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A Critical Cinema 5 is the fifth volume in Scott MacDonald's Critical Cinema series, the most extensive, in-depth exploration of independent cinema available in English. In this new set of interviews, MacDonald engages filmmakers in detailed discussions of their films and of the personal experiences and political and theoretical currents that have shaped their work. The interviews are arranged to express the remarkable diversity of modern independent cinema and the interactive community of filmmakers that has dedicated itself to producing forms of cinema that critique conventional media.

Experimental films --- Independent filmmakers --- Independent moviemakers --- Motion picture producers and directors --- History and criticism. --- avant garde. --- cinemaphiles. --- critical cinema. --- cultural critique. --- directors. --- entertainment industry. --- experimental film. --- film criticism. --- film critics. --- film historians. --- film industry. --- filmmaker community. --- filmmakers. --- independent cinema. --- independent films. --- media studies. --- modern cinema. --- movie production. --- nonfiction. --- performing arts. --- personal experiences. --- personal interviews. --- political perspectives. --- theoretical perspective. --- unconventional media.

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This is the first book in any language on the films of Konrad Wolf (1925-1982), East Germany's greatest filmmaker, and puts Wolf in a larger European filmic and historical context.

Motion pictures --- History. --- Wolf, Konrad, --- Criticism and interpretation. --- Aesthetic Conscience. --- Antifascist Films. --- Archive of the Revolution. --- Brecht. --- East Germany's Greatest Filmmaker. --- European Filmic. --- Everyday Life. --- Fassbinder. --- Filmic Forms. --- Films of Konrad Wolf. --- Generic References. --- German-Language Films. --- Historical Context. --- Konrad Wolf. --- Musical. --- Political Function. --- Tarkovsky. --- Wajda.

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Luis Bu©łuel [1900-1983] was one of the truly great film-makers of the twentieth century. Shaped by a repressive Jesuit education and a bourgeois family background, he reacted against both, escaped to Paris, and was soon embraced by Andr©♭ Breton's official surrealist group. His early films are his most aggressive and shocking, the slicing of the eyeball in Un Chien andalou [1929] one of the most memorable episodes in the history of cinema. The Forgotten Ones [1950] and He [1952], made in Mexico, were followed, from 1960, in Spain and France, by the films for which he is best known: Viridiana [1961], Belle de jour [1966], Tristana [1970], The Discreet Charm of the Bourgeoisie [1972], and That Obscure Object of Desire [1977]. Gwynne Edwards analyses the films in the context of Bu©łuel's personal obsessions - sex, bourgeois values, and religion - suggesting that the film-maker experienced a degree of sexual inhibition surprising in a surrealist.

Buñuel, Luis, --- Criticism and interpretation. --- Buñuel, Luis --- Buñuel, Louis, --- Buñuel Portolés, Luis, --- Portolés, Luis Buñuel --- Portolés, Luics Buñuel, --- BIOGRAPHY & AUTOBIOGRAPHY / Personal Memoirs. --- Luis Buñuel. --- Spain. --- artistic career. --- cinema. --- film history. --- filmmaker. --- surrealism. --- twentieth century.

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Histories of women in Hollywood usually recount the contributions of female directors, screenwriters, designers, actresses, and other creative personnel whose names loom large in the credits. Yet, from its inception, the American film industry relied on the labor of thousands more women, workers whose vital contributions often went unrecognized. Never Done introduces generations of women who worked behind the scenes in the film industry-from the employees' wives who hand-colored the Edison Company's films frame-by-frame, to the female immigrants who toiled in MGM's backrooms to produce beautifully beaded and embroidered costumes. Challenging the dismissive characterization of these women as merely menial workers, media historian Erin Hill shows how their labor was essential to the industry and required considerable technical and interpersonal skills. Sketching a history of how Hollywood came to define certain occupations as lower-paid "women's work," or "feminized labor," Hill also reveals how enterprising women eventually gained a foothold in more prestigious divisions like casting and publicity. Poring through rare archives and integrating the firsthand accounts of women employed in the film industry, the book gives a voice to women whose work was indispensable yet largely invisible. As it traces this long history of women in Hollywood, Never Done reveals the persistence of sexist assumptions that, even today, leave women in the media industry underpraised and underpaid. For more information: http://erinhill.squarespace.com

Women in the motion picture industry --- Motion picture industry --- Sex discrimination in employment --- Sex role in the work environment --- History --- Employees. --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Employees --- E-books --- actor, acting, actress, film, filmmaker, movies, cinema, cinema studies, film studies, movie culture, women, female actors, best actress, oscars, academy awards, golden globes, women in movies, carol burnett, judy garland, meryl streep.

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Edgar G. Ulmer is perhaps best known today for Detour, considered by many to be the epitome of a certain noir style that transcends its B-list origins. But in his lifetime he never achieved the celebrity of his fellow Austrian and German émigré directors-Billy Wilder, Otto Preminger, Fred Zinnemann, and Robert Siodmak. Despite early work with Max Reinhardt and F. W. Murnau, his auspicious debut with Siodmak on their celebrated Weimar classic People on Sunday, and the success of films like Detour and Ruthless, Ulmer spent most of his career as an itinerant filmmaker earning modest paychecks for films that have either been overlooked or forgotten. In this fascinating and well-researched account of a career spent on the margins of Hollywood, Noah Isenberg provides the little-known details of Ulmer's personal life and a thorough analysis of his wide-ranging, eclectic films-features aimed at minority audiences, horror and sci-fi flicks, genre pictures made in the U.S. and abroad. Isenberg shows that Ulmer's unconventional path was in many ways more typical than that of his more famous colleagues. As he follows the twists and turns of Ulmer's fortunes, Isenberg also conveys a new understanding of low-budget filmmaking in the studio era and beyond.  

Motion picture producers and directors --- Ulmer, Edgar G. --- Sehested, Ove H., --- Ullmer, E. G. --- Warner, John, --- Ulmer, Edgar G. -- (Edgar George), -- 1904-1972. --- Motion picture producers and directors -- United States -- Biography. --- Sehested, Ove H. --- Warner, John --- 20th century directors. --- american films. --- austrian american. --- austrian directors. --- auteur theory. --- b movies. --- detour. --- directors. --- eclectic films. --- emigre directors. --- film criticism. --- film director. --- film history. --- film noir. --- film. --- filmmaker. --- genre films. --- german directors. --- hollywood career. --- hollywood. --- horror films. --- jewish film directors. --- low budget productions. --- minority audience. --- movies. --- noir. --- people on sunday. --- performing arts. --- personal life. --- ruthless. --- sci fi films. --- studio era. --- the black cat. --- unconventional.