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The Cinema of Michael Mann
Few other contemporary Hollywood filmmakers fit the category of 'genre stylist' as well as Michael Mann, the director of such films as Heat, The Insider, Ali, Collateral, Manhunter, Thief, and Miami Vice. Mann's film style marks him as a director who chooses the iconographic backdrop of a genre as a canvas upon which he and his collaborators can craft a unique cinematic vision. The Cinema of Michael Mann traces the innovative and under-explored stylistic contours of Mann's work, the director's inflection upon and innovation within preexisting genre frameworks, and the relationship of both style and genre to issues of authorship and film criticism. Steven Rybin's critical study of Mann's cinema, and the importance of the filmmaker's themes to our contemporary world, is valuable for both film scholars and cinephiles alike.
The Philosophy of Michael Mann
Known for restoring vitality and superior craftsmanship to the crime thriller, American filmmaker Michael Mann has long been regarded as a talented triple threat capable of moving effortlessly between television and feature films as a writer, director, and executive producer. His unique visual sense and thematic approach are evident in the Emmy Award-winning The Jericho Mile (1979), the cult favorite The Keep (1983), the American epic The Last of the Mohicans (1992), and the Academy Award-nominated The Insider (1999) as well as his most recent works—Ali (2001), Miami Vice (2006), and Public Enemies (2009). The Philosophy of Michael Mann provides an up-to-date and comprehensive account of the work of this highly accomplished filmmaker, exploring the director's recognizable visual style and the various on-screen and philosophical elements he has tested in his thirty-five-year career. The essays in this wide-ranging book will appeal to fans of the revolutionary filmmaker and to philosophical scholars interested in the themes and conflicts that drive his movies.
Global Powers
A critical assessment of Michael Mann's powerful work and ideas on contemporary globalisation.
Blood in the Moonlight
Director and screenwriter Michael Mann is the creative force behind such movies as Last of the Mohicans and Ali. Markedly reticent, Mann prefers that his personal background remain an enigma, but his disparate films contain clear and consistent messages. One of Mann's focuses is on the Information Age. He addresses the nature of modern communication, its use to manipulate and coerce, and the resultant subjugation of truth. The perils inherent in modern technology and communication stand in stark contrast to the power of symbolic and oral exchange, the trusted medium of Mann's protagonists. This critical exploration of the films of Michael Mann examines his recurring focus on the nature of mo...
Michael Mann
Michael Mann first made his mark as a writer for such television programs as Starsky and Hutch, Police Story, and Vegas. In 1981 he made his feature film directing debut with the James Caan thriller Thief, and in the 1980s he served as a writer and executive producer for the groundbreaking programs Miami Vice and Crime Story. Though he has delved into other genres, Mann’s career as a writer, producer, and director has consistently focused on criminal activity, from small-time hoods and professional thieves to corporate manipulators and serial killers. In Michael Mann: Crime Auteur, Steven Rybin looks at the television programs and films that Mann has stamped with his personal signature. Th...
Existentialism and Social Engagement in the Films of Michael Mann
Michael Mann's films receive a detailed analysis as existential dramas, including Heat, Collateral , The Last of the Mohicans and Public Enemies. The book demonstrates that Mann's films perform critical engagement with existentialism, illustrating the problems and opportunities of living according to this philosophy.
Off the Map
A motion picture chronicling the last adventures of bank robber John Dillinger (Johnny Depp), Public Enemies was met with much bafflement upon its 2009 release. Director Michael Mann’s terse storytelling and unorthodox use of high-definition digital cameras challenged viewers’ familiarity with Hollywood’s historical gangland elegance while highlighting Public Enemies’ own place in a medium—and culture—undergoing sweeping technological change. In Off the Map, Niles Schwartz immerses us in Mann’s representation of Dillinger, a subject increasingly aware of his own role as a romanticized frontier folk hero, in flight from an enveloping bureaucratic system. The cultural issues of D...
Time is Luck
Time is Luck: The Cinema of Michael Mann approaches director Michael Mann's work through the lens of transformations in labour practices, technologies of seeing, and strategies of dissent over the late 20th and early 21st centuries. Applying extensive textual analysis to each of Mann's features, this study explores how these transformations are reflected in the filmmaker's output, formally and thematically. As much as Mann expresses anguish at the pervasive nature of technologically advanced systems which exist to exploit the common man, curtail civil liberties, and prop up corrupt regimes, there always remains space for protest and resistance in his cinema. This aspect of Mann's art is esse...
Michael Mann - Cinema and Television
This reader is the first to bring together a selection of Mann's own interviews where he reflects on his film and television productions. The sixteen interviews provide historical context, interpretation and evaluation of the auteur's work. They encompass his entire career as a feature filmmaker and television producer/director as he and others reflect on his themes, working methods, artistic development and career achievements. The book aims to open up Mann's body of work, making it available for comparison with the work of his contemporaries, and to provide fresh insights into his film and television work. A substantive introductory essay, chronology and filmography provide additional bases for understanding the interviews, essays and work of this major filmmaker.
