Bücher von Ronald Schwartz

In 1931 Antonio Moreno completed Santa, Mexico's first true sound film. In it he established one of the foremost genres of Latin American cinema?the popular melodrama?which continues to this day. Latin American filmmakers came to the fore in the fifties and sixties and, as 1992's Como agua para chocolate (Like Water for Chocolate) showed, Latin American films continue to be a major part of the international film scene. In this work over 300 of the most significant films from Argentina, Brazil, Cuba, Mexico, Bolivia, Colombia, Ecuador, Peru and other Latin American countries are covered. Each entry includes the English title, director, year of release, running time, language, country and a detailed plot synopsis. Notes about the production and the filmmakers are also provided for many entries.

An introduction to contemporary Latin American narrative published in the 1970s, presenting ten major writers.

Film scholar Ronald Schwartz examines the most significant representatives of the "Neo-Noir" style, beginning with Alfred Hitchcock's Psycho and concluding with Michael Mann's Collateral (2004). Schwartz provides in-depth analyses of over 30 of the best "Neo-Noir" films and explains the qualities and characteristics of the "new noir" style. He also explains how it differs from "Film Noir" of the forties and fifties. In this chronological guide, Schwartz examines such landmark films as The Manchurian Candidate (1962), The French Connection (1971), Taxi Driver (1976), Reservoir Dogs (1992), L.A. Confidential (1997), and Memento (2000). The book also includes an alphabetical filmography listing over 650 films that in plot, style, or subject matter reflect the diversity of the genre. This reference work will be a valuable resource for film scholars and fans who wish to explore the ever-evolving aspects of "Neo-Noir" cinema.

This examniation of the cinematic style of film noir originals and their neo-noir remakes compares thirty-five films, beginning with Billy Wilder's classic Double Indemnity and concluding with Jim McBride's Breathless.

Film noir is a particularly American stylistic phenomenon (although named by French film critics) that permeated nearly every major, minor and independent Hollywood studio production from 1940 through the early 1960s. The author examines the best noir film from each studio and includes each studio''s history, a meticulous plot outline and information on the careers of each studio''s star roster. He also comments on producers, directors, screenwriters, camera men, composers, art and set directors and presents stills that represent the noir style. The book also has a discussion of independent productions and the second best film noirs of major and minor studios.