BFI PUBLISHING (BRITISH FILM INSTITUTE)

(P/B) WRITTEN ON THE WIND
Written on the Wind (1956) is one of classical Hollywood's most striking films and ranks among Douglas Sirk's finest achievements. An intense melodrama about an alcoholic playboy who marries the woman his best friend secretly loves, the film is highly stylised, psychologically complex, and marked by Sirk's characteristic charting of the social realities of 1950s America. This first single study of Written on the Wind reassesses the film's artistic heritage and place within the wider framework of contemporary American culture. Incorporating...
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(P/B) BRITISH TRASH CINEMA
BRITISH TRASH CINEMA is the first overview of the wilder shores of British exploitation and cult paracinema from the 1950s onwards. From obscure horror, science fiction and sexploitation, to art-house camp, Hammer's prehistoric fantasies and the worst British films ever made, author I.Q. Hunter draws on rare archival material and new primary research to take us through the weird and wonderful world of British trash cinema. Beginning by outlining the definitions of trash films and their place in British film history, Hunter explores topics ...
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(P/B) THE DEATH OF CINEMA
(. . .) This book is an elegy to the thousands copies of films being destroyed every day, all over the world, due to the lack of a global conservation strategy and the blatant indifference of some governments and the very same people who once paid money to make those films available to all. Paolo has drawn with clinical precision (and a welcome touch of irony) the picture of a worldwide crisis that commands our unconditional concert. His portrait of a culture ignoring the loss of its image is a devastating moral tale: there is something ve...
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(P/B) THE NEW SCREEN MEDIA
The advent of new media presents a serious challenge to our understanding of visual representation, of narrative and indeed the whole art of the moving image. New media forms are emerging in hypertext, multimedia, computer games, interactive broadcast and screen media. These are constantly redefining the relationship between story and text and between the creators of art and their audiences who are increasingly becoming the co-producers of meaning in a variety of media. This text presents the work of cultural theorists and philosophers of ...
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(P/B) THE SEARCHERS
John Ford's masterpiece "The Searchers" (1956) was rated fifth greatest film of all time in Sight and Sound's most recent poll of critics. Its influence on many of America's most distinguished contemporary film-makers -among them Martin Scorsese, Paul Schrader and John Milius- is enormous. John Wayne's portrait of the vengeful Confederate Ethan Edwards gives the film a truly epic dimension, as his long and lonely search across the West for his captive niece proves a journey into the dark heart of America. Edward Buscombe provides a detaile...
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(P/B) METROPOLIS
Metropolis is a monumental work. On its release in 1925, after sixteen months' filming, it was Germany's most expensive feature film, a canvas for director Fritz Lang's increasingly extravagant ambitions. Lang, inspired by the skyline of New York, created a whole new vision of cities. One of the greatest works of science fiction, the film also tells human stories about love and family. Thomas Elsaesser explores the cultural phenomenon of Metropolis: its different versions (there is no definitive one), its changing meanings, and its role as...
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(P/B) SINGIN' IN THE RAIN
Sixty years after its release, Singin' in the Rain (1951) remains one of the best loved films ever made. Yet despite dazzling success with the public, it never received its fair share of critical analysis. Gene Kelly's genius as a performer is undeniable. Acknowledged less often is his innovatory contribution as director. Peter Wollen's illuminating study of Singin' in the Rain does justice to this complex film. In a brilliant shot-by-shot analysis of the famous title number, he shows how skilfully Kelly weaves the dance and musical elemen...
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(P/B) LA REGLE DU JEU
La Regle du jeu was the first and is still the finest of all the films that we see in a director's cut. The work of French cinephiles in the 1950s restored Jean Renoir's work to glory. It had been a disaster at its premiere in 1939, just weeks before the outbreak of war. Its failure, Renoir wrote, 'depressed me so much that I made up my mind either to forsake cinema or to leave France.' Before and after its rejection at the box office, panic cutting savaged the available prints. In the years after the war, Renoir's film was to become a leg...
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(P/B) WENT THE DAY WELL?
Went the Day Well? is one of the most unusual pictures Ealing Studios produced, a distinctly unsentimental war film made in the darkest days of World War II, and nothing like the loveable comedies that later became the Ealing trademark. Its clear-eyed view of the potential for violence lurking just below the surface in a quiet English village possibly owes something to the Graham Greene story on which it is based, though, as Penelope Houston shows, there remains a mystery about the extent to which Greene was actually involved in the script...
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(P/B) DON'T LOOK NOW
Don't Look Now, released in 1973, confirmed director Nicolas Roeg as one of the most stylish and innovative British directors of the postwar period. Adapted from a short story by Daphne du Maurier, it is both a complex study of how people come to terms with grief and a chilling tale of murder set among the canals and churches of Venice. Featuring telling performances by Julie Christie and Donald Sutherland as the couple whose daughter has tragically died, Don't Look Now depicts the way in which the macabre and the everyday are intertwined....
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(P/B) THE WIZARD OF OZ
The Wizard of Oz 'was my very first literary influence,' writes Salman Rushdie in his account of the great MGM children's classic. At the age of ten he had written a story, 'Over the Rainbow', about a colourful fantasy world. But for Rushdie The Wizard of Oz is more than a children's film, and more than a fantasy. It's a story whose driving force is the inadequacy of adults, in which 'the weakness of grown-ups forces children to take control of their own destinies'. And Rushdie rejects the conventional view that its fantasy of escape from ...
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(P/B) EXPERIMENTAL CINEMA IN THE DIGITAL AGE

(P/B) MORE DIRTY LOOKS
Hailed as 'a paradigm shift in feminist responses to pornography' when first published in 1993, Dirty Looks was instantly lauded as a landmark volume. This new edition adds to the core of the original selection no fewer than eleven new accounts of recent transformations in the politics and presentation of porn. (. . .) (ΑΠΟ ΤΗΝ ΠΑΡΟΥΣΙΑΣΗ ΣΤΟ ΟΠΙΣΘΟΦΥΛΛΟ ΤΟΥ ΒΙΒΛΙΟΥ)...
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(P/B) THE BFI COMPANION TO EASTERN EUROPEAN AND RUSSIAN CINEMA
The BFI Companion to Eastern European and Russian Cinema is an invaluable map to the rich and varied cinema of Eastern Europe, Russia and the former USSR. (. . .) (ΑΠΟ ΤΗΝ ΠΑΡΟΥΣΙΑΣΗ ΣΤΟ ΟΠΙΣΘΟΦΥΛΛΟ ΤΟΥ ΒΙΒΛΙΟΥ)...
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(P/B) THE CINEMA BOOK

(P/B) THE NEW MEDIA BOOK

(P/B) 100 FILM NOIRS
Film noir's popularity with cinema audiences, enthusiasts and scholars has remained unabated since post-war French critics began discerning a new trend in American film with the release of such stylish and atmospheric crime features as Double Indemnity and Murder, My Sweet. Many of Hollywood's greatest directors such as Fritz Lang and Robert Siodmak are now closely associated with film noir's psychologically acute observations of the darker contours of the American urban landscape. Thanks to evocative cinematography, sharp writing and powe...
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(P/B) THE FILMS OF NICHOLAS RAY
(. . .) This new editions, which covers all of Ray's films, includes an updated introductrion and fresh reflections on the enduring importance in the twenty-first century of one of the greatest directors to have worked in Hollywood. (ΑΠΟ ΤΗΝ ΠΑΡΟΥΣΙΑΣΗ ΣΤΟ ΟΠΙΣΘΟΦΥΛΛΟ ΤΟΥ ΒΙΒΛΙΟΥ)...
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TEACHING WORLD CINEMA (P/B)
(. . .) The aim of this guide is to provide teachers with a comprehensive approach to teaching World cinema topics. It offers opportunities for development of key concepts around case studies of national cinemas. (. . .) (ΑΠΟ ΤΗΝ ΠΑΡΟΥΣΙΑΣΗ ΣΤΟ ΟΠΙΣΘΟΦΥΛΛΟ ΤΟΥ ΒΙΒΛΙΟΥ)...
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(P/B) TEACHING ANALYSIS OF FILM LANGUAGE
A well-organised guide to teaching film language, with examples from Hollywood, independent, British and World cinemas. Designed to be accessible to those who are new to film or media studies, this book will also be very useful to more experienced practitioners. It centres on a concise account of key ideas in film analysis at the 'macro' level (narrative, genre, representation) and 'micro' level (cinematography, editing, sound). Without over-reliance on inaccessible theory, the guide explains how the auditory and visual components of film ...
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