Shadow Cinema

The Historical and Production Contexts of Unmade Films

Inbunden, Engelska, 2020

Av James Fenwick, Kieran Foster, David Eldridge

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Filmmakers and cinema industries across the globe invest more time, money and creative energy in projects and ideas that never get produced than in the movies that actually make it to the screens. Thousands of projects are abandoned in pre-production, halted, cut short, or even made and never distributed – a “shadow cinema” that exists only in the archives. This collection of essays by leading scholars and researchers opens those archives to draw on a wealth of previously unexamined scripts, correspondence and production material, reconstructing many of the hidden histories of the last hundred years of world cinema. Highlighting the fact that the movies we see are actually the exception to the rule, this study uncovers the myriad reasons why ‘failures’ occur and considers how understanding those failures can transform the disciplines of film and media history. The first survey of this new area of empirical study across transnational borders, Shadow Cinema is a vital and fascinating demonstration of the importance of the unmade, unseen, and unknown history of cinema.

Produktinformation

Utgivningsdatum2020-11-12
Mått152 x 229 x undefined mm
Vikt544 g
FormatInbunden
SpråkEngelska
Antal sidor280
FörlagBloomsbury Publishing Plc
ISBN9781501351594

Tillhör följande kategorier

Film inom Kultur
Media och underhållning inom Ekonomi och ledarskap

James Fenwick is a senior lecturer in Media and Communications at Sheffield Hallam University. He is the author of Stanley Kubrick Produces (2020) and Unproduction Studies and the American Film Industry (2021).Kieran Foster is an AHRC funded PhD student at De Montfort University, UK. His research focuses on the British Company Hammer’s Films unmade projects. He has published in peer-reviewed journals, with an piece on Hammer’s failed adaptation Vlad the Impaler appearing in the Journal of Adaptation in Film and Performance.David Eldridge is a senior lecturer in American Studies at the University of Hull, UK. He is the author of Hollywood’s History Films (2008) and is currently working on a monograph concerning the impact that censorship has had on the American film industry’s representations of the past.

Part I: Producers and production companies1. A production strategy of overdevelopment: Kirk Douglas’s Bryna Productions and the unproduced Viva Gringo!James Fenwick2. Gone with the winds that never were: The David O. Selznick Archive and unmade historical cinemaDavid Eldridge3. Parting the Iron Curtain: Michael Klinger’s attempt to make A Man and a HalfAndrew SpicerPart II: Directors and auteurs4. Unfinished business: Godard, cinema and theatre in the 1960sMichael Witt5. Ken Russell’s unfinished projects and unmade films, 1956-1968: The BBC yearsMatthew Melia6. Ghatak in the shadows: Films that struggledSanghita SenPart III: Questioning the unmade7. Herding Cats; or, the possibilities of unproduction studiesPeter C. Kunze8. Assembling FrankensteinKieran Foster9. Burning bright: Samuel Fuller’s Tigrero and accidental ethnographyAndrew Howe10. Clouzot’s L’EnferLucy Mazdon11. Claude Lanzmann’s Shoah and its shadow: Rescue and resistanceSue VicePart IV: Reconstructing the unmade12. The never Alice: Marilyn Manson, gothic girlhoods, and Phantasmagoria: The Visions of Lewis CarrollAlexandra Heller-Nicholas13. The movie producer, the feminists and the serial killer: UK feminist activism, misogynist 70s film culture and the (non) filming of the Yorkshire Ripper MurdersHannah Hamad14. The unmade undead: A post-mortem of the post-9/11 zombie cycleTodd K. PlattsIndex

This important volume will help to consolidate a rapidly growing area of research in Film Studies and related disciplines. The authors do not only provide outlines of individual films that could have been, but, more fundamentally, investigate the financial, legal, creative, political and logistical difficulties of getting films into production and onto screens. Their chapters deal, often in a wholly surprising manner, with familiar names (ranging from David O’Selznick and Hammer Films to Jean-Luc Godard and Ritwik Ghatak) and also with a wealth of lesser known personnel and companies.