Bøger af Robert Cardullo

Understanding Classic Cinema: A Student Guide is a film analysis textbook that contains 15 essays on 16 historically significant, artistically superior films released between 1922 and 1963. Written with college and university students (and possibly also advanced high school students) in mind, these essays cover some of the central films treated¿and central issues raised¿in today¿s cinema courses and provide students with practical models to help them improve their own writing and analytical skills. This casebook is geographically diverse, with 10 countries represented: Germany, Russia, the United States, France, Italy, Sweden, Japan, India, Denmark, Great Britain. Moreover, the essays in Understanding Classic Cinema are clear and readable¿that is, sophisticated and meaty yet not overly technical or jargon-heavy. This makes them perfect introductions to their respective films as well as important contributions to the field of film studies in general. In addition, the book¿s critical apparatus features credits, images, and bibliographies for all films discussed, filmographies for all the directors, a glossary of film terms, a guide to film analysis.

Final Cut: The 21st-Century Film Criticism of Stanley Kauffmann is a collection of previously uncollected film criticism by the late Stanley Kauffmann (1916-2013). Kauffmann¿s creative life spanned seven decades: starting in 1958 and continuing until the end of his life, he was a film and theater critic for The New Republic, The New York Times, and Saturday Review, among other publications. Kauffmann was one of the most potent, influential critics included in the New York school of twentieth-century American criticism. In Final Cut, Kauffmann discusses films from such countries as France, England, Mexico, Israel, Sweden, Austria, Netherlands, Argentina, Finland, Norway, Italy, Iran, Japan, Belgium, South Korea, China, Lebanon, Russia, Ireland, India, Greece, Chile, Romania, Turkey, Hungary, and the United States. Among the films reviewed are Michael Haneke¿s White Ribbon; Steven Spielberg¿s War of the Worlds; the Dardenne brothers¿ Silence of Lorna; Ron Howard¿s Da Vinci Code; Woody Allen¿s Match Point; Barbet Schroeder¿s Our Lady of the Assassins; Nuri Bilge Ceylan¿s Once Upon a Time in Anatolia; and Zhang Yimoüs Riding Alone for Thousands of Miles.

André Bazin (1918-58) is credited with almost single-handedly establishing the study of film as an accepted intellectual pursuit, as well as with being the spiritual father of the French New Wave. In 1951 he co-founded and became editor-in-chief of Cahiers du cinéma, the single most influential critical periodical in the history of the cinema. Bazin can also be considered the principal instigator of the equally influential auteur theory: the idea that, since film is an art form, the director of a movie must be perceived as the chief creator of its unique cinematic style. Though he died tragically young, he left much material behind, all of which is now duly noted and annotated, for the first time, in this book¿s comprehensive bibliography of writings by Bazin and about Bazin, in all languages. Also featuring a contextual introduction to his life and work, Bazin on Film: An Annotated Bibliography represents a major contribution to the still growing discipline of cinema studies, as well as a testament to the continuing influence of one of the world¿s pre-eminent critical thinkers.

This book is a collection of interviews with, and essays about, not the four filmmakers who introduced the cinema of their respective countries to the West--Akira Kurosawa (Japan) and Satyajit Ray (India), in the 1950s; Abbas Kiarostami (Iran) and Zhang Yimou (China), in the 1980s--but those who followed in their wake. From among them, the editor has chosen 15 representative figures from Iran, China, Japan, Turkey, South Korea, Taiwan,Kurdistan, and Afghanistan: namely, Abbas Kiarostami, Jafar Panahi, Majid Majidi, Bahman Ghobadi, Siddiq Barmak, Samira and Makhmalbaf, Nuri Bilge Ceylan, Hong Sang-soo, Hirokazu Kore-eda, Jun Ichikawa, Kim Ki-duk, Chen Kaige, Zhang Yimou, and Tsai Ming-liang. As a whole, "Wind from the East: New World Cinema, Asian Style" documents an alternative to Western brands of cinema even as these ¿foreign¿ directors in some instances integrate Western forms, styles, and genres into their own native traditions. As such, these artists could be said to represent a global filmmaking perspective that now, more than ever, this world--and in particular the American nation--can use. "Wind from the East" concludes with a bibliography and individual filmographies.