| The Films of Douglas Sirk: Exquisite Ironies and Magnificent Obsessions Contributor(s): Ryan, Tom (Author) |
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ISBN: 1496822374 ISBN-13: 9781496822376 Publisher: University Press of Mississippi OUR PRICE: $34.65 Product Type: Paperback - Other Formats Published: May 2019 |
| Additional Information |
| BISAC Categories: - Performing Arts | Film - Direction & Production - Performing Arts | Film - History & Criticism - Social Science | Popular Culture |
| Dewey: 791.430 |
| LCCN: 2018051026 |
| Physical Information: 0.72" H x 6" W x 9" (1.04 lbs) 320 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: Best known for powerful 1950s melodramas like All That Heaven Allows, Written on the Wind, The Tarnished Angels, and Imitation of Life, Douglas Sirk (1897-1987) brought to all his work a distinctive style that led to his reputation as one of twentieth-century film's great directors. Sirk worked in Europe during the 1930s, mainly for Germany's UFA studios, and then in America in the 1940s and '50s. The Films of Douglas Sirk: Exquisite Ironies and Magnificent Obsessions provides an overview of his entire career, including Sirk's work on musicals, comedies, thrillers, war movies, and westerns. One of the great ironists of the cinema, Sirk believed rules were there to be broken. Whether defying the decrees of Nazi authorities trying to turn film into propaganda or arguing with studios that insisted characters' problems should always be solved and that endings should always restore order, what Sirk called "emergency exits" for audiences, Sirk always fought for his vision. Offering fresh insights into all of the director's films and situating them in the culture of their times, critic Tom Ryan also incorporates extensive interview material drawn from a variety of sources, including his own conversations with the director. Furthermore, his enlightening study undertakes a detailed reconsideration of the generally overlooked novels and plays that served as sources for Sirk's films, as well as providing a critical survey of previous Sirk commentary, from the time of the director's "rediscovery" in the late 1960s up to the present day. |
Contributor Bio(s): Ryan, Tom: - Based in Melbourne, Australia, Tom Ryan was the film critic for the Sunday Age and has been a regular contributor to the arts pages of the Age and the Australian for three decades in addition to publishing in Lumiere, Cinema Papers, Movie, Positif, Film Comment, and Senses of Cinema. He previously edited Baz Luhrmann: Interviews, published by University Press of Mississippi. |