231,79 €
The Man Who Got Carter
The Man Who Got Carter
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The Man Who Got Carter
The Man Who Got Carter
El. knyga:
231,79 €
Michael Klinger was the most successful independent producer in the British film industry over a twenty year period, from 1960 to 1980, responsible for 32 films, including classics such as Repulsion and Get Carter. Despite working with many famous figures, including Michael Caine, Claude Chabrol, Mike Hodges, Lee Marvin and Roman Polanski, Klinger's contribution to British cinema has been ignored.This definitive book on Klinger, largely based on his previously unseen personal papers, examines h…

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Michael Klinger was the most successful independent producer in the British film industry over a twenty year period, from 1960 to 1980, responsible for 32 films, including classics such as Repulsion and Get Carter. Despite working with many famous figures, including Michael Caine, Claude Chabrol, Mike Hodges, Lee Marvin and Roman Polanski, Klinger's contribution to British cinema has been ignored.

This definitive book on Klinger, largely based on his previously unseen personal papers, examines his origins in the Sixties' Soho sex industry, sexploitation cinema and 'shockumentaries', through to major international productions, including Shout at the Devil. It reveals how Klinger deftly combined commercial product - the popular 'Confessions' series - with artistic, experimental cinema and highlights the importance of his Jewishness. The book also assesses the essential, often misunderstood role played by the producer.

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Michael Klinger was the most successful independent producer in the British film industry over a twenty year period, from 1960 to 1980, responsible for 32 films, including classics such as Repulsion and Get Carter. Despite working with many famous figures, including Michael Caine, Claude Chabrol, Mike Hodges, Lee Marvin and Roman Polanski, Klinger's contribution to British cinema has been ignored.

This definitive book on Klinger, largely based on his previously unseen personal papers, examines his origins in the Sixties' Soho sex industry, sexploitation cinema and 'shockumentaries', through to major international productions, including Shout at the Devil. It reveals how Klinger deftly combined commercial product - the popular 'Confessions' series - with artistic, experimental cinema and highlights the importance of his Jewishness. The book also assesses the essential, often misunderstood role played by the producer.

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