Kathleen McHugh – författare
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2 produkter
2 produkter
248 kr
Skickas inom 5-8 vardagar
In considering Jane Campion's early award-winning short films on through international sensation The Piano and beyond, Kathleen McHugh traces the director's distinctive visual style as well as her commitment to consistently renovating the conventions of "women's films." By refusing to position her female protagonists as victims, McHugh argues, Campion scrupulously avoids the moral structures of melodrama, and though she often works with the narratives, mise-en-scene, and visual tropes typical of that genre, her films instead invite a distanced or even amused engagement. Jane Campion concludes with four brief, revelatory interviews and a filmography. Campion spoke twice with Michel Ciment—after the screening of her short and medium-length films at the Cannes Film Festival 1986, and three years later, after the Cannes screening of Sweetie. Judith Lewis narrates a Beverly Hills interview with Campion that followed the release of Holy Smoke, and Lizzie Francke's interview, reprinted from Sight and Sound,centers on Campion's film In the Cut, adapted from Susanna Moore's novel.A volume in the series Contemporary Film Directors, edited by James R. Naremore
366 kr
Skickas inom 10-15 vardagar
Immediately following the Korean War, South Korea's film industry flourished with vibrant local production of high-quality films. Characterized by its stunning melodramas, this ""Golden Age"" of South Korean cinema produced a body of work as historically, aesthetically, and politically significant as that of other well-known national film movements. South Korean Golden Age Melodrama is the first English-language book to examine this era of remarkable activity, covering the specifics of the Golden Age as well as the influences it has had on contemporary South Korean film and television. Combining textual analysis, reception, and historical/cultural detail, South Korean Golden Age Melodrama skillfully renders the complexity of the Golden Age. Contributors cite both domestic and foreign films to demonstrate the generic and transnational impact of Golden Age cinema, sometimes calling into question the very integrity of ""national cinema"" in light of the workings of a transcultural cinema sphere during that era.