Books · Noir · Uncategorized
Leon Lewis (Ed.), John Alton: Essays on the Cinematographer’s Art and Craft (McFarland, 2020) * * * Widely regarded as epitomizing the visual style of high film noir as it[…]
Will the twain ever meet? Why isn’t film criticism taught by film critics in British universities? Or to put it another way; why have we never heard of those who[…]
“Glassman uncovers networks of influence and inference, whole microhistories around the camera . . . “ Interviewed by Peter Cowie for Cowie’s book Revolution! The Explosion of World Cinema in[…]
You can go home again The Last Days of Chez Nous is the best film so far of Gillian Armstrong’s (no relation), and one of the most underrated Australian films[…]
“All the lonely people, where do they all come from?”
Ida Lupino: Mother of Us All! “Any rocks up there to give you a problem, darlin’? Now, Walter baby, while we’re here we might as well take the posse through.[…]
The Money Shot: Cinema, Sin, and Censorship, by Jane Mills. Annandale, New South Wales, Australia. Pluto Press, 2001. Cloth, $32.95 (U.S.D./AUD), 255pp. ISBN 1-86403-142-5. It is perhaps significant to Jane[…]
“A brain full of razor blades and a heart full of chutzpah” In his screenplay for The Fortune Cookie (1966), Billy Wilder, who has died at age 95, described ‘Whiplash[…]
“It’s Only a Movie!”: Films and Critics in American Culture, by Raymond J. Haberski Jr. Lexington: University Press of Kentucky. Cloth. $27.50. 2001. 264pp. ISBN 0-8131-2193-0 “It’s Only a Movie!” was[…]
The Western Genre: From Lordsburg to Big Whiskey, by John Saunders. London: Wallflower Press, £11.99. New York: Columbia University Press, $16.95. 2001, 144pp, ISBN 1-903364-12-4 The best film books combine[…]
France on Film: Reflections on Popular French Cinema, edited by Lucy Mazdon. London: Wallflower Press (£13.99)/New York: Columbia University Press ($55.00 cloth, $20.00 trade paper), 2001, 196pp. Since the Lumieres[…]
