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The 1969 film Ma Nuit chez Maud catapulted its shy academic film director Eric Rohmer (1920-2010) into the limelight, selling over a million tickets in France and earning a nomination for an Academy Award. Ma Nuit chez Maud remains his most famous film, the highlight of an impressive range of films examining the sexual, romantic, and artistic mores of contemporary France, the temptations of desire, the small joys of everyday life, and sometimes, the vicissitudes of history and politics. Yet Rohmer was already forty years old when Maud was released and had already had a career as the editor of Cahiers du Cinéma, a position he lost in a political takeover in 1963. The interviews in this book offer a range of insights into the theoretical, critical, and practical circumstances of Rohmer's remarkably coherent body of films, but also allow Rohmer to act as his own critic, providing us with an array of readings concerning his interest in setting, season, color, and narrative.
Alongside the application of a theoretical rigor to his own films, Rohmer's interviews also discuss directors as varied as Godard, Carné, Renoir, and Hitchcock, and the relations of film to painting, architecture, and music. This book reproduces little-known interviews, such as a debate Rohmer undertakes with Women and Film concerning feminism, alongside detailed discussions from Cahiers and Positif, many produced in English here for the first time.
The Life and Films of John Sturges
The Father of Cuban Ballet
Written records of Alonso’s work are scarce, yet Toba Singer’s quest to spotlight his seminal role in the development of the modern ballet canon yields key material: pre-blockade tapes from Lincoln Center, Spanish-language sources from the Museum of Dance in Havana, and interviews with the ballet master himself alongside a broad range of friends, relatives, and collaborators from throughout his long career, including his ex-wife, Alicia, a famous ballerina in her own right.
The Life of Rosalind Russell
When it comes to living life to its fullest, Rosalind Russell's character Auntie Mame is still the silver screen's exemplar. And Mame, the role Russell (1907-1976) would always be remembered for, embodies the rich and rewarding life Bernard F. Dick reveals in the first biography of this Golden Age star, Forever Mame: The Life of Rosalind Russell. Drawing on personal interviews and information from the archives of Russell and her producer-husband Frederick Brisson, Dick begins with Russell's childhood in Waterbury, Connecticut, and chronicles her early attempts to achieve recognition after graduating from the American Academy of Dramatic Arts. Frustrated by her inability to land a lead in a Broadway show, she headed for Hollywood in 1934 and two years later played her first starring role, the title character in Craig's Wife. Dick discusses all of her films along with her triumphal return to Broadway, first in the musical Wonderful Town and later in Auntie Mame. Forever Mame details Russell's social circle of such stars as Loretta Young, Cary Grant, and Frank Sinatra. It traces an extraordinary career, ending with Russell's courageous battle against the two diseases that eventually caused her death: rheumatoid arthritis and cancer. Russell devoted her last years to campaigning for arthritis research. So successful was she in her efforts to alert lawmakers to this crippling disease that a leading San Francisco research center is named after her. Bernard F. Dick is a professor of communication and English at Fairleigh Dickinson University and is the author of Hal Wallis: Producer to the Stars, Engulfed: The Death of Paramount Picturesand the Birth of Corporate Hollywood , and other books.
William F. “Buffalo Bill” Cody was the entertainment industry’s first international celebrity, achieving worldwide stardom with his traveling Wild West show. For three decades he operated and appeared in various incarnations of “the western world’s greatest traveling attraction,” enthralling audiences around the globe. When the show reached Europe it was a sensation, igniting “Wild West fever” by offering what purported to be a genuine experience of the American frontier. By any standard Charles Eldridge Griffin (1859–1914), manager of the Wild West’s European tour, was a remarkable man. Known by the stage names of Monsieur F. Le Costro, Professor Griffin, and the Yankee Yogi, he was an author, comedian, conjurer, contortionist, dancer, fire-eater, hypnotist, illusionist, lecturer, magician, newspaper owner, publisher, sword swallower, and yogi. His account of life on the road with the Wild West show, published here for the first time since its release in 1908, opens a window on a vanished world. In addition to line drawings and photographs from the original book, Chris Dixon provides an introduction and annotations for historical context. Griffin’s story of traveling with Buffalo Bill in Europe from 1903 to 1906 presents a fascinating picture of a quintessentially American character. At the same time it offers a vision of the nation on the verge of nationalism, imperialism, and an emerging global mass culture.
The Story of My Early Life
The acclaimed actress and legendary singer, Yamaguchi Yoshiko (aka Li Xianglan, 1920– 2014), emerged from Japan- occupied Manchuria to become a transnational star during the Second Sino-Japanese war. Born to Japanese parents, raised in Manchuria, and educated in Beijing, the young Yamaguchi learned to speak impeccable Mandarin Chinese and received professional training in operatic singing. When recruited by the Manchurian Film Association in 1939 to act in “national policy” films in the service of Japanese imperialism in China, she allowed herself to be presented as a Chinese, effectively masking her Japanese identity in both her professional and private lives. Yamaguchi soon became an unprecedented transnational phenomenon in Manchuria, Shanghai, and Japan itself as the glamorous female lead in such well-known films as Song of the White Orchid (1939), China Nights (1940), Pledge in the Desert (1940), and Glory to Eternity (1943). Her signature songs, including “When Will You Return?” and “The Evening Primrose,” swept East Asia in the waning years of the war and remained popular well into the postwar decades.
Ironically, although her celebrated international stardom was without parallel in wartime East Asia, she remained a puppet within a puppet state, choreographed at every turn by Japanese film studios in accordance with the expediencies of Japan’s continental policy. In a dramatic turn of events after Japan’s defeat, she was placed under house arrest in Shanghai by the Chinese Nationalist forces and barely escaped execution as a traitor to China. Her complex and intriguing life story as a convenient pawn, willing instrument, and tormented victim of Japan’s imperialist ideology is told in her bestselling autobiography, translated here in full for the first time in English. An addendum reveals her postwar career in Hollywood and Broadway in the 1950s, her friendship with Charlie Chaplin, her first marriage to Isamu Noguchi, and her postwar life as singer, actress, political figure, television celebrity, and private citizen.
Acclaimed as one of the most influential and innovative American directors, Francis Ford Coppola is also lionized as a maverick auteur at war with Hollywood's power structure and an ardent critic of the postindustrial corporate America it reflects. However, Jeff Menne argues that Coppola exemplifies the new breed of creative corporate person and sees the director's oeuvre as vital for reimagining the corporation in the transformation of Hollywood. Reading auteur theory as the new American business theory, Menne reveals how Coppola's vision of a new kind of company has transformed the worker into a liberated and well-utilized artist, but has also commodified individual creativity at a level unprecedented in corporate history. Coppola negotiated the contradictory roles of shrewd businessman and creative artist by recognizing the two roles are fused in a postindustrial economy. Analyzing films like The Godfather (1970) and the overlooked Tucker: The Man and His Dream (1988) through Coppola's use of opera, Menne illustrates how Coppola developed a defining musical aesthetic while making films that reflected the idea of a corporation as family--and how his studio American Zoetrope came to represent a new brand of auteurism and the model for post-Fordist Hollywood.