For fifteen years before his untimely death, Andrew Britton produced a body of undeniably brilliant film criticism that has been largely ignored within academic circles. Though Britton's writings are extraordinary in their depth and range and are closely attuned to the nuances of the texts they examine, his humanistic approach was at odds with typical theory-based film scholarship. Britton on Film demonstrates that Britton's humanism is also his strength, as it presents all of his published writings together for the first time, including Britton's persuasive readings of such important Hollywood films as Meet Me in St. Louis, Spellbound, and Now, Voyager and of key European filmmakers such as Sergei Eisenstein, Jean-Luc Godard, and Bernardo Bertolucci. Renowned film scholar and editor Barry Keith Grant has assembled all of Britton's published essays of film criticism and theory for this volume, spanning the late 1970s to the early 1990s. The essays are arranged by theme: Hollywood cinema, Hollywood movies, European cinema, and film and cultural theory. In all, twenty-eight essays consider such varied films as Hitchcock's Spellbound, Jaws, The Exorcist, and Mandingo and topics as diverse as formalism, camp, psychoanalysis, imperialism, and feminism. Included are such well-known and important pieces as "Blissing Out: The Politics of Reaganite Entertainment" and "Sideshows: Hollywood in Vietnam," among the most perceptive discussions of these two periods of Hollywood history yet published. In addition, Britton's critiques of the ideology of Screen and Wisconsin formalism display his uncommon grasp of theory even when arguing against prevailing critical trends. An introduction by influential film critic Robin Wood, who was also Britton's teacher and friend, begins this landmark collection. Students and teachers of film studies as well as general readers interested in film and American popular culture will enjoy Britton on Film.
24-fps version of each title simultaneously with the Todd-AD one, the films could (unlike the Cinerama travelogues) also enjoy a regular general release after their roadshow engagements were played out. Thus, Todd-AO aimed to embrace ...
The Encyclopedia of Hollywood
Alexander, Film on the Left, 206–42; Richard M. Barsam, Nonfiction Film: A Critical History, rev. ed. (Bloomington: Indiana University Press, 1992), 148–51. 127. “Its funders removed it from distribution during the McCarthy era and only ...
22 Casey grew up in Los Angeles , where her father was a Foley artist . As a kid , Casey hung out in the studio , watching her dad work . “ My father told me that he thought I'd be good at Foley , Casey relates . So Casey decided to ...
The Magic of Movies
This guide to studying Indian film covers the vast range of cinemas of India, including the rise of Bollywood, and presents key theoretical approaches.
When the man reached the star , he thrust out his hand , exclaiming , " My God , Lenny Slye , where on earth have you been ? I haven't seen you in years . " * The late Sam Jaffe and Zero Mostel were an unlikely pair of close friends .
Richard Todd , who was actually Irish , played the Scotsman . I got somebody to teach him the Scottish brogue . The Hasty Heart is a beautiful story , and Todd gave a wonderful performance . D : How about Backfire , did you like that ?
One of the biggest complaints from programmers – of which I include myself – is that people don't watch enough films. ... Crash), Nic Roeg (Insignificance), Julian Temple (Glastonbury) and Jonathan Glazier (Sexy Beast).
The most rousing speech came from Christopher Plummer , a classical actor who wasted no time putting miles between himself and his home and native land three decades ago . Plummer is known for his disdainfully raised eyebrows rather ...