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"André Bazin (1918–58) is credited with almost single-handedly establishing the study of film as an accepted intellectual pursuit, as well as with being the spiritual father of the French New Wave. Among those who came under his tutelage were four who would go on to become the most renowned directors of the postwar French cinema: François Truffaut, Jean-Luc Godard, Jacques Rivette, and Claude Chabrol. Bazin can also be considered the principal instigator of the equally influential auteur theory: the idea that, since film is an art form, the director of a movie must be perceived as the chief creator of its unique cinematic style.André Bazin, the Critic as Thinker: American Cinema from Early Chaplin to the Late 1950s contains, for the first time in English in one volume, much if not all of Bazin’s writings on American cinema: on directors such as Orson Welles, Charles Chaplin, Preston Sturges, Alfred Hitchcock, Howard Hawks, John Huston, Nicholas Ray, Erich von Stroheim, and Elia Kazan; and on films such as High Noon, Citizen Kane, Rear Window, Limelight, Scarface, Niagara, The Red Badge of Courage, Greed, and Sullivan’s Travels.André Bazin, the Critic as Thinker: American Cinema from Early Chaplin to the Late 1950s also features a sizable scholarly apparatus, including a contextual introduction to Bazin’s life and work, a complete bibliography of Bazin’s writings on American cinema, and credits of the films discussed. This volume thus represents a major contribution to the still growing academic discipline of cinema studies, as well as a testament to the continuing influence of one of the world’s pre-eminent critical thinkers."
Xala (1974) by the pioneering Senegalese director Ousmane Sembene, was acclaimed on its release for its scorching critique of postcolonial African society, and it cemented Sembene's status as a wholly new kind of politically engaged, pan-African, auteur film-maker. Centring on the story of businessman El Hadji and the impotence that afflicts him on his marriage to a young third wife, Xala vividly captures the cultural and political upheaval of 1970s Senegal, while suggesting the radical potential of dissent, solidarity and collective action, embodied by El Hadji's student daughter Rama and the group of urban 'undesirables' who act as a kind of raw chorus to the affairs of the neocolonial elite. James S. Williams's lucid study traces Xala's difficult production history and analyses its daring combination of political and domestic drama, oral narrative, social realism, symbolism, satire, documentary, mysticism and Marxist analysis. Yet from its dazzling extended opening sequence of revolution as performance to its suspended climax of redemption through ritualised spitting, Xala presents a series of conceptual and formal challenges that resist a simple reading of the film as allegory. Highlighting often overlooked elements of Sembene's intricate, experimental film-making, including provocative shifts in mood and poetic, even subversively erotic, moments, Williams reveals Xala as a visionary work of both African cinema and Third Cinema that extended the parameters of postcolonial film practice and still resounds today with its searing inventive power.
Sports and competition have been film subjects since the dawn of the medium. Olympic sports documentaries have been around nearly as long as the games themselves; films about surfing, boxing, roller derby, motorcycle racing and bodybuilding were theatrical successes during the 1960s and 1970s. The author surveys the history of the sports documentary subgenre, covering more than 100 award-winning films of 40+ different competitions, from traditional team sports to dogsled racing to ballroom dancing.
M-G-M: Hollywood’s Greatest Backlot is the illustrated history of the soundstages and outdoor sets where Metro-Goldwyn-Mayer produced many of the world’s most famous films. During its Golden Age, the studio employed the likes of Garbo, Astaire, and Gable, and produced innumerable iconic pieces of cinema such as The Wizard of Oz, Singin’ in the Rain, and Ben-Hur. It is estimated that a fifth of all films made in the United States prior to the 1970s were shot at MGM studios, meaning that the gigantic property was responsible for hundreds of iconic sets and stages, often utilizing and transforming minimal spaces and previously used props, to create some of the most recognizable and identifiable landscapes of modern movie culture. All of this happened behind closed doors, the backlot shut off from the public in a veil of secrecy and movie magic. M-G-M: Hollywood’s Greatest Backlot highlights this fascinating film treasure by recounting the history, popularity, and success of the MGM company through a tour of its physical property. Featuring the candid, exclusive voices and photographs from the people who worked there, and including hundreds of rare and unpublished photographs (including many from the archives of Warner Bros.), readers are launched aboard a fun and entertaining virtual tour of Hollywood’s most famous and mysterious motion picture studio.
The production and distribution of film and audiovisual works is one of the most dynamic growth sectors in the world. Thanks to digital technologies, production has been growing rapidly in Africa in recent years. For the first time, a complete mapping of the film and audiovisual industry in 54 States of the African continent is available, including quantitative and qualitative data and an analysis of their strengths and weaknesses at the continental and regional levels.The report proposes strategic recommendations for the development of the film and audiovisual sectors in Africa and invites policymakers, professional organizations, firms, filmmakers and artists to implement them in a concerted manner.
Interviews with the acclaimed director of the films Dune, Blue Velvet, The Elephant Man, Mulholland Drive, and Inland Empire and the hit TV series Twin Peaks
"Without doubt, it is the best study of cinema published in English for years." --Cinema "... a major achievement... drawing on the results of aesthetic inquiry--from Shaftesbury and Lessing to Jakobson and the formalists--in order to relate the cinema to wider areas of linguistic theory and theory of art." --Times Literary Supplement