THE CINEMA OF TODD HAYNES
All That Heaven Allows
James Morrison (ed.)
From the trenches of independent American film of the 1990s, Todd Haynes has emerged in the twenty-first century as one of the world’s most audacious filmmakers. In a series of smart, informative essays, this book traces his career from its roots in New Queer Cinema to the Academy-Award-nominated Far from Heaven (2002), taking in along the way such landmark films as Poison (1991), Safe (1995) and Velvet Goldmine (1998). Contributors look at his films from many different angles, including his debts to the avant-garde or such noted precursors as Rainer Werner Fassbinder, his adventurous uses of melodrama, and his incisive portrayals of contemporary life.
January 2006
224 pages
Michael Bronski, The Guide
'Todd Haynes deserves this book, and this book deserves praise as a comprehensive, dialogic engagement with his body of work to date. James Morrison and his wide range of contributors bring each film into focus through a set of finely ground lenses – postmodern, political, queer, generic – that also informed the work's conception. A collection as intellectually and emotionally generous as Haynes' films.'
Patricia White, Swarthmore College
January 2006
224 pages
| 978-1-904764-77-9 (pbk) | £16.99 |
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| 978-1-904764-78-6 (hbk) | £45.00 |
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about the author
James Morrison is Associate Professor in Film in the Department of Literature at the Claremont McKenna College, California. He is the author of Passport to Hollywood: Hollywood Films, European Directors (1998) as well as books on Roman Polanski and Terrence Malick.
reviews
‘[The essays] are of consistently high quality, fascinating, and provocative ... More attention of the work of Todd Haynes is not just refreshing but a reminder that queer film can be both vitally important and enormously entertaining.’Michael Bronski, The Guide
'Todd Haynes deserves this book, and this book deserves praise as a comprehensive, dialogic engagement with his body of work to date. James Morrison and his wide range of contributors bring each film into focus through a set of finely ground lenses – postmodern, political, queer, generic – that also informed the work's conception. A collection as intellectually and emotionally generous as Haynes' films.'
Patricia White, Swarthmore College
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