The cinema of R O M A N P O L A N S K I : dark spaces of the world edited by J O H N O R R & E L Z B I E T A O S T R O W S K A The cinema of T O D D H A Y N E S : all that heaven allows edited by J A M E S M O R R I S O N The cinema of S T E V E N S P I elberg : empire of light NIGEL MORRIS The cinema of ang lee : the other side of the screen WHITNEY CROTHERS DILLEY The cinema of T E R R E N C E M A L I C K : poetic visions of america (second edition) edited by H A N N A H P A T T E R S O N The cinema of werner herzog : aesthetic ecstasy and truth BRAD PRAGER The cinema of L A R S V O N T R I E R : authenticity and artifice CAROLINE BAINBRIDGE The cinema of N E I L J O R D A N : dark carnival CAROLE ZUCKER ![]() The cinema of J an S VA N K M A J E R : dark alchemy edited by P E T E R H A M E S ![]() The cinema of D AV I D C R O N E N B E R G : from baron of blood to cultural hero E R N E S T M AT H I J S The cinema of J O H N S A Y L E S : a lone star MARK BOULD The cinema of S A L LY P O T T E R : a politics of love S O P H I E M AY E R The cinema of M I C H A E L H A N E K E : europe utopia edited by B E N M c C A N N & D A V I D S O R F A The cinema of the D A R D E N N E brothers : responsible realism PHILIP MOSLEY The cinema of TA K E S H I K I TA N O : flowering blood SEAN REDMOND The cinema of T E R R Y G I L L I A M : it’s a mad worldĮdited by J E F F B I R K E N S T E I N, A N N A F R O U L A & K A R E N R A N D E L L The cinema of S T E V E N S O D E R B E R G H : indie sex, corporate lies, and digital videotape A N D R E W D E WA A R D & R. The cinema of B É L A TA R R : the circle closes A N D R Á S B Á L I N T K O VÁ C S The cinema of R I C H A R D L I N K L AT E R : walk, don’t run ROB STONE The cinema of A K I K A U R I S M Ä K I : authorship, bohemia, nostalgia, nation ANDREW NESTINGEN The cinema of M I C H A E L M A N N : vice and vindication J O N AT H A N R AY N E R Other select titles in the Directors’ Cuts series: the cinema of R A Ú L R U I Z : impossible cartographies MICHAEL GODDARD ‘An excellent introduction to the work of one of Britain’s most intriguing and impressive filmmakers, fully acknowledging the breadth and variety of his body of work … Indispensable for anyone interested in contemporary British film.’ An innovative and exciting director here receives the kind of thoughtful and thought-provoking attention he deserves in a thoroughly excellent contribution to the Directors’ Cuts series.’ ‘Offers both lucid commentary and penetrating thematic analysis of Winterbottom’s films. ![]() DIRECTORS’ī r u c e b e n n e t t is Director of Film Studies at Lancaster University, UK, and co-editor of Cinema and Technology: Cultures, Theories, Practices (2008).ĭ i re c to r s’ c u ts focus on the work of the most significant contemporary international filmmakers, illuminating the creative dynamics of World Cinema. Arguing that his work delineates a ‘cinema of borders’, this study examines Winterbottom’s treatment of sexuality, class, ethnicity, and national and international politics, as well as his quest to adequately narrate inequality, injustice, and violence. The critique is centered on Winterbottom’s collaborative working practices, political and cultural contexts, and critical reception. The volume undertakes a close analysis of a TV series directed by Winterbottom and sixteen of his films ranging from television dramas to transnational co-productions featuring Hollywood stars, and from documentaries to costume films. This comprehensive study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through his eclectic and controversial body of work. ![]() Borders and Terror Conclusion Filmography Bibliography Index Citation preview Welcome to Sarajevo: Television, 'Documentary Fiction' and Border-Crossing 2.
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