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September 2007, Week 3


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L Guevarra <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Sat, 15 Sep 2007 12:27:31 -0700
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Dear Screen-L:

The British Film Institute  is pleased to announce the publication of:

100 Road Movies
The Big Lebowski
100 European Horror Films
On Kubrick
City Lights
Lawrence of Arabia
Pedro Almodovar

100 Road Movies

A film programmer, filmmaker and writer, Jason 
Wood's previous publications include _100 
American Independent Films_ (2004), _Nick 
Broomfield: Documenting Icons_ (2005), and _The 
Faber Book of Mexican Cinema_ (2006).

From the earliest days of American cinema, the 
road movie has been synonymous with American 
culture. But the road movie is not uniquely 
American, and other national cinemas have offered 
their own take, adapting it to reflect their own 
sensibilities and geographies. Whatever its 
nationality, the road movie has presented a means 
by which to challenge and confront convention, 
remaining an ever-changing, fascinating metaphor 
for life. Beginning with an expansive essay 
tracing their historical development, _100 Road 
Movies _is an entertaining but comprehensive 
guide to one of the most enduring and popular 
movie sub-genres. Film entries include _The 
Grapes of Wrath, Easy Rider, Two-Lane Blacktop, 
Stranger Than Paradise, _and _The Motorcycle 
Diaries. _

The Big Lebowski

J. M. Tyree is a Stegner Fellow in Fiction at 
Stanford University. Ben Walters is deputy Film 
Editor at _Time Out London_.

Since its release nearly ten years ago, _The Big 
Lebowski _has become a cult classic with a 
worldwide following. One of the high-water marks 
of 1990s genre recycling and pastiche, _The Big 
Lebowski _is littered with playful and subversive 
references to film history and jokes that become 
funnier with repetition. Yet underneath the 
film's breakneck pacing and foul-mouthed 
characters is a surprisingly humane account of 
what fools we mortals be. 
In this study, _The Big Lebowski _is set into the 
context of 1990s Hollywood cinema, anatomized for 
its witty relationship with the classics it 
satirizes, and discussed in terms of its key 
theme: the hopeless flailing of ridiculously 
unmanly men in the world of discombobulated, 
mixed-up, or put-on identities that is Los 

100 European Horror Films

Steven Jay Schneider is a PhD candidate in Cinema 
Studies at NYU's Tisch School of the Arts.

From bloodsucking schoolgirls to flesh-eating 
zombies, and from psychopathic killers to beasts 
from hell, _100 European Horror Films_ provides a 
lively and illuminating guide to a hundred key 
horror movies from the 1920s to the present day.  
Alongside films from countries particularly 
associated with horror production-notably 
Germany, Italy, and Spain-and movies by key 
horror filmmakers such as Mario Bava, Dario 
Argento, and Lucio Fulci, _100 European Horror 
Films_ also includes films from countries as 
diverse as Denmark, Belgium, and the Soviet 
Union, and filmmakers such as Bergman, Polanski 
and Claire Denis, more commonly associated with 
art cinema. The book features entries 
representing key horror subgenres such as the 
Italian "giallo" thrillers of the late 60s and 
70s, psychological thrillers, and zombie, 
cannibal, and vampire movies.

On Kubrick

James Naremore is Emeritus Chancellors' Professor 
of Communication, Culture and English, Indiana 
University. Previous publications include _More 
than Night: Film Noir in Its Contexts_ 
(University of California Press, 1998).

_On Kubrick_ is a critical study of Stanley 
Kubrick's career, beginning with his earliest 
feature, _Fear and Desire_ (1953), and ending 
with his posthumous production of _A.I., 
Artificial Intelligence_ (2001). Organized in six 
parts ("The Taste Machine," "Young Kubrick," 
"Kubrick, Harris, Douglas," "Stanley Kubrick 
Presents," "Late Kubrick," and "Epilogue"), it 
offers provocative analysis of each of Kubrick's 
films together with new information about their 
production histories and cultural contexts. Its 
ultimate aim is to provide a concise yet thorough 
discussion that will be useful as both an 
academic text and a trade publication.

City Lights

Charles Maland is Professor of Cinema Studies, 
American Studies and English at the University of 

Despite its long and difficult production 
history, in 1967 Charlie Chaplin told an 
interviewer, "I think I like _City Lights_ the 
best of all my films."
Aesthetically, technologically, and culturally, 
_City Lights_ is a key transitional film in 
Chaplin's body of work, as the 
director/writer/actor responded for the first 
time to sound films and stepped in the direction 
of the social commentary that would become more 
overt in _Modern Times_ (1936) and _The Great 
Dictator_ (1940). Based on extensive archival 
research of Chaplin's production records, Charles 
Maland's _City Lights_ offers a careful history 
of the film's production and reception, as well 
as a close examination of the film itself, with 
special attention to the sources of the final 
scene's emotional power.

Lawrence of Arabia

Kevin Jackson is a Fellow of the Royal Society of 
Arts and a Companion of the Guild of St George. 
His previous publications include _Withnail & I_ 

_Lawrence of Arabia_ is widely considered one of 
the ten greatest films ever made-though more 
often by film goers and filmmakers than by 
critics. This study argues that the film is a 
unique blend of visionary image-making, narrative 
power, mythopoetic charm and psychological 
acuteness; far from being a _Boy's Own Tale, _it 
is one of popular cinema's greatest tragedies. 
This volume brings together a critical analysis 
of the film and an account of its tangled 
production history-combining these elements with 
the story of attempts by Alexander Korda and 
others to bring Lawrence's story to the screen.

Pedro Almodóvar

Ernesto R. Acevedo-Muñoz is Associate Professor 
of Film Studies, Comparative Literature & 
Humanities, University of Colorado, Boulder.

The book provides a detailed introduction to the 
essential themes, style, and aesthetics of Pedro 
Almodóvar's films, put in the context of Spain's 
profound cultural transitions since 1980. With 
precise and close analysis, the book covers the 
major concerns of the most successful of all 
Spanish film directors and makes direct, clear 
connections to the logic of Almodóvar's aesthetic 
and stylistic choices. By spanning the entirety 
of Pedro Almodóvar's feature-making career, the 
book emphasizes the director's sensibility to 
make the outrageous believable and to always give 
a unique spin to the issues of Spanish history, 
culture and identity.

British Film Institute books are distributed in 
North America and Asia by the University of 
California Press.

Lolita Guevarra
Electronic Marketing Coordinator
University of California Press
Tel. 510.643.4738 | Fax 510.643.7127
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