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Costa-Gavras is a seminal figure in French and international cinema. A master of the political thriller, he explores historical events through individual human stories, thereby involving his audience in past and contemporary traumas, from the horrors of the Holocaust through mid-century international state terrorism and totalitarianism to the current global financial crisis. With a career spanning half a century, he remains one of cinema's most intriguing and enduring storytellers, theorists and political commentators. This collection of original essays charts and re-examines Costa-Gavras's career from Un homme de trop (1967) to Le capital (2012). Readable and carefully researched, it will appeal to students and scholars of film, as well as fans of the director's work. "Known for advancing the genre of political thriller, Costa-Gavras is a seminal figure in French and international cinema. But until now, the only major academic study of his oeuvre concluded with his 1982 English-language debut, Missing. Since that time, Costa-Gavras has directed ten films that expand on his socio-political themes, including Betrayed (1988), Mad City (1997) and Le Couperet (2005).This collection of original chapters by prominent scholars is the first book devoted to Costa-Gavras's complete films. Beginning with his earliest political thrillers, the book charts and re-examines his career from Un homme de trop (1967) to Le Capital (2012). New issues emerge that open up numerous approaches to Costa-Gavras's work, among them: contemporary analyses of adaptation, genre theory, identity politics and the nature of the political. Costa-Gavras re-contextualises history as individual human dramas and thereby involves his audience in past and contemporary trauma, from the horrors of the Second World War and the Holocaust, through mid-century international state terrorism and totalitarianism, to the current global financial crisis.Throughout a career spanning half a century, Costa-Gavras has remained one of cinema's most intriguing and enduring storytellers, theorists and political commentators. Scholars, students and cinephiles will find this volume provides a fascinating overview of his unique body of work." -- Back cover.

Motion picture producers and directors --- Costa-Gavras, --- Criticism and interpretation.

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"Rule, Britannia! surveys the British biopic, a genre crucial to understanding how national cinema engages with the collective experience and values of its intended audience. The volume focuses on how screen biographies of prominent figures in British history and culture can be understood as involved, if unofficially, in the shaping and promotion of an ever-protean national identity. The contributors engage with the vexed concept of British nationality, especially as this sense of collective belonging is problematized by the ethnically oriented alternatives of English, Scottish, Welsh, and Irish nations. They explore the critical and historiographical issues raised by the biopic, demonstrating that celebration of conventional virtue is not the genre's only natural subject. The chapters cover filmic depictions of such personalities as Elizabeth I, Victoria, George VI, Elizabeth II, Margaret Thatcher, Iris Murdoch, and Jack the Ripper. Rule, Britannia! offers a provocative take on an aspect of filmmaking with profound cultural significance"--

Biographical films --- National characteristics, British. --- British national characteristics --- Bio-pics --- Biographical videos --- Biopics --- Film biographies --- Screen biographies --- Biography --- Motion pictures --- History and criticism.

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This book traces the development of what we know as film noir from the proto-noir elements of Feuillade's silent French crime series and German Expressionism to the genre's mid-twentieth century popularization and influence on contemporary global media. By employing experimental lighting effects, oblique camera angles, distorted compositions, and shifting points-of-view, film noir's style both creates and comments upon a morally adumbrated world, where the alienating effects of the uncanny, the fetishistic, and the surreal dominate. What drew original audiences to film noir is an immediate recognition of this modern social and psychological reality. Much of the appeal of film noir concerns its commentary on social anxieties, its cynical view of political and capitalist corruption, and its all-too-brutal depictions of American modernity. This book examines the changing, often volatile shifts in representations of masculinity and femininity, as well as the genre's complex relationship with Afro-American culture, observable through noir's musical and sonic experiments. Key Features * Traces the history of film noir from its aesthetic antecedents through its mid-century popularization to its influence on contemporary global media * Discusses the influence of literary and artistic sources on the development of film noir * Includes extensive bibliographies, filmographies and recommended noir film viewing * Concludes with a reflective chapter by Alain Silver and James Ursini on their own influential studies and collections on film noir criticism

Film noir --- History and criticism. --- United States. --- AB --- ABSh --- Ameerika Ühendriigid --- America (Republic) --- Amerika Birlăshmish Shtatlary --- Amerika Birlăşmi Ştatları --- Amerika Birlăşmiş Ştatları --- Amerika ka Kelenyalen Jamanaw --- Amerika Qūrama Shtattary --- Amerika Qŭshma Shtatlari --- Amerika Qushma Shtattary --- Amerika (Republic) --- Amerikai Egyesült Államok --- Amerikanʹ Veĭtʹsėndi͡avks Shtattn --- Amerikări Pĕrleshu̇llĕ Shtatsem --- Amerikas Forenede Stater --- Amerikayi Miatsʻyal Nahangner --- Ameriketako Estatu Batuak --- Amirika Carékat --- AQSh --- Ar. ha-B. --- Arhab --- Artsot ha-Berit --- Artzois Ha'bris --- Bí-kok --- Ē.P.A. --- EE.UU. --- Egyesült Államok --- ĒPA --- Estados Unidos --- Estados Unidos da América do Norte --- Estados Unidos de América --- Estaos Xuníos --- Estaos Xuníos d'América --- Estatos Unitos --- Estatos Unitos d'America --- Estats Units d'Amèrica --- Ètats-Unis d'Amèrica --- États-Unis d'Amérique --- Fareyniḳṭe Shṭaṭn --- Feriene Steaten --- Feriene Steaten fan Amearika --- Forente stater --- FS --- Hēnomenai Politeiai Amerikēs --- Hēnōmenes Politeies tēs Amerikēs --- Hiwsisayin Amerikayi Miatsʻeal Tērutʻiwnkʻ --- Istadus Unidus --- Jungtinės Amerikos valstybės --- Mei guo --- Mei-kuo --- Meiguo --- Mî-koet --- Miatsʻyal Nahangner --- Miguk --- Na Stàitean Aonaichte --- NSA --- S.U.A. --- SAD --- Saharat ʻAmērik --- SASht --- Severo-Amerikanskie Shtaty --- Severo-Amerikanskie Soedinennye Shtaty --- Si͡evero-Amerikanskīe Soedinennye Shtaty --- Sjedinjene Američke Države --- Soedinennye Shtaty Ameriki --- Soedinennye Shtaty Severnoĭ Ameriki --- Soedinennye Shtaty Si͡evernoĭ Ameriki --- Spojené obce severoamerick --- Spojené staty americk --- SShA --- Stadoù-Unanet Amerika --- Stáit Aontaithe Mheirice --- Stany Zjednoczone --- Stati Uniti --- Stati Uniti d'America --- Stâts Unîts --- Stâts Unîts di Americhe --- Steatyn Unnaneysit --- Steatyn Unnaneysit America --- SUA --- Sŭedineni amerikanski shtati --- Sŭedinenite shtati --- Tetã peteĩ reko Amérikagua --- U.S. --- U.S.A. --- United States of America --- Unol Daleithiau --- Unol Daleithiau America --- Unuiĝintaj Ŝtatoj de Ameriko --- US --- USA --- Usono --- Vaeinigte Staatn --- Vaeinigte Staatn vo Amerika --- Vereinigte Staaten --- Vereinigte Staaten von Amerika --- Verenigde State van Amerika --- Verenigde Staten --- VS --- VSA --- Wááshindoon Bikéyah Ałhidadiidzooígí --- Wilāyāt al-Muttaḥidah --- Wilāyāt al-Muttaḥidah al-Amirīkīyah --- Wilāyāt al-Muttaḥidah al-Amrīkīyah --- Yhdysvallat --- Yunaeted Stet --- Yunaeted Stet blong Amerika --- ZDA --- Združene države Amerike --- Zʹi͡ednani Derz͡havy Ameryky --- Zjadnośone staty Ameriki --- Zluchanyi͡a Shtaty Ameryki --- Zlucheni Derz͡havy --- ZSA --- ABŞ --- Amerikanʹ Veĭtʹsėndi͡avks Shtattnė --- É.-U. --- ÉU --- Saharat ʻAmērikā --- Spojené obce severoamerické --- Spojené staty americké --- Stáit Aontaithe Mheiriceá --- Wááshindoon Bikéyah Ałhidadiidzooígíí

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Hitchcock, Alfred