When a filmmaker makes a film with herself as a subject, she is already divided as both the subject matter of the film and the subject making the film. The two senses of the word are immediately in play - the matter and the maker--thus the two ways of being subjectified as both subject and object. Subjectivity finds its filmic expression, not surprisingly, in very personal ways, yet it is nonetheless shaped by and in relation to collective expressions of identity that can transform the cinema of 'me' into the cinema of 'we'. Leading scholars and practitioners of first-person film are brought together in this groundbreaking collection to consider the theoretical, ideological, and aesthetic challenges wrought by this form of filmmaking in its diverse cultural, geographical, and political contexts.

Boldly signifying the cultural issues of the 1960s and 1970s in groundbreaking pieces such as Grey Gardens, Gimme Shelter, and Showman, filmmakers and brothers David and Albert Maysles used an approach to documentary film that involved spontaneous observation of naturally occurring events. With no rehearsed footage and no preconceived plots, their revolutionary work eschewed the authoritative voice-over narrator, didactic scripts, and the traditional problem-and-solution format used by the majority of their predecessors in the genre and duly influenced subsequent directors in both fiction and nonfiction film. Their collaboration from 1962 until David’s death in 1987 wrought thirteen major works in which the brothers critiqued the concept of celebrity with unglamorous footage of iconic figures, explored how commercialism hinders communication, and questioned the possibility of seeing anything clearly in a world abounding with both real and constructed images. Jonathan B. Vogels outlines how the Maysles brothers blended a unique amalgam of direct cinema characteristics, a modern humanist aesthetic, and a collaborative working process that included other directors and editors. Looking at the films as both shapers and reflections of American culture, he points out that the works offer insights into a wide range of contemporary topics including materialism, celebrity, modern art, and the American family. In addition to describing the changes in technology that made direct cinema possible, Vogels provides careful, scene-by-scene analyses that allow for a consideration of the Maysles brothers’ films as films, a tactic not frequently employed in nonfiction film studies.

This volume considers for the first time in a single collection this acclaimed, award-winning director's entire oeuvre, addressing and analyzing themes such as identity, family, and masculinity, supported by in-depth coverage of the generic and aesthetic aspects of DiCillo's distinctive and influential film style. Through detailed chapters on each of DiCillo's feature films, presented here is a candid look behind-the-scenes of both the American independent film industry - from the No Wave movement of the 1980s, through the Indie boom of the 1990s, to the contemporary milieu - and the Hollywood studio system. This study documents the writing, production, and release of every DiCillo picture, each followed by an extensive Q&A with the director. Also featured are exclusive interviews and commentary with many cast members and collaborators, and members of legendary rock group, The Doors. Films covered include Johnny Suede, Living In Oblivion, Box of Moonlight, The Real Blonde, Double Whammy, Delirious, When You're Strange, and Down in Shadowland.

One of the world’s most erudite and entertaining film critics on the state of cinema in the post-digital—and post-9/11—age. This witty and allusive book, in the style of classic film theorists/critics like André Bazin and Siegfried Kracauer, includes considerations of global cinema’s most important figures and films, from Lars von Trier and Zia Jiangke to WALL-E, Avatar and Inception.

These essays break with many of the givens of traditional feminist film theory and examine the work of directors outside the canon, including Kathryn Bigelow, Jane Campion, Rainer Werner Fassbinder, and Martin Scorsese. Kiss Me Deadly offers a refreshing emphasis on new theoretical perspectives as well as new interpretations of old ones.

RICHARD LINKLATER A new study of the American filmmaker Richard Linklater (b. 1960) whose movies include Dazed and Confused, School of Rock, Before Sunrise and A Scanner Darkly. This new edition -the only full-length appreciation of Linklater's available anywhere - includes his latest films - Me and Orson Welles and Inning By Inning, and an in-depth, scene-by-scene analysis of Before Sunrise. FROM THE FOREWORD Welcome to the world of Richard Linklater, the extraordinary US movie director from Austin, whose broad range of films - from indie (Slacker) to mainstream (School of Rock) - makes it impossible to pigeonhole him. What is not open to debate is quality of his output - his films are entertaining, intelligent, philosophical, innovative, adventurous, unpredictable, eclectic... to be honest, the adjectives could go on ad infinitum. Welcome also to the world of Thomas A. Christie, whose pioneering attempt to pin down the elusive nature of the maverick auteur makes for a follow-up to his recent volume on Liv Tyler. This new work bears all the hallmarks of the earlier book - wide-ranging and meticulous research, and intelligent commentaries on each film, backed up by well informed and even-handed opinions. In chapter after chapter Christie demonstrates his knowledge of Linklater, his films and movieland in general - you feel safe in his cinematic hands. His opinions are authoritative - you know that Christie's judgements are the result of viewing and analysis of Linklater's oeuvre, seen through a sharp and perceptive mind. Christie shows once again that he is master of fine detail and formulated opinion, expressed in the clearest narrative prose. We couldn't ask for a better guide to the world of Linklater. If you don't know Linklater's films, this book will make you want to see them. If you feel you know them all already, think again - you'll want to re-view them again and again after reading Christie's thought-provoking volume. THOMAS CHRISTIE has a life-long fascination with films and the people who make them. Currently reading for a PhD in Scottish Literature, he lives in Scotland with his family. He is the author of Liv Tyler, Star in Ascendance: Her First Decade in Film (2007) and The Cinema of Richard Linklater (2008), Ferris Bueller's Day Off (2010), John Hughes and Eighties Cinema (2011), which are also published by Crescent Moon. "

In a significant departure from other works on Ritwik Ghatak, this book establishes him as an auteur and a maestro on par with some of the great film directors, like Sergei Eisenstein, Satyajit Ray, Ingmar Bergman, Federico Fellini, Kenji Mizoguchi and Luis Bunuel. Based on in-depth research that follows Ghatak’s journey within the context of the Indian People’s Theatre Association, it fills an important gap in the scholarship around Ghatak by offering crucial insights into Ghatak’s unique vision of cinema embedded as it is in the cultural psychic configurations of the people. It analyses Ghatak’s practice by minutely tracing formal similarities across the language of his cinematic oeuvre in the domain of cinematography, lighting, music, and sound. The book develops the way in which cinematic technique enters the domain of conceptual constructs and abstractions. It moves on to chronicle Ghatak’s political odyssey as reflected in his cinema. Moreover, it charts the manner in which Ghatak, through his cinematic idiom, offers a polemic of cinema that further adds to his notion of praxis – a thoughtful Marxist paradigm organically associated with the culture and context of India. By locating Ghatak within the discourse of nationalism, the book brings to the surface Ghatak’s critical insights related to the independence of the nation and the trauma of the partition of Bengal. Ghatak’s cinema served the crucial function of chronicling the mass tragedy of partition and its impact on the human psyche.This book appeals to scholars of film studies and filmmaking as well as to researchers and general readers interested in debates pertaining to culture, politics, art, psychoanalysis, partition and refugee studies, cinema, theatre, and ideology.