Böcker av R. J. Cardullo

Modern(ist) Drama: Essays in Criticism is a casebook of ideas and arguments about Western modern as well as avant-garde drama. In this volume, the author gathers together a uniquely wide ranging selection of original essays whose subjects span the late nineteenth and most of the twentieth century and reach forward into the twenty-first. He thereby provides access to the thinking behind much of the most stimulating playwriting (and performance) the modernists had to offer, in addition to supplying guidelines to understanding current drama's most adventurous developments.

FILM CULTUREJanuary, 1955 Volume 1 No. 1 "Film Culture" on Film Art: Interviews and Statements, 1955-1971 brings together nineteen directors-Aldrich, Antonioni, Brakhage, Breer, Buñuel, Cukor, Dassin, Dreyer, Fellini, Huston, Leacock, Lubitsch, Melville, Milestone, Pasolini, Richter, Rossellini, Sternberg, and Vertov-who are among the leading auteurs in the history of cinema. Also included, in an appendix, are interviews with the cinematographer Boris Kaufman, the screenwriter Charles Spaak, and the playwright Arthur Miller. The interviews were all commissioned for the legendary American movie journal Film Culture, which was founded by Adolfas Mekas and his brother Jonas in 1954 and became best known for exploring the avant-garde cinema in depth. (Film Culture ceased publication in 1996; during its existence, the magazine produced 79 issues.) Conducted in Film Culture's famously critical and committed style, the interviews in this volume catch each director or practitioner at a crucial juncture in his development as an artist, and stand as a historical record of the dominance of the Euro-American tradition in cinematic art-whether of the narrative or experimental kind. This is the first such collection of its kind in English, edited with a contextualizing introduction, critical biographies, career filmographies, and a comprehensive index by R. J. Cardullo. R. J. Cardullo was for twenty years, from 1987 to 2007, the regular film critic for the Hudson Review in New York. He is the author or editor of a number of volumes, including Film Analysis: A Casebook (Wiley-Blackwell, 2015), Soundings on Cinema: Speaking to Film and Film Artists (SUNY Press, 2008), and In Search of Cinema: Writings on International Film Art (McGill-Queens UP 2004). Cardullo is also the chief American translator of the film criticism of the Frenchman André Bazin, with several volumes to his credit. His own film criticism has been translated into such languages as Russian, German, Chinese, Turkish, Spanish, Korean, and Romanian. After earning his doctoral degree from Yale University, Cardullo taught for four decades at the University of Michigan, Colgate, Wesleyan, and New York University, as well as outside the United States.

FILM CULTUREJanuary, 1955 Volume 1 No. 1 "Film Culture" on Film Art: Interviews and Statements, 1955-1971 brings together nineteen directors-Aldrich, Antonioni, Brakhage, Breer, Buñuel, Cukor, Dassin, Dreyer, Fellini, Huston, Leacock, Lubitsch, Melville, Milestone, Pasolini, Richter, Rossellini, Sternberg, and Vertov-who are among the leading auteurs in the history of cinema. Also included, in an appendix, are interviews with the cinematographer Boris Kaufman, the screenwriter Charles Spaak, and the playwright Arthur Miller. The interviews were all commissioned for the legendary American movie journal Film Culture, which was founded by Adolfas Mekas and his brother Jonas in 1954 and became best known for exploring the avant-garde cinema in depth. (Film Culture ceased publication in 1996; during its existence, the magazine produced 79 issues.) Conducted in Film Culture's famously critical and committed style, the interviews in this volume catch each director or practitioner at a crucial juncture in his development as an artist, and stand as a historical record of the dominance of the Euro-American tradition in cinematic art-whether of the narrative or experimental kind. This is the first such collection of its kind in English, edited with a contextualizing introduction, critical biographies, career filmographies, and a comprehensive index by R. J. Cardullo. R. J. Cardullo was for twenty years, from 1987 to 2007, the regular film critic for the Hudson Review in New York. He is the author or editor of a number of volumes, including Film Analysis: A Casebook (Wiley-Blackwell, 2015), Soundings on Cinema: Speaking to Film and Film Artists (SUNY Press, 2008), and In Search of Cinema: Writings on International Film Art (McGill-Queens UP 2004). Cardullo is also the chief American translator of the film criticism of the Frenchman André Bazin, with several volumes to his credit. His own film criticism has been translated into such languages as Russian, German, Chinese, Turkish, Spanish, Korean, and Romanian. After earning his doctoral degree from Yale University, Cardullo taught for four decades at the University of Michigan, Colgate, Wesleyan, and New York University, as well as outside the United States.

Understanding Drama contains 70 short essays that analyse a number of geographically diverse, historically significant plays-among them Oedipus Tyrannos, King Lear, Tartuffe, Long Day's Journey into Night, Hedda Gabler, Androcles and the Lion, Our Town, A Streetcar Named Desire, Death of a Salesman, Riders to the Sea, Old Times, Who's Afraid of Virginia Woolf?, Glengarry Glen Ross, Buried Child, The Threepenny Opera, and Edward II. Supplementing these model essays are a Step-by-Step Approach to Play Analysis, a Glossary of Dramatic Terms, Study Guides, Topics for Writing and Discussion, Bibliographical Resources, and a comprehensive Index. Written with students in mind, these critical essays cover many important plays included in most dramatic literature courses and will provide students with practical models to help them improve their own writing and analytical skills. Presenting a detailed yet objective examination of the structure, style, imagery, and language of the plays, this textbook also offers analyses of character, action, dialogue, and setting that can be translated into concepts for theatrical production-or that can at least provide the kind of understanding of a play with which a theatre practitioner could fruitfully quarrel.