Controversies – serie

A study of controversies over The Passion of the Christ that shows how conservative Christians united in support of Mel Gibson and in opposition to liberal, secular and Jewish critics. King explores how the public battle in the USA over the editing and rating of this film generated more controversy than any other in recent cinematic history.

Sam Peckinpah's Straw Dogs ignited fierce debate among censors, critics and audiences on both sides of the Atlantic on its release in 1971. When Amy (Susan George) returns to her home village with her American peacenik husband David (Dustin Hoffman), the residents of this tight-knit Cornish community slowly turn on them. The sexual tension and latent violence finally erupt in an explosion of violence that includes a rape scene that has remained controversial to this day. The film was heavily cut for theatrical release in the US, and the pressinspired furore in the UK led to several local councils cutting or banning it outright. Later, caught in the wake of the 'video nasties' panic of the 1980s, Straw Dogs was refused a home-video certificate in the UK for nearly twenty years.Stevie Simkin's study sheds light on the film's treatment by the British Board of Film Classification (BBFC) and tracks its subsequent tortuous journey towards home-video release, buffeted by various shifts in the BBFC's policy on representations of sexual violence. But, equally importantly, Simkin provides a highly original accountof themaking of the film, drawing on extensive research in Peckinpah's archive, including analysis of draft scripts, notes, memos and contemporary press items, as well as insights from a number of Peckinpah's associates, and key figures at the BBFC.'A swift, compelling read. Thorough and scholarly without the faintest whiff of academic stuffiness, Stevie Simkin's study of Straw Dogs summons up the turmoil of the 1960s and 70s and illuminates the highly charged subject of sexual violence on film.'Stephen Farber, Film Critic, The Hollywood ReporterStevie Simkin is Reader in Drama and Film at the University of Winchester, UK. He is the author of, among other works, Revenge Tragedy: A New Casebook (2001), Early Modern Tragedy and the Cinema of Violence (2005), and, also in the Controversies series, a volume on Basic Instinct (forthcoming, 2013).

Bad Boy Bubby focuses on a 35 year-old man-child whose 'mother/keeper' keeps him imprisoned in a windowless hovel. From the moment it entered the festival cycle in 1993, the film has polarized audiences. This volume examines how and why the film produced such conflicting responses, as well as reviewing its current relevance.

Henry: Portrait of a Serial Killer (1986) is precisely that: a cold-eyed character study based on the crimes of Henry Lee Lucas, who was convicted of eleven murders in the 1980s. Director John McNaughton presents an unflinching portrayal of the semi-fictional Henry's crimes. The film proved immensely controversial, notably in the UK, where it confounded the British Board of Film Classification, which went so far as to re-edit a crucial scene, in addition to cutting others.Shaun Kimber's examination of the controversies surrounding Henry considers the history and implications of censors' decisions about the film on both sides of the Atlantic. Taking account of the views of audiences, critics and academics, both at the time the film was released and in the years since, Kimber also looks at the changing political, social and economic contexts within which the film was produced and has subsequently circulated. Henry continues to represent a key film within the horror genre, the history of censorship, and the study of film violence. Kimber's account of the film's production and its fortunes in the marketplace provides a fascinating case study of film censorship in action, and offers a sustained and wide-ranging analysis of what remains one of the most disturbing films ever made.'An excellent in-depth analysis… Kimber effectively combines close readings of key scenes with detailed consideration of the history of different versions of Henry and its various engagements with critics, supporters and regulatory authorities.'Geoff King, Brunel UniversityShaun Kimber is a Senior Lecturer in the Media School at Bournemouth University.

Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer's study explores the production, marketing and reception as well as the themes and style of A Clockwork Orange against the backdrop of Kubrick's previous work and of wider developments in cinema, culture and society from the 1950s to the early 1970s.

Falling Down (1993) caused controversy because of its depiction of violence and vigilantism, and was accused of racism in its portrayal of a Korean shopkeeper. Jude Davies explores the film's production and reception context, arguing that it was marketed as a deliberate provocation to a growing 'uncivility' in American society.

Gaspar Noé's Irreversible is uncompromising and visceral, an essential piece of modern cinema. Punctuated by dazzling avant-garde techniques, the film depicts, in reverse-chronological order, a woman's rape and her boyfriend and friend's subsequent hunt for vengeance through the underworld of Paris. Confrontational yet influential, Irreversible has polarized audiences since its release in 2002, making it until now almost impossible to study dispassionately. This first book-length study of Irreversible situates Noé's work in the ecosystem of contemporary French media, exploring how Irreversible and a larger-scale cinéma du corps actually inspired France's film resurgence in the early twenty-first century. From there, Palmer shows Irreversible to be one of the most subversive star vehicles in recent world cinema, in the form of its iconic lead performers, Vincent Cassel, Monica Bellucci, and Albert Dupontel. Investigating the spectrum of reactions created by Noé's film — through its pugnacious stylistic design, its on-screen deconstruction of Paris, its international critical reception and its unexpectedly utopian counterpoints to violence and despair — the book generates a new rational dialogue about Irreversible that challenges any instinct simply to reject or condemn it.

Henry: Portrait of a Serial Killer (1986) is precisely that: a cold-eyed character study based on the crimes of Henry Lee Lucas, who was convicted of eleven murders in the 1980s. Director John McNaughton presents an unflinching portrayal of the semi-fictional Henry''s crimes. The film proved immensely controversial, notably in the UK, where it confounded the British Board of Film Classification, which went so far as to re-edit a crucial scene, in addition to cutting others.Shaun Kimber''s examination of the controversies surrounding Henry considers the history and implications of censors'' decisions about the film on both sides of the Atlantic. Taking account of the views of audiences, critics and academics, both at the time the film was released and in the years since, Kimber also looks at the changing political, social and economic contexts within which the film was produced and has subsequently circulated. Henry continues to represent a key film within the horror genre, the history of censorship, and the study of film violence. Kimber''s account of the film''s production and its fortunes in the marketplace provides a fascinating case study of film censorship in action, and offers a sustained and wide-ranging analysis of what remains one of the most disturbing films ever made.''An excellent in-depth analysis… Kimber effectively combines close readings of key scenes with detailed consideration of the history of different versions of Henry and its various engagements with critics, supporters and regulatory authorities.''Geoff King, Brunel UniversityShaun Kimber is a Senior Lecturer in the Media School at Bournemouth University.

Sam Peckinpah''s Straw Dogs ignited fierce debate among censors, critics and audiences on both sides of the Atlantic on its release in 1971. When Amy (Susan George) returns to her home village with her American peacenik husband David (Dustin Hoffman), the residents of this tight-knit Cornish community slowly turn on them. The sexual tension and latent violence finally erupt in an explosion of violence that includes a rape scene that has remained controversial to this day. The film was heavily cut for theatrical release in the US, and the pressinspired furore in the UK led to several local councils cutting or banning it outright. Later, caught in the wake of the ''video nasties'' panic of the 1980s, Straw Dogs was refused a home-video certificate in the UK for nearly twenty years.Stevie Simkin''s study sheds light on the film''s treatment by the British Board of Film Classification (BBFC) and tracks its subsequent tortuous journey towards home-video release, buffeted by various shifts in the BBFC''s policy on representations of sexual violence. But, equally importantly, Simkin provides a highly original accountof themaking of the film, drawing on extensive research in Peckinpah''s archive, including analysis of draft scripts, notes, memos and contemporary press items, as well as insights from a number of Peckinpah''s associates, and key figures at the BBFC.''A swift, compelling read. Thorough and scholarly without the faintest whiff of academic stuffiness, Stevie Simkin''s study of Straw Dogs summons up the turmoil of the 1960s and 70s and illuminates the highly charged subject of sexual violence on film.''Stephen Farber, Film Critic, The Hollywood ReporterStevie Simkin is Reader in Drama and Film at the University of Winchester, UK. He is the author of, among other works, Revenge Tragedy: A New Casebook (2001), Early Modern Tragedy and the Cinema of Violence (2005), and, also in the Controversies series, a volume on Basic Instinct (forthcoming, 2013).

A study of controversies over The Passion of the Christ that shows how conservative Christians united in support of Mel Gibson and in opposition to liberal, secular and Jewish critics. King explores how the public battle in the USA over the editing and rating of this film generated more controversy than any other in recent cinematic history.

Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Kr mer''s study explores the production, marketing and reception as well as the themes and style of A Clockwork Orange against the backdrop of Kubrick''s previous work and of wider developments in cinema, culture and society from the 1950s to the early 1970s.

Paul Verhoeven''s 1992 thriller Basic Instinct - starring Michael Douglas as a police detective and Sharon Stone as the femme fatale Catherine Tramell - was one of the first mainstream ''erotic thrillers'', a film which shifted the boundaries for graphic representations of sex in Hollywood cinema. It remains a significant milestone in film censorship and controversy. In his fascinating study, the first in-depth account of the film, Stevie Simkin explores the unrest and protest that Basic Instinct sparked in the gay, lesbian and feminist communities in the US, incensed by what they saw as the script''s homophobia and misogyny.Simkin considers the social and cultural context in which Basic Instinct was made, examining the film''s troubled production history, the battles with censors, and its reception. He offers a number of readings of the movie, looking at its representation of bisexuality and the depiction of a ''transgressive'' female protagonist. He also focuses on key sequences, including the infamous interrogation scene, and details the cuts demanded by the censors, resulting in different UK and US versions. In conclusion, Simkin considers the legacy of Basic Instinct, and its enduring effect on media representations of the violent woman.STEVIE SIMKIN is Reader in Drama and Film at the University of Winchester, UK. His publications include work on cult television, popular music, and Renaissance drama. He is the author of, amongst other works, A Preface to Marlowe (1999), Revenge Tragedy: A New Casebook (2001), Early Modern Tragedy and the Cinema of Violence (2005), and, also in the Controversies series, a book on the Peckinpah film, Straw Dogs.

Bad Boy Bubby focuses on a 35 year-old man-child whose ''mother/keeper'' keeps him imprisoned in a windowless hovel. From the moment it entered the festival cycle in 1993, the film has polarized audiences. This volume examines how and why the film produced such conflicting responses, as well as reviewing its current relevance.

Falling Down (1993) caused controversy because of its depiction of violence and vigilantism, and was accused of racism in its portrayal of a Korean shopkeeper. Jude Davies explores the film''s production and reception context, arguing that it was marketed as a deliberate provocation to a growing ''uncivility'' in American society.

Gaspar Noé''s Irreversible is uncompromising and visceral, an essential piece of modern cinema. Punctuated by dazzling avant-garde techniques, the film depicts, in reverse-chronological order, a woman''s rape and her boyfriend and friend''s subsequent hunt for vengeance through the underworld of Paris. Confrontational yet influential, Irreversible has polarized audiences since its release in 2002, making it until now almost impossible to study dispassionately. This first book-length study of Irreversible situates Noé''s work in the ecosystem of contemporary French media, exploring how Irreversible and a larger-scale cinéma du corps actually inspired France''s film resurgence in the early twenty-first century. From there, Palmer shows Irreversible to be one of the most subversive star vehicles in recent world cinema, in the form of its iconic lead performers, Vincent Cassel, Monica Bellucci, and Albert Dupontel. Investigating the spectrum of reactions created by Noé''s film - through its pugnacious stylistic design, its on-screen deconstruction of Paris, its international critical reception and its unexpectedly utopian counterpoints to violence and despair - the book generates a new rational dialogue about Irreversible that challenges any instinct simply to reject or condemn it.

Falling Down (1993) caused controversy because of its depiction of violence and vigilantism, and was accused of racism in its portrayal of a Korean shopkeeper. Jude Davies explores the film''s production and reception context, arguing that it was marketed as a deliberate provocation to a growing ''uncivility'' in American society.

Sam Peckinpah''s Straw Dogs ignited fierce debate among censors, critics and audiences on both sides of the Atlantic on its release in 1971. When Amy (Susan George) returns to her home village with her American peacenik husband David (Dustin Hoffman), the residents of this tight-knit Cornish community slowly turn on them. The sexual tension and latent violence finally erupt in an explosion of violence that includes a rape scene that has remained controversial to this day. The film was heavily cut for theatrical release in the US, and the pressinspired furore in the UK led to several local councils cutting or banning it outright. Later, caught in the wake of the ''video nasties'' panic of the 1980s, Straw Dogs was refused a home-video certificate in the UK for nearly twenty years.Stevie Simkin''s study sheds light on the film''s treatment by the British Board of Film Classification (BBFC) and tracks its subsequent tortuous journey towards home-video release, buffeted by various shifts in the BBFC''s policy on representations of sexual violence. But, equally importantly, Simkin provides a highly original accountof themaking of the film, drawing on extensive research in Peckinpah''s archive, including analysis of draft scripts, notes, memos and contemporary press items, as well as insights from a number of Peckinpah''s associates, and key figures at the BBFC.''A swift, compelling read. Thorough and scholarly without the faintest whiff of academic stuffiness, Stevie Simkin''s study of Straw Dogs summons up the turmoil of the 1960s and 70s and illuminates the highly charged subject of sexual violence on film.''Stephen Farber, Film Critic, The Hollywood ReporterStevie Simkin is Reader in Drama and Film at the University of Winchester, UK. He is the author of, among other works, Revenge Tragedy: A New Casebook (2001), Early Modern Tragedy and the Cinema of Violence (2005), and, also in the Controversies series, a volume on Basic Instinct (forthcoming, 2013).

Bad Boy Bubby focuses on a 35 year-old man-child whose ''mother/keeper'' keeps him imprisoned in a windowless hovel. From the moment it entered the festival cycle in 1993, the film has polarized audiences. This volume examines how and why the film produced such conflicting responses, as well as reviewing its current relevance.

Drawing on new research in the Stanley Kubrick Archive at the University of the Arts London, Krämer''s study explores the production, marketing and reception as well as the themes and style of A Clockwork Orange against the backdrop of Kubrick''s previous work and of wider developments in cinema, culture and society from the 1950s to the early 1970s.