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It took Michael Mann (b. 1943), today a major figure in contemporary American cinema, many years to establish himself: his experience as a flamboyant television producer in the 1980s – notably on the series Miami Vice – overshadowed his early work as a filmmaker. In 1991 Mann exploded into the mainstream with the success of The Last of the Mohicans. Since then his work has focused on the crime movie, with Heat in 1995, Collateral in 2004 and Public Enemies in 2009.
Michael Mann (born 1943) is one of the most interesting directors of our time, whose work lies at the intersection of the mainstream cinema and the avant-garde, of public entertainment and private obsession. Throughout his career, Mann has moved freely between television and cinema: he produced 'Miami Vice' and 'Crime Story' - two of the most successful TV series of the 1980's - in addition to directing the historical epic 'The Last of the Mohican's (1992), the biopic 'Ali'(2001), and more recently the crime thriller 'Collateral (2004) and the gangster drama 'Public Enemies' (2009). Although varied in genre, Mann's films often share the same preoccupations and style: the depiction of solitary men in conflict with the society in which they live.
Examines the work of Michael Mann, Hollywood director through a critical study of his film style and its relationship to genre, film criticism, auteurism, and historical context. This book covers Mann's filmography, from his beginning in television to his film adaptation of the television series "Miami Vice".
This reader is the first to bring together a selection of Mann's own interviews where he reflects on his film and television productions. The sixteen interviews provide historical context, interpretation and evaluation of the auteur's work. They encompass his entire career as a feature filmmaker and television producer/director as he and others reflect on his themes, working methods, artistic development and career achievements. The book aims to open up Mann's body of work, making it available for comparison with the work of his contemporaries, and to provide fresh insights into his film and television work. A substantive introductory essay, chronology and filmography provide additional bases for understanding the interviews, essays and work of this major filmmaker.
A new biography on the revolutionary Michael Mann. More than just a comprehensive essay on his career, this work from Jean-Baptiste Thoret is also a treaty on contemporary times.
Examines the work of Michael Mann, Hollywood director through a critical study of his film style and its relationship to genre, film criticism, auteurism, and historical context. This book covers Mann's filmography, from his beginning in television to his film adaptation of the television series "Miami Vice".
Time is Luck: The Cinema of Michael Mann approaches director Michael Mann's work through the lens of transformations in labour practices, technologies of seeing, and strategies of dissent over the late 20th and early 21st centuries. Applying extensive textual analysis to each of Mann's features, this study explores how these transformations are reflected in the filmmaker's output, formally and thematically. As much as Mann expresses anguish at the pervasive nature of technologically advanced systems which exist to exploit the common man, curtail civil liberties, and prop up corrupt regimes, there always remains space for protest and resistance in his cinema. This aspect of Mann's art is essential to keep in mind and is too often ignored: the filmmaker being accused of nihilism or anti-humanism. This book covers all of Mann's major films, with extensive critical commentaries, while comparing and contrasting the styles, the characters and the themes. An essential read for all fans of Mann's work, and those interested in the textual and visual history of the very best that cinema can offer. Includes analyis of: The Jericho Mile (1979); Thief (1981); The Keep (1983); Manhunter (1986); The Last of the Mohicans (1992); Heat (1995); The Insider (1999); Ali (2001); Collateral (2004); Miami Vice (2006); Public Enemies (2009); Blackhat (2015).
This is the first book to bring together a selection of interviews with the acclaimed American film director Michael Mann, in which he reflects on his film and television productions. The 16 interviews it contains provide historical context, interpretation and evaluation of the auteur's work. The book encompasses his entire career as a director of feature films and as a television producer/director. It features Mann and others reflecting on his themes, working methods, artistic development and career achievements.
Michael Mann first made his mark as a writer for such television programs as Starsky and Hutch, Police Story, and Vegas. In 1981 he made his feature film directing debut with the James Caan thriller Thief, and in the 1980s he served as a writer and executive producer for the groundbreaking programs Miami Vice and Crime Story. Though he has delved into other genres, Mann’s career as a writer, producer, and director has consistently focused on criminal activity, from small-time hoods and professional thieves to corporate manipulators and serial killers. In Michael Mann: Crime Auteur, Steven Rybin looks at the television programs and films that Mann has stamped with his personal signature. This book closely examines the themes and techniques used in films such as Manhunter, Heat, The Insider, and Collateral and connects these elements to his work on the non-genre films The Last of the Mohicans and Ali. A revised and significantly expanded edition of The Cinema of Michael Mann (2007), this book includes new chapters on Public Enemies and the big screen version of Miami Vice, as well as Mann’s work on the shows Crime Story and Luck. Covering Mann’s entire career, this book will be of interest to fans of the writer/director’s body of work as well as to scholars of both film and television.
Michael Mann is one of the most important American filmmakers of the past forty years. His films exhibit the existential concerns of art cinema, articulated through a conspicuous and recognizable visual style and yet integrated within classical Hollywood narrative and genre frameworks. Since his beginnings as a screenwriter in the 1970s, Mann has become a key figure within contemporary American popular culture as writer, director, and producer for film and television. This volume offers a detailed study of Mann's feature films, from The Jericho Mile (1979) to Public Enemies (2009), with consideration also being given to parallels in the production, style, and characterization in his television work. It explores Mann's relationship with classical genres, his thematic concentration on issues of morality and masculinity, his film adaptations from literature, and the development and significance of his trademark visual style within modern American cinema.