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Virtuosity Classical

Murray Pomerance

Murray Pomerance is an independent scholar living in Toronto, Canada. He is the editor of the "Techniques of the Moving Image" series and the Horizons of Cinema series, and co-editor, with Lester D. Friedman and Adrienne L. McLean respectively, of the Screen Decades and Star Decades series. Pomerance has written, edited and co-edited several books, including Cinema, If You Please (2018), Moment of Action (2016), Alfred Hitchcock's America (2013), The Horse who Drank the Sky: Film Experience beyond Narrative and Theory (2008), and two BFI Classics on Marnie (2014) and The Man Who Knew Too Much (2016). Author affiliation details are correct at time of print publication.

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Virtuoso : Film Performance and the Actor’s Magic

Bloomsbury Academic, 2019

Book

...I have given several examples of moments in which a single actor in character transcends the territory of the drama, rises up, flies off to a contextually relevant virtuosic Neverland, then lands again. A single actor, or a Roman candle...

“Crowdsourcing” “The Bad-Ass Slave”: A Critique of Quentin Tarantino’s Django Unchained

Reynaldo Anderson

,

Reynaldo Anderson

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D. L. Stephenson

D. L. Stephenson

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and

Chante Anderson

Chante Anderson

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book

...The philosophy of Franz Fanon articulated in his books The Wretched of the Earth (1963), the bible of the Black Revolution, and Black Skin, White Masks (1967) reached its apogee during the turbulent decade of the 1960s. Fanon theorized...

Bridging Commerce and Classification through the American Art Film: The Case of Who’s Afraid of Virginia Woolf? (1966)

Justin Wyatt

Justin Wyatt

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The Hollywood Renaissance : Revisiting American Cinema’s Most Celebrated Era

Bloomsbury Academic, 2018

Book

...Nominated for thirteen Academy Awards (one in every eligible category), Mike Nichols’ adaptation of Edward Albee’s Who’s Afraid of Virginia Woolf? (1966) recalls the days when box office revenue and critical acclaim matched more often than...

Migration and contemporary Indian cinema: A consideration of Anurag Kashyap and la politique des auteurs in the times of globalization

Kaushik Bhaumik

Kaushik Bhaumik

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book

...This chapter will examine the career of Anurag Kashyap, a leading film director of contemporary Indian cinema. Kashyap is one of the few in a new generation of directors to have been hailed specifically as an auteur in Indian film critical...

François Truffaut: An Auteur’s Representation of Childhood

Isabelle Vanderschelden

Isabelle Vanderschelden is Senior Lecturer in the Department of Languages, Information and Communication at Manchester Metropolitan University. Her main research interest is contemporary French cinema. Author affiliation details are correct at time of print publication.

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Studying French Cinema

Auteur, 2013

Book

...Les 400 coupsFrançois Truffaut (1932-1984) occupies a major place in French film history and its tradition of auteur cinema. He is remembered by many as the ring-leader of the New Wave, a man who expressed his personal vision of the world...

Counterfactuals, quantum physics, and cruel monsters in Quentin Tarantino’s Inglourious Basterds

William Brown

William Brown is Senior Lecturer in Film at the University of Roehampton, UK. He is the author of Supercinema: Film-Philosophy for the Digital Age (2013), Moving People, Moving Images: Cinema and Trafficking in the New Europe (2010), with Dina Iordanova and Leshu Torchin, and co-editor, with David Martin-Jones, of Deleuze and Film (2012). Author affiliation details are correct at time of print publication.

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book

...Inglourious Basterds (2009) shows us history as it wasn’t. The titular Basterds are a bunch of predominantly American Jews dropped into occupied France, where it is their business to kill Nazis. They discover that a Parisian cinema...

Reservoir Dogs

Jason Wood

Jason Wood is a writer, film programmer and filmmaker. He is Artistic Director of Film at HOME, Visiting Professor at MMU and Visiting Professor at University of Salford, UK, and the author of a number of books including The Faber Book of Mexican Cinema (2006), Nick Broomfield: Documenting Icons (2005), 100 Road Movies (BFI 2007) and Talking Movies: Contemporary World Directors in Interview (2006). He contributes to a range of publications including Sight & Sound, The Guardian, Vertigo and Little White Lies. Author affiliation details are correct at time of print publication.

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100 American Independent Films : BFI Screen Guides

British Film Institute, 2009

Book

...Acquired by Miramax following a frenzied Sundance screening at which even US indie sage John Pierson admits to having been ‘blown away’ (Pierson, 1996, p. 213), the impact of Reservoir Dogs on the industry was as radical as sex, lies...

Space and time in the land of the end of history

Marco Grosoli

Marco Grosoli

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book

...As of 2015, the stupendous output of Filipino director Lavrente Diaz totaled over fifty hours of film. To dissect such an overwhelming body of work would require more than these few pages, and in fact, might not even fit the scope...

Hark, Hark, the (dis)Enchanted Kantian, or Tarantino’s “Evil” and Its Anti-Cathartic Resonance

Dara Waldron

Dara Waldron is a Lecturer in Critical and Contextual Studies at the Limerick Institute of Technology, Republic of Ireland, with a particular focus on Lens-Based media (differing forms of moving image practices). He is the author of Cinema and Evil: Moral Complexities and the “Dangerous” Film (2013). Author affiliation details are correct at time of print publication.

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book

...“Okay,” he said, “listen to this.” He started to pace between the drawing tables, looking down at his feet, declaiming in a sharp, barking tenor that Joe recognized from the announcers on American radio. “To, uh, to all those who, uh, toil...

Jules & Jim (1962)

Mark Axelrod

Mark Axelrod is a Full Professor of English & Comparative Literature, and Director of the John Fowles Center for Creative Writing, at Chapman University, USA. Author affiliation details are correct at time of print publication.

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Constructing Dialogue : Screenwriting From Citizen Kane to Midnight in Paris

Bloomsbury Academic, 2014

Book

...Screenplay by François Truffaut and Jean GruaultI’m making a slight departure from the other films I’ve been writing about because Jules & Jim is different for several reasons: (1) it’s a “foreign film”; (2) there is no English translation...