Böcker i Directors' Cuts-serien

Wes Anderson's films, such as Rushmore (1998) and The Royal Tenenbaums (2001), are made in a style so distinctive that his films are often recognizable from a single frame. This book explores the filmic and literary influences that have helped make Anderson a major voice in twenty-first-century "indie" culture.

The Cinema of Takeshi Kitano: Flowering Blood is a detailed aesthetic, Deleuzian, and phenomenological exploration of Japan's finest currently-working film director, performer, and celebrity. The volume uniquely explores Kitano's oeuvre through the tropes of stillness and movement, becoming animal, melancholy and loss, intensity, schizophrenia, and radical alterity; and through the aesthetic temperatures of color, light, camera movement, performance and urban and oceanic space. In this highly original monograph, all of Kitano's films are given due consideration, including A Scene at the Sea (1991), Sonatine (1993), Dolls (2002), and Outrage (2010).

Featuring new essays on this important director and his films, this collection explores Hartley's work from a variety of aesthetic, cultural, and economic contexts, while also looking closely at his collaborations with actors, his reworking of the romantic comedy and other genres, and the shifting economics of his filmmaking.

Agnes Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980-81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director's multifaceted reveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.

Contextualizing and closely reading each of Christopher Nolan's films, this collection examines the director's play with memory, time, trauma, masculinity, and identity.

Aki Kaurismaki is an enigma, an eminent auteur who claims his films are a joke. Since 1983, Kaurismaki has produced classically-styled films filled with cinephilic references to film history. He has earned an international art-house audience and many prizes, influencing such directors as Jim Jarmusch, Quentin Tarantino, and Wes Anderson. Yet Kaurismaki is often depicted as the loneliest, most nostalgic of Finns (except when he promotes his films, makes political statements, and runs his many businesses). He is also depicted as a bohemian known for outlandish actions and statements. The Cinema of Aki Kaurismaki is the first comprehensive English-language study of this eccentric director. Drawing on revisionist approaches to film authorship, the text links the filmmaker and his films to the stories and issues animating film aesthetics and history, nostalgia, late modernity, politics, commerce, film festivals, and national cinema.