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  • Frears, Stephen Close
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...Orton and Halliwell's Flat. Night. 1967. Kenneth Halliwell is looking straight at the camera. He is naked and bloody. He looks at something across the room. Halliwell Joe? John? He looks back at the camera. Orton and Halliwell's Flat...

“Multi-whatever-it-is”: Dirty Pretty Things

Lesley Brill

Lesley Brill is Professor of English and Film Studies at Wayne State University, USA, and former Chair of the English Departments of Wayne State and the University of Colorado, Boulder, USA. He has published articles on film, literature, and photography, along with three books on film: The Hitchcock Romance (1988), John Huston’s Filmmaking (1996), and Crowds, Power, and Transformation in Cinema (2006). Author affiliation details are correct at time of print publication.

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The Ironic Filmmaking of Stephen Frears

Bloomsbury Academic, 2016

Book chapter

...Frears says this during the “Director’s Commentary” on the Miramax DVD of Dirty Pretty Things. Unless otherwise noted, all quotations from Frears are from this DVD. To quote dialogue, I have also used this DVD, with occasional help...

My Beautiful Laundrette

Lesley Brill

Lesley Brill is Professor of English and Film Studies at Wayne State University, USA, and former Chair of the English Departments of Wayne State and the University of Colorado, Boulder, USA. He has published articles on film, literature, and photography, along with three books on film: The Hitchcock Romance (1988), John Huston’s Filmmaking (1996), and Crowds, Power, and Transformation in Cinema (2006). Author affiliation details are correct at time of print publication.

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The Ironic Filmmaking of Stephen Frears

Bloomsbury Academic, 2016

Book chapter

...The spinning titles near the opening and at the conclusion of My Beautiful Laundrette suggest both the motion of washing machines, with the starts and stops of their agitators, and the mode of the film. The actions, emotional responses...

Auteur Theory in Britain

Pam Cook

PAM COOK is Professor Emerita in Film at the University of Southampton, UK. She is the editor of The Cinema Book (3rd Edition, 2007) and Gainsborough Pictures (BFI, 1997), and the author of Fashioning the Nation: Costume and Identity in British Cinema (1996), the BFI Film Classic on ‘I Know Where I’m Going!; (2002), Screening the Past: Memory and Nostalgia in Cinema (2005), and Baz Luhrmann in the BFI World Directors series (2010). Author affiliation details are correct at time of print publication.

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The Cinema Book

British Film Institute, 2007

Book chapter

...The British critical context: Movie magazine The British authorship debate, as it emerged in the magazine Movie in the 1960s, was formulated rather differently because of historical factors specific to British culture. British critical...

The Future of Editing and Technological Change

British Film Editors : “The Heart of the Movie”

British Film Institute, 2014

Book chapter

...Press the wrong button nowadays, and something magical might happen. Peter Honess (2002), editor, LA Confidential (Curtis Hanson, 1997)The Changing Background Nothing in the history of cinema, except for the coming of sound, parallels...

Introduction

Lesley Brill

Lesley Brill is Professor of English and Film Studies at Wayne State University, USA, and former Chair of the English Departments of Wayne State and the University of Colorado, Boulder, USA. He has published articles on film, literature, and photography, along with three books on film: The Hitchcock Romance (1988), John Huston’s Filmmaking (1996), and Crowds, Power, and Transformation in Cinema (2006). Author affiliation details are correct at time of print publication.

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The Ironic Filmmaking of Stephen Frears

Bloomsbury Academic, 2016

Book chapter

...General introduction This study has four principal aims: First, it may be useful as an introduction to Frears’s films for readers who have little familiarity with most of them. Second, it presents extended discussions of ten of his movies....

The Snapper

Lesley Brill

Lesley Brill is Professor of English and Film Studies at Wayne State University, USA, and former Chair of the English Departments of Wayne State and the University of Colorado, Boulder, USA. He has published articles on film, literature, and photography, along with three books on film: The Hitchcock Romance (1988), John Huston’s Filmmaking (1996), and Crowds, Power, and Transformation in Cinema (2006). Author affiliation details are correct at time of print publication.

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The Ironic Filmmaking of Stephen Frears

Bloomsbury Academic, 2016

Book chapter

...Sharon and Dessie The fetus for whom The Snapper is titled makes only brief appearances, once as an inscrutable ultrasound image and a few times at the end as a newborn. The role of lead in The Snapper goes to the unmarried mother, Sharon...

Chéri

Lesley Brill

Lesley Brill is Professor of English and Film Studies at Wayne State University, USA, and former Chair of the English Departments of Wayne State and the University of Colorado, Boulder, USA. He has published articles on film, literature, and photography, along with three books on film: The Hitchcock Romance (1988), John Huston’s Filmmaking (1996), and Crowds, Power, and Transformation in Cinema (2006). Author affiliation details are correct at time of print publication.

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The Ironic Filmmaking of Stephen Frears

Bloomsbury Academic, 2016

Book chapter

...Chéri does not continue the story of any of the characters of Dangerous Liaisons, which is set a century or so earlier, but it does resume its costume drama mode and its focus upon wealthy people busy with the occupations of those who have...

Sammy and Rosie Get Laid

Lesley Brill

Lesley Brill is Professor of English and Film Studies at Wayne State University, USA, and former Chair of the English Departments of Wayne State and the University of Colorado, Boulder, USA. He has published articles on film, literature, and photography, along with three books on film: The Hitchcock Romance (1988), John Huston’s Filmmaking (1996), and Crowds, Power, and Transformation in Cinema (2006). Author affiliation details are correct at time of print publication.

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The Ironic Filmmaking of Stephen Frears

Bloomsbury Academic, 2016

Book chapter

...It’s complexity that I think I’m interested in. “Fear in a handful of dust” Sammy and Rosie Get Laid unfolds as an anatomy of disconnection. Volatile slums sink into chaos while stable middle-class neighborhoods persist unchanged. Wealthy...

Love

Tarja Laine

Tarja Laine is Assistant Professor of Film Studies at the University of Amsterdam in the Netherlands. She is the author of Shame and Desire: Emotion, Intersubjectivity, Cinema (2007). Author affiliation details are correct at time of print publication.

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Feeling Cinema : Emotional Dynamics in Film Studies

Continuum, 2011

Book chapter

...“What we talk about when we talk about love,” asked Raymond Carver in his 1981 short story of the same title. On a different plane, a cultural theorist might ask what we talk about, when we talk about the concept of love in relation...