Bert Cardullo Boeken

Exploring the aesthetics of genre films and the evolving definition of 'classics,' this book provides in-depth analyses of notable genre movies and acclaimed classics. It delves into how perceptions of these films have shifted over time, offering insights into their significance and impact within cinematic history.

Nuri Bilge Ceylan, the acclaimed Turkish writer-director born in 1959, made history with his short film Cocoon, the first Turkish short selected for the Cannes Festival in 1995. Since then, he has consistently garnered recognition at Cannes, winning the Grand Prix for Distant in 2002 and Once Upon a Time in Anatolia in 2011, as well as the FIPRESCI prize for Climates in 2006 and the Best Director award for Three Monkeys in 2008. His 2014 film Winter Sleep earned him the prestigious Palme d'Or. Ceylan's low-budget, art-house films balance formal control with realistic authenticity, creating a brooding, meditative atmosphere rich in visual and aural poetry that transcends traditional narrative. His work addresses profound themes such as the purpose of life, the influence of the past on the present and future, the reconciliation of desires with reality, and the challenges of maintaining human relationships amid the pursuit of something better. Nuri Bilge Ceylan: Essays and Interviews is the first comprehensive English-language book dedicated to his work, featuring eight interviews and ten essays, along with a biographical introduction, full movie credits, and a bibliography. Robert Cardullo, the author, has an extensive background in film studies and has taught for four decades.

Featuring in-depth interviews with nine influential film directors, this book provides insight into their creative processes and artistic visions. Each interview is complemented by critical essays that analyze the directors' works, exploring themes, styles, and contributions to cinema. The combination of personal reflections and scholarly critique offers a comprehensive look at the impact these filmmakers have had on the industry and their unique storytelling techniques.

American Drama/Critics: Writings and Readings is a collection of essays on acknowledged classics of American drama such as Death of a Salesman, The Glass Menagerie, and Our Town, and on newer but no less esteemed works like David Mamet's Glengarry Glen Ross and Sam Shepard's Buried Child.

This is a collection of essays and interviews on the British art cinema as it emerged particularly in the post-World War II period and prospered until the turn of the twenty-first century--when Internet piracy began to put more and more pressure on producers and directors to make strictly commercial, international, blockbuster-style films that could turn a huge profit within the first few weeks of their release. The British Art Cinema, 1938-2008 includes eighteen review/essays and six interviews, an extensive bibliography, film credits as well as directors' filmographies, and numerous illustrative film stills. Directors treated in this book include John Schlesinger, Jack Clayton, Derek Jarman, Ken Loach, Mike Leigh, Stephen Frears, David Hare, Peter Greenaway, Terence Davies, Kenneth Branagh, and Danny Boyle. Among the films discussed are Room at the Top, Pygmalion, How I Won the War, Secrets and Lies, The Remains of the Day, Henry V, Trainspotting, The Comfort of Strangers, Sid and Nancy, Prick Up Your Ears, and The Cook, the Thief, His Wife & Her Lover.

Robert Cardullo's collection features critical essays on renowned plays, including Oedipus Tyrannos, Hamlet, King Lear, Tartuffe, and many more. The author’s approach is characterized by a commitment to detailed, objective analysis of each play's structure, style, imagery, and language. Drawing from his experience as a dramaturg, Cardullo focuses on dramatic elements that benefit directors, designers, and actors, emphasizing character, action, dialogue, and setting. His insights aim to provide a deeper understanding of the works, offering practical concepts for theatrical production and fostering meaningful discussions among theater practitioners. Many plays discussed are frequently staged, particularly in university settings, and Cardullo's essays may contribute to future productions. Additionally, the collection serves as a valuable resource for students studying dramatic literature, providing models for writing play analyses. The essays reflect the author's preoccupations as a critic, making them accessible and relevant for both theater professionals and students alike.

André Bazin (1918-1958) played a pivotal role in establishing film studies as a respected intellectual discipline and is often regarded as the spiritual father of the French New Wave. In 1951, he co-founded Cahiers du cinéma, the most influential film journal in cinema history, and was a key proponent of auteur theory, which positions the film director as the primary creator of a film's unique style. Unlike many theorists, Bazin was a practical critic who focused on actual films rather than preconceived theories, making film criticism a process of description, analysis, and deduction. He served as an aesthetic bridge between critics and theorists, emphasizing the importance of questioning rather than providing definitive answers about art and cinema. Bazin's life was tragically cut short by leukemia in 1958, but he left behind a wealth of material, including the four-volume Qu'est-ce que le cinéma? and contributions to various magazines. This book features a comprehensive bibliography of Bazin's writings and those about him, primarily in French and English, alongside a contextual introduction to his life and work. It represents a significant contribution to cinema studies and highlights the enduring impact of one of the field's foremost thinkers.

This rich and insightful book offers a refreshing perspective on American art cinema since 1965. With elegance, clarity, and rigor film critic Robert Cardullo analyzes and interprets the biggest art-house classics from Peckinpah and Lumet to Jarmusch, Soderbergh, and Lynch with a compassionate mind. Favoring a humanistic approach to the reading of independent U. S. filmmaking, The American Art Cinema presents close readings that go far beyond the naive stargazing of popular film reviews but also resist the oracular theoretical pronouncements favored by purely academic film studies. Including three long retrospective essays and twenty review articles featuring many of the most significant independent movies from 1965 to 2005, Cardullo ultimately aims to explain how some American moviemakers continue to use the resources of the medium to pursue complex, significant humanistic goals. From the Contents: * Through the Looking Glass: The American Art Cinema in an Age of Social Change * Actor-Directors at Work and Play: Billy Bob Thornton's Sling Blade and John Turturr's Mac * On the Road Again: The Road Film and the Two Coppolas Shooting the City: The Gangster, Manhattanites, and the Movies

In Re-visions: Essays in Film and Dramatic Criticism, Robert Cardullo attempts to review major works of film and dramatic art, revising either his own views or the received wisdom about them in the process. The book begins with an historical overview of the whole subject of theater and film, or theater versus film, and then proceeds to re-examine the work of such playwrights as Bertolt Brecht, Arthur Miller, Bernard Shaw, Thomas Heywood, Carlo Terron, Fernand Crommelynck, Eugene O'Neill, Thornton Wilder, and John Steinbeck, as well as the concept of ahistorical avant-gardism and the dramatic adaptation of the Antigone myth. In the area of cinema, Re-visions re-visits, and re-evaluates, the film theory of André Bazin and the film movement of Italian neorealism; reconsiders such films as Robert Bresson's Une Femme douce, Michelangelo Antonioni's L'avventura, Alain Resnais's Last Year at Marienbad, and Resnais's Hiroshima, mon amour; and rethinks the rationale behind war movies, gangster films, and even the idea of New York as a character in the cinema. Re-visions includes an interview with David Hare in which, among other subjects, the British playwright discusses the differences between writing for the cinema and writing for the stage. The collection concludes with an essay in which the author re-examines five American films from the perspective of the first time he saw them versus the perspective of today.