The Films of Woody AllenCambridge University Press, 2002 M11 18 - 200 pages The Films of Woody Allen is the first full-length work to examine the director as a serious filmmaker and artist. Sam Girgus argues that Allen has consistently been on the cutting edge of contemporary critical and cultural consciousness, challenging our notions of authorship, narrative, perspective, character, theme, ideology, gender and sexuality. This revised and updated edition includes two new chapters that examine Allen's work since 1992. Girgus argues that the scandal surrounding Allen's personal life in the early 1990s has altered his image in ways that reposition moral consciousness in his work. |
Contents
Acknowledgments page xi | 1 |
Reconstruction and Revision in Woody Allens Films | 20 |
Desire and Narrativity in Annie Hall | 44 |
Manhattan | 62 |
The Purple Rose of Cairo Poststructural Anxiety Comes | 89 |
Hannah and Her Sisters | 108 |
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Common terms and phrases
achieve Allen's films Alvy Alvy's Annie Hall Annie's artistic audience aura becomes Bergman Branagh camera career Carlo Di Palma Cast Cecilia character cinema Cliff comedy comic complex creative Crimes and Misdemeanors critics cultural Deconstructing Harry Diane Keaton Dianne Wiest Director of photography documentary Doumanian Dowd dramatizes dream Editing Elliot emotional experience fantasy Farrow feeling fiction film's Freud Gordon Willis Hannah Harry's Holly Hollywood humor Ibid Ike's important interior involves Jean Doumanian Jewish joke Judah Manhattan Mariel Hemingway Marshall Brickman Mary Maureen Dowd meaning Mia Farrow Mickey Mickey's moral Morse Producer movie narrative desire Play Production company Production company/Distributor psychic psychoanalysis psychological Purple Rose reality relationship Robert Greenhut Rose of Cairo Running time/Rating says scene Scope-screen screen Screenplay seems sexual Sisters situation social story structure suggests Susan theme Tracy unconscious visual voice women Woody Allen Director writes Yale York Zelig Žižek