Douglas Pye

Jim Hillier

A selection of 100 films from one of the best-loved genres of Hollywood and world cinema, with entries ranging from 'Gold Diggers' (1933) to 'High School Musical' (2006), and from the reggae classic 'The Harder They Come' to Guru Dutt's 'Pyaasa' (1957).

100 Film Musicals

Ian Cameron

The Book of Westerns concentrates on the period between 1939 and the present day, looking at the Western from a wide variety of perspectives and providing in-depth critical analysis of many notable movies up to Tombstone (1993) and Wyatt Earp (1994). The coverage includes such celebrated works as George Stevens's Shane with Alan Ladd as the archetypal solitary Western hero, Nicholas Ray's Johnny Guitar where the combatants in the final gunfight are Joan Crawford and Mercedes McCambridge, and King Vidor's Duel in the Sun with its orgasmic climax when Gregory Peck and Jennifer Jones shoot each other down and then claw their way toward a dying embrace. The text, mainly written by film critics and academics associated with Movie magazine, is aimed at the informed filmgoer as well as the film student and is illustrated throughout with stills that capture the flavor of the Western.

The Book of Westerns

John Gibbs

Designed for the launch of the Close-Up series, Filmmakers' Choices explores different areas of decision-making within film production, focusing on each in the analysis of a film. The discussion of Talk to Her (Pedro Almod'var, 2002) examines the detailed construction of point of view; the account of Lured (Douglas Sirk, 1947) is simultaneously a reflection on narrative construction and a look at the creative possibilities of coincidence. The Pop Song in Film offers a series of detailed interpretations of moments in films where the pop song adopts a decisive storytelling role. The study focuses on both on-screen musical performances and the use of the song as a kind of musical voiceover. Reading Buffy looks at Joss Whedon's acclaimed television series, Buffy the Vampire Slayer, through a close- reading approach more usually applied to films. The series is seen not just to create a richly detailed and satisfying fictional world, but to be an abundant source of complex meanings. Several aspects of Buffy are examined: its visual intelligence, the playful sophistication of its narrative strategies and the interest the series takes in its relationship with its many fans.

Filmmakers' Choices

From the coming of sound to the 1960s, the musical was central to Hollywood production. Exhibiting – often in spectacular fashion – the remarkable resources of the Hollywood studios, musicals came to epitomise the very idea of 'light entertainment'. Films like Top Hat and 42nd Street, Meet Me in St. Louis and On the Town, Singin' in the Rain and Oklahoma!, West Side Story and The Sound of Music were hugely popular, yet were commonly regarded by cultural commentators as trivial and escapist. It was the 1970s before serious study of the Hollywood musical began to change critical attitudes and foster an interest in musical films produced in other cultures. Hollywood musicals have become less common, but the genre persists and both academic interest in and fond nostalgia for the musical shows no signs of abating. 100 Film Musicals provides a stimulating overview of the genre's development, its major themes and the critical debates it has provoked. While centred on the dominant Hollywood tradition, 100 Film Musicals includes films from countries that often tried to emulate the Hollywood style, like Britain and Germany, as well as from very different cultures like India, Egypt and Japan. Jim Hillier and Douglas Pye also discuss post-1960s films from many different sources which adapt and reflect on the conventions of the genre, including recent examples such as Moulin Rouge! and High School Musical, demonstrating that the genre is still very much alive.

This is the first book in English exclusively devoted to the long take, one of the key elements of film style. Increasingly visible in contemporary international media, the long take currently attracts a good deal of attention in criticism and commentary. There are also significant strands of film theory in which duration has become a recurrent concern. In keeping with the approach of Palgrave Close Readings in Film and Television, this collection is devoted to the detailed critical analysis of specific long takes, explored in terms of how they function within their contexts, how they shape the visual field, the meanings they generate and the effects they create. The Long Take: Critical Approaches brings together essays by established and emerging scholars (all but one essay commissioned for this volume) in an exciting collection that analyses works from a range of filmmaking traditions, from the 1930s to the present day, selected to represent varied long take practices and to explore associated debates.

Douglas Pye

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