Böcker i Wisconsin Film Studies-serien

Cy Endfield (1914-1995) was a filmmaker who was also fascinated by the worlds of close-up magic, science, and invention. After directing several distinctive low-budget films in Hollywood, he was blacklisted in 1951 and fled to Britain. The fruit of years of archival research and personal interviews by Brian Neve, this title documents Endfield's many identities: among them second-generation immigrant, Jew, Communist, and exile.

Mai Elizabeth Zetterling (1925-94) is among the most exceptional postwar female filmmakers. Critics have compared her work to that of Bergman, Bunuel, and Fellini, but Zetterling had her own distinct style. Mariah Larsson provides a lively and authoritative take on Zetterling's legacy and complicated position within film and women's history.

"In the temple of cinema, there are images, light, and reality. Sergei Parajanov was the master of that temple."--Jean-Luc Godard

Examining the vanguard of New Turkish Cinema, Laurence Raw shows how these films reveal the effects of profound socio economic change on ordinary people in contemporary Turkey. Raw interleaves his film discussion with thoughtful commentary on nationalism, gender, personal identity, and cultural pluralism.

John Williams has penned some of the most unforgettable film scores - while netting more than fifty Academy Award nominations. This updated edition of Emilio Audissino's groundbreaking volume takes stock of Williams's creative process and achievements, including the most recent sequels in the film franchises that made him famous.

Originally published under the title Continental Films: cinâema franðcais sous contrãole allemand.

Originally published under the title Jean-Luc Godard: De permanente Revolutionèar, Ã2020 by Paul Zsolnay Verlag Ges.m.b.H., Wien.

William Somerset Maugham (1874-1965) was one of the most prominent and productive authors of the twentieth century-and his works have been among the most cinematically transformed in history. For more than five decades, adaptations of his plays, stories, and novels dominated movie theaters and, later, television screens. More than ninety individual works were filmed, and for many filmgoers his name was a greater draw than that of the director. Works such as Of Human Bondage, "The Letter," The Painted Veil, "Rain," The Razor's Edge, and others were produced multiple times, with starring roles sought by actors like Bette Davis, Gloria Swanson, Greta Garbo, Lionel Barrymore, Charles Laughton, and Bill Murray.This study of the famous author explores the relationship between literature and film, what is involved in adaptation, and how best to judge films based on celebrated books. Robert Calder, the world's leading scholar of Maugham's work, offers fascinating production histories, insight into both fortunate and misguided casting decisions, shrewd analyses of performances and film techniques, and summaries of public and critical responses. Maugham's characters were often conflicted, iconoclastic, and morally out of step with their times, which may have accounted for the popularity of his fiction. Most of Maugham's works could be adapted to satisfy the tastes of moviegoers and the demands of the Hays Office censors, if not the expectations of their author.

Julia Roberts played a prostitute, famously, in Pretty Woman. So did Jodie Foster in Taxi Driver, Jane Fonda in Klute, Anna Karina in Vivre sa vie, Greta Garbo in Anna Christie, and Charlize Theron, who won an Academy Award for Monster. This engaging and generously illustrated study explores the depiction of female prostitute characters and prostitution in world cinema, from the silent era to the present-day industry. From the woman with control over her own destiny to the woman who cannot get away from her pimp, Russell Campbell shows the diverse representations of prostitutes in film. Marked Women classifies fifteen recurrent character types and three common narratives, many of them with their roots in male fantasy. The "Happy Hooker," for example, is the liberated woman whose only goal is to give as much pleasure as she receives, while the "Avenger," a nightmare of the male imagination, represents the threat of women taking retribution for all the oppression they have suffered at the hands of men. The "Love Story," a common narrative, represents the prostitute as both heroine and anti-heroine, while "Condemned to Death" allows men to manifest, in imagination only, their hostility toward women by killing off the troubled prostitute in an act of cathartic violence. The figure of the woman whose body is available at a price has fascinated and intrigued filmmakers and filmgoers since the very beginning of cinema, but the manner of representation has also been highly conflicted and fiercely contested. Campbell explores the cinematic prostitute as a figure shaped by both reactionary thought and feminist challenges to the norm, demonstrating how the film industry itself is split by fascinating contradictions.

Escape Artist--based on Glenn Lovell's extensive interviews with John Sturges, his wife and children, and numerous stars including Clint Eastwood, Robert Duvall, and Jane Russell--is the first biography of the director of such acclaimed films as The Magnificent Seven, The Great Escape, and Bad Day at Black Rock.