Ronald Schwartz – författare
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7 produkter
7 produkter
E-bok
PDF, Engelska, 20011 205 kr
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This examniation of the cinematic style of film noir originals and their neo-noir remakes compares thirty-five films, beginning with Billy Wilder's classic Double Indemnity and concluding with Jim McBride's Breathless. In-depth analysis of the films explain the qualities and characteristics of film noir, while providing critical readings of both the originals and the remakes. The most significant films since 1944 are reviewed and reveal the ever-changing values in American society. As this study reveals, the noir style significantly impacted American film and neo-noir remakes attest to its continued popularity in cinematic art.This work will appeal to film scholars and to fans of film noir. Filmogrpahies and video information follow each chapter. Appendices briefly explain the roots of many noir films discussed in the text along with their subsequent remakes.
Inbunden, Engelska, 2001
1 113 kr
Skickas inom 10-15 vardagar
This examniation of the cinematic style of film noir originals and their neo-noir remakes compares thirty-five films, beginning with Billy Wilder's classic Double Indemnity and concluding with Jim McBride's Breathless. In-depth analysis of the films explain the qualities and characteristics of film noir, while providing critical readings of both the originals and the remakes. The most significant films since 1944 are reviewed and reveal the ever-changing values in American society. As this study reveals, the noir style significantly impacted American film and neo-noir remakes attest to its continued popularity in cinematic art.This work will appeal to film scholars and to fans of film noir. Filmogrpahies and video information follow each chapter. Appendices briefly explain the roots of many noir films discussed in the text along with their subsequent remakes.
Häftad, Engelska, 2005
620 kr
Skickas inom 5-8 vardagar
In 1931 Antonio Moreno completed Santa, Mexico's first true sound film. In it he established one of the foremost genres of Latin American cinema--the popular melodrama--which continues to this day. Latin American filmmakers came to the fore in the fifties and sixties and, as 1992's Como agua para chocolate (Like Water for Chocolate) showed, Latin American films continue to be a major part of the international film scene.In this work over 300 of the most significant films from Argentina, Brazil, Cuba, Mexico, Bolivia, Colombia, Ecuador, Peru and other Latin American countries are covered. Each entry includes the English title, director, year of release, running time, language, country and a detailed plot synopsis. Notes about the production and the filmmakers are also provided for many entries.
Häftad, Engelska, 2013
385 kr
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Film noir is a particularly American stylistic phenomenon (although named by French film critics) that permeated nearly every major, minor and independent Hollywood studio production from 1940 through the early 1960s. The author examines the best noir film from each studio and includes each studio's history, a meticulous plot outline and information on the careers of each studio's star roster. He also comments on producers, directors, screenwriters, camera men, composers, art and set directors and presents stills that represent the noir style. The book also has a discussion of independent productions and the second best film noirs of major and minor studios.
Inbunden, Engelska, 1995
966 kr
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An introduction to contemporary Latin American narrative published in the 1970s, presenting ten major writers. Each chapter covers the biography, career of the author and one important novel in depth while attempting to summarize major critical opinions about the development of Latin American narrative. The authors presented are Cabrera Infante, Carpentier, Cortazar, Donoso, Fuentes, Gardia Marquez, Lezama Lima, Puig, Sarduy, and Vargas Llosa.
Häftad, Engelska, 2005
744 kr
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According to many critics, the era of "Film Noir" ended with the 1958 release of Orson Welles' classic Touch of Evil. The style was not dead, but rather had been transformed, and two years later, Alfred Hitchcock ushered in a new era of "Noir" films with the release of his 1960 masterpiece, Psycho.Film scholar Ronald Schwartz examines the most significant representatives of this cinematic style, beginning with Hitchcock's shocker and concluding with Michael Mann's Collateral (2004). Schwartz provides in-depth analyses of over thirty of the best "Neo-Noir" films and explains the qualities and characteristics of the "new noir" style. He also explains how it differs from "Film Noir" of the forties and fifties.As this study reveals, the new style significantly impacted American film after 1960. In this chronological guide, Schwartz examines such landmark films as The Manchurian Candidate (1962), Point Blank (1967), The French Connection (1971), Chinatown (1974), Taxi Driver (1976), Body Heat (1981), Blood Simple (1984), Fatal Attraction (1987), The Grifters (1990), Reservoir Dogs (1992), The Usual Suspects (1995), L.A. Confidential (1997), Memento (2000), and Mystic River (2003).The book also includes an alphabetical filmography, listing over 650 films that in plot, style, or subject matter reflect the diversity of the genre. This reference work will be a valuable resource for film scholars and fans alike who wish to further explore the ever-evolving aspects of "Neo-Noir" cinema.
E-bok
Engelska, 20081 998 kr
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When it began, modern Spanish cinema was under strict censorship, forced to conform to the ideological demands of the Nationalist regime. In 1950, the New Spanish Cinema was born as a protest over General Francisco Franco''s policies: a new series of directors and films began to move away from the conformist line to offer a bold brand of Spanish realism. In the 1950s and early 1960s, filmmakers such as Juan Antonio Bardem, Luis García Berlanga, and Luis Buñuel expressed a liberal image of Spain to the world in such films as Muerte de un ciclista (Death of a Cyclist), Bienvenido Señor Marshall (Welcome Mr. Marshall), and Viridiana. The emergence of new directors continued into the sixties and seventies with Carlos Saura, José Luis Borau, Víctor Erice, and others. After Franco''s death in 1975, censorship was abolished and films openly explored such formerly taboo subjects as sexuality, drugs, the church, the army, and the Civil War. The Spanish cinema was no longer escapist and entertaining but, at long last, mirrored the society it depicted.While established directors like Saura, Bardem, and Berlanga continued to produce distinguished work, the "new wave" of Spanish cinema included brilliant films by the likes of Montxo Armendáriz (Tasio), Fernando Trueba (First Work), Imanol Uribe (The Death of Mikel), and Pedro Almodóvar (Women on the Verge of a Nervous Breakdown). In the last couple of decades, exciting works by established filmmakers and newcomers alike continue to be produced, including Alejandro Amenábar''s Thesis, José Luis Garcí''s The Grandfather, and Almodóvar''s Talk to Her and Volver.In Great Spanish Films Since 1950, Ronald Schwartz presents a compendium of outstanding Spanish films from the pre-Francoist era through the Spanish New Wave of the 80''s and 90''s and into the present day. Schwartz provides background, plot, and commentaries of key films from six decades of Spanish cinema. In addition to identifying