Gone with the Wind has generated interest in every aspect of its production. Yet one crucial aspect has never been fully understood or appreciated--the vital shaping role played by executive producer David O. Selznick.
In this book, Alan David Vertrees challenges the popular image of Selznick as a megalomaniacal meddler whose hiring and firing of directors and screenwriters created a patchwork film that succeeded despite his interference. Drawing on ten years of research in the Selznick archives, and examining the screenplay's successive drafts, dramatic continuity...
Gone with the Wind has generated interest in every aspect of its production. Yet one crucial aspect has never been fully understood or...
Steven Spielberg once said, "I like ideas, especially movie ideas, that you can hold in your hand. If a person can tell me the idea in twenty-five words or less, it's going to make a pretty good movie." Spielberg's comment embodies the essence of the high concept film, which can be condensed into one simple sentence that inspires marketing campaigns, lures audiences, and separates success from failure at the box office.
This pioneering study explores the development and dominance of the high concept movie within commercial Hollywood filmmaking since the late 1970s. Justin Wyatt...
Steven Spielberg once said, "I like ideas, especially movie ideas, that you can hold in your hand. If a person can tell me the idea in twenty-five ...
Unruly women have been making a spectacle of themselves in film and on television from Mae West to Roseanne Arnold. In this groundbreaking work, Kathleen Rowe explores how the unruly woman--often a voluptuous, noisy, joke-making rebel or "woman on top"--uses humor and excess to undermine patriarchal norms and authority.
At the heart of the book are detailed analyses of two highly successful unruly women--the comedian Roseanne Arnold and the Muppet Miss Piggy. Putting these two figures in a deeper cultural perspective, Rowe also examines the evolution of romantic film comedy from the...
Unruly women have been making a spectacle of themselves in film and on television from Mae West to Roseanne Arnold. In this groundbreaking work, Ka...
During the 1967 festival of Latin American Cinema in Vina del Mar, Chile, a group of filmmakers who wanted to use film as an instrument of social awareness and change formed the New Latin American Cinema. Nearly three decades later, the New Cinema has produced an impressive body of films, critical essays, and manifestos that uses social theory to inform filmmaking practices.
This book explores the institutional and aesthetic foundations of the New Latin American Cinema. Zuzana Pick maps out six areas of inquiry--history, authorship, gender, popular cinema, ethnicity, and exile--and...
During the 1967 festival of Latin American Cinema in Vina del Mar, Chile, a group of filmmakers who wanted to use film as an instrument of social a...
La crisis, a period of political and economic turmoil in Mexico that began in the late 1960s, spawned a new era in Mexican cinema. Known as el Nuevo Cine (the New Cinema), these films presented alienated characters caught in a painful transition period in which old family, gender, and social roles have ceased to function without being replaced by viable new ones. These are the films explored by Charles Ramirez Berg in Cinema of Solitude, the first book-length critical study of Mexican cinema in English.
Berg discusses the major films and filmmakers...
La crisis, a period of political and economic turmoil in Mexico that began in the late 1960s, spawned a new era in Mexican cinema. Known ...
Although Indian popular cinema has a long history and is familiar to audiences around the world, it has rarely been systematically studied. This book offers the first detailed account of the popular film as it has grown and changed during the tumultuous decades of Indian nationhood. The study focuses on the cinema's characteristic forms, its range of meanings and pleasures, and, above all, its ideological construction of Indian national identity.
Informed by theoretical developments in film theory, cultural studies, postcolonial discourse, and "Third World" cinema, the book...
Although Indian popular cinema has a long history and is familiar to audiences around the world, it has rarely been systematically studied. This bo...
With a breadwinner dad, a homemaker mom, and squeaky-clean kids, the 1950s television family has achieved near mythological status as a model of what real families "ought" to be. Yet feature films of the period often portrayed families in trouble, with parents and children in conflict over appropriate values and behaviors. Why were these representations of family apparently so far apart?
Nina Leibman analyzes many feature films and dozens of TV situation comedy episodes from 1954 to 1963 to find surprising commonalities in their representations of the family. Redefining the comedy...
With a breadwinner dad, a homemaker mom, and squeaky-clean kids, the 1950s television family has achieved near mythological status as a model of wh...
This pioneering study offers the first thorough exploration of the movie industry's shaping role in the development of television and its narrative forms.
This pioneering study offers the first thorough exploration of the movie industry's shaping role in the development of television and its narrative fo...
With the coming of glasnost to the Soviet Union, filmmakers began to explore previously forbidden themes, and distributors released films that were suppressed by pre-glasnost-era censors. Soviet cinema underwent a revolution, one that mirrors and helps interpret the social revolution that took place throughout the USSR. Glasnost--Soviet Cinema Responds is the first overall survey of the effects of this revolution on the work of Soviet filmmakers and their films.
The book is structured as a series of three essays and a filmography of the directors of glasnost cinema. The...
With the coming of glasnost to the Soviet Union, filmmakers began to explore previously forbidden themes, and distributors released films that were...
