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Don Siegel was one of Hollywood's most controversial directors. Invasion of the Body Snatchers is one of the very few acknowledged science-fiction classics, and Magnum Force - with its catch-phrase 'Make my day' - has become part of our modern consciousness. Siegel's five-film collaboration with Clint Eastwood created a body of films that are as distinctive as they are different, and enriched the reputation of both of them. This autobiography has all the fun and energy one would expect from Don Siegel. From his first days as an assistant editor in the Warner Brothers cutting rooms, Siegel charts his rich and varied career. This is a wonderful book of reminiscences, told in a lively and vivid style, whose cast of characters includes John Wayne, Lee Marvin, Steve McQueen, Bogart and Bacall, studio head Jack Warner and other luminaries of the golden age of the Hollywood studios (including a fading film star called Ronald Reagan, whose last film, The Killers, was directed by Siegel). At the centre of the book is Siegel's relationship with Clint Eastwood, whose directing career was encouraged by Siegel, and who supplies an amusing and appreciative foreword to the book.
An A to Z guide to film comedies. Illus.
Invasion of the Body Snatchers (1956) is a low-budget science fiction film that has become a classic. The suspense of the film lies in discovering, along with Miles, the central character (played by Kevin McCarthy), who is "real" and who is not, and whether Miles and Becky (played by Dana Wynter) will escape the pod takeover. As the center of the film moves outward from a small-town group of neighbors to the larger political scene and institutional network (of police, the FBI, hospital workers), the ultimate question is whether "they" have taken over altogether. Although Invasion can be interpreted in interesting ways along psychological and feminist lines, its importance as a text has centered primarily on political and sociological readings. In his introduction to this volume, Al LaValley explores the politics of the original author of the magazine serial story on which the film is based, Don Siegel; and of its screenwriter, Daniel Mainwaring. And he looks at the ways the studio (Allied Artists) tried to neutralize certain readings by tacking on an explanatory frame story. The commentary section includes readings by Stephen King, Peter Biskind, Nora Sayre, and Peter Bogdanovich. A section of postproduction documents reproduced here (many for the first time) includes many written by Wanger and Siegel. The volume also contains two previously unpublished framing scripts written for Orson Welles. For students and individual enthusiasts, the contextual materials are particularly interesting in showing how crucial the postproduction history of a film can be. A filmography and bibliography are also included in the volume. Al LaValley is the director of film studies at Dartmouth. He is the author of many articles on film and editor of Mildred Pierce in the Wisconsin screenplay series.
Steve McQueen: The Actor and his Films, is the definitive account of every film that the iconic actor made. This lavishly illustrated book devotes nearly 500 pages to Steve McQueen’s career and tracks his journey from juvenile delinquent, to Marine, to an aspiring actor breaking into Hollywood, until he became a global superstar and the highest-paid actor of his era. Included are numerous behind the scenes tales of events that occurred leading up to and during filming, and fascinating insights into McQueen’s acting techniques and motivations.
For Charles Schine, it began as a quiet, ordinary day with a simple commute to work . . . until he meets the seductive, mysterious Lucinda Harris -- an encounter that will irrevocably wreck his life. From multi-talented writer James Siegel comes a highly charged, suspenseful tale of murder, betrayal, and revenge. Warner Books is proud to present Siegel's newest thriller, featuring rich characterizations and a scintillating plot that builds to an explosive climax sure to stun readers.
In Forensic Media, Greg Siegel considers how photographic, electronic, and digital media have been used to record and reconstruct accidents, particularly high-speed crashes and catastrophes. Focusing in turn on the birth of the field of forensic engineering, Charles Babbage's invention of a "self-registering apparatus" for railroad trains, flight-data and cockpit voice recorders ("black boxes"), the science of automobile crash-testing, and various accident-reconstruction techniques and technologies, Siegel shows how "forensic media" work to transmute disruptive chance occurrences into reassuring narratives of causal succession. Through historical and philosophical analyses, he demonstrates that forensic media are as much technologies of cultural imagination as they are instruments of scientific inscription, as imbued with ideological fantasies as they are compelled by institutional rationales. By rethinking the historical links and cultural relays between accidents and forensics, Siegel sheds new light on the corresponding connections between media, technology, and modernity.
Sex and the City, Saul Bellow, Eyes Wide Shut, Dante and the American self, Barbara Kingsolver, acting in Hollywood, Soviet painting in Soho, Angels in America, Jane Austen in the present, J.K. Rowling -- nothing escapes Lee Siegel's incandescent eye. Siegel possesses an intellectual range and independent perspective unmatched by his peers, and Falling Upwards brings together the best of his essays, all of them rich with the trades mark wit and intelligence that have won him many friends and a few enemies. In these essential writings, Siegel deftly uses the occasion of a book, film, painting, or television show not merely to appraise it, but to make sense of life in a way that is more defiant of impoverished cultural "norms" than most contemporary artistic expression. Guided by the belief that a calculating self-interest in art-making diminishes the prospects for the imagination in life, Siegel celebrates authentic sensibilities and lambasts manufactured sentiments. With uncanny insight, yet also with incomparable logic and analytical rigor, he has invented a new idiom in which the language of criticism embodies the playful, creative, synthesizing power that has been largely abdicated by the arts in our time. In writing about works of culture, Siegel has created a standard by which to judge them.
In this provocative study of cinematic and televisual representations of "sex radicalism," Carol Siegel explores how representations of sexually explicit content on film have shaped American cultural visions of sex and sexual politics in the 21st century. Siegel distinguishes between a liberal approach to visual representations, which has over-emphasized normative equal opportunity while undervaluing our distinctive erotic selves, and a radical approach to visual representation, which portrays forbidden sexualities and desires. She illustrates how visual media participates in and even drives political policies related to pedophilia, prostitution, interracial relationships, and war. By examining such popular film and television shows as Mystic River, The Wire, Fifty Shades of Grey, Batman Returns, and the HBO hits, Sex and the City and Girls, Siegel takes the discussion of radical sex in the movies out of the margins of political discussions and puts it in the center, where, she argues, it has belonged all along.
“A must have for any film nut.”—Details Peter Bogdanovich, award-winning director, screenwriter, actor and critic, interviews 16 legendary directors over a 15-year period. Their richly illuminating conversations combine to make this a riveting chronicle of Hollywood and picture making. Join him in conversations with: Robert Aldrich • George Cukor • Allan Dwan • Howard Hanks • Alfred Hitchcock • Chuck Jones • Fritz Lang • Joseph H. Lewis • Sidney Lumet • Leo McCarey • Otto Preminger • Don Siegel • Josef von Sternberg • Frank Tashlin • Edgar G. Ulmer • Raoul Walsh NOTE: This edition does not include photographs. Praise for Who the Devil Made It “Illuminating . . . These were (and sometimes are: a few yet breathe) men rooted in history as much as in Hollywood. Their collected memories make the past look fearfully rich beside a present that is poverty-stricken in everything except money.”—The New Yorker “Bogdanovich is one of America’s finest writers on the cinema. . . . Thank goodness [his] Who the Devil Made It has come along to remind us that films and writing about film were, at one time, focused on the work and not strictly on the bottom line.”—The Boston Globe “A treasure trove on the craft of directing.”—Newsday “Monumental . . . The directors’ reminiscences about technique, working methods, sources of ideas, and relationships with actors and studios are thoroughly entertaining.”—Publishers Weekly “A fine achievement that helps illuminate the art and craft of some remarkable directors . . . There are plenty of revealing anecdotes.”—Kirkus Reviews
In this fascinating look at the creative power of institutions, Jonah Siegel explores the rise of the modern idea of the artist in the nineteenth century, a period that also witnessed the emergence of the museum and the professional critic. Treating these developments as interrelated, he analyzes both visual material and literary texts to portray a culture in which art came to be thought of in powerful new ways. Ultimately, Siegel shows that artistic controversies commonly associated with the self-consciously radical movements of modernism and postmodernism have their roots in a dynamic era unfairly characterized as staid, self-satisfied, and stable. The nineteenth century has been called the Age of the Museum, and yet critics, art theorists, and poets during this period grappled with the question of whether the proliferation of museums might lead to the death of Art itself. Did the assembly and display of works of art help the viewer to understand them or did it numb the senses? How was the contemporary artist to respond to the vast storehouses of art from disparate nations and periods that came to proliferate in this era? Siegel presents a lively discussion of the shock experienced by neoclassical artists troubled by remains of antiquity that were trivial or even obscene, as well as the anxious aesthetic reveries of nineteenth-century art lovers overwhelmed by the quantity of objects quickly crowding museums and exhibition halls. In so doing, he illuminates the fruitful crises provoked when the longing for admired art is suddenly satisfied. Drawing upon neoclassical art and theory, biographies of early nineteenth-century writers including Keats and Scott, and the writings of art critics such as Hazlitt, Ruskin, and Wilde, this book reproduces a cultural matrix that brings to life the artistic passions and anxieties of an entire era.