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James M. Welsh,John C. Tibbetts,Professor John C Tibbetts
Author : James M. Welsh,John C. Tibbetts,Professor John C Tibbetts Publisher : SUNY Press Page : 320 pages File Size : 45,5 Mb Release : 1999-08-12 Category : Performing Arts ISBN : 0791442497
Tony Richardson was a key figure in British cinema of the 1950s and 1960s. Having established himself in the theatre with the first production of John Osborne's landmark play Look Back in Anger, he became a central director in the New Wave, bringing greater realism to British cinema. He went on to make some of the most significant films of the 1960s including the multi Oscar-winning Tom Jones.This detailed and authoritative account of Richardson's career provides a reassessment of his achievements. As well as looking at his best known films, it considers neglected works such as Ned Kelly and Joseph Andrews, illustrating how Richardson remained a champion of the socially marginalised.In mapping out his life and work, from the English Stage Company to his final films in America, Shail re-establishes Richardson's at the front rank of British film directors, confirming his contribution to a period of dynamic change in British culture.
Film and theatre director Tony Richardson's death in 1991, the publication of his memoirs in 1993, and the posthumous release of his final movie, Blue Sky in 1994 have resulted in the beginning of a critical reevaluation of Richardson's career. The first major reference on Richardson's life and work in British and American theatre and film, this book is a necessary first step in that reevaluation. Richardson's life and work are summarized in a brief opening biography. A chronology then outlines the major events in his career. The chapters that follow provide extensively annotated listings for all of his professional film, theatre, and television work. Entries provide plot summaries, cast and credit listings, review excerpts, and commentary. Also included is a list of awards and nominations given to Richardson and his productions. Of great significance is the annotated bibliography of books and articles by, about, or with significant references to Richardson.
A Taste of Honey (1961) is a landmark in British cinema history. In this book, Melanie Williams explores the many, extraordinary ways in which it was trailblazing. It is the only film of the British New Wave canon to have been written by a woman – Shelagh Delaney, adapting her own groundbreaking stage play. At the behest of director Tony Richardson and his company, Woodfall, it was one of the first films to be made entirely on location, and was shot in an innovative, rough, poetic style by cinematographer Walter Lassally. It was also the launchpad for a new type of young female star in Rita Tushingham. Tushingham plays the young heroine, Jo, who finds she is pregnant after her love affair with Jimmy (Paul Danquah), a Black sailor. When Jimmy's ship sails away, Jo is comforted and supported by her gay friend Geoff (Murray Melvin), while her unreliable mother, Helen (Dora Bryan), has her own life to lead. Candid in its treatment of matters of gender, class, ethnicity, sexuality and motherhood, and highly distinctive in its evocation of place and landscape, A Taste of Honey marked the advent of new possibilities for the telling of working-class stories in British cinema. As such, its rich but complex legacy endures to this day.
The Films of Fred Zinnemann by Arthur Nolletti Pdf
Fred Zinnemann, celebrated director of such classic films as High Noon, From Here to Eternity, and A Man for All Seasons, is studied here in a book-length work for the first time. Zinnemanns fifty-year career includes twenty-two feature films, which are characterized by an unshakable belief in human dignity, a preoccupation with moral and social issues, a warm and sympathetic treatment of character, and consummate technical artistry. In discussing such issues as the role of Zinnemanns documentary aesthetic throughout his career, the relationship between his life and his art, his use and construction of history, and the central importance of women characters in his films, The Films of Fred Zinnemann lends new perspectives to the work of a major filmmaker and makes a significant contribution to the study of American cinema.
The Cinema Book is widely recognised as the ultimate guide to cinema. Authoritative and comprehensive, the third edition has been extensively revised, updated and expanded in response to developments in cinema and cinema studies. Lavishly illustrated in colour, this edition features a wealth of exciting new sections and in-depth case studies. Sections address Hollywood and other World cinema histories, key genres in both fiction and non-fiction film, issues such as stars, technology and authorship, and major theoretical approaches to understanding film.
The term 'New Wave' conjures up images of Paris in the early 1960s: Jean Seberg and Jean Paul Belmondo, the young Jean-Pierre Leaud, the three protagonists of Jules and Jim capering across a bridge, all from the films of French filmmakers Jean-Luc Godard and François Truffaut. The impact of the French New Wave continues to be felt, and its ethos of shooting in real places, with non-professional actors and small crews would influence filmmakers as diverse as John Cassavetes and Martin Scorsese to Lars von Trier's Dogme 95 movement, all of whom sought to challenge the dominance of traditional Hollywood methods of both filmmaking and storytelling. But the French were not the only new wave, and they were not even the first. In New Waves in Cinema, Sean Martin explores the history of the many New Waves that have appeared since the birth of cinema, including their great forebears the German Expressionists, the Soviet Formalists and the Italian Neorealists. In addition, Martin looks at the movements traditionally seen as the French New Wave's contemporaries and heirs, such as the Czech New Wave, the British New Wave, the New German Cinema, the Hollywood Movie Brats and Brazilian Cinema Novo. The book also covers other new waves, such as those of Greece, Hungary, documentary - Cinema Verité and Direct Cinema - animation, avant garde and the so-called No Wave filmmakers. New Waves in Cinema also explores the differences - and similarities - between the concept of a 'new wave' and a national cinema, citing, among others, the example of the new Iranian cinema, which has given us directors as important as Abbas Kiarostami and the Makhmalbaf family, examines resurgent trends in the national cinemas of Mexico, Japan, American independent cinema and concludes with an examination of the most celebrated movement of the 1990s and 2000s, Dogme 95. New Waves in Cinema makes a convincing case for the necessity for the continued existence of new waves and national cinemas in the face of Hollywood and American cultural imperialism.
This book offers an opportunity to reconsider the films of the British New Wave in the light of forty years of heated debate. By eschewing the usual tendency to view films like A Kind of Loving and The Entertainer collectively and include them in broader debates about class, gender, and ideology, this book presents a new and innovative look at this famous cycle of British films. For each film, a re-distribution of existing critical emphasis also allows the problematic relationship between these films and the question of realism to be reconsidered. Drawing upon existing sources and returning to long-standing and unchallenged assumptions about these films, this book offers the opportunity for the reader to return to the British New Wave and decide for themselves where they stand in relation to the films.
From the landmark films of Tony Richardson to the untimely death of Natasha Richardson – this is the saga of one of the greatest dynasties in British film and theatre. In 1928, at the end of a production of Hamlet at the Old Vic, Laurence Olivier strode to the front of the stage to hush the audience and announced, pointing at his co-star Michael Redgrave, 'Tonight a great actress has been born. Laertes has a daughter.' He meant Vanessa Redgrave. That is where this dramatic book’s story begins. It concludes in 2009, with the sudden and tragic death in a skiing accident of Vanessa’s daughter Natasha Richardson – and further family sorrow soon to follow with the deaths of both Corin and Lynn Redgrave. The story of this amazing family is explosive throughout - from the tangled private life of Tony Richardson, Natasha’s father, who directed major films such as Look back in Anger, to Vanessa and Corin’s complicated involvement with the Workers’ Revolutionary Party, to the emergence of a fourth generation of fine actors with Natasha and Joely.? There is truly never a dull moment – but plenty of scandal, melodrama, tragedy and intrigue – in the story of this remarkable dynasty, whose contribution to British drama and film has been immense.
Author : George Toles Publisher : State University of New York Press Page : 405 pages File Size : 55,8 Mb Release : 2021-07-01 Category : Performing Arts ISBN : 9781438484235
George Toles's Curtains of Light explores the ways in which various kinds of theatrical space in film engage with the film reality adjacent to them, and alter our understanding of the cinematic real. Film art is a dialogue between the world created for a film narrative and theatre spaces that confront it across the shadowline. This book provides a new way of thinking about film's relation to theatre, and challenges old conceptions of how cinema needs to escape the theatrical, or rise above it. Toles offers elegantly written and jargon-free readings of a rich variety of films, spanning the distance from D.W. Griffith's True Heart Susie up to David Lynch's Mulholland Dr. and Ang Lee's Lust, Caution. The methodology is predominantly aesthetic, but informed by Toles's decades of experience as a professional theatre director. Among the many topics covered are audition scenes, stage deaths on film, the close up and theatrical aloneness in film, eloquent objects, and characters who alternate between directing and playacting for each other, with tragic consequences. Curtains of Light would be an extremely useful introductory text for university students studying the relationship of cinema to theatre.
This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs.
"The Cinema of Ken Loach: Art in the Service of the People examines the linking of art and politics that distinguishes the work of this leading British film director. Loach's films manifest recurrent themes over a long period of working with various collaborators, yet his handling of those themes has changed throughout his career. This book examines those changes as a way of reaching an understanding of Loach's style and meaning. It evaluates how Loach incorporates his political beliefs and those of his writers into his work and augments this thematic interpretation with contextual information gleaned from original archive research and new interviews."--BOOK JACKET.
Eighteenth-Century Fiction on Screen by Robert Mayer Pdf
Eighteenth-Century Fiction on Screen offers an extensive introduction to cinematic representations of the eighteenth century, mostly derived from classic fiction of that period, and sheds light on the process of making prose fiction into film. The contributors provide a variety of theoretical and critical approaches to the process of bringing literary works to the screen. They consider a broad range of film and television adaptations, including several versions of Robinson Crusoe; three films of Moll Flanders; American, British, and French television adaptations of Gulliver's Travels, Clarissa, Tom Jones, and Jacques le fataliste; Wim Wender's film version of Goethe's Wilhelm Meister's Apprentice Years; the controversial film of Diderot's La Religieuese; and French and Anglo-American motion pictures based on Les Liaisons dangereuses among others. This book will appeal to students and scholars of literature and film alike.