The Films of Woody Allen

Sam B. Girgus

doi:10.1017/CBO9780511615252

The Films of Woody Allen was the first full-length work to examine the director as a serious filmmaker and artist. Sam Girgus argues that Allen has consistently been on the cutting edge of contemporary critical and cultural consciousness, challenging our notions of authorship, narrative, perspective, character, theme, ideology, gender and sexuality. This revised and updated edition includes two new chapters that examine Allen's work since 1992. Girgus argues that the scandal surrounding Allen's personal life in the early 1990s has altered his image in ways that reposition moral consciousness in his work. The union between Allen's public and private selves that created a special 'aura' about him remains intact despite the director's concerted efforts to separate his private life from his screen image. Allen now assumes a postmodern moral relativism and 'sensual realism' that differs profoundly from the moral sensibility of his earlier work.

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The Films of Woody Allen

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Contents

Frontmatter
pp i-viii

Contents
pp ix-x

Acknowledgments
pp xi-xii

Introduction to the Second Edition – The Prisoner of Aura: The Lost World of Woody Allen
pp 1-19

1 - Reconstruction and Revision in Woody Allen's Films
pp 20-43

2 - Desire and Narrativity in Annie Hall
pp 44-61

3 - Manhattan
pp 62-88

4 - The Purple Rose of Cairo – Poststructural Anxiety Comes to New Jersey
pp 89-107

5 - Hannah and Her Sisters
pp 108-128

6 - The Eyes of God
pp 129-147

Conclusion to the Second Edition – Allen's Fall: Mind, Morals, and Meaning in Deconstructing Harry
pp 148-174

Filmography
pp 175-192

Selected bibliography
pp 193-196

Index
pp 197-200

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The Films of Woody Allen

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