ReFocus: The Films of William Friedkin: (ReFocus: The American Directors Series)

William Friedkin is the director of genre-defining works such as The French Connection (1971) and The Exorcist (1973), controversial productions like Cruising (1980) and Killer Joe (2011), as well as understudied films including The Birthday Party (1968), Sorcerer (1977) and The Hunted (2003). This book, the first scholarly study of Friedkin's films, reveals how they confront the ambiguities of law and morality, issues of subjectivity and problems of faith, while raising key questions around emotion and narrative in the cinema. Placing his work in the historical contexts of the Vietnam War and Nixon's presidency, ReFocus: The Films of William Friedkin also examines the director's representations of sex and violence after the dismantling of the Production Code and in light of the rise and fall of New Hollywood cinema.

Table of Contents:
Introduction 1. "Spaces of Melodrama" 2. "Policing the Police" 3. "Criminal Desires" 4. "Justice at the Limits of Popular Cinema" 5. "The Power of Cinema Compels You"

About the Author :
Dr Steve Choe is Associate Professor of Film Studies at San Francisco State University

Review :
This is a closely reasoned argument for William Friedkin as a filmmaker of transcendent faith and existential authenticity.　 It provides a sophisticated re-interpretation of his work through the lenses of thinkers as varied as Frederic Jameson, Jacques Derrida, Michel Foucault, Soren Kierkegaard, and legal theorist Carl Schmitt, not to mention film scholars like Tom Gunning, Linda Ruth Williams, Michel Chion, and Robin Wood. 　Skillfully written and exhaustively researched, the book is essential reading for anyone who wants to understand the American cinema and the American film industry in the last three decades of the twentieth century. This is a closely reasoned argument for William Friedkin as a filmmaker of transcendent faith and existential authenticity.　 It provides a sophisticated re-interpretation of his work through the lenses of thinkers as varied as Frederic Jameson, Jacques Derrida, Michel Foucault, Soren Kierkegaard, and legal theorist Carl Schmitt, not to mention film scholars like Tom Gunning, Linda Ruth Williams, Michel Chion, and Robin Wood. 　Skillfully written and exhaustively researched, the book is essential reading for anyone who wants to understand the American cinema and the American film industry in the last three decades of the twentieth century.