Peter William Evans – författare

Carol Reed is one of the truly outstanding directors of British cinema, and one whose work is long overdue for reconsideration. This major study ranges over Reed’s entire career, combining observation of general trends and patterns with detailed analysis of twenty films, both acknowledged masterpieces and lesser-known works.Evans avoids a simplistic auteurist approach, placing the films in their autobiographical, socio-political and cultural contexts and relating these to the analysis of Reed’s art. The critical approach combines psychoanalysis, gender theory, and the analysis of form. Archival research is also relied on to clarify Reed’s relations with his creative team, financial backers and others.Films examined include Bank Holiday, A Girl Must Live, Odd Man Out, The Fallen Idol, The Third Man, Night Train to Munich, The Way Ahead, Outcast of the Islands, Trapeze and Oliver!.

Top Hat is the first volume to spotlight this classic Hollywood film, probing the musical genre, notions of romance and subjectivity, as well as the contested relations between the sexes. Offers a detailed analysis of one of Hollywood's greatest musicals, including a comprehensive survey of the film's production, promotion and reception, all measured against the background of 1930s socio-political contexts in the USAExplores the musical genre and questions of (gendered) national identity, romance, subjectivity and the notion of the coupleWritten in a clear, accessible style, Top Hat probes text and context carefully to appeal to the student and teacher of the musical and of Hollywood film history, as well as the film-loving general reader

Top Hat is the first volume to spotlight this classic Hollywood film, probing the musical genre, notions of romance and subjectivity, as well as the contested relations between the sexes. Offers a detailed analysis of one of Hollywood's greatest musicals, including a comprehensive survey of the film's production, promotion and reception, all measured against the background of 1930s socio-political contexts in the USAExplores the musical genre and questions of (gendered) national identity, romance, subjectivity and the notion of the coupleWritten in a clear, accessible style, Top Hat probes text and context carefully to appeal to the student and teacher of the musical and of Hollywood film history, as well as the film-loving general reader

Top Hat is the first volume to spotlight this classic Hollywood film, probing the musical genre, notions of romance and subjectivity, as well as the contested relations between the sexes. Offers a detailed analysis of one of Hollywood''s greatest musicals, including a comprehensive survey of the film''s production, promotion and reception, all measured against the background of 1930s socio-political contexts in the USA Explores the musical genre and questions of (gendered) national identity, romance, subjectivity and the notion of the couple Written in a clear, accessible style, Top Hat probes text and context carefully to appeal to the student and teacher of the musical and of Hollywood film history, as well as the film-loving general reader

Top Hat is the first volume to spotlight this classic Hollywood film, probing the musical genre, notions of romance and subjectivity, as well as the contested relations between the sexes. Offers a detailed analysis of one of Hollywood''s greatest musicals, including a comprehensive survey of the film''s production, promotion and reception, all measured against the background of 1930s socio-political contexts in the USA Explores the musical genre and questions of (gendered) national identity, romance, subjectivity and the notion of the couple Written in a clear, accessible style, Top Hat probes text and context carefully to appeal to the student and teacher of the musical and of Hollywood film history, as well as the film-loving general reader

Carol Reed is one of the truly outstanding directors of British cinema, and one whose work is long overdue for reconsideration. This major study ranges over Reed’s entire career, combining observation of general trends and patterns with detailed analysis of twenty films, both acknowledged masterpieces and lesser-known works.Evans avoids a simplistic auteurist approach, placing the films in their autobiographical, socio-political and cultural contexts and relating these to the analysis of Reed’s art. The critical approach combines psychoanalysis, gender theory, and the analysis of form. Archival research is also relied on to clarify Reed’s relations with his creative team, financial backers and others.Films examined include Bank Holiday, A Girl Must Live, Odd Man Out, The Fallen Idol, The Third Man, Night Train to Munich, The Way Ahead, Outcast of the Islands, Trapeze and Oliver!.

This text ranges widely over key films and moments from stages of Luis Bunuel''s career. It locates and re-appraises Bunuel''s films with particular emphasis on the national cinemas and varied cultures with which he was identified.

This text ranges widely over key films and moments from stages of Luis Bunuel''s career. It locates and re-appraises Bunuel''s films with particular emphasis on the national cinemas and varied cultures with which he was identified.

This text analyses director Pedro Almodovar''s insights into gender, sexuality and subjectivity in his film Women on the Verge of a Nervous Breakdown. The author draws on a range of psychoanalytic and critical concepts and sees the film as an account of the often tyrannical spell of sexual desire, of the anxieties of relationships and families, but also of the possibilities of personal liberation. Peter William Evans also discusses the recent history of Spain and ties the film''s concerns into the social revolution which occurred after the death of Franco.

This text analyses director Pedro Almodovar''s insights into gender, sexuality and subjectivity in his film Women on the Verge of a Nervous Breakdown. The author draws on a range of psychoanalytic and critical concepts and sees the film as an account of the often tyrannical spell of sexual desire, of the anxieties of relationships and families, but also of the possibilities of personal liberation. Peter William Evans also discusses the recent history of Spain and ties the film''s concerns into the social revolution which occurred after the death of Franco.

Written on the Wind (1956) is one of classical Hollywood''s most striking films andranks among Douglas Sirk''s finest achievements. An intense melodrama aboutan alcoholic playboy who marries the woman his best friend secretly loves,the film is highly stylised, psychologically complex, and marked by Sirk''scharacteristic charting of the social realities of 1950s America. This first single study of Written on the Wind reassesses the film''s artisticheritage and place within the wider framework of contemporary Americanculture. Incorporating original archival research, Peter William Evans examinesthe production, promotion and reception of Written on the Wind, exploring itsthemes – of time, memory, space, family, class and sex – as well as its brillianceof form. Its vivid aesthetics, powerful performances and profound treatmentof human emotions, make Written on the Wind a masterpiece of Hollywoodmelodrama.

Pedro Almodóvar’s 1988 black comedy-melodrama Women on the Verge of a Nervous Breakdown established its director as one of the most exciting of European film-making talents. An often hilarious study of sexual mores, Women on the Verge has a central character, Pepa (Carmen Maura), as warm and richly drawn as any modern film heroine. Made strong and self-reliant by suffering in a troubled relationship, Pepa is the centre of a network of lovers, friends and family who represent a vivid cross-section of Spanish society. Peter William Evans provides a formidable analysis of Almodóvar’s insights into gender, sexuality and identity. Evans sees Women on the Verge as concerned with the often tyrannical spell of sexual desire and the anxieties of relationships and families, but also with the possibilities for personal liberation. He discusses the film in the context of the history of Spain and the social revolution that occurred after the death of Franco.In his foreword to this new edition, Evans reflects upon Women on the Verge in the light of Almodóvar’s subsequent films, and the impact of Carmen Maura’s performance as Pepa on the representation of women in Spanish cinema.

Pedro Almodóvar''s 1988 black comedy-melodrama Women on the Verge of a Nervous Breakdown established its director as one of the most exciting of European film-making talents. An often hilarious study of sexual mores, Women on the Verge has a central character, Pepa (Carmen Maura), as warm and richly drawn as any modern film heroine. Made strong and self-reliant by suffering in a troubled relationship, Pepa is the centre of a network of lovers, friends and family who represent a vivid cross-section of Spanish society. Peter William Evans provides a formidable analysis of Almodóvar''s insights into gender, sexuality and identity. Evans sees Women on the Verge as concerned with the often tyrannical spell of sexual desire and the anxieties of relationships and families, but also with the possibilities for personal liberation. He discusses the film in the context of the history of Spain and the social revolution that occurred after the death of Franco. In his foreword to this new edition, Evans reflects upon Women on the Verge in the light of Almodóvar''s subsequent films, and the impact of Carmen Maura''s performance as Pepa on the representation of women in Spanish cinema.

Pedro Almodóvar''s 1988 black comedy-melodrama Women on the Verge of a Nervous Breakdown established its director as one of the most exciting of European film-making talents. An often hilarious study of sexual mores, Women on the Verge has a central character, Pepa (Carmen Maura), as warm and richly drawn as any modern film heroine. Made strong and self-reliant by suffering in a troubled relationship, Pepa is the centre of a network of lovers, friends and family who represent a vivid cross-section of Spanish society. Peter William Evans provides a formidable analysis of Almodóvar''s insights into gender, sexuality and identity. Evans sees Women on the Verge as concerned with the often tyrannical spell of sexual desire and the anxieties of relationships and families, but also with the possibilities for personal liberation. He discusses the film in the context of the history of Spain and the social revolution that occurred after the death of Franco. In his foreword to this new edition, Evans reflects upon Women on the Verge in the light of Almodóvar''s subsequent films, and the impact of Carmen Maura''s performance as Pepa on the representation of women in Spanish cinema.

This text ranges widely over key films and moments from stages of Luis Bunuel's career. It locates and re-appraises Bunuel's films with particular emphasis on the national cinemas and varied cultures with which he was identified.

Written on the Wind (1956) is one of classical Hollywood's most striking films andranks among Douglas Sirk's finest achievements. An intense melodrama aboutan alcoholic playboy who marries the woman his best friend secretly loves,the film is highly stylised, psychologically complex, and marked by Sirk'scharacteristic charting of the social realities of 1950s America.This first single study of Written on the Wind reassesses the film's artisticheritage and place within the wider framework of contemporary Americanculture. Incorporating original archival research, Peter William Evans examinesthe production, promotion and reception of Written on the Wind, exploring itsthemes – of time, memory, space, family, class and sex – as well as its brillianceof form. Its vivid aesthetics, powerful performances and profound treatmentof human emotions, make Written on the Wind a masterpiece of Hollywoodmelodrama.