ReFocus : : The Films of Elaine May / / Alexandra Heller-Nicholas, Dean Brandum.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2019
• VerfasserIn: Heller-Nicholas, Alexandra,; Brandum, Dean,
• MitwirkendeR: Bastow, Clem,; Brandum, Dean,; Carr, Jeremy,; Deighan, Samm,; Freeman, Mark,; Heller-Nicholas, Alexandra,; Jeffery, Paul,; O’Farrell, Tim,; Smukler, Maya Montañez,; Wilson, Jake,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2019
• Year of Publication: 2022
• Language: English
• Series: ReFocus: The American Directors Series : RFADS
• Physical Description: 1 online resource (264 p.) :; 12 B/W illustrations

Explores the diverse career of director, screenwriter, comic and actor, Elaine MaySpanning from obscurity to notoriety, the films of director, screenwriter, actor and comic Elaine May have recently experienced a long-overdue renaissance. Although she made only four films — A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1976) and Ishtar (1987) — and never reached the level of acclaim of her frequent collaborator Mike Nichols, May’s work is as enigmatic, sophisticated and unceasingly fascinating as her own complicated, reluctant star persona. This collection focuses both on the films she has directed, and also emphasises her work with other high profile collaborators such as John Cassavetes, Warren Beatty and Otto Preminger.Case studies A New Leaf (Elaine May, 1971)The Heartbreak Kid (Elaine May, 1972)Mikey and Nicky (Elaine May, 1976)Ishtar (Elaine May, 1987)American Masters: Mike Nichols (Elaine May, 2016)Such Good Friends (Otto Preminger, 1971)The Birdcage (Mike Nichols, 1996) Primary Colors (Mike Nichols, 1998)ContributorsClem Bastow, University of MelbourneDean Brandum, independent researcherJeremy Carr, Arizona State University Samm Deighan, Associate Editor of Diabolique Magazine Mark Freeman, Swinburne UniversityAllie Hagan, screenwriter Alexandra Heller-Nicholas, film critic Paul Jeffery, independent researcher Tim O'Farrell, Victorian College of the ArtsMaya Montañez Smukler, New School, Otis College of Art and Design, the New York Film Academy and UCLAJake Wilson, freelance writer and film reviewer

Table of Contents

Frontmatter -- Contents -- List of Figures and Tables -- Notes on Contributors -- Acknowledgments -- Introduction: Who’s Kidding?—Approaching Elaine May -- Part 1 Beginnings -- 1 Teenagers on Stage—The Comedy of Elaine May and Mike Nichols -- Part 2 Critically Situating Elaine May -- 2 Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema -- 3 Dangerous Business—Elaine May as Existential Improviser -- Part 3 Elaine May’s Films as Director -- 4 Kneeling on Glass—Elaine May’s A New Leaf (1971) as Screwball Black Comedy -- 5 “Don’t Put A Milky Way in Someone’s Mouth When They Don’t Want It”: A Contemporary Feminist Rereading of Elaine May’s The Heartbreak Kid (1972) -- 6 Mikey and Nicky (1976)—Elaine May and the Cassavetes Connection -- 7 Cartographies of Catastrophe—Elaine May’s Ishtar (1987) -- Part 4 Collaborations/Revelations -- 8 In/Significant Gestures—Elaine May, Screen Performance, and Embodied Collaboration -- 9 Otto É. May(zo)—Elaine May’s Screenplay of Otto Preminger’s Such Good Friends (1971) as Affirmation that Hell is Other People -- 10 Spectral Elaine May—The Later Mike Nichols Collaborations and the Myth of the Recluse -- Conclusion -- 11 When in Doubt, Seduce: An Interview with Screenwriter Allie Hagan -- Bibliography -- Index