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e-Book The Crying Game (BFI Modern Classics) download

e-Book The Crying Game (BFI Modern Classics) download

by Jane Giles

ISBN: 0851705561
ISBN13: 978-0851705569
Language: English
Publisher: British Film Institute; Reissue edition (October 1, 1997)
Pages: 80
Category: Humanities
Subategory: Other

ePub size: 1810 kb
Fb2 size: 1457 kb
DJVU size: 1763 kb
Rating: 4.7
Votes: 682
Other Formats: mobi lrf lit lrf

BFI Film Classics is a series of finely written, illustrated books that introduce, interpret and celebrate landmark films of world cinema

BFI Film Classics is a series of finely written, illustrated books that introduce, interpret and celebrate landmark films of world cinema. The BFI Film Classics series now includes titles previously published separately in the BFI Film Classics and the BFI Modern Classics Series.

And this little BFI monograph from Jane Giles helps to explain wh. Far from coming out of nowhere, it has a rich pedigree, perhaps especially in British cinema.

And this little BFI monograph from Jane Giles helps to explain why. Going into the history of the movie, the ible task of casting the character of Dil and the movie's relatively modest performance in its home country before spectacular success in the United States, Giles gives us enough to fully appreciate the film. Although Dil might have stolen the show, as Giles points out, it is really Fergus' movie. But The Crying Game did it better, probably because of Jaye Davidson's incredible performance.

Jane Giles' study traces the origins of 'The Crying Game' in Neil Jordan's early, award-winning films and books. Drawing on exclusive interviews with Jordan and producer Stephen Wooley, Giles details the film's tense and troubled production history. British Film Institute.

Items related to The Crying Game (BFI Modern Classics). Jane Gile's study of The Crying Game traces the origins of the film in Neil Jordan's early, award-winning books and films. Jane Giles The Crying Game (BFI Modern Classics). ISBN 13: 9780851705569. The Crying Game (BFI Modern Classics). Drawing on exclusive interviews with Jordan and producer Stephen Wolley, Giles details the film's tense and troubled production history and anatomizes the different permutations of sexuality and politics that it unravels.

By (author) Jane Giles. Jane Giles' study traces the origins of 'The Crying Game' in Neil Jordan's early, award-winning films and books. Format Paperback 80 pages.

The "Crying Game" (BFI Modern Classics) by Giles, Jane Book The Cheap Fast Free.

The Crying Game is a 1992 thriller film written and directed by Neil Jordan, produced by Stephen Woolley, and starring Stephen Rea, Miranda Richardson, Jaye Davidson, Adrian Dunbar, and Forest Whitaker. The film explores themes of race, gender, nationality, and sexuality against the backdrop of the Troubles in Northern Ireland. The film is about the experiences of the main character, Fergus (Rea)

Jane Gile's study of "The Crying Game" traces the origins of the film in Neil Jordan's early, award-winning books and .

Jane Gile's study of "The Crying Game" traces the origins of the film in Neil Jordan's early, award-winning books and films.

The film-makers behind The Crying Game (1992), writer-director Neil Jordan’s Troubles-set thriller about an IRA hitman on the run, visit the BFI Southbank to talk to host Jane Giles about The Crying Game’s release at the time of IRA bombings, its popularity in America and how a Hollywood.

The film-makers behind The Crying Game (1992), writer-director Neil Jordan’s Troubles-set thriller about an IRA hitman on the run, visit the BFI Southbank to talk to host Jane Giles about The Crying Game’s release at the time of IRA bombings, its popularity in America and how a Hollywood legend took a shine to the film’s. transgender club singer, Dil. The Crying Game, which has its 25th anniversary this year, is currently showing at the BFI Southbank. The Howard Stern Show.

Jane Gile's study of The Crying Game traces the origins of the film in Neil Jordan's early, award-winning books and films. Drawing on exclusive interviews with Jordan and producer Stephen Wolley, Giles details the film's tense and troubled production history and anatomizes the different permutations of sexuality and politics that it unravels.
Comments:
Bolanim
This gives a very detailed look into director Neil Jordan's artistic background. Apparently the love triangle is one of his favorite themes to explore. It includes invaluable info: the producer's desperate ploys to get funding/Miramax's brilliant marketing plan/critical and popular reaction in the US and UK. Only gripe I have is it glossed over Dil/Cole the bartender/MacGuire. It's too short at 80 pages. I feel that a full size book (250 pages) could have easily been written about the unique "Crying Game."

Kazimi
Is THE CRYING GAME really worth repeated viewings? The movie was good, true. But it was all about the twist. The surprise. The `Holy Cow!" moment. Seeing it again would not be as good, right?

Wrong.

Watching the movie again specifically to read this book, I realized there was (is) far more to The Crying Game than just the shocker halfway through. It holds up amazingly well, even going in with eyes open, and even after the passage of time. And this little BFI monograph from Jane Giles helps to explain why. Going into the history of the movie, the thought-to-be-impossible task of casting the character of Dil and the movie's relatively modest performance in its home country before spectacular success in the United States, Giles gives us enough to fully appreciate the film.

Although Dil might have stolen the show, as Giles points out, it is really Fergus' movie. The reluctant terrorist is the focal point throughout and it his journey and atonement, that guides the film. It is his emotional attachments to the doomed soldier Jody, to fellow IRA member Jude and, of course, to Dil, that gives the movie its resonance.

Of course, Giles devotes an entire section to the twist. Far from coming out of nowhere, it has a rich pedigree, perhaps especially in British cinema. But The Crying Game did it better, probably because of Jaye Davidson's incredible performance.

In all, not a bad addition to the BFI catalogue.

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