By Peter J. Bailey, Sam B. Girgus
Edited by way of well known Allen specialists, A spouse to Woody Allen offers a set of 26 unique essays at the director’s movies. Contributions supply a couple of divergent serious views whereas increasing the contexts during which his paintings is understood.
- A well timed significant other by means of the authors of 2 of crucial books on Allen to date
- Illuminates the movies of Woody Allen from a couple of divergent severe perspectives
- Explores the contexts during which his paintings can be understood
- Assesses Allen’s notable filmmaking profession from its early beginnings and investigates the conflicts and contradictions that suffuse it
- Discusses Allen’s attractiveness as a world cinematic figure
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Extra info for A Companion to Woody Allen
Bailey and Sam B. Girgus. © 2013 John Wiley & Sons, Inc. Published 2013 by John Wiley & Sons, Inc. 36 Colleen Glenn shifted his performance of Woody Allen over the years as public perception of his identity has changed (he evolved from endearingly hapless to cruel and destructive in Deconstructing Harry (1997)); even his appearance in the documentary on his jazz concert tour, Wild Man Blues (1997), seems calculated to deflect criticism over the scandal by proving he is too boring to warrant attention.
Oxford: Blackwell, 20–29. Bailey, Peter J. (2001) The Reluctant Film Art of Woody Allen. Lexington, KY: University Press of Kentucky. ), Theories of Authorship: A Reader. London: Routledge & Kegan Paul in association with the British Film Institute, 208–213. ) Baxter, John (1998) Woody Allen: A Biography. London: Harper Collins. ) (1981) Theories of Authorship: A Reader. London: Routledge & Kegan Paul in association with the British Film Institute. Conard, Mark T. and Aeon J. ) (2004) Woody Allen and Philosophy: You Mean My Whole Fallacy Is Wrong?
In Bailey 2001: 183). Stardust also generated confusion, which according to Bailey much angered the director, who “impatiently rejected the imputation that Sandy Bates [was] himself and that his perceptions [were] unmediated versions of Allen’s values and feelings” (87). The director eventually comments on this kind of confusion in ironic statements to the press. In an interview about Deconstructing Harry, Allen told the New Yorker that the film was about a “nasty, shallow, superficial, sexually obsessed guy.