This volume contains new essays on Arthur Penn's film Bonnie and Clyde.
This volume contains new essays on Arthur Penn's film Bonnie and Clyde.
Beginning in 1957 with the release of his directorial debut The Left Handed Gun, Arthur Penn (b. 1922) quickly became an iconoclastic and influential American film director. Moving deftly between comedy and tragedy, realism and absurdity, his films Mickey One, Bonnie and Clyde, Alice's Restaurant, Little Big Man, and Night Moves speak to the troubled times--the 1960s and 1970s--in which they were made while remaining timeless in their unsettling portrayal of characters on the margins of society. Arthur Penn: Interviews is the first collection to explore every stage of the director's career. These conversations span forty-five years, from his first in-depth discussion with Cahiers du cinéma in 1963 to a new interview from 2007, and reveal Penn's ever-changing ideas on the nature of film and filmmaking. This volume also presents newly translated interviews from European film periodicals, published in English for the first time.
Arthur Penn—director of The Miracle Worker, Bonnie and Clyde, Alice’s Restaurant, and Little Big Man—was at the height of his career when Robin Wood’s analysis of the American director was originally published in 1969. Although Wood then considered Penn’s career only through Little Big Man, Arthur Penn remains the most insightful discussion of the director yet published. In this new edition, editor Barry Keith Grant presents the full text of the original monograph along with additional material, showcasing Wood’s groundbreaking and engaging analysis of the director. Of all the directors that Wood profiled, Penn is the only one with whom he developed a personal relationship. In fact, Penn welcomed Wood on the set of Little Big Man (1969), where he interviewed the director during production of the film and again years later when Penn visited Wood at home. Both interviews are included in this expanded edition of Arthur Penn, as are five other pieces written over a period of sixteen years, including the extended discussion of The Chase that was the second chapter of Wood’s later important book Hollywood from Vietnam to Reagan. The volume also includes a complete filmography and a foreword by Barry Keith Grant. The fourth classic monograph by Wood to be republished by Wayne State University Press, this volume will be welcomed by film scholars and readers interested in American cinematic and cultural history.
Bonnie and Clyde (Arthur Penn, 1967) changed American cinema, reinvigorating the gangster genre with European, New Wave techniques and a radically candid view of sex and violence. Starring Warren Beatty, who also produced, and Faye Dunaway, the film whipped up a frenzy of controversy and paved the way for the "New Hollywood" of the 70s. For Lester D. Friedman, Bonnie and Clyde is a pivotal film that reflected and contributed to the profound change in American values in the 60s and 70s. After detailing how Penn, who was specially interviewed for the book, Beatty, and writers David Newman and Robert Benton brought the film to the screen (in the face of studio hostility), Friedman explores its revolutionary treatment of youth, fashion, crime and authority. Bonnie and Clyde (Arthur Penn, 1967) changed American cinema, reinvigorating the gangster genre with European, New Wave techniques and a radically candid view of sex and violence. Starring Warren Beatty, who also produced, and Faye Dunaway, the film whipped up a frenzy of controversy and paved the way for the "New Hollywood" of the 70s. For Lester D. Friedman, Bonnie and Clyde is a pivotal film that reflected and contributed to the profound change in American values in the 60s and 70s. After detailing how Penn, who was specially interviewed for the book, Beatty, and writers David Newman and Robert Benton brought the film to the screen (in the face of studio hostility), Friedman explores its revolutionary treatment of youth, fashion, crime and authority.
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Here is the true story of Bonnie Parker (1910-1934) and Clyde Barrow (1909-1934), a young sociopathic Southern couple gunned down by authorities after a two-year crime spree that left twelve people dead. This history cuts through hype and mythology and examines the outlaws' liberal and dysfunctional sex life, their astonishing ability to elude a 1000-man posse, the contradictory accounts of the mythic ambush that resulted in their deaths and the extraordinary growth of Bonnie and Clyde legend.
This study examines the way news organizations, as the category implies, "organize" the news world, both for practitioners - reporters, editors and managers - and for the consumers - readers, viewers and perhaps even more important, decision-makers.
"Scholarly...excellent."--The Midwest Book Review "The finest book to supplement an introductory film course designed to help college students better understand the significance of the motion picture."--Rogue Cinema "Offers critical essays by film scholars...the best film text currently available...the quintessential study guide."--The Current. Motion pictures are more than just entertainment. In film studies courses in colleges and universities worldwide, students and professors explore the social, political, technological and historical implications of cinema. This textbook provides two things: the history of film as an art form and an analysis of its impact on society and politics. Chapters are arranged chronologically, covering the major developments in film, like the advent of talkies or the French New Wave. Each era is examined in the context of several exemplary films commonly viewed in film studies courses. Thus students can watch Birth of a Nation and Intolerance while studying the innovations made by D.W. Griffith from 1910 to 1919. The scope is global, embracing the cinematic traditions of Asia, Latin America and Africa, as well as the ever important American and European output. Thoughtful articles from film scholars are included. The flexible structure of the text allows a variety of options for classroom use or personal study.
The gun-toting woman holds enormous symbolic significance in American culture. For over two centuries, women who pick up guns have disrupted the popular association of guns and masculinity, spurring debates about women's capabilities for violence as well as their capacity for full citizenship. In Her Best Shot, Laura Browder examines the relationship between women and guns and the ways in which the figure of the armed woman has served as a lightning rod for cultural issues. Utilizing autobiographies, advertising, journalism, novels, and political tracts, among other sources, Browder traces appearances of the armed woman across a chronological spectrum from the American Revolution to the present and an ideological spectrum ranging from the Black Panthers to right-wing militias. Among the colorful characters presented here are Deborah Sampson, who disguised herself as a man to fight in the American Revolution; Pauline Cushman, who posed as a Confederate to spy for Union forces during the Civil War; Wild West sure-shot Annie Oakley; African explorer Osa Johnson; 1930s gangsters Ma Barker and Bonnie Parker; and Patty Hearst, the hostage-turned-revolutionary-turned-victim. With her entertaining and provocative analysis, Browder demonstrates that armed women both challenge and reinforce the easy equation that links guns, manhood, and American identity.
Directed by Arthur Penn and starring Warren Beatty and Faye Dunaway as the infamous gangster duo, 1967's Bonnie and Clyde helped pave the way for the ?New Hollywood? school of filmmaking, given its rapid shifts of tone, portrayal of sex and violence, and popularity with a younger audience. This compilation in the Critical Insights Film series provides essays that take a closer look at the landmark film, its influences, and the controversies surrounding its release.
A resource on the depiction of historical events in film, on television, and on the Internet combines the latest scholarship with reviews of specific works.
Ronald Reagan, a former actor and one of America’s most popular presidents, married not one but two Hollywood actresses. This book is three biographies in one, discovering fascinating connections among Jane Wyman (1917–2007), Ronald Reagan (1911–2004), and Nancy Davis (b. 1921–2016). Jane Wyman, who married Reagan in 1940 and divorced him seven years later, knew an early life of privation. She gravitated to the movies and made her debut at fifteen as an unbilled member of the chorus, then toiled as an extra for four years until she finally received billing. She proved herself as a dramatic actress in The Lost Weekend, and the following year, she was nominated for an Oscar for The Yearling and soon won for her performance in Johnny Belinda, in which she did not speak a single line. Other Oscar nominations followed, along with a Golden Globe for her portrayal of Angela Channing in Falcon Crest. Conversely, Nancy Davis led a relatively charmed life, the daughter of an actress and the stepdaughter of a neurosurgeon. Surrounded by her mother’s friends—Walter Huston, Spencer Tracy, Katharine Hepburn, Lillian Gish, and Alla Nazimova, her godmother—Davis started in the theater, then moved on to Hollywood, where she enjoyed modest success, and finally began working in television. When she married Reagan in 1952, she unwittingly married into politics, eventually leaving acting to concentrate on being the wife of the governor of California, and then the wife of the president of the United States. In her way, Davis played her greatest role as Reagan’s friend, confidante, and adviser in life and in politics. This book considers three actors who left an indelible mark on both popular and political culture for more than fifty years.
General overview of film noir and covering its most important themes chapter by chapter. This illustrated book provides instant and in-depth access to the film noir genre.
From the critically acclaimed author of The Stone Garden comes a fictional portrait of two of America's most notorious outlaws--Bonnie Parker and Clyde Barrow--star-crossed but devoted lovers who became partners in a series of violent bank robberies at the height of the Depression. Reprint.
The cinema has been the pre-eminent popular art form of the 20th century. In Cinemas of the World, James Chapman examines the relationship between film and society in the modern world: film as entertainment medium, film as a reflection of national cultures and preoccupations, film as an instrument of propaganda. He also explores two interrelated issues that have recurred throughout the history of cinema: the economic and cultural hegemony of Hollywood on the one hand, and, on the other, the attempts of film-makers elsewhere to establish indigenous national cinemas drawing on their own cultures and societies. Chapman examines the rise to dominance of Hollywood cinema in the silent and early sound periods. He discusses the characteristic themes of American movies from the Depression to the end of the Cold War especially those found in the western and film noir – genres that are often used as vehicles for exploring issues central to us society and politics. He looks at national cinemas in various European countries in the period between the end of the First World War and the end of the Second, which all exhibit the formal and aesthetic properties of modernism. The emergence of the so-called "new cinemas" of Europe and the wider world since 1960 are also explored. "Chapman is a tough-thinking, original writer . . . an engaging, excellent piece of work."—David Lancaster, Film and History