Interviews with the director of Superstar: The Karen Carpenter Story, Poison, Velvet Goldmine, Safe, and Far from Heaven
... Klute and The Parallax View (1974), Francis Ford Coppola's The Godfather (1972), Robert Altman's McCabe and Mrs. Miller (1971) and Nashville (1975), Roman Polanski's Chinatown (1974), and even William Friedkin's The Exorcist (1973).
In a series of smart, informative essays, this book traces his career from its roots in New Queer Cinema to the Oscar-nomainated 'Far From Heaven.
Mrs. Leacock: I do apologize, Mrs. Whitaker, but candid views are always the best. Cathy: Darling, this is Mrs. Leacock, the lady I told you about, from the Weekly Gazette. Frank: Ah, yes. The fine lady who wants to air all our dirty ...
The volume illustrates the influence of feminist theory on Haynes’s aesthetic vision, most evident in his persistent interest in the political and formal possibilities afforded by the genre of the woman’s film.
The volume illustrates the influence of feminist theory on Haynes’s aesthetic vision, most evident in his persistent interest in the political and formal possibilities afforded by the genre of the woman’s film.
"Banned by the Carpenter Estate, Todd Haynes' experimental biopic Superstar: The Karen Carpenter Story - which uses dolls to narrate the tragic life of the American singer - has attained...
Complete with behind-the-scenes diary entries from the set of Vachon's best-known fillms, Shooting to Kill offers all the satisfaction of an intimate memoir from the frontlines of independent filmmakins, from one of its most successful ...
The Magnatech party, when things really start to go downhill Others have pointed out that Haynes's 1950s – and Far From Heaven is set quite specifically in the winter of 1957–8 – are not quite what they seem, either.
Offers the script of the film about a glam rock star who, overwhelmed by his star persona, stages a fake assassination and disappears into oblivion until his secret is discovered by a journalist and former fan
Through intimate encounters with the life and work of five contemporary gay male directors, this book develops a framework for interpreting what it means to make a gay film or adopt a gay point of view.