ReFocus: The American Directors Series – serie

The first scholarly work to focus on the work of American director and producer, Susan SeidelmanContains an exclusive chapter-length interview in which Seidelman examines her career and discusses many of her lesser-known films, some for the first timeSuggests a reframing of authorship theory to be more inclusive of especially women directors who work in both film and televisionExamines Seidelman's shifts from independents to Hollywood studio movies to television and made-for-TV movies in relationship to changes in the industryProvides cultural context for Seidelman's films, including representations of gender, race and disabilityIncludes genre analysis to illustrate how Seidelman twists genres for feminist stories and readingsAssesses Seidelman's critical reputation, including instances of mismatch between critical and audience receptionThis first collection devoted to Susan Seidelman director, producer and visionary of feminist American cinema and television includes never-before-published archival material and an interview with insights into her process and thoughts on #timesup and the future of the industry. Her debut feature, Smithereens, was the first American independent film to compete for the Palme d'Or at Cannes.Her knack for casting saw her insist on Madonna for Desperately Seeking Susan before Madonna was famous. Seidelman directed Meryl Streep and John Malkovich in their first comedy features, Roseanne Barr in her first feature film and Laverne Cox in one of her earliest features. Seidelman also directed the Sex and the City pilot, kickstarting a global phenomenon.Seidelman's career is one of firsts, yet little is written about her. This collection begins filling that gap while opening the door for additional scholarship, making this a valuable text for years to come.

This first collection devoted to Susan Seidelman director, producer and visionary of feminist American cinema and television includes never-before-published archival material and an interview with insights into her process and thoughts on #timesup and the future of the industry. Her debut feature, Smithereens, was the first American independent film to compete for the Palme d'Or at Cannes. Her knack for casting saw her insist on Madonna for Desperately Seeking Susan before Madonna was famous. Seidelman directed Meryl Streep and John Malkovich in their first comedy features, Roseanne Barr in her first feature film and Laverne Cox in one of her earliest features. Seidelman also directed the Sex and the City pilot, kickstarting a global phenomenon. Seidelman's career is one of firsts, yet little is written about her. This collection begins filling that gap while opening the door for additional scholarship, making this a valuable text for years to come.

Born in Oklahoma into the Chickasaw Nation, Wallace Fox directed films over the span of four decades. Known primarily for Westerns and mystery films, his output starred such famed actors as Bela Lugosi, Bob Steele, and Lon Chaney. ReFocus: The Films of Wallace Fox includes analysis of some of his best known films, including Wild Beauty, Gun Town, The Corpse Vanishes, Bowery at Midnight, Career Girl and Brenda Starr, Reporter. It reclaims the history and artistry of this major talent.

Born in Oklahoma into the Chickasaw Nation, Wallace Fox directed films over the span of four decades. Known primarily for Westerns and mystery films, his output starred such famed actors as Bela Lugosi, Bob Steele, and Lon Chaney. ReFocus: The Films of Wallace Fox includes analysis of some of his best known films, including Wild Beauty, Gun Town, The Corpse Vanishes, Bowery at Midnight, Career Girl and Brenda Starr, Reporter. It reclaims the history and artistry of this major talent.

The first academic study on the work of Wes Craven16 chapters offering a wide discussion of the director's careerEssential addition to horror film studies curriculumIncludes all facets of the filmmaker's work, including his TV contributions and his melodrama Music of the HeartThis edited collection provides an insightful look at the career and output of American horror director Wes Craven, whose most famous films such as The Last House on the Left (1972), A Nightmare on Elm Street (1984) and Scream (1996) came to define the form in the later decades of the 20th century. Also paying attention to Craven's more underrated work, from Deadly Friend (1986) through to his melodrama Music of the Heart (1999), this academic study argues that the filmmaker's influence can still be felt on cinema today, many years after his passing. Featuring 16 chapters and an extensive introduction, this addition to the ReFocus line will prove to be essential reading for scary movie connoisseurs and brings a valuable contribution to the growing field of horror film studies.

This edited collection provides an insightful look at the career and output of American horror director Wes Craven, whose most famous films such as The Last House on the Left (1972), A Nightmare on Elm Street (1984) and Scream (1996) came to define the form in the later decades of the 20th century. Also paying attention to Craven's more underrated work, from Deadly Friend (1986) through to his melodrama Music of the Heart (1999), this academic study argues that the filmmaker's influence can still be felt on cinema today, many years after his passing. Featuring 16 chapters and an extensive introduction, this addition to the ReFocus line will prove to be essential reading for scary movie connoisseurs and brings a valuable contribution to the growing field of horror film studies.

Examines the extensive and diverse oeuvre of American filmmaker William WylerExplores Wyler's work in connection with current themes and topics in film studiesProvides cultural and political contexts for Wyler's films, including representations of class, gender, and raceAssesses the relationship between classic Hollywood's studio system and the auteur theory and Wyler's hybrid influence on the history of cinemaIn his forty-five-year career, William Wyler not only traversed the silent and the sound eras, but also connected classic Hollywood to new Hollywood." The range of his films also spans a wide spectrum of genres: from westerns to adaptations of classic literature, from crime thrillers to rom-coms, and from controversial topics to musicals. His three Oscars for Best Director are an achievement surpassed only by John Ford. His life experience as one of Hollywood's early immigrant artists also speaks to the foreign influence on classic Hollywood. Yet despite his awards and commercial success, artistic recognition has mostly eluded Wyler. This volume of the ReFocus series attempts to analyze this Wyler paradox and also seeks to contextualize and theorize selections from Wyler's canon and his relationship to American cinematic history and American culture. This collection has gathered contributions from international authors from extremely diverse backgrounds, and therefore differing perspectives on Wyler and his work."

In his forty-five-year career, William Wyler not only traversed the silent and the sound eras, but also connected classic Hollywood to "new Hollywood." The range of his films also spans a wide spectrum of genres: from westerns to adaptations of classic literature, from crime thrillers to rom-coms, and from controversial topics to musicals. His three Oscars for Best Director are an achievement surpassed only by John Ford. His life experience as one of Hollywood’s early immigrant artists also speaks to the foreign influence on classic Hollywood. Yet despite his awards and commercial success, artistic recognition has mostly eluded Wyler. This volume of the ReFocus series attempts to analyze this Wyler paradox and also seeks to contextualize and theorize selections from Wyler’s canon and his relationship to American cinematic history and American culture. This collection has gathered contributions from international authors from extremely diverse backgrounds, and therefore differing perspectives on Wyler and his work.

Over his four-decade long career, Abel Ferrara has built himself a reputation as one of the most audacious and unconventional filmmakers in contemporary cinema. After his beginnings in the exploitation circuit of the late 1970s he become one of the central figures in the indie wave of the 1980s and 90s and is now an established arthouse director whose versatile oeuvre crosses the boundaries of cult, independent and Hollywood cinema.ReFocus: The Films of Abel Ferrara offers a comprehensive critical survey of the director's work. The volume brings together a broad range of methodological, theoretical, historical and philosophical perspectives on Ferrara's work, and case studies include Ms 45, The Driller Killer, Bad Lieutenant, Pasolini and Welcome to New York.

Over his four-decade long career, Abel Ferrara has built himself a reputation as one of the most audacious and unconventional filmmakers in contemporary cinema. After his beginnings in the exploitation circuit of the late 1970s he become one of the central figures in the indie wave of the 1980s and 90s and is now an established arthouse director whose versatile oeuvre crosses the boundaries of cult, independent and Hollywood cinema.ReFocus: The Films of Abel Ferrara offers a comprehensive critical survey of the director’s work. The volume brings together a broad range of methodological, theoretical, historical and philosophical perspectives on Ferrara’s work, and case studies include Ms 45, The Driller Killer, Bad Lieutenant, Pasolini and Welcome to New York.

Over his four-decade long career, Abel Ferrara has built himself a reputation as one of the most audacious and unconventional filmmakers in contemporary cinema. After his beginnings in the exploitation circuit of the late 1970s he become one of the central figures in the indie wave of the 1980s and 90s and is now an established arthouse director whose versatile oeuvre crosses the boundaries of cult, independent and Hollywood cinema.ReFocus: The Films of Abel Ferrara offers a comprehensive critical survey of the director's work. The volume brings together a broad range of methodological, theoretical, historical and philosophical perspectives on Ferrara's work, and case studies include Ms 45, The Driller Killer, Bad Lieutenant, Pasolini and Welcome to New York.

Over his four-decade long career, Abel Ferrara has built himself a reputation as one of the most audacious and unconventional filmmakers in contemporary cinema. After his beginnings in the exploitation circuit of the late 1970s he become one of the central figures in the indie wave of the 1980s and 90s and is now an established arthouse director whose versatile oeuvre crosses the boundaries of cult, independent and Hollywood cinema.ReFocus: The Films of Abel Ferrara offers a comprehensive critical survey of the director's work. The volume brings together a broad range of methodological, theoretical, historical and philosophical perspectives on Ferrara's work, and case studies include Ms 45, The Driller Killer, Bad Lieutenant, Pasolini and Welcome to New York.

AcknowledgementsIntroduction Part I: "I'm making this up as I go": Lawrence Kasdan and Raiders of the Lost ArkChapter 1. Smith and Jones: Discourse Analysis of the Raiders of the Lost Ark Story ConferenceChapter 2. Visual Language in the Raiders of the Lost Ark Screenplay Part II: Kasdan the Director: Developing Style(s)Chapter 3. Body Heat: Heightened Style in the Neo-NoirChapter 4. Classical Structure in the "Perfect Ensemble" of The Big Chill Part III: Voice of the Largest GenerationChapter 5. Altruism and Otherness in The Big Chill, The Accidental Tourist, and Grand CanyonChapter 6. Cowboys, Aliens, and Sixtysomethings: Age and Nostalgia in Kasdan's Later Films Part IV: Influences, Without and WithinChapter 7. From Noir to Kurosawa: Allusion and Homage in Lawrence Kasdan's FilmsChapter 8. Kasdan's Collaborations: Creation and Performance Part V: A Long Time in a Galaxy Far, Far AwayChapter 9. From Star Wars to Saga: Lawrence Kasdan and The Empire Strikes BackChapter 10. Revenge of the Monomyth: Reclaiming the Hero's Journey in Return of the JediChapter 11. A New Hope in The Force AwakensChapter 12. A Changed Man: Solo and BeyondChapter 13. An Interview with Lawrence Kasdan Lawrence Kasdan: Writing and Directing Credits FilmographyBibliography

AcknowledgementsIntroduction Part I: "I'm making this up as I go": Lawrence Kasdan and Raiders of the Lost ArkChapter 1. Smith and Jones: Discourse Analysis of the Raiders of the Lost Ark Story ConferenceChapter 2. Visual Language in the Raiders of the Lost Ark Screenplay Part II: Kasdan the Director: Developing Style(s)Chapter 3. Body Heat: Heightened Style in the Neo-NoirChapter 4. Classical Structure in the "Perfect Ensemble" of The Big Chill Part III: Voice of the Largest GenerationChapter 5. Altruism and Otherness in The Big Chill, The Accidental Tourist, and Grand CanyonChapter 6. Cowboys, Aliens, and Sixtysomethings: Age and Nostalgia in Kasdan's Later Films Part IV: Influences, Without and WithinChapter 7. From Noir to Kurosawa: Allusion and Homage in Lawrence Kasdan's FilmsChapter 8. Kasdan's Collaborations: Creation and Performance Part V: A Long Time in a Galaxy Far, Far AwayChapter 9. From Star Wars to Saga: Lawrence Kasdan and The Empire Strikes BackChapter 10. Revenge of the Monomyth: Reclaiming the Hero's Journey in Return of the JediChapter 11. A New Hope in The Force AwakensChapter 12. A Changed Man: Solo and BeyondChapter 13. An Interview with Lawrence Kasdan Lawrence Kasdan: Writing and Directing Credits FilmographyBibliography

Dubbed The Godfather of Gore, no other exploitation filmmaker made the most of scant budgets, short shooting schedules and amateur special effects like the legendary Herschell Gordon Lewis. Making his mark with Blood Feast in 1963 and helming such notorious splatter-shockers as Two Thousand Maniacs! (1964), The Gruesome Twosome (1967) and The Gore Gore Girls (1972), the director provoked generations of indebted genre stylists from John Waters and Frank Henenlotter to Eli Roth and Damien Leone, with his hit Terrifier franchise. This is the first academic study into the work of Lewis, covering not just his bloodstained celluloid, but also his background in sexploitation and infomercials. In doing so, this entry in the ReFocus series takes one of cinema's most influential low budget craftsmen out of the grindhouse and considers him as an Avant Garde auteur in his own right.

The first collected volume of work on cult film director and icon John Waters, which offers a comprehensive study of his work as an important filmmaker and cultural force. Includes chapters covering important themes in Waters's work, stylistic tendencies, his relationship to the art world, and interviews reflecting on the impact of Waters's films on his collaborators and audience. Also features a new retrospective interview with Waters in which he reflects on his career and films.

The first collected volume of work on cult film director and icon John Waters, which offers a comprehensive study of his work as an important filmmaker and cultural force. Includes chapters covering important themes in Waters’s work, stylistic tendencies, his relationship to the art world, and interviews reflecting on the impact of Waters’s films on his collaborators and audience. Also features a new retrospective interview with Waters in which he reflects on his career and films.

In 1992, John Singleton became the first Black filmmaker, as well as the youngest, to be nominated for the Best Director award at the Oscars. In the following decade, Singleton cemented his reputation as a Hollywood auteur who could move across genres while making critically acclaimed films that share a preoccupation with the triumphs and tribulations of Black life in America. And yet, Singleton's films have received relatively little academic attention.ReFocus: The Films of John Singleton fills this scholarly vacuum. This collection of original chapters addresses Singleton's treatment of gender and racial difference, the family, urban space, and traumatic histories; it also identifies sources of inspiration in both Hollywood and world cinema, as well as draws connections between his films and the work of Black American literary figures. This collection is an invaluable resource for the future of Singleton studies.

In 1992, John Singleton became the first Black filmmaker, as well as the youngest, to be nominated for the Best Director award at the Oscars. In the following decade, Singleton cemented his reputation as a Hollywood auteur who could move across genres while making critically acclaimed films that share a preoccupation with the triumphs and tribulations of Black life in America. And yet, Singleton’s films have received relatively little academic attention.ReFocus: The Films of John Singleton fills this scholarly vacuum. This collection of original chapters addresses Singleton’s treatment of gender and racial difference, the family, urban space, and traumatic histories; it also identifies sources of inspiration in both Hollywood and world cinema, as well as draws connections between his films and the work of Black American literary figures. This collection is an invaluable resource for the future of Singleton studies.

This book offers a comprehensive critical study of David Fincher as one of the defining cinematic auteurs of the digital age. Rather than treating his films as stylistically cold or merely technical exercises in control, the study argues that Fincher’s exacting compositions, obsessive attention to detail and embrace of digital technology operate as a deeply rhetorical mode of storytelling. Across his features, commercials and music videos, Fincher repeatedly stages worlds structured by systems: bureaucratic, technological, corporate and patriarchal. His characters struggle within these systems, seeking authorship, agency or escape. By reading his visual style alongside his recurring themes of surveillance, labor, masculinity and fractured authority, the book positions Fincher not simply as a master craftsman, but as a filmmaker whose aesthetic rigor reveals the anxieties of late-stage capitalism and digital modernity. Drawing on close textual analysis and production history, the book positions Fincher as a key figure in late-20th- and early-21st-century cinema, where authorship is inseparable from industrial constraint.

From Destination Tokyo (1943) to The Battle of the Villa Fiorita (1965), Delmer Daves was responsible for a unique body of work, but few filmmakers have been as critically overlooked in existing scholarly literature. Often regarded as an embodiment of the self-effacing craftsmanship of classical and post-War Hollywood, films such as Broken Arrow (1950) and 3:10 to Yuma (1957) reveal a filmmaker concerned with style as much as sociocultural significance. As the first comprehensive study of Daves’s career, this collection of essays seeks to deepen our understanding of his work, and also to problematize existing conceptions of him as a competent, conventional and even naïve studio man.

Refocus: The Films of Amy Heckerling is the first book-length study of the work of Amy Heckerling, the phenomenally popular director and screenwriter of Clueless and Fast Times at Ridgemont High. As such, the book constitutes a significant intervention in Film Studies, prompting a reconsideration of the importance of Heckerling both in the development of Teen cinema, and as a figure in Hollywood comedy. As part of the Refocus series, the volume brings together outstanding original essays examining Heckerling’s work from a variety of perspectives, including film, television and cultural studies and is destined to be used widely in undergraduate teaching.

Director, screenwriter and comic genius, Preston Sturges has been an influence on filmmakers ranging from Orson Welles to the Coen brothers. The first person to win an Oscar for Best Original Screenplay, he wrote and directed some of the most bizarre, controversial, and downright hilarious comedies of the 1940s, including Sullivan’s Travels and Hail the Conquering Hero. He may be the most talented Hollywood filmmaker yet to receive the critical recognition he deserves. The Films of Preston Sturges is a pioneering collection of essays by world-famous scholars that chart Sturges’ contributions to Hollywood cinema, revealing his pivotal status as an early writer-director, exploring his inimitable style, and making a bold case for his ongoing influence today. Reawakening interest in this filmmaker’s life and works, this book will remind readers why Sturges’ movies remain not only immensely enjoyable, but of great cultural significance as well.

The first book-length study of Reichardt's career and worksOver her six-film career, including works like 'Old Joy, Meek's Cutoff' and 'Certain Women', the independent filmmaker Kelly Reichardt has established a highly individual perspective on questions of gender, feminism, socioeconomics and sexual orientation, set within an aesthetic framework that is guided by the low-budget techniques of 'slow cinema', minimalism and neorealism. In this close reading of her films and production methods, E. Dawn Hall defines Reichardt's auteur characteristics, arguing that she offers a contemporary and sustainable model for independent filmmakers in America.Key FeaturesSynthesizing the contemporary feminist debate surrounding auteur theory, this book explores Reichardt's cinematic characteristics as an auteurElucidates the environmental and ecofeminist concerns in Reichardt's filmsDiscusses Reichardt's three experimental short films in detailIncludes an original interview with Reichardt

One of the most important yet overlooked of Hollywood auteurs, Budd Boetticher was responsible for a number of classic films, including his famous ‘Ranown’ series of westerns starring Randolph Scott. With influential figures like Martin Scorsese and Clint Eastwood acknowledging Boetticher’s influence, and with growing academic interest in his work, Gary D. Rhodes and Robert Singer present a vital collection of essays on the director’s long career, from a range of international scholars. Looking at celebrated films like Buchanan Rides Alone (1958) and Comanche Station (1960), as well as at lesser-known works like Escape in the Fog (1945) and Behind Locked Doors (1948), this book also addresses Boetticher’s influential television work on the James Garner series Maverick, and Boetticher’s continuing aesthetic influence on contemporary TV classics like Breaking Bad.

The first collection of essays devoted to Hollywood director William CastleOften described as 'the Master of Gimmicks', William Castle is best known for the outrageous publicity stunts that characterised his genre films in the 1950s and '60s, including offers for an insurance policy against death by fright, vibrating seats, a skeleton that flew over the audience, and a 'punishment poll' to determine a film's conclusion. But far from being 'the world's craziest filmmaker', Castle was also a dependable studio director who made more than 50 films between 1944 and 1974, and who produced films for Orson Welles and Roman Polanski. 'ReFocus: The Films of William Castle' assembles fourteen essays on the full sweep of Castle's career, including his horror films, westerns, film noirs and more. With an influence felt on directors like Joe Dante, Robert Zemeckis and John Waters, this volume reappraises Castle's legacy as an innovator as much as a showman.ContributorsHugh S. Manon (Clark University)Zachary Rearick (Georgia State University)Anthony Thomas McKenna (Shanghai Jiao Tong University)Murray Leeder (University of Calgary)Beth Kattelman (Ohio State University)Eliot Bessette (University of California, Berkeley)Alexandra Heller-Nicholas (University of Melbourne) Steffen Hantke (Sogang University)Michael Brodski (University of Mainz) Caroline Langhorst (University of Mainz)Michael Petitti (University of Southern California)Peter Marra (Wayne State University)Kate J. Russell (University of Toronto)

A collection of interdisciplinary essays, collected for the first time, on the work of filmmaker and screenwriter Amy Heckerling whose work includes Clueless and Fast Times at Ridgemont High.

As the first comprehensive study of Daves s career, this collection of essays seeks to deepen our understanding of his work, and also to problematize existing conceptions of him as a competent, conventional and even naive studio man.

William Friedkin is the director of genre-defining works such as The French Connection (1971) and The Exorcist (1973), controversial productions like Cruising (1980) and Killer Joe (2011), as well as understudied films including The Birthday Party (1968), Sorcerer (1977) and The Hunted (2003). This book, the first scholarly study of Friedkin's films, reveals how they confront the ambiguities of law and morality, issues of subjectivity and problems of faith, while raising key questions around emotion and narrative in the cinema.Placing his work in the historical contexts of the Vietnam War and Nixon's presidency, ReFocus: The Films of William Friedkin also examines the director's representations of sex and violence after the dismantling of the Production Code and in light of the rise and fall of New Hollywood cinema.