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Books on the topic 'Autobiographical films'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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1

The autobiographical documentary in America. Madison: University of Wisconsin Press, 2002.

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2

Conversations with experience: Feminist hermeneutics and the autobiographical films of German women. New York: P. Lang, 2004.

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3

Conscientious viscerality: The autobiographical stance in German film and video. Berlin: Edition Imorde, 2006.

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4

Slide, Anthony. A biographical and autobiographical study of 100 silent film actors and actresses. Lexington, Ky: University Press of Kentucky, 2002.

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5

Weinberger, Gabriele. Nazi Germany and its aftermath in women directors' autobiographical films of the late 1970s: In the murderers' house. San Francisco: Mellen Research University Press, 1992.

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6

Silent players: A biographical and autobiographical study of 100 silent film actors and actresses. Lexington, Ky: University Press of Kentucky, 2002.

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7

Weisser-Gleissberg, Janine. Mein Film über mich: Regisseure vor und hinter der Kamera. Berlin: Avinus, 2014.

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8

American visual memoirs after the 1970s: Studies on gender, sexuality, and visibility in the post-civil rights age. București: Editura Universității din București, 2010.

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9

universitetsbibliotek, Odense, ed. Fact, fiction and faction. Odense: University Press of Southern Denmark, 2010.

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10

S, Geduld Marcus, ed. From the heart: Biographical and autobiographical memoirs. Bloomington, IN: AuthorHouse, 2009.

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11

Nous, les moins-que-rien, fils aînés de personne: 12 (+ 1) autobiographies. [Paris]: Fayard, 2006.

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12

Samé, Emmanuel. Autofiction, père & fils: S. Doubrovsky, A. Robbe-Grillet, H. Guibert. Dijon: Éditions universitaires de Dijon, 2013.

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13

Narrative's journey: The fiction and film writing of Dorothy Richardson. New York: P. Lang, 1996.

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14

Lane, Jim. Autobiographical Documentary in America. University of Wisconsin Press, 2002.

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15

Curtis, Robin, and Angelica Fenner. Autobiographical Turn in Germanophone Documentary and Experimental Film. Boydell & Brewer, Incorporated, 2014.

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16

Autobiographical Turn in Germanophone Documentary and Experimental Film. Boydell & Brewer, Incorporated, 2014.

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17

Slide, Anthony. Silent Players: A Biographical and Autobiographical Study of 100 Silent Film Actors and Actresses. University Press of Kentucky, 2010.

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18

Slide, Anthony. Silent Players: A Biographical and Autobiographical Study of 100 Silent Film Actors and Actresses. The University Press of Kentucky, 2010.

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19

Janisse, Kier-La. House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films. FAB Press, 2014.

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20

House Of Psychotic Women An Autobiographical Topography Of Female Neurosis In Horror And Exploitation Films. FAB Press, 2012.

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21

McFarlane, Brian. The Films of Fred Schepisi. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835352.001.0001.

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Fred Schepisi is a crucial name associated with the ‘revival’ of the Australian film industry in the 1970s. This book traces the lead-up to Schepisi’s critical successes in feature-filmmaking via his earlier award-winning success as a producer in advertising commercials in the 1960s and the setting up of his own company. A minor biographical element considers Schepisi’s early education in a Catholic seminary, which he drew on in his semi-autobiographical film, The Devil’s Playground, the success of which launched him as an exciting new feature director. The book then charts Schepisi’s development as a director in demand in other countries, notably in the US and the UK, as well as continuing to make major films in Australia. His career is in this way symptomatic of Australian directors who have made their presence felt on the international stage. What follows here is a critical account of Schepisi’s film output and the context in which it has taken place, with the co-operation of Schepisi and some of his key collaborators. The book details production histories, an account of the finished films, and a sense of how the films were received (both critically and popularly). Author Brian McFarlane explores the recurring thematic, narrative, and visual elements that have helped to characterize Schepisi as artist and craftsman.
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22

Gillain, Anne. Totally Truffaut. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536308.001.0001.

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This book tries to answer in clear language two complex riddles: How is experience imprinted into films? What draws audiences to theaters? François Truffaut, like Fellini, Bergman, or Scorsese, worked with autobiographical material, and Totally Truffaut follows the coded inscription of major life events in his films, from his illegitimate birth to his passionate but doomed relationship with Catherine Deneuve. The book focuses first on the process that embeds experience into fictions, and more specifically into visual forms and patterns. I also try to define the mode of perception film language triggers in the spectator. When entering a movie theater, we expect perceptual pleasure. Truffaut’s creative work is devoted to distilling this drug to audiences, an ambition central to the evolution of his style. These two issues are closely connected, and Totally Truffaut follows, film after film, their crisscrossing paths. It also highlights the essential role several great actresses—Jeanne Moreau, Françoise Dorléac, Jacqueline Bisset, Isabelle Adjani, Fanny Ardant, and Catherine Deneuve—played in the creation of the films.
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23

Gustafsson, Tommy, and Pietari Kääpä, eds. Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.001.0001.

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Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. It discusses a range of internationally renowned examples, from Nordic noir such as the television show The Bridge and films like Insomnia (1997) to high concept ‘video generation’ productions such as Iron Sky (2012). Yet, genre, at least in this context, indicates both a complex strategy for domestic and international competition as well as an analytical means to identify the Nordic film cultures’ relationships to international trends. Conceptualizing Nordic genre film as an industrial and cultural phenomenon, other contributions focus on road movies, the horror film, autobiographical films, the quirky comedy, musicals, historical epics and pornography. These are contextualized by discussion of their place in their respective national film and media histories as well as their influence on other Nordic countries and beyond. By highlighting similarities and differences between the countries, as well as the often diverse production modes of each country, as well as the connections that have historically existed, the book works at the intersections of film and cultural studies and combines industrial perspectives and in depth discussion of specific films, while also offering historical perspectives on each genre as it comes to production, distribution and reception of popular contemporary genre film.
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24

Cooper, Ian. Frenzy. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325369.001.0001.

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Frenzy (1972) was Alfred Hitchcock's penultimate film, and arguably one of his most misunderstood and neglected. Whereas even Psycho (1960) did eventually become respectable — indeed, it is a good contender for the most admired of the Master's films — Frenzy still remains problematic for many. While Raymond De Foery makes his feelings clear in the title of his book, Alfred Hitchcock's Frenzy: The Last Masterpiece, Hitchcock's controversial biographer Donald Spoto calls the film ‘repulsive’ and ‘a closed and coldly negative vision of human possibility’. Frenzy is perhaps Hitchcock's most nakedly autobiographical film, representing both a comeback and farewell to the city of his birth. But it started out as a very different kind of project. This book discusses the evolution of the film, its production, reception, and place in Hitchcock's oeuvre, as well as its status as a key film of ‘sleazy Seventies’ British cinema.
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25

Fox, Alistair. Confronting Domestic Violence and Familial Abuse: Once Were Warriors (Lee Tamahori, 1994). Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0010.

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This chapter points to the presence of three often-overlooked coming-of-age narrative strands in Lee Tamahori’s Once Were Warriors, in what is ostensibly a social problem film. A comparison with Alan Duff’s autobiographical novel from which the film was adapted, reveals strategies that Tamahori adopted to invest the story with a more standardized generic complexion that relates it to the Hollywood action films of filmmakers like Robert Aldrich and Sam Peckinpah and Sergio Leone’s spaghetti westerns for the sake of enlarging its box office appeal for an international audience. Finally, the discussion shows how Tamahori changed the ideological underpinnings of the story by converting Duff’s neoliberal vision of self-help into an assumption that a return to the values of traditional Māori culture is the remedy for the ills of socio-economically deprived Māori who have migrated to the city.
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26

Toles, George. Words and Music: The Magnolia Crisis. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040368.003.0001.

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This chapter describes a considered, thematic, and stylistic account of the viewing experiences of three films by Paul Thomas Anderson and their backgrounds—Punch-Drunk Love (2002), There Will Be Blood (2007), and The Master (2012). Writer Geoffrey O'Brien, in his essay on The Master, captures the feel of Anderson's recurring landscape of disconnection. He goes on to speak of the expressionist treatment of milieu in the films, as though in each narrative there is an attempt both to acknowledge the claims of material reality and at the same time to reconfigure the real. The chapter also examines the contradictory pressures at work in the avowedly autobiographical, densely verbal Magnolia, which may have necessitated a change in Anderson's method and technique in the films that followed.
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27

Everett, Samuel Sami, and Rebekah Vince, eds. Jewish-Muslim Interactions. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621334.001.0001.

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By exploring dynamic Jewish–Muslim interactions across North Africa and France through performance culture in the 20th and 21st centuries, this book offers an alternative chronology and lens to a growing trend in media and scholarship that views these interactions primarily through conflict. The book interrogates interaction that crosses the genres of theatre, music, film, art, and stand-up, emphasising creative influence and artistic cooperation between performers from the Maghrib, with a focus on Algeria, Tunisia, Morocco, and diaspora communities, notably in France. The plays, songs, films, images, and comedy sketches analysed are multilingual, mixing not only with the former colonial language French, but also the rich diversity of indigenous Amazigh and Arabic languages. The first section examines accents, affiliations, and exchange, with an emphasis on aesthetics, familiarity, changing social roles, and cultural entrepreneurship. The second section shifts to consider departure and lingering presence through spectres and taboos, in its exploration of absence, influence, and elision. The volume concludes with an autobiographical afterword, which reflects on memories and legacies of Jewish–Muslim interactions across the Mediterranean.
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28

Cuthbertson, Tom. Autobiographical Reenactment in French and Belgian Film: Repetition, Memory, Self. Taylor & Francis Group, 2022.

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29

Moffat, Sandra. Reading in both directions: A critical autobiographic method of film interpretation. 1999.

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30

Tezza, Cristovão, and Sébastien Roy. Le fils du printemps. METAILIE, 2009.

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31

Tezza, Cristovão, and Sébastien Roy. Le fils du printemps. METAILIE, 2009.

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32

Tezza, Cristovão, and Sébastien Roy. Le fils du printemps. METAILIE, 2009.

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33

Miller, Giulia. Studying Waltz with Bashir. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325154.001.0001.

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On its release in 2008, Ari Folman's animated documentary Waltz with Bashir was heralded as a brilliant and original exploration of trauma, and trauma's impact on memory and the recording of history. But it is surprising that although the film is seen through the eyes of one particular soldier, a viewpoint portrayed using highly experimental forms of animation, this has not prevented Waltz with Bashir from being regarded as both an “autobiographical” and “honest” account of the director's own experiences in the 1982 Lebanon War. In fact, the film won several documentary awards, and even those critics focusing on the representation of trauma suggest that this trauma must be authentic. In this sense, it is the documentary form rather than the animation that has had the most influence upon critics. As this book shows, it is the tension between the two forms that makes the film so complex and interesting, allowing for multiple themes and discourses to coexist, including Israel's role during the Lebanon War and the impact of trauma upon narrative, but also the representation of Holocaust memory and its role in the formation of Israeli identity. In addition to these themes that coexist by virtue of the film's unusual animated documentary format, Waltz with Bashir can also be discussed in relation to a broad range of contexts; for example, the representation of war in film, the history of Israeli Holocaust cinema, and recent trends in experimental animation, such as Richard Linklater's Waking Life (2001) and A Scanner Darkly (2006), as well as Folman's most recent live action/animation work The Congress (2013).
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34

Taipéi. Alpha Decay, 2014.

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35

Winkler, Kevin. Dance of Death. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0011.

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This chapter looks at Bob Fosse’s most ambitious film, the autobiographical All That Jazz. All That Jazz follows Joe Gideon, a director and choreographer very much like Fosse who is at a personal and professional crossroads as he prepares to direct a Broadway musical much like Chicago while simultaneously editing a film that looks a lot like Lenny. Following graphic footage of open-heart surgery and a series of metaphoric musical comedy turns by the women in his life, All That Jazz concludes with Gideon presiding over a combined funeral and wake for himself: a glamorous, high-energy floor show to end all floor shows. Here Fosse took the movie musical further than anyone had dared—not only in subject matter, but also in structure and pacing. Fosse tells this “putting on a show” musical in nonlinear fashion, with surprising juxtapositions, fragments, and time leaps.
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36

Ho, Jennifer. Southern Eruptions in Asian American Narratives. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037832.003.0009.

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This chapter discusses the emergence of Asian American literature and film about the South as they disrupt multiple narratives about race relations and racial subjectivity. It particularly studies Susan Choi's novel The Foreign Student (1998), Mira Nair's feature-length film Mississippi Masala (1992), and Paisley Rekdal's creative nonfiction collection of autobiographical essays, The Night My Mother Met Bruce Lee: Observations on Not Fitting In (2000). Asian American stories set in the South erupt the myth of imaginary lines between the past and present, arguing that the inclusion of Asian American voices signals not simply a pluralistic affirmation of racial harmony but the complications of understanding race beyond a black–white paradigm. Indeed, a true understanding of southern race relations crosses the geographic borders of the American South into not only Europe and Africa but the Caribbean, Latin America, and Asia as well, because the South is a space that is implicated in larger transnational and global flows.
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37

Schlieter, Jens. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190888848.003.0001.

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The introduction to Part I defines as the primary object of the study the reports of near-death experiences. As such, the latter are part of a literary form and specific genre. Experiences, and reports of experiences, it is argued, adapt to a complex network of expectation, anticipation, and confirmation of the anticipated. Therefore, they are culturally specific. Although of importance, fictional near-death reports as conveyed in literature and film will not be treated in the study if no autobiographical claim is visible, namely, that the experiences were made in biographically identifiable situations “near death.” The author’s aim to relate to a text-external world can be called “reference ambition” (Markus Davidsen).
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38

Anderson, Robert, ed. Hiding in Plain Sight: Uncovering Nuclear Histories. Simon Fraser University Library, 2022. http://dx.doi.org/10.21810/sfulibrary.93.

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Nuclear histories are global yet worryingly incomplete. Linking a plutonium refinery in Washington, a uranium mine in Saskatchewan, a tsunami at Fukushima, a nuclear bomb test site in Rajasthan, a reactor ‘accident’ at Chernobyl, a shipping accident in the English Channel, and a president-to-prime-minister confrontation over the US-Canada frontier, these quasi-autobiographical essays prove the importance of public archives, personal files with fragments, oral histories, and private recollections. This is the social history, business history, environmental history, labour history, scientific and technological history, and indigenous history of the twentieth century. Hiding in Plain Sight offers everyone an entry to the irregularities of our ‘disorderly nuclear world’, and offers other researchers crucial insights to what richness lies within.
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39

High, Casey. Civilized Victims. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039058.003.0002.

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This chapter explores the relationship between historical representations of Waorani and indigenous forms of social memory that define Waorani people as victims or “prey” to violence. To accomplish this task, the chapter draws on the autobiographical narratives of Waorani elders and the place of Waorani concepts of civilización (“civilization”) in such narratives. The Waorani elders' stories about past revenge killings and becoming “civilized” not only describe a time of intense violence but also voice indigenous understandings of what it means to be Waorani and kowori in the context of social transformation. The chapter relates the emphasis on victimhood in Waorani narratives to imagery of Christian martyrdom in missionary writings and in End of the Spear, a Hollywood film about the Palm Beach killings in 1956. By comparing missionary narratives to the stories of indigenous peoples, the chapter reveals the shared and contrasting ways in which Waorani and kowori people represent past violence.
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40

POP! Stillhouse Press, 2016.

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41

Worden, Daniel, ed. The Comics of R. Crumb. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833754.001.0001.

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The Comics of R. Crumb: Underground in the Art Museum is a ground-breaking collection on the work of a pioneer of underground comix and a fixture of comics culture. Crumb’s work is widely known—he has created the iconic characters Fritz the Cat, Mr. Natural, and the Snoid, has collaborated on influential autobiographical comics with Aline Kominsky-Crumb and Harvey Pekar, has drawn album covers like Big Brother & the Holding Company’s Cheap Thrills, has created popular images like the “Keep on Truckin” illustrations widely reproduced on posters and T-shirts, and has been the subject of a major documentary film, Terry Zwigoff’s Crumb. From his work on underground comix like Zap and Weirdo through the 1960s through the 2000s, to his cultural prominence, Crumb is one of the most renowned comics artists in the medium’s history. And, through his involvement in music, animation, and documentary film projects, Crumb is a widely recognized persona, an artist who has defined the vocation of the cartoonist. This volume contains essays from a variety of disciplinary and interdisciplinary perspectives that reflect the breadth of Crumb's work. Ranging from art history and literary studies, to environmental studies and religious history, the essays cast Crumb's work as formally sophisticated and complex in its representations of gender, sexuality, race, politics, and history, while also charting Crumb’s role in underground comix and the ways in which his work has circulated in the art museum. No other comics artist has garnered as much acclaim and controversy as R. Crumb, and this book offers a range of new approaches to the artist’s work.
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