Since the 1950s Eric Rohmer has been one of the major presences in French cinema as critic and director. This book is a sophisticated engagement with his work in which Keith Tester argues that Rohmer is not the naIve realist he is often claimed to be. Instead, his films are revealed as a sustained exercise in Catholic theology.

A more nuanced view of the Fourth Gospel’s media nature suggests a new and promising paradigm for assessing expansive and embedded uses of scripture in this work. The majority of studies exploring the Fourth Evangelist’s use of scripture to date have approached the Fourth Gospel as the product of a highly gifted writer, who carefully interweaves various elements and figures from scripture into the canvas of his completed document. The present study attempts to calibrate a literary approach to the Fourth Gospel’s use of scripture with an appreciation for oral poetic influences, whereby an orally-situated composer’s use of traditional references and compositional strategy could be of one and the same piece. Most importantly, pre-formed story-patterns—thick with referential meaning—were used in the construction of new works. The present study makes the case that the Fourth Evangelist has patterned his story of Jesus after a retelling of the story of Adam & Israel in two interrelated ways: first in the prologue, and then in the body of the Gospel as a whole.

The 1969 film Ma Nuit chez Maud catapulted its shy academic film director Eric Rohmer (1920-2010) into the limelight, selling over a million tickets in France and earning a nomination for an Academy Award. Ma Nuit chez Maud remains his most famous film, the highlight of an impressive range of films examining the sexual, romantic, and artistic mores of contemporary France, the temptations of desire, the small joys of everyday life, and sometimes, the vicissitudes of history and politics. Yet Rohmer was almost fifty years old when Maud was released and had already had a career as the editor of Cahiers du Cinéma, a position he lost in a political takeover in 1963. The interviews in this book offer a range of insights into the theoretical, critical, and practical circumstances of Rohmer's remarkably coherent body of films, but also allow Rohmer to act as his own critic, providing us with an array of readings concerning his interest in setting, season, color, and narrative. Alongside the application of a theoretical rigor to his own films, Rohmer's interviews also discuss directors as varied as Godard, Carné, Renoir, and Hitchcock, and the relations of film to painting, architecture, and music. This book reproduces little-known interviews, such as a debate Rohmer undertakes with Women and Film concerning feminism, alongside detailed discussions from Cahiers and Positif, many produced in English here for the first time.

Part of The New Penguin Shakespeare series, this text looks at The Winter's Tale with an introduction, a list of further reading, commentary and a short account of the textual problems of the play. The series is used and recommended by the Royal Shakespeare Company.

In European Directors and Their Films: Essays on Cinema, Bert Cardullo offers readable analyses of some of the most important film artists and individual films of the last several decades. Beyond simple biographical capsules and plot summaries, these readings demonstrate with elegance and clarity what cinema means as well as shows, explaining how international moviemakers use the resources of the medium to pursue complex, significant human goals.