The Brothers Grim examines the inner workings of the Coens' body of work, discussing a movie in terms of its primary themes, social and political contexts, narrative techniques, influences, relationship to their other films, and the Coens' referential modus operandi that retreads cinema, literature, history, philosophy, and art to amplify their films' themes.
This examination of the distinctive cinema of Joel and Ethan Coen explores the theme of violence in their wide-ranging body of work. * Chronology of each of the Coen brothers' 13 major films * Photos of major characters from each of the Coen brothers' films under examination.
Miguel Mera and David Burnand present a volume that explores specific European filmic texts, composers and approaches to film scoring that have hitherto been neglected. Films involving British, French, German, Greek, Irish, Italian, Polish and Spanish composers are considered in detail. Important issues that permeate all the essays involve the working relationship of composer and director, the dialectic between the diegetic and non-diegetic uses of music in films, the music-image synergism and the levels of realism that are created by the audio-visual mix.
In the fifties British cinema won large audiences with popular war films and comedies, creating stars such as Dirk Bogarde and Kay Kendall, and introducing the stereotypes of war hero, boffin and comic bureaucrat which still help to define images of British national identity. In British Cinema in the Fifties, Christine Geraghty examines some of the most popular films of this period, exploring the ways in which they approached contemporary social issues such as national identity, the end of empire, new gender roles and the care of children. Through a series of case studies on films as diverse as It Always Rains on Sundayand Genevieve, Simbaand The Wrong Arm of the Law, Geraghty explores some of the key debates about British cinema and film theory, contesting current emphases on contradiction, subversion and excess and exploring the curious mix of rebellion and conformity which marked British cinema in the post-war era.-war era.
DIVWhether contending with nihilists, botching a kidnapping pay-off, watching as his beloved rug is micturated upon, or simply bowling and drinking Caucasians, the Dude—or El Duderino if you’re not into the whole brevity thing—abides. As embodied by Jeff Bridges, the main character of the 1998 Coen brothers’ film The Big Lebowski is a modern hero who has inspired festivals, burlesque interpretations, and even a religion (Dudeism). In time for the fifteenth anniversary of The Big Lebowski, film author and curator Jenny M. Jones tells the full story of the Dude, from how the Coen brothers came up with the idea for a modern LA noir to never-been-told anecdotes about the film’s production, its critical and commercial reception, and, finally, how it came to be such an international cult hit. Achievers, as Lebowski fans call themselves, will discover many hidden truths, including why it is that Walter Sobchak (John Goodman) is so obsessed with Vietnam, what makes Theodore Donald “Donny” Kerabatsos (Steve Buscemi) so confused all the time, how the film defies genre, and what unexpected surprise Bridges got during filming of the Gutterballs dream sequence. (Hint: it involved curly wigs and a gurney.) Interspersed throughout are sidebars, interviews with members of the film’s cast and crew, scene breakdowns, guest essays by prominent experts on Lebowski language, music, filmmaking techniques, and more, and hundreds of photographs—including many of artwork inspired by the film./div
The new, revised and expanded paperback edition of this widely-used textbook for film history brings up to date its authors' demonstration of how a close study of films in their historical and cultural settings can enrich our understanding of both cinema and historical events. It introduces three new chapters, one focusing on _The Blue Lamp_ and changes in cinema's depiction of the police from that key 1949 film up to the 1960s, another on the 'British New Wave' centring on _The Loneliness of the Long Distance Runner_, and a third which, starting from _Scandal_ and its recreation of the 1960s Profumo scandal, goes on to examine the 'retro' fashion for covering crimes of the 1940s, '50s and '60s in films of the 1980s like _Let Him Have It, Dance with a Stranger_ and _Chicago Joe and the Showgirl_. This edition has a new, accessible format and provides a valuable Resource Section for teachers, students and scholars.