Alexandra Heller-Nicholas is an Australian film critic. She has written six books on cult film with a focus on gender politics, and has published for fifteen years in magazines, journals, edited collections and home entertainment releases. Alexandra recently co-authored a book on filmmakers Hélène Cattet and Bruno Forzani, and in 2017 co-curated the “Pioneering Women” program at the 2017 Melbourne International Film Festival which celebrated Australian women’s filmmaking in the 1980s and 1990s. Alexandra is also a member of Alliance of Women Film Journalists. Dean Brandum is an independent film historian. He gained his PhD at Deakin University (Australia) in 2016 for analysis of historical box office takings. He has taught at a number of universities in Melbourne and has written for various publications, generally on the topic of film distribution. His first book Technicolouryawn: Melbourne Drive-ins in 1970 is forthcoming.

• Who’s Kidding? Approaching Elaine May; Alexandra Heller-NicholasPart I: BeginningsChapter One: Teenagers on Stage – The Comedy of Elaine May and Mike Nichols; Mark FreemanPart II: Critically Situating Elaine MayChapter Two: Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema; Maya Montañez Smukler Chapter Three: Dangerous Business – Elaine May as Existential Improviser; Jake WilsonPart III: Elaine May’s Films as DirectorChapter Four: Kneeling on Glass – Elaine May’s A New Leaf (1971) as Screwball Black Comedy; Samm DeighanChapter Five: "Don’t Put A Milky Way in Someone’s Mouth When They Don’t Want It": A Contemporary Feminist Rereading of Elaine May’s The Heartbreak Kid (1972); Clem BastowChapter Six: Mikey and Nicky (1976) – Elaine May and the Cassavetes Connection; Jeremy CarrChapter Seven: Cartographies of Catastrophe – Elaine May’s Ishtar (1987); Dean BrandumPart IV: Collaborations/RevelationsChapter Eight: In/Significant Gestures – Elaine May, Screen Performance, and Embodied Collaboration; Alexandra Heller-NicholasChapter Nine: Otto É May(zo) – Elaine May’s Screenplay of Otto Preminger’s Such Good Friends (1971) as Affirmation That Hell is Other People; Paul JeffreyChapter Ten: Spectral Elaine May – The Later Mike Nichols Collaborations and the Myth of the Recluse; Tim O’Farrell　ConclusionChapter Eleven: When in Doubt, Seduce: An Interview with Screenwriter Allie Hagen; Alexandra Heller-Nicholas and Dean Brandum　Bibliography

In this compact but authoritative volume, Heller-Nicholas and Brandum have collected an excellent group of essays covering the entire breadth of May’s career.

Alexandra Heller-Nicholas is an Australian film critic. She has written six books on cult film with a focus on gender politics, and has published for fifteen years in magazines, journals, edited collections and home entertainment releases. Alexandra recently co-authored a book on filmmakers Hélène Cattet and Bruno Forzani, and in 2017 co-curated the “Pioneering Women” program at the 2017 Melbourne International Film Festival which celebrated Australian women’s filmmaking in the 1980s and 1990s. Alexandra is also a member of Alliance of Women Film Journalists. Dean Brandum is an independent film historian. He gained his PhD at Deakin University (Australia) in 2016 for analysis of historical box office takings. He has taught at a number of universities in Melbourne and has written for various publications, generally on the topic of film distribution. His first book Technicolouryawn: Melbourne Drive-ins in 1970 is forthcoming.

• Who’s Kidding? Approaching Elaine May; Alexandra Heller-NicholasPart I: BeginningsChapter One: Teenagers on Stage – The Comedy of Elaine May and Mike Nichols; Mark FreemanPart II: Critically Situating Elaine MayChapter Two: Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema; Maya Montañez Smukler Chapter Three: Dangerous Business – Elaine May as Existential Improviser; Jake WilsonPart III: Elaine May’s Films as DirectorChapter Four: Kneeling on Glass – Elaine May’s A New Leaf (1971) as Screwball Black Comedy; Samm DeighanChapter Five: "Don’t Put A Milky Way in Someone’s Mouth When They Don’t Want It": A Contemporary Feminist Rereading of Elaine May’s The Heartbreak Kid (1972); Clem BastowChapter Six: Mikey and Nicky (1976) – Elaine May and the Cassavetes Connection; Jeremy CarrChapter Seven: Cartographies of Catastrophe – Elaine May’s Ishtar (1987); Dean BrandumPart IV: Collaborations/RevelationsChapter Eight: In/Significant Gestures – Elaine May, Screen Performance, and Embodied Collaboration; Alexandra Heller-NicholasChapter Nine: Otto É May(zo) – Elaine May’s Screenplay of Otto Preminger’s Such Good Friends (1971) as Affirmation That Hell is Other People; Paul JeffreyChapter Ten: Spectral Elaine May – The Later Mike Nichols Collaborations and the Myth of the Recluse; Tim O’Farrell　ConclusionChapter Eleven: When in Doubt, Seduce: An Interview with Screenwriter Allie Hagen; Alexandra Heller-Nicholas and Dean Brandum　Bibliography

In this compact but authoritative volume, Heller-Nicholas and Brandum have collected an excellent group of essays covering the entire breadth of May’s career.

Alexandra Heller-Nicholas is an Australian film critic. She has written six books on cult film with a focus on gender politics, and has published for fifteen years in magazines, journals, edited collections and home entertainment releases. Alexandra recently co-authored a book on filmmakers Hélène Cattet and Bruno Forzani, and in 2017 co-curated the “Pioneering Women” program at the 2017 Melbourne International Film Festival which celebrated Australian women’s filmmaking in the 1980s and 1990s. Alexandra is also a member of Alliance of Women Film Journalists. Dean Brandum is an independent film historian. He gained his PhD at Deakin University (Australia) in 2016 for analysis of historical box office takings. He has taught at a number of universities in Melbourne and has written for various publications, generally on the topic of film distribution. His first book Technicolouryawn: Melbourne Drive-ins in 1970 is forthcoming.

• Who’s Kidding? Approaching Elaine May; Alexandra Heller-NicholasPart I: BeginningsChapter One: Teenagers on Stage – The Comedy of Elaine May and Mike Nichols; Mark FreemanPart II: Critically Situating Elaine MayChapter Two: Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema; Maya Montañez Smukler Chapter Three: Dangerous Business – Elaine May as Existential Improviser; Jake WilsonPart III: Elaine May’s Films as DirectorChapter Four: Kneeling on Glass – Elaine May’s A New Leaf (1971) as Screwball Black Comedy; Samm DeighanChapter Five: "Don’t Put A Milky Way in Someone’s Mouth When They Don’t Want It": A Contemporary Feminist Rereading of Elaine May’s The Heartbreak Kid (1972); Clem BastowChapter Six: Mikey and Nicky (1976) – Elaine May and the Cassavetes Connection; Jeremy CarrChapter Seven: Cartographies of Catastrophe – Elaine May’s Ishtar (1987); Dean BrandumPart IV: Collaborations/RevelationsChapter Eight: In/Significant Gestures – Elaine May, Screen Performance, and Embodied Collaboration; Alexandra Heller-NicholasChapter Nine: Otto É May(zo) – Elaine May’s Screenplay of Otto Preminger’s Such Good Friends (1971) as Affirmation That Hell is Other People; Paul JeffreyChapter Ten: Spectral Elaine May – The Later Mike Nichols Collaborations and the Myth of the Recluse; Tim O’Farrell　ConclusionChapter Eleven: When in Doubt, Seduce: An Interview with Screenwriter Allie Hagen; Alexandra Heller-Nicholas and Dean Brandum　Bibliography

In this compact but authoritative volume, Heller-Nicholas and Brandum have collected an excellent group of essays covering the entire breadth of May’s career.