Robert Edgar is a Senior Lecturer in the Faculty of Arts at York St John University, UK, where he teaches creative writing and film and television. Publications include Screenwriting (2009) and Directing Fiction (2010) and most recently the second edition of The Language of Film(Bloomsbury, 2015). Research projects include work on Hitchcock and Herrmann, contemporary television and Top Gear. Robert was a co-editor of The Music Documentary: Acid Rock to Electropop (2013). Author affiliation details are correct at time of print publication.
TEXT 7/15/09 8:45:06 AM
Dr Strangelove or: How
I Stopped Worrying and
Learned to Love the Bomb
(dir: Stanley Kubrick 1964) is normally the longest part of the
fi lm-making process; it is also often the part that is
Tom Zaniello is Professor Emeritus, having taught film and cultural studies, and directed the Honors Program at Northern Kentucky University, USA. He has been active as a film programmer for the Hill Center in Washington DC and for the London and North West (Liverpool) Labour Film Festivals. He recently published California’s Lamson Murder Mystery (2016), the story of the wrongful conviction of a Hollywood screenwriter for murder, along with Working Stiffs, Union Maids, Reds, and Riffraff: An Expanded Guide to Films about Labor, 2nd ed. (2003) and The Cinema of Globalization (2007). Author affiliation details are correct at time of print publication.
The Cinema of the Precariat: The Exploited, Underemployed, and Temp Workers of the World
Bloomsbury Academic, 2020
...The precariat is now a vast global workforce whose transitory and tenuous relationship with their employers makes most of them liable for termination or furlough at any time. But they still continue to work, for these are likely the only...
...Rarely thought of as a Jewish director (whatever that may mean), Kubrick never denied his ethnicity but neither did he follow any religion. His parents, Jacques and Gertrude (née Perveler), were both Jewish, but they did not practice much...
...Nearly everything written about Mike Leigh’s films addresses their realism in one way or another, and much that has been written categorizes them as documentary-like using such terms as ‘kitchen sink’ realism, ‘social’ realism, ‘council...
...Mike Leigh has described his own ‘general tendency or instinct’, when creating a new film, ‘to dish up something that’s different to what went before.’Amy Raphael, ed., Mike Leigh on Mike Leigh. London: Faber and Faber, 2008, 226...
...Modestly budgeted feature films like Vera Drake (2004) often rely on the ‘free publicity’ of newspaper reviews and word-of-mouth to bolster audience attendance.According to Variety, the estimated production budget for Vera Drake...
...Before Mike Leigh directed films for widespread release and critical recognition like Naked and Secrets & Lies, he spent years directing striking, low-budget films for the BBC. The subtlety and uniqueness of these films have never been...
Secrets & Lies (1996), perhaps the most well-known of Mike Leigh’s films, won the Palme D’or (Best Picture) and Best Actress (Brenda Blethyn) awards in 1996 and became Leigh’s most commercially successful film to date (Watson...
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