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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 Virtuoso: Film Performance and the Actor’s Magic (2019), A Dream of Hitchcock (2019), 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...

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...

Fahrenheit 451

Barry Keith Grant

Barry Keith Grant is Professor of Film Studies and Popular Culture at Brock University, Canada. He is author of Film Genre (2007) and Voyages of Discovery (1992) and co-author of The Film Studies Dictionary (2001) and 100 Documentary Films (2009). Author affiliation details are correct at time of print publication.

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100 Science Fiction Films : BFI Screen Guides

British Film Institute, 2013

Book

...DIRECTOR François TruffautPRODUCER Lewis M. AllenSCREENPLAY Jean-Louis Richard, based on the 1953 novel by Ray BradburyDIRECTOR OF PHOTOGRAPHY Nicolas Roeg (colour)EDITOR Thom NobleMUSIC Bernard HerrmannPRODUCTION DESIGN Syd CainCAST Oskar...

Vengeful violence: Inglourious Basterds, allohistory, and the inversion of victims and perpetrators

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book

...When Quentin Tarantino’s long-planned war film premiered at Cannes, it received a nearly ten-minute-long standing ovation.Wigney, James, “Quentin’s Glory Days.” Sunday Mail (South Australia), August 16, 2009, 91. Following its full release,...

Provocation and perversity: Lars von Trier’s cinematic anti-philosophy

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

Bloomsbury Academic, 2016

Book

...Ever since his early “European” features and provocative Dogme 95 period, Lars von Trier has been both celebrated as a brilliant stylist and criticized as a cynical charlatan. What his twenty-first century “cinema of cruelty”Indeed, von...

Inglourious music: revenge, reflexivity, and Morricone as muse in Inglourious Basterds

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book

...While Inglourious Basterds shares its focus on revenge with many of Tarantino’s other films, it distinguishes itself by the way in which this vengeance moves beyond human parameters to encompass the revenge of cinema itself. Cinema...

Tarantino’s Pulp Fiction and Baudrillard’s Perfect Crime

Randy Laist

Randy Laist is Associate Professor of English at Goodwin College, US. He is the author of Technology and Postmodern Subjectivity in Don DeLillo’s Novels and the editor of Plants and Literature: Essays in Critical Plant Studies and Looking for Lost: Critical Essays on the Enigmatic Series. Author affiliation details are correct at time of print publication.

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Cinema of Simulation : Hyperreal Hollywood in the Long 1990s

Bloomsbury Academic, 2015

Book

...Tarantino’s Pulp Fiction has frequently been identified as a postmodern film—it has been called “one of the paradigmatic texts of the postmodern movement” (Morton), a “terminally hip postmodern collage,” (Hirsch 360), an example...

Django Blues: Whiteness and Hollywood’s Continued Failures

Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book

...This chapter contains and builds upon a previous essay “Django Blues,” which appeared in The Crisis (April 2013, 26–29). http://www.academia.edu/3249551/Django_Blues.Quentin Tarantino is a good white filmmaker. Irrespective of his talents...

A Certain Tendency in French Cinema

The French New Wave : Critical Landmarks

British Film Institute, 2009

Book

...Michèle Morgan (left), Pierre Blanchar and Line Noro in Jean Delannoy’s La Symphonie pastorale (1946)It would be nice to think that the meaning of the word ‘art’ can make men aware of the greatness they do not recognise in themselves...