Wenders, and Jim Jarmusch, each of whom were influenced by Ray. In addition to Rebel Without a Cause , Scheibel also analyzes such classic films as The Lusty Men and In a Lonely Place , as well as collaborative, less-examined films from his later career outside of Hollywood, We Can't Go Home Again and Lightning Over Water . Reconstructing the evolution of Ray's place in cinema culture, this intellectual history measures the standards for both rebellion and convention, for the vanguard and the establishment, that determine an artistic reputation.
Catching the Big Fish: Meditation, Consciousness, and Creativity
In this “unexpected delight” ( The Boston Globe ), visionary filmmaker, musician, and actor David Lynch describes his personal methods of capturing and working with ideas, and the immense creative benefits he has experienced from the practice of meditation. David Lynch’s Catching the Big Fish provides a rare window into the internationally acclaimed filmmaker’s methods as an artist, his personal working style, and the immense creative benefits he has experienced from the practice of meditation. Catching the Big Fish comes as a revelation to the legion of fans who have longed to better understand Lynch’s personal vision. And it is equally compelling to those who wonder how they can nurture their own creativity. Catching Ideas Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. Down deep, the fish are more powerful and more pure. They’re huge and abstract. And they’re very beautiful. I look for a certain kind of fish that is important to me, one that can translate to cinema. But there are all kinds of fish swimming down there. There are fish for business, fish for sports. There are fish for everything. Everything, anything that is a thing, comes up from the deepest level. Modern physics calls that level the Unified Field. The more your consciousness—your awareness—is expanded, the deeper you go toward this source, and the bigger the fish you can catch. —from Catching the Big Fish
David Lynch: The Air is on Fire
The first major collection of artwork by the acclaimed movie director David Lynch. Spanning a period of forty years, David Lynch's widely respected films and television series include Eraserhead, The Elephant Man, Blue Velvet, Twin Peaks, Lost Highway , and Mulholland Drive . However, his prolific visual art production, which began even before his films, has rarely been seen. This catalogue of his artistic output, published on the occasion of a large-scale exhibition at the Fondation Cartier in Paris, covers a wide variety of disciplines: painting, photography, drawings, sculpture, furniture, music, and "moving pictures." His art echoes his films in theme and aesthetic, yet offers viewers a fresh and more intimate glimpse into his singular universe. The book also contains several essays that analyze his artworks, as well as a conversation with Lynch, interviewed within the context of the show. 469 illustrations in color.
Encounters with Godard
A wide-ranging and accessible approach to Godard's later work, and a major intervention in the study of film and ethics. Encounters with Godard takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godard's multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of La Chinoise (1967), a film explicitly of montage, is followed by seven different types of critical encounters with Godard, encompassing the fields of art and photography, music and literature, and foregrounding themes of gender and sexuality, race and violence, mystery and emotion. The Godard who emerges here is a restless and radical experimenter who establishes new cinematic thresholds through new technology and expands the creative potential and free exchange of the archives. Williams examines works including Nouvelle vague (1990), Film socialisme (2010), Hélas pour moi (1993), and the magnum opus Histoire(s) du cinéma (1988–98). Wide-ranging and accessible, Encounters with Godard marks a major intervention in the study of film aesthetics and ethics while forging a vital dialogue with literature, history and politics, art and art history, music and musicology, philosophy, and aesthetics.
Encounters with Godard
A wide-ranging and accessible approach to Godard's later work, and a major intervention in the study of film and ethics. Encounters with Godard takes the reader on a personal voyage into the sensory pleasures and polyphonic rhythms of Jean-Luc Godard's multimedia work since the late 1970s, from his feature films and video essays to his published writings, art books, and media performances. Godard, suggests James S. Williams, lays ethical claim to the cinematic, defined in the broadest terms as relationality and artistic resistance. An introductory chapter on the extended history of La Chinoise (1967), a film explicitly of montage, is followed by seven different types of critical encounters with Godard, encompassing the fields of art and photography, music and literature, and foregrounding themes of gender and sexuality, race and violence, mystery and emotion. The Godard who emerges here is a restless and radical experimenter who establishes new cinematic thresholds through new technology and expands the creative potential and free exchange of the archives. Williams examines works including Nouvelle vague (1990), Film socialisme (2010), Hélas pour moi (1993), and the magnum opus Histoire(s) du cinéma (1988–98). Wide-ranging and accessible, Encounters with Godard marks a major intervention in the study of film aesthetics and ethics while forging a vital dialogue with literature, history and politics, art and art history, music and musicology, philosophy, and aesthetics.
Halfway To Hollywood: Diaries 1980-1988
Michael Palin's bestselling diaries of the 1980s. After a live performance at the Hollywood Bowl, The Pythons made their last performance together in 1983 in the hugely successful MONTY PYTHON'S MEANING OF LIFE. Writing and acting in films and television then took over much of Michael's life, culminating in the smash hit A FISH CALLED WANDA (for which he won a BAFTA for Best Supporting Actor), and the first of his seven celebrated television journeys for the BBC. He co-produced, wrote and played the lead in THE MISSIONARY opposite Maggie Smith, who also appeared with him in A PRIVATE FUNCTION, written by Alan Bennett. Such was his fame in the US, he was enticed into once again hosting the enormously popular show Saturday Night Live, in one edition of which his mother makes a highly successful surprise guest appearance. He filmed several journeys for television and became chairman of the pressure group, Transport 2000. His family remains a constant as his and Helen's children enter their teens.
Hitchcock's Moral Gaze
Offers new and compelling perspectives on the deeply moral nature of Hitchcock's films. In his essays and interviews, Alfred Hitchcock was guarded about substantive matters of morality, preferring instead to focus on discussions of technique. That has not, however, discouraged scholars and critics from trying to work out what his films imply about such moral matters as honesty, fidelity, jealousy, courage, love, and loyalty. Through discussions and analyses of such films as Strangers on a Train , Rear Window , Vertigo , North by Northwest , and Frenzy , the contributors to this book strive to throw light on the way Hitchcock depicts a moral-if not amoral or immoral-world. Drawing on perspectives from film studies, philosophy, literature, and other disciplines, they offer new and compelling interpretations of the filmmaker's moral gaze and the inflection point it provides for modern cinema.
Hitchcock's Moral Gaze
Offers new and compelling perspectives on the deeply moral nature of Hitchcock's films. In his essays and interviews, Alfred Hitchcock was guarded about substantive matters of morality, preferring instead to focus on discussions of technique. That has not, however, discouraged scholars and critics from trying to work out what his films imply about such moral matters as honesty, fidelity, jealousy, courage, love, and loyalty. Through discussions and analyses of such films as Strangers on a Train , Rear Window , Vertigo , North by Northwest , and Frenzy , the contributors to this book strive to throw light on the way Hitchcock depicts a moral-if not amoral or immoral-world. Drawing on perspectives from film studies, philosophy, literature, and other disciplines, they offer new and compelling interpretations of the filmmaker's moral gaze and the inflection point it provides for modern cinema.
Howl's Moving Castle, Vol. 1
Sophie thinks of herself as plain and boring, especially compared to her vivacious younger sister Lettie. Sophie expects to spend the rest of her life quietly making hats in the back room of her family's shop, but as her country prepares for war, she is forced to set out on an extraordinary adventure! After a escaping the unwanted attentions of some bored soldiers with the help of a handsome stranger, Sophie returns home only to be accosted by the infamous Witch of the Waste! The Witch lays a curse on her, turning Sophie into a creaky old woman. Sophie knows she has to leave town, and soon finds herself taking shelter in the moving castle of the dread wizard Howl…who is rumored to eat women’s hearts!