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Emeric Pressburger
A Hungarian Jew who lived and worked in half a dozen European countries before arriving in Britain in 1935, Pressburger's reputation rests on the series of strikingly original films he made in collaboration with Michael Powell under the banner of The Archers.
The Cinema of Powell and Pressburger
Michael Powell and Emeric Pressburger were true visionaries of British cinema, creating glorious Technicolor masterpieces including A Matter of Life and Death (1946), Black Narcissus (1947) and The Red Shoes (1948). Delving into their magical and obsessive worlds, this lavishly-illustrated publication presents fresh perspectives on the filmmaking duo, shining the spotlight not only on them, but also on their circle of talented collaborators. Thelma Schoonmaker, Caitlin McDonald, Alexandra Harris, Mahesh Rao, Sarah Street, Ian Christie and Marina Warner write about the key figures who shared Powell and Pressburger's creative journey, and Tilda Swinton, Tim Walker, Sarah Greenwood, Michelle Williams Gamaker, Sandy Powell, Joanna Hogg and Stephen Jones reflect on the ways in which Powell and Pressburger's stories and images have haunted and inspired them in their own work. The Cinema of Powell and Pressburger draws on the BFI's stunning design and archive collections, as well as key objects held in other public and private collections.
Powell and Pressburger
The film-making partnership of Michael Powell and Emeric Pressburger was one of the most remarkable and visionary in cinema. They made an extraordinary range of films, from The Spy in Black and The Life and Death of Colonel Blimp to A Canterbury Tale and The Red Shoes. With champions like Martin Scorsese and Francis Ford Coppola, and revived critical interest worldwide, they now find new generations of admirers. This illuminating new book looks closely at these classic films to explore their complex relationship to national identity, and their interest in exile, borderlands, utopias, escapism, art and fantasy. Moor reveals for example how the visual imagery of the films of the Second World War question current cinematic styles and how post war films like The Red Shoes and The Tales of Hoffman are in their highly expressive use of design, music and dance utterly international in character.
Arrows of Desire
Michael Powell and Emeric Pressburger formed one of the greatest creative partnerships in the history of British cinema - The Archers. Their films were often controversial - Churchill tried to suppress the release of The Life and Death of Colonel Blimp. Later, The Red Shoes and The Tales of Hoffman startled and enchanted cinema audiences with their use of colour, form amd music. However, in the last ten years the magic, poetry and passion of their work has been acknowledged around the world and they are firmly in the pantheon of film masters. This book is a comprehensive analysis of their films and is a useful guide to their work.
Arrows of Desire
Comprehensive analysis of the Powell and Pressburger films.
The Glass Pearls (Faber Editions)
For fans of The Passenger, this thrilling tale of an ex-Nazi surgeon hiding in plain sight in 1960s London by the celebrated filmmaker is a lost noir gem, introduced by Anthony Quinn and narrated on audio by Mark Gatiss. 'Stunning: incredibly good, thought-provoking and tense.' Ian Rankin 'This extraordinary novel had me hooked from start to finish.' Sarah Waters 'An outstanding novel: gripping, tense and darkly unsettling.' Jonathan Freedland 'A wonderfully compelling noir thriller and audacious and challenging act of imagination.' William Boyd 'One of the best London novels of the 20th century.' Benjamin Myers Nothing is more inviting to disclose your secrets than to be told by others of t...
The Cinema of Powell and Pressburger
Michael Powell and Emeric Pressburger were true visionaries of British cinema, creating glorious Technicolor masterpieces including A Matter of Life and Death (1946), Black Narcissus (1947) and The Red Shoes (1948). Delving into their magical and obsessive worlds, this lavishly-illustrated publication presents fresh perspectives on the filmmaking duo, shining the spotlight not only on them, but also on their circle of talented collaborators. Thelma Schoonmaker, Caitlin McDonald, Alexandra Harris, Mahesh Rao, Sarah Street, Ian Christie and Marina Warner write about the key figures who shared Powell and Pressburger's creative journey, and Tilda Swinton, Tim Walker, Sarah Greenwood, Michelle Williams Gamaker, Sandy Powell, Joanna Hogg and Stephen Jones reflect on the ways in which Powell and Pressburger's stories and images have haunted and inspired them in their own work. The Cinema of Powell and Pressburger draws on the BFI's stunning design and archive collections, as well as key objects held in other public and private collections.
Michael Powell y Emeric Pressburger
Quiza el cine britanico no haya aportado tantos avances como el cine americano, aleman o frances; sin embargo, su historia esta llena de grandes obras, y sus interpretes y tecnicos tienen fama mundial, aunque son frecuentemente olvidados. El trabajo realizado por Michael Powell (1905-1990) y Emeric Pressburger (1902-1988) es uno de los casos mas notorios que solo ha sido rescatado por otros cineastas como Bertrand Tavernier, o Martin Scorsese, que los senalo como una de sus influencias mas directas. El presente texto se inicia con una biografia de ambos para mas tarde abordar sus respectivas referencias formativas y su relacion. Continua analizando por separado todas sus obras, asi como su herencia en el cine actual que ha tenido muy diferentes expresiones.
Gone to Earth
Hazel Woodus is a innocent gypsy girl living in the woods in the company of the wounded animals in her rural surroundings. Unfortunately for Hazel, she is not blessed with the presence in her life of a partner who can share both the physical and spiritual aspects of life with her. Her innocent exuberance catches the eye of the kindly minister, Edward Marston, and the cruel squire, Jack Reddin. She eventually marries Edward, but their love remains unconsummated as Edward feels he must preserve her innocence and suppress his own desires. But Hazel has desires of her own which she doesn't understand, and she starts finding herself drawn to Reddin's power and virility.
