Bøker i Refocus: The International Directors-serien

Explores the detail of Jane Campion's film and television output, considering her vision and practice, legacy, and her contribution to feminist filmmaking

The first comprehensive scholarly volume on Kim Ki-young and his films in English

'A mystic poet of the hidden sights of our souls, Sohrab Shahid Saless was the filmmakers' filmmaker. He achieved an almost cultic character in his homeland and his two Iranian films formed the DNA of Iranian New Wave before the Iranian Revolution of 1977-9 catapulted him into Europe and then the US where he died lonely and forlorn. Azadeh Fatehrad has given the world of cinema a priceless gift by editing a much overdue volume celebrating both phases of Shahid Saless's Iranian and foreign filmmaking careers: in one he mapped the solitude of our souls, and in the other the exilic permanence of our very existence.' Hamid Dabashi, author of Close Up: Iranian Cinema, Past, Present, Future An Iranian immigrant struggling to integrate into 1970s German society, the filmmaker Sohrab Shahid Saless (1944-98) has become a neglected figure in discussions of diaspora cinema. In this - the first English-language book to reflect on his work and its implications for creativity in the diasporic conditions of urban displacement - a range of international scholars provide a comprehensive account of Shahid Saless's films and production methods. Outlining his affinity with celebrated directors like Chantal Akerman and Abbas Kiarostami, as well as visual artists like Romuald Karmakar, the contributors firmly position Shahid Saless as a filmmaker who speaks forcefully to the traumas of displacement and migration. Azadeh Fatehrad is an artist and curator. She has conducted projects across Europe and the Middle East, including at the International Institute of Social History in Amsterdam and the Archiv für Forschung und Dokumentation Iran in Berlin. She is also the co-founder of 'Herstoriographies: The Feminist Media Archive Research Network' in London. Cover image: Sohrab Shahid Saless at Golden Gate Bridge, photographed by Bert Schmidt, November 1979 Cover design: [EUP logo] edinburghuniversitypress.com ISBN 978-1-4744-5639-5 Barcode

This is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and video installations. It situates Costa's filmmaking within the contexts of Portuguese, European and global art film, looking into his working practices alongside the impact of digital video, forms of collaborative authorship, and the intricate dialogue between modes of production and aesthetics. Considering the exhibition, circulation and reception of Costa's creative output in settings such as film festivals, the art gallery circuit and the home video market, ReFocus: The Films of Pedro Costa provides an essential critical analysis of this major filmmaker - as well as of the multifaceted production and consumption practices that surround contemporary art cinema.

Ever since his first feature film I Killed My Mother premiered at Cannes, every film from the 29-year-old director Xavier Dolan has generated significant critical interest. A recipient of numerous awards, Dolan has recently taken his career to an international level with The Death and Life of John F. Donovan. As the first book-length study about Dolan, with case studies of key films like Mommy (2014), Tom at the Farm (2013) and It's Only the End of the World (2016), this volume explores the global reach of small national and subnational cinemas. In particular, it uses Dolan's cinema as a departure point to reconsider the position of Québec film and cultural imaginary within a global cinematic culture, as well as the intersections between national, millennial and queer filmmaking. Andrée Lafontaine is Assistant Professor of Anglophone Literature and Culture at the University of Tsukuba (Japan).