Bøger af Gerald Peary

The auteur theory - the belief that a director's personal influence and artistic control over a movie are so great that the filmmaker is regarded as the key artist in making a film - was first popularized in America by film critic Andrew Sarris. In the New Hollywood Era of the 1960s and 1970s, as weakening studio control granted directors more artistic freedom, the theory gained traction, embraced by both the media and by directors themselves, and it came to be a significant factor in the filmmaking process. With its almost ubiquitous acceptance, the auteur theory also had, in hindsight, a negative effect. It undeniably played a role in establishing and romanticizing the dominance of the white heterosexual male point of view while ignoring the contributions of screenwriters and cinematographers, and worse, excluding marginalized aspiring filmmakers from the industry. Mavericks: Interviews with the World's Iconoclast Filmmakers amplifies the voices of a wide-ranging group of groundbreaking filmmakers whose identities, perspectives, and works don't conform to typical Hollywood standards. Author Gerald Peary, whose experience as a film studies professor, film critic, arts journalist, and director of documentaries culminates in a lifetime of film scholarship, presents a riveting collection of interviews with idiosyncratic directors - including Black, queer, female, and non-Western filmmakers-whose unconventional work is marked by their unique artistic points of view and molded by their social and political consciousness. Beginning in the 1970s and ending at the dawn of the new millennium, the collection includes Peary's talks with more than twenty film pioneers. Prior to Kathryn Bigelow's 2010 win as the first woman to receive an Oscar for best director, Peary interviewed cutting-edge female directors, including Iran's Samira Makhmalbaf (Blackboards, 2000), Poland's Agnieszka Holland (Europa, Europa, 1990), Norway's Liv Ullmann (Sofie,1992), and America's Roberta Findlay (Snuff, 1975), who is the first female director of pornographic films. While some of the collection's conversations focus on a single film, other interviews are an ambitious discussion of the filmmaker's whole career. Interviews with a disparate range of male filmmakers are also included: Howard Alk (The Murder of Fred Hampton, 1971), Ousmane Sembéne (Mandabi, 1968 and Emitai, 1971), Mel Brooks (The Producers, 1967, Young Frankenstein, 1974, and Blazing Saddles, 1974), Gus Van Sant (My Own Private Idaho, 1991, Good Will Hunting, 1997, and Milk, 2008), and John Waters (Pink Flamingos, 1972, Hairspray, 1988, and Pecker, 1998). With contextualizing introductions and insightful questions, Peary reveals the brilliance of these maverick directors and offers readers a lens into the minds of these incredible and engaging artists.

Here, in his own colorful, slangy words, is the true American Dream saga of a self-proclaimed "e;film geek,"e; with five intense years working in a video store, who became one of the most popular, recognizable, and imitated of all filmmakers. His dazzling, movie-informed work makes Quentin Tarantino's reputation, from his breakout film, Reservoir Dogs (1992), through Kill Bill: Vol. 1 (2003) and Kill Bill: Vol. 2 (2004), his enchanted homages to Asian action cinema, to his rousing tribute to guys-on-a-mission World War II movie, Inglourious Basterds (2009). For those who prefer a more mature, contemplative cinema, Tarantino provided the tender, very touching Jackie Brown (1997). A masterpiece--Pulp Fiction (1994). A delightful mash of unabashed exploitation and felt social consciousness--his latest opus, Django Unchained (2012).From the beginning, Tarantino (b. 1963)--affable, open, and enthusiastic about sharing his adoration of movies--has been a journalist's dream. Quentin Tarantino: Interviews, revised and updated with twelve new interviews, is a joy to read cover to cover because its subject has so much interesting and provocative to say about his own movies and about cinema in general, and also about his unusual life. He is frank and revealing about growing up in Los Angeles with a single, half-Cherokee mother, and dropping out of ninth grade to take acting classes. Lost and confused, he still managed a gutsy ambition: young Quentin decided he would be a filmmaker.Tarantino has conceded that Ordell (Samuel L. Jackson), the homicidal African American con man in Jackie Brown, is an autobiographical portrait. "e;If I hadn't wanted to make movies, I would have ended up as Ordell,"e; Tarantino has explained. "e;I wouldn't have been a postman or worked at the phone company. . . . I would have gone to jail."e;

Presents the first collection of interviews with John Ford (1895-1973), whom many aficionados consider not only the major American filmmaker but also one of the most extraordinary American artists of the twentieth century. This book includes a varied selection of interviews, many reprinted for the first time.