Gary Needham

Edie Sedgwick, socialite, model, fashion icon, film star, and collaborator in Andy Warhol's underground cinema of the 1960s. The legacy of Edie Sedgwick as the New York fashion icon (Vogue's 'youthquaker' and Life's 'girl with the black tights') and associate of Andy Warhol is still keenly felt today with the recent homage to her in a collection by Marc Jacobs, and an earlier one at Dior in 2005, and even thirty-three years after her death (then only 28 years old) her image was used to front a successful NARS cosmetics campaign; in short, Edie Sedgwick is the definition of iconic. Factory Girl, Factory Films is the first to explore the relationship between Edie Sedgwick and Warhol anew specifically in relation to the filmmaking and cinema, detailing all 22 films and 3 videos. Gary Needham explores several issues relevant to the study of Warhol and Warhol's cinema, and proposing important new frameworks around collaborative artistic practices, acting, performance, stardom, and underground cinema.

Edie Sedgwick and the Films of Andy Warhol

Factory Girl, Factory Films

Peter Krämer

Tino Balio

Yannis Tzioumakis

Established in 1919 by Hollywood's top talent United Artists has had an illustrious history, from Hollywood minor to industry leader to a second-tier media company in the shadow of MGM. This edited collection brings together leading film historians to examine key aspects of United Artists' centennial history from its origins to the sometimes chaotic developments of the last four decades. The focus is on several key executives – ranging from Joseph Schenck to Paula Wagner and Tom Cruise – and on many of the people making films for United Artists, including Gloria Swanson, David O. Selznick, Kirk Douglas, the Mirisch brothers and Woody Allen. Drawing on a wide range of primary sources, individual case studies explore the mutually supportive but also in places highly contentious relationships between United Artists and its producers, the difficult balance between artistic and commercial objectives, and the resulting hits and misses (among them The General, the Pink Panther franchise, Heaven’s Gate, Cruising, and Hot Tub Time Machine). The second volume in the Routledge Hollywood Centenary series, United Artists is a fascinating and comprehensive study of the firm’s history and legacy, perfect for students and researchers of cinema and film history, media industries, and Hollywood.

United Artists

This text examines 'Brokeback Mountain' in relation to the genres of the western and melodrama.

Brokeback Mountain

"This edited collection brings together leading film historians to examine key aspects of United Artists' centennial history from its origins to the sometimes chaotic developments of the last four decades. The focus is on several key executives - ranging from Joseph Schenck to Paula Wagner and Tom Cruise - and on many of the people making films for United Artists, including Gloria Swanson, David O. Selznick, Kirk Douglas, the Mirisch brothers and Woody Allen. Drawing on a wide range of primary sources, individual case studies explore the mutually supportive but also in places highly contentious relationships between United Artists and its suppliers, the difficult balance between artistic and commercial objectives, and the resulting hits and misses (among them The General, the Pink Panther franchise, Heaven's Gate, Cruising and Hot Tub Time Machine). The second title of the Routledge Hollywood Centenary series, United Artists is a fascinating and comprehensive study of the firm's history and legacy, perfect for students and researchers of cinema and film history, media Industries, and Hollywood"--

Glyn Davis

How can we queerly theorise and understand television? How can the realms of television studies and queer theory be brought together, in a manner beneficial and productive for both? Queer TV: Theories, Histories, Politics is the first book to explore television in all its scope and complexity – its industry, production, texts, audiences, pleasures and politics – in relation to queerness. With contributions from distinguished authors working in film/television studies and the study of gender/sexuality, it offers a unique contribution to both disciplines. An introductory chapter by the editors charts the key debates and issues addressed within the book, followed by three sections, each central to an understanding of the relationships between queerness and television: 'theories and approaches', histories and genres', and 'television itself'. Individual essays examine the relationships between queers, queerness, and television across the multiple sites of production, consumption, reception, interpretation and theorisation, as well as the textual and aesthetic dimensions of television and the televisual. The book crucially moves beyond lesbian and gay textual analyses of specific TV shows that have often focussed on evaluations of positive/negative representations and identities. Rather, the essays in Queer TV theorise not just the queerness in/on television (the production personnel, the representations it offers) but also the queerness of television as a distinct medium.

Theories, Histories, Politics

Queer TV

Dimitris Eleftheriotis

Asian cinema is an area of increasing interest in Anglo-US film studies while Asian films are now widely distributed and popular with western audiences. The fascination with Asian cinema must be examined in the context of a complex and often problematic relationship between western scholars, students, viewers and Asian films. This book, therefore, examines a number of detailed case studies (such as the films of Ozu, Bruce Lee, Hong Kong and Turkish cinema, Hindi melodramas, Godzilla films, Taiwanese directors and Fifth Generation Chinese cinema) and uses them in order to investigate the limitations of Anglo-US theoretical models and critical paradigms. By engaging the readers with familiar areas of critical discourse (such as postcolonial criticism, 'national cinema', 'genre', 'authorship' and 'stardom') the book aims to introduce within such contexts the 'unfamiliar' case studies which will be explored in depth and detail. The advantage of such an approach is that it works with the dynamics of familiarity/unfamiliarity and resists the temptation to construct Asian cinemas as a gallery of exotic objects that might be particularly fascinating but remain deeply distant and foreign. Book jacket.

A Reader and Guide

Asian Cinemas

Asian cinema is an area of increasing interest in Anglo-US film studies while Asian films are now widely distributed and popular with western audiences. The fascination with Asian cinema must be examined in the context of a complex and often problematic relationship between western scholars, students, viewers and Asian films. This book, therefore, examines a number of detailed case studies (such as the films of Ozu, Bruce Lee, Hong Kong and Turkish cinema, Hindi melodramas, Godzilla films, Taiwanese directors and Fifth Generation Chinese cinema) and uses them in order to investigate the limitations of Anglo-US theoretical models and critical paradigms. By engaging the readers with familiar areas of critical discourse (such as postcolonial criticism, 'national cinema', 'genre', 'authorship' and 'stardom') the book aims to introduce within such contexts the 'unfamiliar' case studies which will be explored in depth and detail. The advantage of such an approach is that it works with the dynamics of familiarity/unfamiliarity and resists the temptation to construct Asian cinemas as a gallery of exotic objects that might be particularly fascinating but remain deeply distant and foreign. Features*A comprehensive study of Asian cinemas, including Hong Kong, Japan, China, India, Turkey and Taiwan*An accessible guide for the study and research of Asian cinema which addresses undergraduate and postgraduate students and researchers* Each section contains a contextualising introduction* Includes key texts by Ackbar Abbas, Rey Chow, David Desser, Dimitris Eleftheriotis, Nezih Erdo

Gary Needham

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