Ciara O’Brien on Murray Pomerance’s book that focuses on the cultural critique inherent to Hitchcock’s work, while aso managing to provide great insight into the man himself.
Category: Book Reviews
Stephen McNeice takes a look at ‘The Filmmaker’s Handbook – A Comprehensive Guide for the Digital Age’
Nicola Marzano checks out one of the most up-to-date works on the documentary rise both among cinema goers and TV audiences.
Providing an insight into how Dublin has both shaped and been shaped by filmmakers, World Film Locations:Dublin is an engaging journey through Dublin and its representation on screen.
Nicola Marzano reviews George Englund’s captivating, crafty and insightful account of the life of a screen legend.
Martin Cusack reviews Aubrey Malone’s daringly ambitious and panoramic overview of the history of film censorship.
Ciara O’Brien recommends Pierre Assouline’s stunning biography ‘Hergé: The Man Who Created Tintin’ – a must for all comic fans.
Nicola Marzano finds a lot to admire in Marja Warehime’s accomplished study of the life and career of the anti-conformist director.
Tom Ryall’s indispensable study of Anthony Asquith’s career, which seemed to run in a sort of strange, reverse parallel with the development of film form itself.
John Hill explores the crossing of the boundaries between Loach, the television director, and Loach, the film director.
Keith Beattie examines the work of one of the great innovators of documentary.
Examines some of the important programs of the Roosevelt’s New Deal of the 1930s and the subsequent response of the Hollywood film community with a focus on three European directors in particular – Billy Wilder, Ernst Lubitsch, and Fritz Lang, whose works are compared and contrasted with the products of mainstream Hollywood.
Díóg O’Connell’s exemplery study positions Irish film as an integral part of our storytelling traditions and an inescapable part of our culture.
Susan Hayward throws light on an overlooked genre of French cinema and its significance in terms of political cultural history.
Rushton’s lively work argues that film is not merely a representational art, passively holding a mirror to our reality, but is, in fact, a reality in and of itself.