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In World Directors and Their Films, Bert Cardullo offers readable analyses of some of the most important films and the artists who produced them. Beyond simple biographical capsules and plot summaries, these readings demonstrate with clarity and elegance how international moviemakers use the resources of the medium to pursue complex, significant human goals. Including essays on filmmakers from China, Japan, India, Argentina, Brazil, Mexico, Iran, Senegal, and Chad, this book is an engaging collection of enlightening and helpful essays that will appeal as much to the general reader as it will to scholars of international cinema.
Publisher Description
In European Directors and Their Films: Essays on Cinema, Bert Cardullo offers readable analyses of some of the most important film artists and individual films of the last several decades. Beyond simple biographical capsules and plot summaries, these readings demonstrate with elegance and clarity what cinema means as well as shows, explaining how international moviemakers use the resources of the medium to pursue complex, significant human goals.
From Hitchcock and Dali to Peckinpah and Lynch, cinema history is littered with masterpieces that have never seen the light of day. Now, The Greatest Movies You'll Never See unveils the fascinating - and frequently heart-breaking - stories of these projects' faltering steps from green light to movie graveyard. Opening at the dawn of contemporary cinema with Charlie Chaplin's Return from St. Helena, and closing with the collapse of Tony Scott's Potsdamer Platz, following the director's suicide in 2012, this riveting compendium of celluloid 'what ifs' goes behind the scenes of more than fifty 'lost' films to explain exactly why they never made it to the final cut. Discover the meticulous preparations behind Ray Harryhausen's War of the Worlds and Stanley Kubrick's Napoleon; learn why Brazzaville, a sequel to Casablanca, and Night Skies, a science-fiction horror story by Steven Spielberg, fell by the wayside; and read about the unrealized dreams of sometimes ill-fated auteurs Tim Burton and the Coen Brothers. The Greatest Movies You'll Never See details all the obstacles encountered, from unsympathetic studios and preposterous plots to the untimely deaths of stars. Alongside these compelling tales from development hell are script extracts, storyboards, concept artwork and frames of surviving footage. In addition, all the unmade movies are accompanied by original posters from acclaimed modern designers, including Akiko Stehrenberger (Funny Games, Kiss of the Damned) and Heath Killen (Eternal Sunshine of the Spotless Mind, Never Let Me Go). An endlessly absorbing alternative history of the silver screen, The Greatest Movies You'll Never See is an essential read for all true cineastes.
Film World brings together key interviews with cinema's leading directors. The directors chosen represent many of the most influential film-makers of the last 50 years. All have been selected because of their cinematic vision, because they have a particular way of seeing the world and of filming it. All have created a body of work which is both hugely popular and critically acclaimed. This truly global range of directors hails from Australia, Britain, China and Hong Kong, Denmark, Finland, France, Germany, India, Iran, Ireland, Italy, Japan, Korea, North America, Poland, and Russia. Together, these illuminating interviews reveal how these visionary directors create images which speak to audiences the world over. The interviews are with: Bernardo Bertolucci, John Boorman, Robert Bresson, Jane Campion, John Cassavetes, David Cronenberg, Atom Egoyan, Federico Fellini, Jean-Luc Godard, Peter Greenaway, Werner Herzog, Hou Hsiao-hsien, Wong Kar-wei, Aki Kaurismaki, Abbas Kiarostami, Krzysztof Kieslowski, Takeshi Kitano, Im Kwon-taek, Mike Leigh, Manoel de Oliveira, Satyajit Ray, Martin Scorsese, Andrei Tarkovsky, Lars von Trier, Zhang Yimou
This study of Hong Kong cult director Wong Kar-wai provides an overview of his career and in-depth analysis of his seven feature films to date. Teo probes Wong's cinematic and literary influences - from Martin Scorsese to Haruki Murakami - yet shows how Wong transcends them all.
Bong Joon Ho won the Oscar® for Best Director for Parasite (2019), which also won Best Picture, the first foreign film to do so, and two other Academy Awards. Parasite was the first Korean film to win the Palme d’Or at Cannes. These achievements mark a new career peak for the director, who first achieved wide international acclaim with 2006’s monster movie The Host and whose forays into English-language film with Snowpiercer (2013) and Okja (2017) brought him further recognition. As this timely book reveals, even as Bong Joon Ho has emerged as an internationally known director, his films still engage with distinctly Korean social and political contexts that may elude many Western viewers. The Films of Bong Joon Ho demonstrates how he hybridizes Hollywood conventions with local realities in order to create a cinema that foregrounds the absurd cultural anomie Koreans have experienced in tandem with their rapid economic development. Film critic and scholar Nam Lee explores how Bong subverts the structures of the genres he works within, from the crime thriller to the sci-fi film, in order to be truthful to Korean realities that often deny the reassurances of the happy Hollywood ending. With detailed readings of Bong’s films from Barking Dogs Never Bite (2000) through Parasite (2019), the book will give readers a new appreciation of this world-class cinematic talent.
Beginning in the William Morris mail room in 1955, Bernie Brillstein wanted only three things: “to walk into a restaurant and have people know who I am…to be the guy who gets the phone calls and doesn’t have to make them…to represent the one performer people must have.” Throughout his long career at the top of the entertainment industry––as TV and movie producer, agent and brilliant personal manager––Brillstein has accomplished it all. Where Did I Go Right? is Brillstein’s street-smart, funny, and thoroughly human story of a life in show business. With his trademark wit and candor, he speaks out for the first time about his feud with Mike Ovitz, and how it felt to pass the leadership of his company to his partner, Brad Grey, and “no longer be the king.” He describes his close relationship with John Belushi and what it was like being alone with Belushi’s body as it lay “stretched out across two cramped seats in a tiny jet, wrapped up in a body bag” on the way to his funeral. He shares stories about Jim Hensen and Gilda Radner, about Lorne Michaels and the early days of Saturday Night Live. He takes us behind the scenes at such hits as The Blues Brothers, Ghostbusters, and The Muppet Show. Brillstein also reveals his secrets about how to survive and prosper in Hollywood, the real meaning of “the art of the deal,” the difference between “hot” and “good,” and why instinct is so crucial to the future of the entertainment industry. “Becoming successful is the most fun of all. I’m not talking about being successful or staying successful. I mean the getting there, the instant you arrive, and for the first time you think, ‘Where did I go right?’” After eight years, Phoenix Books is re-releasing this bestseller, with an updated epilogue from Bernie Brillstein entitled, “Still going right.”
Movies are often examined for subtext and dramatizations of social and psychological issues as well as current movements. Studies of well-known Catholic directors, such as Alfred Hitchcock and John Ford, have made the search for Catholic themes a reputable field of examination. Through a Catholic Lens continues the search for these themes and examines the Catholic undercurrents by studying nineteen film directors from around the world. Although these directors may or may not be practicing Catholics, their Catholic background can be found in their writing and directing. Each chapter, written by a different contributor, analyzes one film of each director for its Catholic motifs. With the recent increase of cinema studies, this collection will be of interest to students and academics as well as cinema buffs.
Taking ten filmmakers, such as Oshima and Kurosawa, and following their caree chronologically has resulted in a history of Japanese film as well as a stud of each master.