1.
United Kingdom
–
The United Kingdom of Great Britain and Northern Ireland, commonly known as the United Kingdom or Britain, is a sovereign country in western Europe. Lying off the north-western coast of the European mainland, the United Kingdom includes the island of Great Britain, Northern Ireland is the only part of the United Kingdom that shares a land border with another sovereign state—the Republic of Ireland. The Irish Sea lies between Great Britain and Ireland, with an area of 242,500 square kilometres, the United Kingdom is the 78th-largest sovereign state in the world and the 11th-largest in Europe. It is also the 21st-most populous country, with an estimated 65.1 million inhabitants, together, this makes it the fourth-most densely populated country in the European Union. The United Kingdom is a monarchy with a parliamentary system of governance. The monarch is Queen Elizabeth II, who has reigned since 6 February 1952, other major urban areas in the United Kingdom include the regions of Birmingham, Leeds, Glasgow, Liverpool and Manchester. The United Kingdom consists of four countries—England, Scotland, Wales, the last three have devolved administrations, each with varying powers, based in their capitals, Edinburgh, Cardiff and Belfast, respectively. The relationships among the countries of the UK have changed over time, Wales was annexed by the Kingdom of England under the Laws in Wales Acts 1535 and 1542. A treaty between England and Scotland resulted in 1707 in a unified Kingdom of Great Britain, which merged in 1801 with the Kingdom of Ireland to form the United Kingdom of Great Britain and Ireland. Five-sixths of Ireland seceded from the UK in 1922, leaving the present formulation of the United Kingdom of Great Britain, there are fourteen British Overseas Territories. These are the remnants of the British Empire which, at its height in the 1920s, British influence can be observed in the language, culture and legal systems of many of its former colonies. The United Kingdom is a country and has the worlds fifth-largest economy by nominal GDP. The UK is considered to have an economy and is categorised as very high in the Human Development Index. It was the worlds first industrialised country and the worlds foremost power during the 19th, the UK remains a great power with considerable economic, cultural, military, scientific and political influence internationally. It is a nuclear weapons state and its military expenditure ranks fourth or fifth in the world. The UK has been a permanent member of the United Nations Security Council since its first session in 1946 and it has been a leading member state of the EU and its predecessor, the European Economic Community, since 1973. However, on 23 June 2016, a referendum on the UKs membership of the EU resulted in a decision to leave. The Acts of Union 1800 united the Kingdom of Great Britain, Scotland, Wales and Northern Ireland have devolved self-government
2.
British Film Institute
–
The British Film Institute is a film and charitable organisation which promotes and preserves filmmaking and television in the United Kingdom. The BFI maintains the worlds largest film archive, the BFI National Archive, previously called National Film Library, National Film Archive and National Film, the archive contains more than 50,000 fiction films, over 100,000 non-fiction titles and around 625,000 television programmes. The majority of the collection is British material but it also features internationally significant holdings from around the world, the Archive also collects films which feature key British actors and the work of British directors. The BFI runs the BFI Southbank and London IMAX cinema, both located on the bank of the River Thames in London. The IMAX has the largest cinema screen in the UK, and shows popular recent releases and short films showcasing its technology, BFI Southbank shows films from all over the world particularly critically acclaimed historical & specialised films that may not otherwise get a cinema showing. The BFI also distributes archival and cultural cinema to other venues – each year to more than 800 venues all across the UK, the BFI offers a range of education initiatives, in particular to support the teaching of film and media studies in schools. In late 2012, the BFI received money from the Department For Education to create the BFI Film Academy Network, the BFI runs the annual London Film Festival along with BFI Flare, London LGBT Film Festival and the youth-orientated Future Film Festival. The BFI publishes the monthly Sight & Sound magazine as well as films on Blu-ray, DVD, SIFT has a collection of about 7 million still frames from film and television. The institute was founded in 1933, the institute was restructured following the Radcliffe Report of 1948 which recommended that it should concentrate on developing the appreciation of filmic art, rather than creating film itself. Thus control of film production passed to the National Committee for Visual Aids in Education. From 1952-2000, the BFI provided funding for new and experimental filmmakers via the BFI Production Board, the institute received a Royal Charter in 1983. This was updated in 2000, and in the year the newly established UK Film Council took responsibility for providing the BFIs annual grant-in-aid. As an independent registered charity, the BFI is regulated by the Charity Commission, in 1988, the BFI opened the London Museum of the Moving Image on the South Bank. The Museum was temporarily closed in 1999 when the BFI stated that it would be re-sited and this did not happen, and MOMIs closure became permanent in 2002 when it was decided to redevelop the South Bank site. This redevelopment was itself then further delayed, the BFI is currently managed on a day-to-day basis by its chief executive, Amanda Nevill. Supreme decision-making authority rests with a chair and a board of up to 14 governors, the current chair is Josh Berger, who took up the post in February 2016. He succeeded Greg Dyke, who took office on 1 March 2008, Dyke succeeded the late Anthony Minghella, who was chair from 2003 until 31 December 2007. The chair of the board is appointed by the BFIs own Board of Governors but requires the consent of the Secretary of State for Culture, Media, other Governors are co-opted by existing board members when required
3.
Auteur
–
An auteur is a singular artist who controls all aspects of a collaborative creative work, a person equivalent to the author of a novel or a play. The term is referenced to filmmakers or directors with a recognizable style or thematic preoccupation. Such critics invented the concept as a way of distinguishing French New Wave filmmakers from studio system directors that were part of the Hollywood establishment, Auteur theory has since been applied to producers of popular music, as well as directors of video games. The definition of an auteur has been debated since the 1940s, an auteur can use lighting, camerawork, staging and editing to add to their vision. Politique might very well be translated as policy or program, it involves a decision to value. One might see it as the policy of treating any director that uses a style or a unique worldview as an Auteur. Truffaut criticized the Cinema of Quality as Scenarists films, which are works that lack originality, according to Truffaut, this means that the director is only a metteur en scene, a stager. This tradition suggests that the hands the script to the director. Truffaut said, here are no good and bad movies, only good, even before auteur theory became clearly defined, the director was considered to be the most important among the people working on a film. Starting in the 1960s, some critics began criticising auteur theorys focus on the authorial role of the director. Pauline Kael and Andrew Sarris feuded in the pages of The New Yorker, one reason for the backlash is the collaborative aspect of shooting a film, and in the theorys privileging of the role of the director. In 2006, David Kipen coined the term Schreiber theory to refer to the theory of the screenwriter as the author of a film. Film historian Georges Sadoul pointed out that the author of a film is not necessarily the director. Also, he argued that the film can only be seen as a work of collective, in law, the film is treated as a work of art and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the director is considered the author or one of the authors of a film. From the 1960s, Phil Spector is considered the first auteur among producers of popular music, author Matthew Bannister named him the first star producer. Journalist Richard Williams wrote, Spector created a new concept, the producer as overall director of the creative process, another early pop music auteur was the Beach Boys multi-tasking leader Brian Wilson, who himself was mentored by Spector. Before the progressive pop of the late 1960s, performers were typically unable to decide on the content of their music
4.
Exploitation movie
–
An exploitation film is a film that attempts to succeed financially by exploiting current trends, niche genres, or lurid content. Exploitation films are generally low-quality B movies, even so, they sometimes attract critical attention and cult followings. Some of these films, such as Night of the Living Dead, set trends, Exploitation films may feature suggestive or explicit sex, sensational violence, drug use, nudity, freaks, gore, the bizarre, destruction, rebellion, and mayhem. Such films were first seen in their form in the early 1920s. Their producers used sensational elements to attract audiences lost to television, since the 1990s, this genre has also received attention in academic circles, where it is sometimes called paracinema. Exploitation is very defined, and has more to do with the viewers perception of the film than with the films actual content. Titillating material and artistic content often coexist, as demonstrated by the fact that art films that failed to pass the Hays Code were often shown in the same grindhouses as exploitation films. Exploitation films share the fearlessness of acclaimed transgressive European directors such as Derek Jarman, Luis Buñuel, buñuels Un Chien Andalou contains elements of the modern splatter film. The audiences of art and exploitation film are considered to have tastes that reject the mainstream Hollywood offerings. Exploitation films have often exploited news events in the public consciousness that a major film studio may avoid because of the time required to produce a major film. Child Bride, for example, tackled the issue of older men marrying very young women in the Ozarks, other issues, such as drug use in films like Reefer Madness, attracted audiences that major film studios would usually avoid in order to keep their respectable, mainstream reputations. With enough incentive, however, major studios might become involved, as Warner Bros. did in their 1969 anti-LSD, the film Sex Madness portrayed the dangers of venereal disease from premarital sex. Mom and Dad, a 1945 film about pregnancy and childbirth, was promoted in lurid terms and she Shoulda Said No. combined the themes of drug use and promiscuous sex. Several war films were made about the Winter War in Finland, the Korean War, some Poverty Row low-budget B movies often exploit major studio projects. Their rapid production schedule allows them to advantage of publicity attached to major studio films. For example, Edward L. Ulmers film Beyond the Time Barrier, as a result, many major studios, producers, and stars keep their projects secret. Grindhouse is an American term for a theater that mainly showed exploitation films and it is thought to stem from the defunct burlesque theaters on 42nd Street, New York, where bump n grind dancing and striptease used to be on the bill. As the drive-in movie theater began to decline in the 1960s and 1970s, One solution was to book exploitation films
5.
Glen or Glenda
–
Glen or Glenda is a 1953 American drama film written, directed by and starring Ed Wood, and featuring Bela Lugosi and Woods then-girlfriend Dolores Fuller. The title was originally I Changed My Sex. and is given as Glen or Glenda. But the question mark is not present in the film itself, the film is a docudrama about cross-dressing and transsexuality, and is semi-autobiographical in nature. Wood himself was a cross-dresser, and the film is a plea for tolerance and it is widely considered one of the worst films ever. However, it has become a film due to its low-budget production values. The film begins with a narrator, called The Scientist, making comments about humanity. He first comments that humanitys constant search for the unknown, results in startling things coming to light, but most of these new discoveries are actually quite old, to which he refers to as the signs of the ages. Later, the turns to the streets of a city, with the narrator commenting that each human has his/her own thoughts, ideas. He makes further comments on life, while sounds accompany some comments. The cries of a baby are followed by the sirens of an ambulance. One is a sign that a new life has begun, the other that a life has ended and this last comment starts the narrative of the film. The life which has ended is that of a transvestite named Patrick/Patricia, a scene opens with his/her corpse in a small room. Within the room is a man who opens the door to a physician, a photographer. A suicide note explains the reasons behind the suicide, Patrick/Patricia had been arrested four times for cross-dressing in public, and had spent time in prison. Since he/she would continue wearing womens clothing, subsequent arrests and imprisonment were only a matter of time, so he/she ended his/her own life and wishes to be buried with his/her womens clothing. Let my body rest in death forever, in the things I cannot wear in life, inspector Warren is puzzled and wants to know more about cross-dressing. So he seeks the office of Dr. Alton, who narrates for him the story of Glen/Glenda, Glen is shown studying womens clothes in a shop window. Dr. Alton points out that mens clothes are dull and restrictive, whereas women can adorn themselves with attractive, a flashback scene reveals that a young Glen started out by asking to wear his sisters dress for a Halloween party
6.
Sergio Leone
–
Sergio Leone was an Italian film director, producer and screenwriter, credited as the inventor of the Spaghetti Western genre. Leones film-making style includes juxtaposing extreme close-up shots with lengthy long shots. born in Rome, Leone was the son of the cinema pioneer Vincenzo Leone and the silent film actress Edvige Valcarenghi. During his schooldays, Leone was a classmate of his musical collaborator Ennio Morricone for a time. After watching his work on film sets, Leone began his own career in the film industry at the age of 18 after dropping out of law studies at the university. Working in Italian cinematography, he began as an assistant to Vittorio de Sica during the movie The Bicycle Thief in 1948, Leone began writing screenplays during the 1950s, primarily for the sword and sandal historical epics, popular at the time. When director Mario Bonnard fell ill during the production of the 1959 Italian epic The Last Days of Pompeii, starring Steve Reeves, Leone was asked to step in and complete the film. As a result, when the time came to make his directorial debut with The Colossus of Rhodes. His film A Fistful of Dollars was based upon Akira Kurosawas Edo-era samurai adventure Yojimbo, Leones film elicited a legal challenge from the Japanese director, though Kurosawas film was in turn probably based on the 1929 Dashiell Hammett novel, Red Harvest. A Fistful of Dollars is also notable for establishing Clint Eastwood as a star, until that time Eastwood had been an American television actor with few credited film roles. The look of A Fistful of Dollars was established by its Spanish locations, the film paid tribute to traditional American western films, but significantly departed from them in storyline, plot, characterization and mood. The characters were also morally ambiguous by appearing generously compassionate, or nakedly and brutally self-serving, relationships revolved around power and retributions were emotion-driven rather than conscience-driven. According to Christopher Fraylings book Something to do with Death, Leone knew a deal about the American Old West. It fascinated him as a child, which carried into his adulthood, the films featured innovative music scores by Ennio Morricone, who worked closely with Leone in devising the themes. Leone had a way of shooting scenes with Morricones music ongoing. In addition, Clint Eastwood stayed with the series, joined later by Eli Wallach, Lee van Cleef. Based on the success of The Man with No Name trilogy, the film was shot mostly in Almería, Spain and Cinecittà in Rome. It was also shot in Monument Valley, Utah. The film starred Charles Bronson, Henry Fonda, Jason Robards, Once Upon a Time in the West emerged as a long, violent, dreamlike meditation upon the mythology of the American Old West, with many stylistic references to iconic western films
7.
Roger Corman
–
Roger William Corman is an American independent film producer, director, and actor. He has been called The Pope of Pop Cinema and is known as a trailblazer in the world of independent film, much of Cormans work has an established critical reputation, such as his cycle of low budget cult films adapted from the tales of Edgar Allan Poe. In 2009, he was awarded an Honorary Academy Award, Corman mentored and gave a start to many young film directors such as Francis Ford Coppola, Ron Howard, Martin Scorsese and James Cameron. He also helped to launch the careers of actors Peter Fonda, a documentary about Cormans life and career entitled Cormans World, Exploits of a Hollywood Rebel, directed by Alex Stapleton, premiered at the Sundance and Cannes Film Festivals in 2011. The films TV rights were picked up by A&E IndieFilms after a screening at Sundance. Corman was born in Detroit, Michigan, the son of Anne and William Corman and his younger brother, Eugene Harold Gene Corman, has also produced numerous films, sometimes in collaboration with Roger. Corman and his brother were baptized in their mothers Catholic faith, Corman went to Beverly Hills High School and then to Stanford University to study Industrial Engineering. While at Stanford, Corman enlisted in the V-12 Navy College Training Program, after the end of World War II, Corman returned to Stanford and received a Bachelor of Science degree in Industrial Engineering in 1947. While at Stanford University, Roger Corman was initiated in the fraternity Sigma Alpha Epsilon, in 1948, he worked briefly at U. S. Electrical Motors on Slauson Avenue in Los Angeles, but his career in engineering lasted only four days, he work on Monday and quit on Thursday. More interested in film, Corman found work at 20th Century Fox initially in the mail room and he worked his way up to a story reader. The one property that he liked the most and provided ideas for was filmed as The Gunfighter with Gregory Peck, when Corman received no credit at all he left Fox and decided he would work in film by himself. Under the GI Bill, Corman studied English Literature at Oxford University and he then returned to Los Angeles, beginning his film career in 1953 as a producer and screenwriter, then started directing films in 1955. Corman began to direct films in the mid-1950s, including Swamp Women, in his early period, he produced up to nine movies a year. His fastest film was perhaps The Little Shop of Horrors, which was shot in two days and one night. Supposedly, he had made a bet that he could shoot a feature film in less than three days. Another version of the claims that he had a set rented for a month. In addition to producing and directing films for American International Pictures, in 1959, Corman founded Filmgroup with his brother Gene, a company producing or releasing low-budget black-and-white films as double features for drive-ins and action houses
8.
Pam Cook
–
Pam Cook is Professor Emerita in Film at the University of Southampton. She was educated at Sir William Perkinss School, Chertsey, Surrey and Birmingham University, along with Laura Mulvey and Claire Johnston, she was a pioneer of 1970s Anglo-American feminist film theory. Her collaboration with Claire Johnston on the work of Hollywood film director Dorothy Arzner provoked debate among feminist film scholars over the following decades, in the mid-1980s, Cook co-authored and edited the leading film studies textbook The Cinema Book for the British Film Institute. From 1985 to 1994 she was Associate Editor and contributor to the BFI magazines Monthly Film Bulletin and Sight and Sound, in 1998 she was appointed the first Professor of European Film and Media at the University of Southampton. Since her retirement in 2006, she continues to publish books and articles on moving image history, in 2007, she set up the independent campaigning blog bfiwatch to monitor developments at the BFI, and she has extended her work to scholarly videography. Nicole Kidman, London, BFI Publishing/Palgrave,2012, Nicole Kidman Baz Luhrmann, London, BFI Publishing/Palgrave,2010. Baz Luhrmann The Cinema Book, Third Edition, London, British Film Institute,2007, Screening the Past, Memory and Nostalgia in Cinema, Oxford and New York, Routledge,2005. BFI Film Classics, London, British Film Institute,2002, the Cinema Book, Second Edition, London, British Film Institute,1999. Gainsborough Pictures, London and Washington, Cassell,1997, Gainsborough Pictures Fashioning the Nation, Costume and Identity in British Cinema, London, British Film Institute,1996. Women and Film, A Sight and Sound Reader, London, Scarlet Press/Philadelphia, the Cinema Book, London, British Film Institute,1985. The Cinema Book Because Shes Worth It, The Natural Blonde from Grace Kelly to Nicole Kidman, Celebrity Studies 2015, special dossier on Blondes in Cinema. Natacha Rambova, Rudolph Valentino, Salome, Alla Nazimova Text, Paratext and Subtext, Reading Mildred Pierce as Maternal Melodrama, SEQUENCE, Serial Studies in Media, Film and Music,2.2,2015. Mildred Pierce, Mildred Pierce, Mildred Pierce, Todd Haynes, Videography Dancing with Pixels, Digital Artefacts, Memory, in the Mood for Love, Videography Sweetie′, Metro 181, Winter 2014. Sweetie, Jane Campion, Cinema of Australia History in the Making, Sofia Coppolas Marie Antoinette, the Biopic in Contemporary Film Culture, New York, Routledge,2013. Sofia Coppola, Marie Antoinette, Biopics Beyond Adaptation, Mirrors, Memory and Melodrama in Todd Hayness Mildred Pierce, Mildred Pierce dossier, Screen 54,3, Autumn 2013. Mildred Pierce, Mildred Pierce, Mildred Pierce, Todd Haynes Labours of Love, In Praise of Fan Websites, Frames 1, July 2012. Another Story, Myth and History in Bonnie and Clyde, in Tom Brown and James Walters, Film Moments, Criticism, History, Theory, London, BFI/Palgrave Macmillan,2010. Bonnie and Clyde Sofia Coppola, in Yvonne Tasker, Fifty Contemporary Film Directors, Oxford and New York, Sofia Coppola ‘Transnational Utopias, Baz Luhrmann and Australian Cinema’, Transnational Cinemas 1,2010
9.
Kim Newman
–
Kim James Newman is an English journalist, film critic, and fiction writer. He has won the Bram Stoker Award, the International Horror Guild Award, kim James Newman was born 31 July 1959 in London, the son of Bryan Michael Newman and Julia Christen Newman, both potters. He was raised in Aller, Somerset and he was educated at Dr. Morgans Grammar School in Bridgwater, and set his experimental semi-autobiographical novel Lifes Lottery in a fictional version of the town named Sedgwater. He studied English at the University of Sussex and set a story, Angel Down. Early in his career, Newman was a journalist for the magazines City Limits, an expanded edition, an update of his overview of post-1968 genre cinema, was published in 2011. Nightmare Movies was followed by Wild West Movies, Or How the West Was Found, Won, Lost, Lied About, Filmed and Forgotten and Millennium Movies, Newmans non-fiction also includes the BFI Companion to Horror. Both books comprise 100 essays by 100 horror writers about 100 horror books and he also contributes to Rotten Tomatoes, Venue, Video Watchdog and Sight & Sound. Newman is the author of the Doctor Who entry in the British Film Institutes book series on TV Classics, a feature of Newmans fiction is his fondness for reinterpreting historical figures and other authors characters in new settings, either realistic alternate-history or outright fantasy. Some of these characters are easily recognised, many more, particularly minor characters, are obscure except to knowledgeable readers. An example is the appearance of the American John Reid, who owned a silver mine, another is the American actor named Kent cast as Hercules in an Italian production of the same name in the novel Dracula Cha Cha Cha a. k. a. Judgment of Tears, Anno Dracula 1959, Newmans first published novel was The Night Mayor, set in a virtual reality, based on old black-and-white detective movies. In the same year, as Jack Yeovil, he began contributing to a series of published by Games Workshop, set in the world of their Warhammer. There are no plans for Newman to finish the series, Anno Dracula was published in 1992. The novel is set in 1888, during Jack the Rippers killing spree—but a different 1888, in the novel, fictional characters—not only from Dracula, but also from other works of Victorian era fiction—appear alongside historical persons. One major character, the vampire Geneviève Dieudonné, had appeared in his Warhammer novels. Anno Dracula was followed by the Anno Dracula series of novels and shorter works, some of the short stories are available online, see below. The fourth novel in the series was published in 2013 as Johnny Alucard, other novels include Lifes Lottery, in which the protagonists life story is determined by the readers choices, The Quorum, Jago and Bad Dreams. Newman wrote a Doctor Who novella, Time and Relative in 2001, Newman is a prolific writer of short stories, his first published story was Dreamers, which appeared in Interzone in 1984
10.
BFI London Film Festival
–
The British Film Institute London Film Festival is an annual film festival held in the United Kingdom, running in the second half of October with cooperation from the British Film Institute. It screens more than 300 films, documentaries and shorts from approximately 50 countries, in 1953 a group of critics including Dilys Powell of the The Sunday Times, raised the notion of a film festival for London. They reasoned that with Cannes and Venice, as did Edinburgh, had their own, however, the proposition was squared at the press - giving audience a chance to see movies that dont normally release in British cinemas. Originally to be a festival of festivals, it focused on screening a selection of titles from other European film festivals, including Cannes. The first London Film Festival was conceived by James Quinn, and it was launched after the inauguration of the new NFT on its current site under Waterloo Bridge. It screened only 15-20 films from a selection of directors, including Akira Kurosawa, Satyajit Ray, Yasujirō Ozu, Luchino Visconti. While the programme still retains the feel, it also now shows new discoveries from important. Whilst it continues to be first and foremost a public festival, it is attended by large numbers of film professionals. Importantly, it offers opportunities for people to see films that may not otherwise get a UK screening along with films which will get a release in the near future. Previously a number of awards were presented at the Closing gala, but in 2009, with the aid of some funding from the UK Film Council. The 2009 Festival featured 15 world premieres including Wes Anderson’s first animated feature, in addition to Fantastic Mr. Fox and Up In The Air, George Clooney supported his role in The Men Who Stare At Goats. On August 2016, American distributor A24s Free Fire was chosen to close the 2016 London Film Festival, the Sutherland Trophy – for the most original and innovative first feature in the London Film Festival. Named after the BFI’s patron, this award boasts recipients as noteworthy as Bertolucci, Fassbinder, Godard, the Grierson Award – for the best feature-length documentary in the festival. This award is given jointly by the LFF and the Grierson Trust which commemorates the pioneering Scottish documentary-maker John Grierson, famous for Drifters, the Grierson Trust has a long-standing tradition of recognising outstanding films that demonstrate integrity, originality and technical excellence and social or cultural significance. From 2009, a new standalone awards ceremony was launched which included the awards, Best Film – celebrates creative, original, imaginative, intelligent. BFI Fellowships – the Festival showcases both the work of new film-makers and established ones, and presenting two Fellowships provides a fitting contrast to those Awards recognising new talent, jonathan Caouette 7th FIPRESCI International Critics Award Aaltra, dir. Gustave de Kervern and Benoit Delepine The Alfred Dunhill UK Film Talent Award A Way Of Life, amma Asante 9th Annual Satyajit Ray Award The Woodsman, dir. Nicole Kassell TCM Classic Shorts Award Nits, dir, harry Wootliff The Sutherland Trophy For the Living and the Dead, dir
11.
Eric Rhode
–
Eric Rhode is a British writer on traditional cosmology and psychoanalysis. Rhodes writing is unusual in its striving towards the integration of a variety of interests. A major concern in his writing is to show how the grammar of psychopathology is a key to major insights of general interest and his later work addresses the interface between the structures discernible in dreams, childrens play, aesthetics, ethnographic ritual, and philosophy. As an undergraduate, Rhode directed plays at the Edinburgh festival, his own early play, during this period, Rhode wrote Tower of Babel and also The History of the Cinema from its origins to 1970 for Penguin Books. He edited A game that must be lost, the papers by Adrian Stokes on psychoanalysis and art. His first psychoanalytically-informed book was Of Birth and Madness, a London Times Book of the Week and his later books continue to be psychoanalytically informed but extend into aspects of traditional cosmology. Married to the child psychotherapist Maria Rhode, chilton Books,1967 Eric Rhode A History of the Cinema from Its Origins to 1970. ISBN 0-8090-5480-9 Eric Rhode On Birth & Madness, ISBN 0-7156-2291-9 Eric Rhode The Generations of Adam. ISBN 1-85343-130-3 Eric Rhode Psychotic Metaphysics, ISBN 1-85575-074-0 Eric Rhode On Hallucination, Intuition, and the Becoming of O. Esf. ISBN 1-883881-26-9 Eric Rhode Platos Silence, ISBN 0-9543231-0-6 Eric Rhode Notes on the Aniconic. ISBN 0-9543231-1-4 Eric Rhode Axis Mundi, ISBN 0-9543231-2-2 Eric Rhode On Revelation. ISBN 978-0954323134 Eric Rhode, Erics web page
