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Eastwood Clint - The films of Clint Eastwood : chronicles of America

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He became a movie star playing The Man With No Name, and today his name is known around the world. Measured by longevity, productivity, and profits, Clint Eastwood is the most successful actor-director-producer in American film history. This book examines the major elements of his career, focusing primarily on his work as a director but also exploring the evolution of his acting style, his long association with screen violence, his interest in jazz, and the political views - sometimes hotly controversial - reflected in his films and public statements. Especially fascinating is the pivotal question that divides critics and moviegoers to this day: is Eastwood a capable director with a photogenic face, a modest acting talent, and a flair for marketing his image? Or is he a true cinematic auteur with a distinctive vision of Americas history, traditions, and values? From A Fistful of Dollars and Dirty Harry to Million Dollar Baby and beyond, The Cinema of Clint Eastwood takes a close-up look at one of the screens most influential and charismatic stars. Read more...
Abstract: He became a movie star playing The Man With No Name, and today his name is known around the world. Measured by longevity, productivity, and profits, Clint Eastwood is the most successful actor-director-producer in American film history. This book examines the major elements of his career, focusing primarily on his work as a director but also exploring the evolution of his acting style, his long association with screen violence, his interest in jazz, and the political views - sometimes hotly controversial - reflected in his films and public statements. Especially fascinating is the pivotal question that divides critics and moviegoers to this day: is Eastwood a capable director with a photogenic face, a modest acting talent, and a flair for marketing his image? Or is he a true cinematic auteur with a distinctive vision of Americas history, traditions, and values? From A Fistful of Dollars and Dirty Harry to Million Dollar Baby and beyond, The Cinema of Clint Eastwood takes a close-up look at one of the screens most influential and charismatic stars

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the cinema of CLINT EASTWOOD
DIRECTORS CUTS
Other selected titles in the Directors Cuts series:
the cinema of JAMES CAMERON : bodies in heroic motion
JAMES CLARKE
the cinema of ISTVN SZAB : visions of europe
JOHN CUNNINGHAM
the cinema of AGNS VARDA : resistance and eclecticism
DELPHINE BNZET
the cinema of ALEXANDER SOKUROV : figures of paradox
JEREMI SZANIAWSKI
the cinema of MICHAEL WINTERBOTTOM : borders, intimacy, terror
BRUCE BENNETT
the cinema of RAL RUIZ : impossible cartographies
MICHAEL GODDARD
the cinema of MICHAEL MANN : vice and vindication
JONATHAN RAYNER
the cinema of AKI KAURISMKI : authorship, bohemia, nostalgia, nation
ANDREW NESTINGEN
the cinema of RICHARD LINKLATER : walk, dont run
ROB STONE
the cinema of BLA TARR : the circle closes
ANDRS BLINT KOVCS
the cinema of STEVEN SODERBERGH : indie sex, corporate lies, and digital videotape
ANDREW DE WAARD & R. COLIN TATE
the cinema of TERRY GILLIAM : its a mad world
edited by JEFF BIRKENSTEIN, ANNA FROULA & KAREN RANDELL
the cinema of TAKESHI KITANO : flowering blood
SEAN REDMOND
the cinema of THE DARDENNE BROTHERS : responsible realism
PHILIP MOSLEY
the cinema of MICHAEL HANEKE : europe utopia
edited by BEN McCANN & DAVID SORFA
the cinema of SALLY POTTER : a politics of love
SOPHIE MAYER
the cinema of JOHN SAYLES : a lone star
MARK BOULD
the cinema of DAVID CRONENBERG : from baron of blood to cultural hero
ERNEST MATHIJS
the cinema of LARS VON TRIER : authenticity and artifice
CAROLINE BAINBRIDGE
the cinema of WERNER HERZOG : aesthetic ecstasy and truth
BRAD PRAGER
the cinema of TERRENCE MALICK : poetic visions of america (second edition)
edited by HANNAH PATTERSON
the cinema of ANG LEE : the other side of the screen (second edition)
WHITNEY CROTHERS DILLEY
the cinema of STEVEN SPIELBERG : empire of light
NIGEL MORRIS
the cinema of TODD HAYNES : all that heaven allows
edited by JAMES MORRISON
the cinema of ROMAN POLANSKI : dark spaces of the world
edited by JOHN ORR & ELZBIETA OSTROWSKA
the cinema of JOHN CARPENTER : the technique of terror
edited by IAN CONRICH & DAVID WOODS
the cinema of MIKE LEIGH : a sense of the real
GARRY WATSON
the cinema of NANNI MORETTI : dreams and diaries
EWA MAZIERSKA & LAURA RASCAROLI
the cinema of DAVID LYNCH : american dreams, nightmare visions
edited by ERICA SHEEN & ANNETTE DAVISON
the cinema of KRZYSZTOF KIESLOWSKI : variations on destiny and chance
MAREK HALTOF
the cinema of GEORGE A. ROMERO : knight of the living dead (second edition)
TONY WILLIAMS
the cinema of KATHRYN BIGELOW : hollywood transgressor
edited by DEBORAH JERMYN & SEAN REDMOND
the cinema of
CLINT EASTWOOD
chronicles of america
David Sterritt
A Wallflower Press Book Wallflower Press is an imprint of Columbia - photo 1
A Wallflower Press Book
Wallflower Press is an imprint of
Columbia University Press
Publishers Since 1893
New York . Chichester, West Sussex
cup.columbia.edu
Copyright David Sterritt 2014
All rights reserved
E-ISBN 978-0-231-85071-1
Wallflower Press is a registered trademark of Columbia University Press
A complete CIP record is available from the Library of Congress
ISBN 978-0-231-17200-4 (cloth : alk. paper)
ISBN 978-0-231-17201-1 (pbk. : alk. paper)
ISBN 978-0-231-85071-1 (e-book)
Series design by Rob Bowden Design
Cover image of Clint Eastwood courtesy of the Kobal Collection
A Columbia University Press E-book.
CUP would be pleased to hear about your reading experience with this e-book at .
CONTENTS
For Mikita
and Jeremy and Tanya
and Craig and Kim
with love and gratitude
To name all the people who have encouraged and inspired me would take another book, so this brief note will have to stand for the much longer list that should be here. I have known for years that Yoram Allon is an outstanding editor and publisher, and now I also know that he has the patience of the proverbial saint. Abundant thanks to him and the others at Wallflower Press and Columbia University Press.
Trusted friends and colleagues have made the Maryland Institute College of Art an invigorating social and intellectual haven. My friends and colleagues at Columbia Universitys School of the Arts have also done more than they realize to keep me going, as have the members and associates of Columbias University Seminar on Cinema and Interdisciplinary Interpretation, the faculty colloquium that I have had the enormous privilege of co-chairing with William G. Luhr for about a decade now.
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