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ReFocus : The Films of Elaine May / Alexandra Heller-Nicholas, Dean Brandum.

By: Contributor(s): Material type: TextTextSeries: ReFocus: The American Directors Series : RFADSPublisher: Edinburgh : Edinburgh University Press, [2022]Copyright date: ©2019Description: 1 online resource (264 p.) : 12 B/W illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9781474440189
  • 9781474440202
Subject(s): DDC classification:
  • 791.430233092 23
LOC classification:
  • PN1998.3.M3954 R44 2020
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- List of Figures and Tables -- Notes on Contributors -- Acknowledgments -- Introduction: Who’s Kidding?—Approaching Elaine May -- Part 1 Beginnings -- 1 Teenagers on Stage—The Comedy of Elaine May and Mike Nichols -- Part 2 Critically Situating Elaine May -- 2 Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema -- 3 Dangerous Business—Elaine May as Existential Improviser -- Part 3 Elaine May’s Films as Director -- 4 Kneeling on Glass—Elaine May’s A New Leaf (1971) as Screwball Black Comedy -- 5 “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) -- 6 Mikey and Nicky (1976)—Elaine May and the Cassavetes Connection -- 7 Cartographies of Catastrophe—Elaine May’s Ishtar (1987) -- Part 4 Collaborations/Revelations -- 8 In/Significant Gestures—Elaine May, Screen Performance, and Embodied Collaboration -- 9 Otto É. May(zo)—Elaine May’s Screenplay of Otto Preminger’s Such Good Friends (1971) as Affirmation that Hell is Other People -- 10 Spectral Elaine May—The Later Mike Nichols Collaborations and the Myth of the Recluse -- Conclusion -- 11 When in Doubt, Seduce: An Interview with Screenwriter Allie Hagan -- Bibliography -- Index
Summary: Explores the diverse career of director, screenwriter, comic and actor, Elaine MaySpanning from obscurity to notoriety, the films of director, screenwriter, actor and comic Elaine May have recently experienced a long-overdue renaissance. Although she made only four films — A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1976) and Ishtar (1987) — and never reached the level of acclaim of her frequent collaborator Mike Nichols, May’s work is as enigmatic, sophisticated and unceasingly fascinating as her own complicated, reluctant star persona. This collection focuses both on the films she has directed, and also emphasises her work with other high profile collaborators such as John Cassavetes, Warren Beatty and Otto Preminger.Case studies A New Leaf (Elaine May, 1971)The Heartbreak Kid (Elaine May, 1972)Mikey and Nicky (Elaine May, 1976)Ishtar (Elaine May, 1987)American Masters: Mike Nichols (Elaine May, 2016)Such Good Friends (Otto Preminger, 1971)The Birdcage (Mike Nichols, 1996) Primary Colors (Mike Nichols, 1998)ContributorsClem Bastow, University of MelbourneDean Brandum, independent researcherJeremy Carr, Arizona State University Samm Deighan, Associate Editor of Diabolique Magazine Mark Freeman, Swinburne UniversityAllie Hagan, screenwriter Alexandra Heller-Nicholas, film critic Paul Jeffery, independent researcher Tim O'Farrell, Victorian College of the ArtsMaya Montañez Smukler, New School, Otis College of Art and Design, the New York Film Academy and UCLAJake Wilson, freelance writer and film reviewer
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781474440202

Frontmatter -- Contents -- List of Figures and Tables -- Notes on Contributors -- Acknowledgments -- Introduction: Who’s Kidding?—Approaching Elaine May -- Part 1 Beginnings -- 1 Teenagers on Stage—The Comedy of Elaine May and Mike Nichols -- Part 2 Critically Situating Elaine May -- 2 Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema -- 3 Dangerous Business—Elaine May as Existential Improviser -- Part 3 Elaine May’s Films as Director -- 4 Kneeling on Glass—Elaine May’s A New Leaf (1971) as Screwball Black Comedy -- 5 “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) -- 6 Mikey and Nicky (1976)—Elaine May and the Cassavetes Connection -- 7 Cartographies of Catastrophe—Elaine May’s Ishtar (1987) -- Part 4 Collaborations/Revelations -- 8 In/Significant Gestures—Elaine May, Screen Performance, and Embodied Collaboration -- 9 Otto É. May(zo)—Elaine May’s Screenplay of Otto Preminger’s Such Good Friends (1971) as Affirmation that Hell is Other People -- 10 Spectral Elaine May—The Later Mike Nichols Collaborations and the Myth of the Recluse -- Conclusion -- 11 When in Doubt, Seduce: An Interview with Screenwriter Allie Hagan -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Explores the diverse career of director, screenwriter, comic and actor, Elaine MaySpanning from obscurity to notoriety, the films of director, screenwriter, actor and comic Elaine May have recently experienced a long-overdue renaissance. Although she made only four films — A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1976) and Ishtar (1987) — and never reached the level of acclaim of her frequent collaborator Mike Nichols, May’s work is as enigmatic, sophisticated and unceasingly fascinating as her own complicated, reluctant star persona. This collection focuses both on the films she has directed, and also emphasises her work with other high profile collaborators such as John Cassavetes, Warren Beatty and Otto Preminger.Case studies A New Leaf (Elaine May, 1971)The Heartbreak Kid (Elaine May, 1972)Mikey and Nicky (Elaine May, 1976)Ishtar (Elaine May, 1987)American Masters: Mike Nichols (Elaine May, 2016)Such Good Friends (Otto Preminger, 1971)The Birdcage (Mike Nichols, 1996) Primary Colors (Mike Nichols, 1998)ContributorsClem Bastow, University of MelbourneDean Brandum, independent researcherJeremy Carr, Arizona State University Samm Deighan, Associate Editor of Diabolique Magazine Mark Freeman, Swinburne UniversityAllie Hagan, screenwriter Alexandra Heller-Nicholas, film critic Paul Jeffery, independent researcher Tim O'Farrell, Victorian College of the ArtsMaya Montañez Smukler, New School, Otis College of Art and Design, the New York Film Academy and UCLAJake Wilson, freelance writer and film reviewer

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 06. Mrz 2024)