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... at a film studio. Neil Walker David Selznick, the son of immigrants, married Jennifer Jones, from Oklahoma, America’s sweetheart. That just goes to show you that in America, the ordinary meets the extraordinary every single day. Anything...
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... sure you’ve got a preference – Susan ‘Mrs Gibson’, to you. Fran He’s too much, isn’t he? Ray I’ll tell you a funny story about shoes – Susan Will you lower your voice? He leans over and speaks in a naughty undertone. Ray It was at Jones...
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...The main action of this film takes place in 1932 - THE PAST, and 1937/8 - THE PRESENT. In 1932 Imogen is thirty-nine, Helen forty-three and Otto thirty-five. Springfield House. Summer. Early Evening. Long Shot. Past. The camera looks...
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... Gordon o.s. We don’t have any choice. Gordon and Blake emerge from the back of the room. Special Forces 1 Commissioner Gordon? Captain Jones, Special Forces. Gordon Captain, glad to have you here. Captain Jones How many of you are there?...

Bowie’s Covers: The Artist as Modernist

Enchanting David Bowie : Space/Time/Body/Memory

Bloomsbury Academic, 2015

Book

3

... subsequent albums’ (Jones, 2008: 42). Bowie has ‘played the game’ in terms of rock’s employment of the figure of the romantic artist/genius who composes material in a prescribed format (the album). As David Tetzlaff puts it, in the context...

Paradise Lost: Norman Mailer and American Purgatory

The Cinema of Norman Mailer : Film is Like Death

Bloomsbury Academic, 2017

Book

2

... Jennings’ haunting voice providing the aural accompaniment, create a restless angst in the viewer. As the movie moves along, Tommy Lee Jones brilliantly portrays Gilmore becoming more unwound and more unsettling to those around him....

Face, Body, Voice, Movement

Antonioni : Centenary Essays

British Film Institute, 2011

Book

2

... subsequent quotations from Fare un film è per me vivere, see Michelangelo Antonioni, The Architecture of Vision: Writings and Interviews on Cinema, ed. Carlo Di Carlo and Giorgio Tinazzi, trans. Marga Cottino-Jones (New York: Marsilio, 1996). He...

Red Power, White Movies: Billy Jack, Johnny Firecloud, and the Cultural Politics of the “Indiansploitation” Cycle

David Church

David Church is a film historian specializing in genre studies, taste cultures, and histories of film exhibition and distribution. He is a Lecturer in Comparative Cultural Studies at Northern Arizona University, USA, and is the author of Grindhouse Nostalgia: Memory, Home Video, and Exploitation Film Fandom (2015). Author affiliation details are correct at time of print publication.

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Grindhouse : Cultural Exchange on 42nd Street, and Beyond

Bloomsbury Academic, 2016

Book

2

... by foregrounding the concept of race as stylized performance instead of biological truth, we can better account for the political resonance generated in their specific historical context.Jennifer DeVere Brody, “The Returns of Cleopatra Jones,” Signs...

Carmen Copies

David Schroeder

David Schroeder holds a PhD from Cambridge University, and is Professor Emeritus at Dalhousie University, Canada. His books include Haydn and the Enlightenment (Oxford UP, 1990), Mozart in Revolt (Yale UP, 1999), Cinema’s Illusions, Opera’s Allure: The Operatic Impulse in Film (Continuum, 2002/Bloomsbury, 2016), and Our Schubert: His Enduring Legacy (Scarecrow, 2008). Author affiliation details are correct at time of print publication.

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Cinema’s Illusions, Opera’s Allure : The Operatic Impulse in Film

Bloomsbury Academic, 2002

Book

2

... Carmen Jones The life of Carmen on film took a very different turn in 1954 when Otto Preminger entered the fray with his Carmen Jones. Using Oscar Hammerstein’s Broadway revue of the same name, Preminger revised the script with his former...

Introduction

David Deamer

David Deamer is Associate Lecturer in film at Manchester Metropolitan University, UK. He has published in Martin-Jones and Brown’s Deleuze and Film; Bell and Colebrook’s Deleuze and History; Deleuze Studies; and the online A/V Journal, of which he was co-founder. He blogs on Deleuze and cinema at www.daviddeamer.com. Author affiliation details are correct at time of print publication.

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Deleuze, Japanese Cinema, and the Atom Bomb : The Spectre of Impossibility

Bloomsbury Academic, 2014

Book

2

... as a Western theoretical model imposed from the outside into a Japanese environment? Yet by using Deleuze do I not risk just this, imposing a Western philosophical method onto the Japanese cinema? For David Martin-Jones this problem...