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Brad Stevens

Brad Stevens is the author of two books: Monte Hellman: His Life and Films (McFarland, 2003) and Abel Ferrara: The Moral Vision (FAB Press, 2004).

He has contributed to Sight & Sound, Video Watchdog, Cahiers du Cinema, Trafic, The Dark Side, The Movie Book of the Western, The Little Black Book: Movies, International Film Guide 2008, and the website Senses of Cinema.

He recorded commentary tracks (in collaboration with R. Dixon Smith) for the Masters of Cinema DVDs of F. W. Murnau’s Nosferatu and Tabu.

He appears in the documentaries A Short Film About the Long Career of Abel Ferrara, Odyssey in Rome, Video Nasties: Moral Panic, Censorship & Videotape and Outliving Dracula: Le Fanu’s Carmilla.

He can be seen interviewing Christopher Lee on the VCI and Salvation DVDs of The City of the Dead, and has written DVD sleeve notes for Shock Corridor, The Naked Kiss, Full Metal Jacket, The Driller Killer, La Notte, Obsession, Les Diaboliques, Knightriders and the Masters of Cinema box set of Buster Keaton’s short films.

He tweets at @BradStevens22.

Articles by Brad Stevens

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  • Brian De Palma’s Domino is a puzzle

    Hastily made and by conventional standards plainly incomplete, De Palma’s latest straight-to-home release thriller ‘accidentally’ makes for a riddle as rich as the director’s more micro-managed film games, writes Brad Stevens.

    Tuesday, November 5, 2019

    Bradlands

  • Stephen Frears: master or auteur?

    The British director of films as diverse as The Queen and Grifters is always in perfect control of his material and has a carefully detectable style. But does that make him one of the greats, asks Brad Stevens.

    Wednesday, October 2, 2019

    Bradlands

  • 10 great Graham Greene adaptations

    With The Third Man back in UK cinemas for its 70th anniversary, we look back at some of the cinema’s finest trips into Greeneland.

    Tuesday, September 3, 2019

    Lists

  • A wider view: CinemaScope today

    In the age of widescreen 1.85:1 televisions, letterboxed ’Scope can look as strange as the severity of Academy Ratio, and what was once an illusion of reality has become a vision of artificiality, writes Brad Stevens.

    Monday, August 19, 2019

    Bradlands

  • The masks of Agnès: Varda’s self-portraits and performances on screen

    Varda by Agnès, the director’s final film, offers another glimpse of her performative auteur persona – and continues her own tradition of conflating the roles of in front of and behind her camera, writes Brad Stevens.

    Wednesday, July 17, 2019

    Bradlands

  • “So nobody can lie”: Sam Fuller’s Falkenau and the morality of tracking shots

    Two comparable sequences from very different Holocaust films takes us back to a time when we still lent images moral meaning, writes Brad Stevens.

    Tuesday, June 11, 2019

    Bradlands

  • Nell Shipman: an auteur in the wild

    In the frame shots bracketing her 1920 western-with-an-automobile Something New, the silent-film pioneer wrote her own claims to cinematic authorship directly into the movie – decades before men coined the auteur theory, writes Brad Stevens.

    Wednesday, May 1, 2019

    Bradlands

  • Disrupting the director: when an auteur meets the Method

    What do you do with an actor who refuses to take direction? Marlon Brando was too wild for Stanley Kubrick, whereas Arthur Penn built The Missouri Breaks around his performative anarchism. But perhaps Kubrick had already learned the lesson working around Peter Sellers on Lolita, writes Brad Stevens.

    Monday, March 25, 2019

    Bradlands

  • The Wizard of Lies: three faces of Robert De Niro

    Barry Levinson’s Bernie Madoff biopic brings together key facets of the actor’s star persona, as he plays an opportunistic individual who is nevertheless rigorously self-controlled, writes Brad Stevens.

    Thursday, February 28, 2019

    Bradlands

  • As tears go by: why do film characters cry at the cinema?

    From Anna Karina in Vivre Sa Vie to Bruce Willis in Twelve Monkeys, when movie characters watch films, it’s often an intensely sorrowful experience. Could this be the way cinema expresses its self-conscious sadness about its own transience, asks Brad Stevens.

    Monday, January 21, 2019

    Bradlands

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