Item description for The Cinema of George A. Romero: Knight of the Living Dead (Directors' Cuts) by Tony Williams...
Promise Angels is dedicated to bringing you great books at great prices. Whether you read for entertainment, to learn, or for literacy - you will find what you want at promiseangels.com!
Est. Packaging Dimensions: Length: 0.5" Width: 6.25" Height: 9.25" Weight: 0.95 lbs.
Release Date May 15, 2003
Publisher Wallflower Press
ISBN 1903364736 ISBN13 9781903364734
Availability 0 units.
More About Tony Williams
Gordon Hunter has 25 years of rugby coaching experience, including several championship teams in New Zealand. He is currently the coach of the Auckland Blues, two-time winners of the Super 12, one of the world's toughest rugby's competitions.
Tony Williams is an Auckland-based best-selling author. Of the more than 20 books he has written, 13 are rugby titles, including two children's series of player biographies and team histories.
Tony Williams currently resides in the state of Illinois.
Reviews - What do customers think about The Cinema of George A. Romero: Knight of the Living Dead (Directors' Cuts)?
A little forced... Jul 14, 2006
Well written, but a little forced. The author's preconceived theory (a connection between Romero's works and the literary Naturalism inspired by Emile Zola) overwhelms almost every other aspect of his critical analysis and prevails on more objective aspects of Romero's art; not to mention the historical and documentary insight, which is very poor here. Unfortunately, Williams never doubts of his critical intuitions in this book, despite G. A. Romero himself never mentioned any link between his movies and Zola or others. Maybe a relashionship between Naturalism and Romero could have been an interesting idea, but to say that every single element of his work is probably linked to Dreiser, Zola or Norris, is really too much. Nevertherless, the book examines every single movie of Romero's filmography as far as "Bruiser": it is the most exhaustive (even if one-sided) critical essay about his films up to now.
Romero - More than just a zombie maker Feb 22, 2006
I doubt there's a single horror-movie fan on this entire earth who doesn't know who George A. Romero is, the creator of zombie classics Night of the Living Dead, Dawn of the Dead, and Day of the Dead (and the fourth one, Land of the Dead, however, this movie hadn't yet been made when The Cinema of George A. Romero came out and thus it's not included in the book).
But Romero is more than just a creator of zombies, and Tony Williams presents in his book a study of all Romero's movies, not just the ones where the living dead stumbles around in the streets, looking for the next human being they can get a snack from. Romero is a creator of movies where he likes to make a point, or points; he has tons of thoughts and ideas - and especially social criticism - that he includes in his work, and Williams manages to offer a clear picture of Romero's complete production and the reasons as to why it looks the way it does.
This is most definitely a book for movie-lovers, and even though it happens to be a scholarly book this still doesn't mean that movie-lovers who are not scholars cannot get something good out of it. Or put in other words, The Cinema of George A. Romero is a book that can be read by all, scholars as well as non-scholars.
But even though Romero, as we all know, not only masters how to create creepy zombies it's still these creatures and the movies they star in that most people think of when they hear his name. And perhaps that isn't much of a surprise, considering how immensely popular they still are, despite having been made quite a few years ago. The horror genre of today isn't what it used to be, and most contemporary horror flicks are "almost entirely devoid of social meaning and dependent upon gratuitous sensationalism" (p. 21).
Well, not so with the ones made by Romero, and this book will most definitely tell you the reasons why.
A Well-Deserved Comprehensive Critical Treatment Feb 7, 2006
I am submitting these comments largely to serve as a sort of counterpoint to those of N. P. Stathoupolous. Mr./Ms. Stathoupolous's point regarding the arid, academic tenor of this work is valid. I would suggest, however, that the popular critical evaluations of Romero's better known films for which Mr./Ms. Stathoupolous is looking have already been published; while a comprehensive academic evaluation of the whole of Romero's oeuvre was lacking. I feel that Mr. Williams has done a great service to american cinephiles by giving Romero's corpus the complete exegesis that it deserves. It is unfortunate that the academic community has a general tendency to view the horror genre as somewhat less than true cinematic art. I think it would be an equal disservice for the genre fans of Romero's zombie films to similarly dismiss Mr. Williams' fine work out of hand.
Why do they come here? Sep 20, 2004
When you see a book titled 'The Cinema of', you know it's supposed to be serious. (Instead of 'The Films of', 'The Movies of', etc.)
Williams, who did a good book about families in the American horror film (Hearths of Darkness) asserts that much of Romero's work is connected with the naturalist tradition of writers like Zola. He also traces lines to EC comics, and connects up Romero works like Dawn of the Dead with the director's hometown of Pittsburgh and a certain vision of a consumerist society that masks a certain social decay.
The problem with books like this, however good the points they make, is often the language and the presentation. There is a large body of Romero fans, particularly Dawn of the Dead fans who may appreciate a 'serious' consideration of the director's films (or his 'cinema'). However, I think most fans are alienated by work like this, which is too stuck in academia and is often bloated by unnecessarily flowery language and interpretation to appeal to the people who are watching these films regularly. It's unfortunate, because film is such a mass, popular medium, and yet the academic study of the medium is too stuck in the ivory tower. It seems like you can't just write the obvious, or even just discuss the films if you want to be taken seriously. In order to be write a 'serious' book about an American indie's 'cinema', you have to wrap it up in frameworks that are as lifelike as some of Romero's zombies. The book certainly has good points to make and provides some food for thought (or flesh for thought), but I found it a bit much at times as Williams almost painfully recounts scenes from the films with weighty pronouncements (not particularly backed up) and also, annoyingly, gets names and quotes wrong (fact-checking).
Maybe Romero will return to the sub-genre he created with a film about zombies running rampant in a university...