Existentialism And Social Engagement In The Films Of Michael Mann
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Existentialism and Social Engagement in the Films of Michael Mann by Vincent M. Gaine Pdf
Michael Mann's films receive a detailed analysis as existential dramas, including Heat, Collateral , The Last of the Mohicans and Public Enemies. The book demonstrates that Mann's films perform critical engagement with existentialism, illustrating the problems and opportunities of living according to this philosophy.
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.
The Philosophy of Michael Mann by Steven Sanders,Aeon J. Skoble,R. Barton Palmer Pdf
Known for restoring vitality and superior craftsmanship to the crime thriller, American filmmaker Michael Mann has long been regarded as a talented triple threat capable of moving effortlessly between television and feature films as a writer, director, and executive producer. His unique visual sense and thematic approach are evident in the Emmy Award-winning The Jericho Mile (1979), the cult favorite The Keep (1983), the American epic The Last of the Mohicans (1992), and the Academy Award-nominated The Insider (1999) as well as his most recent works—Ali (2001), Miami Vice (2006), and Public Enemies (2009). The Philosophy of Michael Mann provides an up-to-date and comprehensive account of the work of this highly accomplished filmmaker, exploring the director's recognizable visual style and the various on-screen and philosophical elements he has tested in his thirty-five-year career. The essays in this wide-ranging book will appeal to fans of the revolutionary filmmaker and to philosophical scholars interested in the themes and conflicts that drive his movies.
Is Michael Mann an auteur? Mann is a formidable filmmaking personality, no doubt, but the notion that today's celebrity cult of director immediately correlates with the mysterious sect of 'auteur' is questionable and deserves to be investigated. In doing so this book strives to emulate the methodology of the man himself, by ranging over not only the films he has made, from 1979’s The Jericho Mile to 2015's Blackhat, but also the scope of intellectual interests that they exemplify in an attempt to mine the commonalities, themes and traits that may suggest the presence of an auteur. Through his investigation of Mann's filmography and the personality that flows through it, author Deryck Swan provides the reader with accessible and new ways of thinking about his films to date, including, amongst myriad other things, references to painter Morris Louis, desert modernism, West Coast prison culture, Chicago Mayor Richard M. Daley, Strain Theory, journalist Mike Royko, Chicago's Auditorium building and a largely forgotten Charles Bronson film.
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.
Race in American Film [3 volumes] by Daniel Bernardi,Michael Green Pdf
This expansive three-volume set investigates racial representation in film, providing an authoritative cross-section of the most racially significant films, actors, directors, and movements in American cinematic history. Hollywood has always reflected current American cultural norms and ideas. As such, film provides a window into attitudes about race and ethnicity over the last century. This comprehensive set provides information on hundreds of films chosen based on scholarly consensus of their importance regarding the subject, examining aspects of race and ethnicity in American film through the historical context, themes, and people involved. This three-volume set highlights the most important films and artists of the era, identifying films, actors, or characterizations that were considered racist, were tremendously popular or hugely influential, attempted to be progressive, or some combination thereof. Readers will not only learn basic information about each subject but also be able to contextualize it culturally, historically, and in terms of its reception to understand what average moviegoers thought about the subject at the time of its popularity—and grasp how the subject is perceived now through the lens of history.
Bringing History to Life through Film by Kathryn Anne Morey Pdf
Whether re-creating an actual event or simply being set in a bygone era, films have long taken liberties with the truth. While some members of the audience can appreciate a movie without being distracted by historical inaccuracies, other viewers are more discerning. From revered classics like Gone with the Wind to recent award winners like Argo, Hollywood films often are taken to task for their loose adherence to the facts. But what obligation do filmmakers have to the truth when trying to create a two-hour piece of entertainment? In Bringing History to Life through Film: The Art of Cinematic Storytelling, Kathryn Anne Morey brings together essays that explore the controversial issue of film as a purveyor of history. Examining a range of films, including highly regarded features like The Last of the Mohicans and Pan’s Labyrinth, as well as blockbuster franchises like Pirates of the Caribbean, chapters demonstrate that the debate surrounding the role of history on film is still as raw as ever. Organized in five sections, these essays discuss the myths and realities of history as they are portrayed on film, from “Nostalgic Utopias” to “Myths and Fairy Tales.” The fourteen chapters shed light on how films both convey and distort historical realities to capture the “essence” of the past rather than the past itself. Ultimately, they consider what role cinema plays as the quintessential historical storyteller. In addition to cinema and media studies, this book will appeal to scholars of history and fans of a wide range of cinematic genres.
Postfeminism and Contemporary Hollywood Cinema by J. Gwynne,N. Muller Pdf
By analyzing the negotiation of femininities and masculinities within contemporary Hollywood cinema, Postfeminism and Contemporary Hollywood Cinema presents diverse interrogations of popular cinema and illustrates the need for a renewed scholarly focus on contemporary film production.
Hollywood Sports Movies and the American Dream by Grant Wiedenfeld Pdf
"Through the heart of Hollywood cinema runs a surprising current of progressive politics. Sports movies, a genre that has flourished since the mid-seventies, evoke the American dream and represent the nation to itself. Once considered mere credos for Reaganism, on closer view, movies from Rocky (1976) to Ali (2001) dream of democratic participation and recognition more than individual success. In every case, off-field relationships take precedence over on-field competition. Arranged chronologically, this critical study of six major sports films also tells the story of multiculturalism's gradual adoption. The mainstream's first minority heroes are paradoxically white ethnic, rural, working-class men, exemplified by Rocky, Slap Shot (1977) and The Natural (1984); Black, brown, and women characters follow in White Men Can't Jump (1992), A League of Their Own (1992), and Ali. But despite their insistence on community and diversity these popular dramas show limited faith in civic institutions. Hannah Arendt, Jeffrey Alexander, and others inform original analysis and commentary on the political significance of popular culture. Reading these familiar movies from another angle paints a fresh picture of how the United States has imagined democracy since its bicentennial"--
American Cinema in the Shadow of 9/11 by Terence McSweeney Pdf
American Cinema in the Shadow of 9/11 is a ground-breaking collection of essays by some of the foremost scholars writing in the field of contemporary American film. Through a dynamic critical analysis of the defining films of the turbulent post-9/11 decade, the volume explores and interrogates the impact of 9/11 and the 'War on Terror' on American cinema and culture. In a vibrant discussion of films like American Sniper (2014), Zero Dark Thirty (2012), Spectre (2015), The Hateful Eight (2015), Lincoln (2012), The Mist (2007), Children of Men (2006), Edge of Tomorrow (2014) and Avengers: Age of Ultron (2015), noted authors Geoff King, Guy Westwell, John Shelton Lawrence, Ian Scott, Andrew Schopp, James Kendrick, Sean Redmond, Steffen Hantke and many others consider the power of popular film to function as a potent cultural artefact, able to both reflect the defining fears and anxieties of the tumultuous era, but also shape them in compelling and resonant ways.
Superheroes on World Screens by Rayna Denison,Rachel Mizsei-Ward Pdf
Superheroes such as Superman and Spider-Man have spread all over the world. As this edited volume shows, many national cultures have created or reimagined the idea of the superhero, while the realm of superheroes now contains many icons whose histories borrow from local folklore and legends. Consequently, the superhero needs reconsideration, to be regarded as part of both local and global culture as well as examined for the rich meanings that such broad origins and re-workings create. This collection stands out as the first concentrated attempt to think through the meanings and significance of the superhero, not only as a product of culture in the United States, but as a series of local, transnational, and global exchanges in popular media. Through analysis of mainly film, television, and computer screens, contributors offer three challenges to the idea of the "American" superhero: transnational reimagining of superhero culture, emerging local superheroes, and the use of local superheroes to undermine dominant political ideologies. The essays explore the shifting transnational meanings of Doctor Who, Thor, and the Phantom, as these characters are reimagined in world culture. Other chapters chart the rise of local superheroes from India, the Middle East, Thailand, and South Korea. These explorations demonstrate how far superheroes have traveled to inspire audiences worldwide.
The 21st Century Superhero by Richard J. Gray II,Betty Kaklamanidou Pdf
Superhero films are one of the most enduring genres of cinema, and their popularity is only increasing in the 21st century. These ten critical essays explore the phenomenon through the lenses of numerous academic disciplines, and cover topics such as the role of globalization in the formation of superhero narratives, the shifting nature of masculinity and femininity in the superhero world and the state of the genre today. Of particular interest is the way these narratives, however fantastic, abstract, futuristic or simplistic, resonate with specific events in the world and function as starting points for discussion of contemporary sociopolitical conflicts.
Directory of World Cinema: American Hollywood 2 by Lincoln Geraghty Pdf
Hollywood continues to reign supreme; from award-winning dramas to multimillion-dollar, special-effects-laden blockbusters, Tinseltown produces the films that audiences around the world go to the cinema to see. While the film industry has dramatically changed over the years – stars have come and gone, studios have risen and fallen, new technologies have emerged to challenge directors and entice audiences – Hollywood remains the centre of global media entertainment. The second volume of Directory of World Cinema: American Hollywood builds on its predecessor by exploring how the industry has evolved and expanded throughout its history. With new essays that discuss the importance of genre, adaptation, locations and technology in the production of film, this collection explores how Hollywood has looked to create, innovate, borrow and adapt new methods of filmmaking to capture the audience’s imaginations. Touching on classic films such as North by Northwest and Dirty Harry alongside CGI blockbusters like The Lord of the Rings and The Dark Knight as well as comedies such as When Harry Met Sally and Jerry Maguire, this landmark book charts the changing tastes of cinema-goers and the diverse range of offerings from Hollywood. User-friendly and concise, yet dense and wide-ranging, Directory of World Cinema: American Hollywood 2 demonstrates that Hollywood, despite its challenges from independent filmmakers and foreign directors, remains the undisputed king of moviemaking in the twenty-first century.
Few other contemporary Hollywood filmmakers fit the category of 'genre stylist' as well as Michael Mann, the director of such films as Heat, The Insider, Ali, Collateral, Manhunter, Thief, and Miami Vice. Mann's film style marks him as a director who chooses the iconographic backdrop of a genre as a canvas upon which he and his collaborators can craft a unique cinematic vision. The Cinema of Michael Mann traces the innovative and under-explored stylistic contours of Mann's work, the director's inflection upon and innovation within preexisting genre frameworks, and the relationship of both style and genre to issues of authorship and film criticism. Steven Rybin's critical study of Mann's cinema, and the importance of the filmmaker's themes to our contemporary world, is valuable for both film scholars and cinephiles alike.
