George Clooney (42 page)

Pitt, Brad

Pollack, Sydney

Pretty Woman

Radulovich, Milo

Red Surf

Reeves, Dianne

Reiner, Rob

Reitman, Ivan

Reitman, Jason

Reservoir Dogs

Return of the Killer Tomatoes

Return to Horror High

Riptide

Roberts, Julia

Rockwell, Sam

Rodriguez, Robert

Roeg, Nic

Ronson, Jon

Roseanne

Russell, David O.

Russo Bros., The (Anthony and Joe)

Sarris, Andrew

Savini, Tom

Schumacher, Joel

Schwarzenegger, Arnold

Scorsese, Martin

Scott, Ridley

Screwball comedy

Sheen, Charlie

Sigel, Newton Thomas

Silverstone, Alicia

Simmons, Gene

Simmons, J.K.

Sinatra, Frank

Sisters

Soderbergh, Steven

stylistic experimentation in
The Good German
by

innovative direction of
Out of Sight
by

generic innovation in
Ocean's
franchise by

creation of a subjective universe in
Solaris
by

Solaris

visual style of opening scenes in

status of Kelvin, in

the Fantastic in

ambiguity surrounding Rheya in

open ending in

differences with Tarkovsky's version of

South Park

Spacey, Kevin

Spy Kids

Star theory

Strathairn, David

Straughan, Peter

Streep, Meryl

Street Hawk

Strong, Mark

Sturges, Preston

Sunset Beat

Swinton, Tilda

Syriana

presentation of Bob in

political corruption in

comparisons to Philip Noyce thrillers in

See
No Evil
, in

structure of family relationships in

Tarantino, Quentin

Tarkovsky, Andrei

Thelma and Louise

Three Kings

presentation of the U.S. military in

central relationships in

use of
special effects in

the seizing of the gold in

moral dilemmas in

Vig's death in

closure in

Thurman, Uma

Travolta, John

Up in the Air
: use of nonactors in

comparisons with source novel in

central relationships in

Ryan's philosophy in

Clooney's performance in

theme of connectivity in

Reitman's contribution to

Wahlberg, Mark

Washington, Isaiah

Welcome to Collinwood

the role of Jerzy in

links with
Big Deal on Madonna Street
, in

comic absurdity in

Wershba, Joe

Without Warning
:

Terror in the Towers

Zeta-Jones, Catherine

Zophres, Mary

After receiving a First Class English degree at Manchester University, Mark Browning attended universities in Leeds, London, and Kent and gained a PGCE, an MA, and a PhD respectively. He has taught English and Film Studies in a number of schools in England and was a Senior Lecturer in Education in Bath. He has published study guides for Film Education, academic articles on the processes of adaptation, and also written comedy sketches for BBC Radio 2.

He has published a number of film-related works:
David Cronenberg: Author or Filmmaker?
(Intellect Books, 2007), which has also been translated into Serbo-Croat;
Stephen King on the Big Screen
(Intellect, 2009);
David Fincher: Films That Scar
(ABC-CLIO, 2010);
Wes Anderson: Why His Movies Matter
(ABC-CLIO, 2011);
Stephen King on the Small Screen
(Intellect, 2011); and
Danny Boyle: Lust for Life
(Chaplin Books, 2011).

He currently lives in Germany where he works as a teacher and freelance writer.