Abel Ferrara

Nicole Brenez argues for Abel Ferrara’s place in a line of grand inventors who have blurred distinctions between industry and avant-garde film, including Orson Welles, Monte Hellman, and Nicholas Ray. Rather than merely reworking genre film, Brenez understands Ferrara’s oeuvre as formulating new archetypes that depict the evil of the modern world. Focusing as much on the human figure as on elements of storytelling, she argues that films such as Bad Lieutenant express this evil through visionary characters struggling against the inadmissible (inadmissible behavior, morality, images, and narratives).

From the Driller Killer - a victim of the original video nasty' panic - to Bad Lieutenant, Ferrara's films have attracted both controversy for their extreme subject matter and admiration for their fine acting: Harvey Keitel, Christopher Walken, Madonna, Lili Taylor and Willem Dafoe all gave their finest performances under Ferrara's direction. Now Brad Stevens has subjected Ferrara's output to exhaustive analysis and uncovers a tender heart beating beneath the excessive imagery.'

This is a fascinating study of the a-temporal nature of evil in the West. The international authors who have contributed to this text not only concentrate on political, social and legally sanctioned cruelty from the past and present, but also explore the nature of moral transgression in contemporary art, media and literature. Although many forms and practices of what might be called evil' are analysed, all are bound by violence and/or the sexually perverse.

The first English language study of one of America's most controversial living filmmakers. Nick Johnstone combines insight into a troubled and private man with a detailed critical overview of Ferrara's career to date. A long overdue critique of one of modern cinema's darkest maverick talents.

This book examines how Italian Americans have been represented in cinema, from the depiction of Italian migration in New Orleans in the 1890s (Vendetta) to the transition from first- to second-generation immigrants (Ask the Dust), and from the establishment of the stereotype of the Italian American gangster (Little Caesar, Scarface) to its re-definition (Mean Streets), along with a peculiar depiction of Italian American masculinity (Marty, Raging Bull). For many years, Italian migration studies in the United States have commented on the way cinema contributed to the creation of an identifiable Italian American identity. More recently, scholars have recognized the existence of a more nuanced plurality of Italian American identities that reflects social and historical elements, class backgrounds, and the relationship with other ethnic minorities. The second part of the book challenges the most common stereotypes of Italian Americanness: food (Big Night) and Mafia, deconstructing the criminal tropes that have contributed to shaping the perception of Italian-American mafiosi in The Funeral, Goodfellas, Donnie Brasco, and the first two chapters of the Godfather trilogy. At the crossroads of the fields of Italian Culture, Italian American Culture, Film Studies, and Migration Studies, Italian Americans in Film is written not only for undergraduate and graduate students but also for scholars who teach courses on Italian American Cinema and Visual Culture.

The term “cult film” may be difficult to define, but one thing is certain: A cult film is any movie that has developed a rabid following for one reason or another. From highly influential works of pop art like Eraserhead and Faster, Pussycat! Kill! Kill! to trash masterpieces such as Miami Connection and Fateful Findings, thousands of movies have earned recognition as cult classics over the years, and new movies rise to cult status every year. So how do viewers searching for the best or most important cult films decide where to start? In 100 Greatest Cult Films, Christopher J. Olson highlights the most provocative, intriguing, entertaining, and controversial films produced over the last century. The movies included here have either earned reputations as bona fide cult classics or have in some way impacted our understanding of cult cinema, often transcending traditional notions of “good” and “bad” while featuring memorable characters, unforgettably shocking scenes, and exceptionally quotable dialogue. With detailed arguments for why these films deserve to be considered among the greatest of all time, Olson provides readers fodder for debate and a jumping-off point for future watching. A thought-provoking and accessible look at dozens of cinematic “treasures,” this resource includes valuable information on the films, creators, and institutions that have shaped cult cinema. Ultimately, The 100 Greatest Cult Films offers readers—from casual cinephiles, film scholars, and avid fans alike—a chance to discover or re-discover some of the most memorable films of all time.

Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from the page to performance. In Rewriting Indie Cinema, J. J. Murphy explores these alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer’s own life experiences. Murphy begins in the 1950s and 1960s with John Cassavetes, Shirley Clarke, Barbara Loden, Andy Warhol, Norman Mailer, William Greaves, and other independent directors who sought to create a new type of narrative cinema. In the twenty-first century, filmmakers such as Gus Van Sant, the Safdie brothers, Joe Swanberg, and Sean Baker developed similar strategies, sometimes benefitting from the freedom of digital technology. In reading key films and analyzing their techniques, Rewriting Indie Cinema demonstrates how divergence from the script has blurred the divide between fiction and nonfiction. Showing the ways in which filmmakers have striven to capture the subtleties of everyday behavior, Murphy provides a new history of American indie filmmaking and how it challenges Hollywood industrial practices.

The Complete Guide To All Things Walken He’s been a dancer, a baker, a lion tamer, an award-winning actor, and a Hollywood legend. But Christopher Walken has never been the subject of a comprehensive biographical reference—until now. Here at last is a complete A-to-Z guide to this one-of-a-kind performer, featuring entries on everything from the Actors Studio (the legendary theatrical workshop where Walken spent eleven years as a janitor) to Zombie Movies (one of Walken’s favorite film genres). Along the way, readers will discover: • Acting secrets and behind-the-scenes trivia from each of Walken’s 100+ films—everything from Annie Hall to Hairspray and beyond. • Recipes and kitchen tips from “Chef Walken”—including a look at his short-lived TV show, Cooking with Chris. • Walken’s music videos for Madonna, Duran Duran, and Fatboy Slim. • The secrets of maintaining his extraordinary hair. • Observations and reminiscences from Steven Spielberg, Quentin Tarantino, Tim Burton, Woody Allen, Dennis Hopper, and countless others. Plus more bizarre B movies and Saturday Night Live appearances than you can shake a cowbell at! Complete with fascinating trivia and dozens of photographs, Christopher Walken A to Z offers the definitive look at a pop culture phenomenon.