Category: Book Reviews
June Butler takes a look at Owen Hatherley’s ‘The Chaplin Machine: Slapstick, Fordism and the International Communist Avant-Garde.’
June Butler finds a lot to like in ‘Alex Cox’s Introduction to Film – A Director’s Perspective’.
Sarah Griffin enters Laurie Ruth Johnson’s ‘Forgotten Dreams: Revisiting Romanticism in the Cinema of Werner Herzog’.
Deirdre Molumby takes a look at ‘Ireland and Cinema: Culture and Contexts’, which offers a broad range of academic approaches to contemporary and historical Irish filmmaking and representations of nationality, national identity, and theoretical questions around the construction of Ireland and Irishness on the screen.
June Butler reviews Irish author Aubrey Malone’s latest book, ‘Hollywood’s Second Sex The Treatment of Women in the Film Industry, 1900 – 1999’.
Cathy Butler takes a look at the Book + DVD ‘The Woman Who Married Clark Gable’ by Thaddeus O’Sullivan.
Stephen Totterdell takes a look at Ruth Barton’s latest book, ‘Rex Ingram: Visionary Director of the Silent Screen’.
Rory Cashin eyes up the spectacular art of underground film posters in a new book, ‘Alternative Movie Posters: Film Art from the Underground’.
Book review: The Black Irish Onscreen: Representing Black and Mixed-Race Identities on Irish Film and Television
Sarah Griffin welcomes Zélie Asava’s book that applys divergent theoretical concepts of Irishness, whiteness, gender and the particular place of the ‘other’ to the ‘conceptual whiteness of Irishness itself’.
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.
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.
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.