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... Federal Scout #1 Stretched their necks. Federal Scout #2 They're still hanging – Federal Scout #1 New orders – we're s'posed to kill any Southern types who might want to cut 'em down and give them a proper burial. to Scout #2 Hey, George,...

The American Independent Producer and the Film Value Chain

Beyond the Bottom Line : The Producer in Film and Television Studies

Bloomsbury Academic, 2014

Book

2

... Law School Alumni’. The most notable investor was New York real estate developer Charles S. Cohen, a client of Harwood, who provided $340,000. Cohen, a multi-millionaire and avowed cinephile (he published the movie book Trivia Mania (1984)...

Hitchcock at the Margins of Noir

James Naremore

James Naremore is Emeritus Chancellors’ Professor at Indiana University. He is the author of a number of books, including Acting in the Cinema (1988), The Films of Vincente Minnelli (1993), More than Night: Film Noir in its Contexts (1998; 2008) and On Kubrick (2007). Author affiliation details are correct at time of print publication.

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Alfred Hitchcock : Centenary Essays

British Film Institute, 1999

Book

2

... that ‘Hitchcock’s universe is ultimately incompatible with that of the film noir’.Foster Hirsch, Film Noir: The Dark Side of the Screen, New York: A. S. Barnes, 1981; Slavoj Žižek, ‘In His Bold Gaze My Ruin is Writ Large’, in Slavoj Žižek...

A production strategy of overdevelopment: Kirk Douglas’s Bryna Productions and the unproduced Viva Gringo!

James Fenwick

James Fenwick is a senior lecturer in Film Studies at the University of the West of England, UK. He is also the editor of the collection Understanding Kubrick’s 2001: A Space Odyssey: Representation and Interpretation (2018), and has co-edited two special journal issues on Stanley Kubrick. Author affiliation details are correct at time of print publication.

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Shadow Cinema : The Historical and Production Contexts of Unmade Films

Bloomsbury Academic, 2020

Book

3

... Sam Norton, optioned the novel in 1948, with Douglas intermittently seeking ways to adapt it throughout the early 1950s (Williams 1949; Teilhet 1950). By the summer of 1950, Douglas’s assessment of the project was that he was not ‘in a hell...

The Divine Proportion: Balancing the Golden Rule

James Williams

James Williams is an independent filmmaker and video journalist. Author affiliation details are correct at time of print publication.

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The Videomaker Guide to Video Production

Focal Press, 2013

Book

4

... T he Divine Proportion: Balancing the Golden Rule James Williams F igure 31-1 and 31-2 N ature created it; visual artists follow it. From sea-shells and leaves to fl ower petals, and yes, a Gecko’s tail, using...

The Right Place at the Right Time

James Williams

James Williams is an independent filmmaker and video journalist. Author affiliation details are correct at time of print publication.

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The Videomaker Guide to Video Production

Focal Press, 2013

Book

4

... T he Right Place at the Right Time J ames Williams F igure 27-1 S couting locations ahead of time is a great way to avoid last-minute surprises and big headaches on the day of your shoot. Consider this: a scene in your short...

The Soundtrack

Sound and Music in Film and Visual Media : A Critical Overview

Continuum, 2009

Book

4

... in the 1960s, and John Williams since the 1970s). The literature does include a number of monographs, many interviews and a very few composer biographies.See, for example, Christopher Palmer, The Composer in Hollywood. New York: Marion...

Silence, Gesture, Revelation

James S. Williams

James S. Williams is Professor of Modern French Literature and Film at Royal Holloway, University of London, UK. He is the author of Encounters with Godard: Ethics, Aesthetics, Politics (2016), Space and Being in Contemporary French Cinema (2013) and Jean Cocteau (2008). He is also co-editor of May 68: Rethinking France’s Last Revolution (2011, with Anna-Louise Milne and Julian T. Jackson), For Ever Godard (2004, with Michael Temple and Michael Witt) and Gender and French Cinema (2001, with Alex Hughes). Author affiliation details are correct at time of print publication.

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Cinema and Agamben : Ethics, Biopolitics and the Moving Image

Bloomsbury Academic, 2014

Book

6

... (Ibid: 55). See Michael Witt “Going through the motions: unconscious optics and corporal resistance in Miéville and Godard’s France/tour/détour/deux/enfants”, Gender and French Cinema, Alex Hughes and James S. Williams (eds) (Berg, 2001),...

Representations 1980-present

The French Cinema Book

British Film Institute, 2018

Book

4

... and politically for gays and lesbians in France at the start of the 1980s. A new independent gay cinema had been slowly emerging during the post-1968 period of liberationist fervour and activism, from Adolpho Arrieta’s Les Intrigues de Sylvia...

West African Francophone Cinema and the Mysteries of Language: From Ideological Struggle to Aesthetic Shudder

James S. Williams

James S. Williams is Professor of Modern French Literature and Film at Royal Holloway, University of London, UK. He is the author of Encounters with Godard: Ethics, Aesthetics, Politics (2016), Space and Being in Contemporary French Cinema (2013) and Jean Cocteau (2008). He is also co-editor of May 68: Rethinking France’s Last Revolution (2011, with Anna-Louise Milne and Julian T. Jackson), For Ever Godard (2004, with Michael Temple and Michael Witt) and Gender and French Cinema (2001, with Alex Hughes). Author affiliation details are correct at time of print publication.

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The Multilingual Screen : New Reflections on Cinema and Linguistic Difference

Bloomsbury Academic, 2016

Book

6

... in particular, regarding masculinity, which as I argue elsewhere is associated in his work with male desire, emotion and homoeroticism—subjects not usually addressed in West African cinema.See James S. Williams, “Male Beauty and the Erotics...