Michael Powell: International Perspectives on an English Film-maker
Autor Ian Christieen Limba Engleză Paperback – 11 mai 2005
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| Paperback (1) | 238.59 lei 6-8 săpt. | |
| British Film Institute – 11 mai 2005 | 238.59 lei 6-8 săpt. | |
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| British Film Institute – 11 mai 2005 | 603.46 lei 3-5 săpt. |
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Specificații
ISBN-13: 9781844570942
ISBN-10: 1844570940
Pagini: 295
Dimensiuni: 155 x 235 x 23 mm
Greutate: 0.75 kg
Ediția:2005
Editura: British Film Institute
Colecția British Film Institute
Locul publicării:London, United Kingdom
ISBN-10: 1844570940
Pagini: 295
Dimensiuni: 155 x 235 x 23 mm
Greutate: 0.75 kg
Ediția:2005
Editura: British Film Institute
Colecția British Film Institute
Locul publicării:London, United Kingdom
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Notă biografică
Ian
Christie
is
the
author
of
Arrows
of
Desire:
the
Films
of
Michael
Powell
and
Emeric
Pressburger
(1985,
1994)
and
has
written
and
edited
four
other
books
about
their
work.
He
has
organised
many
retrospectives
and
played
a
part
in
the
films'
restoration.
He
is
currently
Professor
of
Film
and
Media
History
at
Birkbeck
College,
University
of
London,
and
a
regular
broadcaster.
Andrew
Moor
is
Lecturer
in
Film
Studies
at
the
University
of
Wales
in
Bangor.
He
is
author
of
Powell
and
Pressburger:
A
Cinema
of
Magic
Spaces
(2005)
and
contributed
essays
on
Powell
and
Pressburger
to
a
range
of
other
publications.
Textul de pe ultima copertă
The
films
of
Michael
Powell
(1905-90)
and
Emeric
Pressburger
(1902-88),
among
them
I
Know
Where
I'm
Going!
(1945),
A
Matter
of
Life
and
Death
(1947)
and
The
Red
Shoes
(1948),
are
landmarks
in
British
cinema,
standing
apart
from
the
realist
and
comic
mainstream
with
their
highly
stylised
aesthetic
and
their
themes
of
romantic
longing
and
spiritual
crisis.
Powell
and
Pressburger
are
revered
by
film
lovers
and
film-makers
(Martin
Scorsese
has
called
them
'the
most
successful
experimental
film-makers
in
the
world').
In
this
first-ever
collection
of
essays
on
Powell,
an
international
group
of
critics
and
scholars
map
out
his
film-making
skills,
providing
new
readings
of
individual
films,
analysing
recurrent
techniques
and
themes,
and
relating
them
to
contemporary
debates
about
gender,
sexuality,
nationality
and
cinematic
spectacle.
Powell,
with
and
without
Pressburger,
emerges
as
a
film-maker
of
lasting
originality
and
significance.