Böcker av Bert Cardullo

American Drama/Critics: Writings and Readings is a collection of essays on acknowledged classics of American drama such as Death of a Salesman, The Glass Menagerie, and Our Town, and on newer but no less esteemed works like David Mamet's Glengarry Glen Ross and Sam Shepard's Buried Child. Included are interviews with the great American drama critics Eric Bentley and Stanley Kauffmann; a consideration of the practice of American dramaturgy; an analysis of the adaptation to film of several American dramas; and an examination of experimental playwriting and production in the United States, as seen in the work of Gertrude Stein as well as that of other, lesser-known avant-garde dramatists. This book's thesis is not only the generally accepted one that American drama is essentially a representational one and that its avant-garde experiments are just that--experimental detours that ultimate lead back to the main highway of realism and naturalism. The thesis of Americam Drama/Critics is also that the decline of American drama in the late twentieth to early twenty-first century is paralleled by, and even attributable to, the decline or disappearance of American dramatic criticism.

Film Analysis: A Casebook offers an accessible introduction to film analysis through close readings of 25 historically significant films from around the world.

'Screen Writings: Genres, Classics, and Aesthetics' offers close readings of genre films and acknowledged film classics in an attempt to explore both the aesthetics of genre and the definition of 'classic' - as well as the changing perception of so-called classic movies over time. Implicitly theoretical as much as it is unashamedly practical, this book is a model not only of text analysis, but also of the enlightened deployment of cultural studies in the service of film study. The book includes re-considerations of such classic films as I vitelloni, Grand Illusion, Winter Light, and Tokyo Story; it features genre examinations of the war film (Flags of Our Fathers and Letters from Iwo Jima), farce (Some Like It Hot), the road film (The Rain People), the New York-centered movie (Manhattan), and avant-garde pictures that privilege narrative (3-Iron and Eternal Sunshine of the Classic Mind); and 'Screen Writings: Genres, Classics, and Aesthetics' concludes with a searching investigation of the rise of the New American Cinema during a tumultuous decade of social change - from the late 1960s to the early 1970s.