The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that appear in the print index are listed below.
A League of Their Own
American, The
opening scene of
ambiguity of Jack in
development of Clooney’s persona in
sin and redemption in
use of western motifs in
Anderson, Wes
Baby Talk
Baer, Robert
Barris, Chuck
Barrymore, Drew
Batman and Robin
cartoonish elements in
gay subtext in
the depth of Clooney’s role in
Blade Runner
Blanchett, Cate
Bodies of Evidence
Burn after Reading
Cameron, James
Campbell, Martin
Canonero, Milena
Carpenter, John
Cheadle, Don
Clarkson, Patricia
Combat Academy
Corbijn, Anton
Clooney, George:
biographical details of
relation of paparazzi with
political activism of
Clooney, Rosemary
Coen brothers
Commercials (general):
Commercials (specific): Martini
Emidio Tucci
Toyota
Fiat
Nespresso
Honda
Fastweb
DnB
Confessions of a Dangerous Mind: Jim Byrd in
Sam Rockwell’s performance in
the authenticity of Barris’s story in
Clooney’s directorial style in
cinematic influences in
changes to Kaufman’s script in
Cronenberg, David
Cronkite, Walter
Curtiz, Michael
Damon, Matt
Darabont, Frank
Deakins, Roger
De Palma, Brian
Descendants, The
Dyer, Richard
E/R
ER
Facts of Life, The
Fail Safe
live performance in
portrayal of nuclear issues in
role of Grady in
relationship of remake to original film in
Fantastic Mr Fox
Fincher, David
Fonda, Henry
Forrest Gump
Ford, Harrison
Frank, Scott
Frears, Stephen
Friendly, Fred
Friends
Froehlich, Bill
From Dusk Till Dawn
different generic markers in
Seth Gecko defining Clooney’s persona in
extension of vampiric conventions in
Full Tilt Boogie
Gable, Clark
Gaghan, Stephen
Garfunkel, Art
Gere, Richard
Gilbert, Lewis
Gilroy, Tony
Gledhill, Christine
Golden Girls, The
Gondry, Michel
Good German, The: Soderbergh’s use of period style and technology in
relation to source novel in
Goodman, John
Good Night and Good Luck
opening in
stylistic choices
performance of David Strathairn in
Clooney’s attention to detail
Murrow’s battles with McCarthy
Clooney’s performance in
the Wershba subplot in
historical accuracy in
Gould, Elliott
Grant, Cary
Grizzly II:
The Predator
Guzmán, Luis
Harvest, The
Hauer, Rutger
Hayward, Susan
Hemmings, Kaui Hart
Heslov, Grant
His Girl Friday
Hunter, Holly
Ides of March, The
Intolerable Cruelty: screwball features in
homophobic elements in
relationships with other Coen brothers’ films in
Israel, Neal
It Happened One Night
Jackson, Samuel L.
Jonze, Spike
Junger, Sebastian
K Street
Kaufman, Charlie
Kidman, Nicole
Kirn, Walter
Kubrick, Stanley
Langella, Frank
Leatherheads: screwball features in
social change in
Leder, Mimi
Lem, Stanislaw
Lloyd, Harold
Lopez, Jennifer
Lost in Translation
Lumet, Sidney
Macy, William H.
Magic Bubble, The (aka Unbecoming Age)
Malkovich, John
McCarthy, Joseph. See also Good Night and Good Luck
McGregor, Ewan
Men Who Stare at Goats, The
Michael Clayton
opening scene in
presentation of Crowder in
Michael’s ambiguous status in
episode with the horses in
murder of Arthur in
the final shot in
Monicelli, Mario
Moss, Annie Lee
Mothersbaugh, Mark
Murray, Bill
Murrow, Edward R. See also Good Night and Good Luck
Nelson, Tim Blake
Nichols, Mike
Nolan, Christopher
North by Northwest
Noyce, Philip
O Brother, Where Art Thou?
parallels with The Odyssey in
role of music in
comic absurdity in
character of McGill in
social commentary in
tonal mix in
Ocean’s Eleven: Similarities to original film in
style and key relationships in the Ocean’s franchise in
Ocean’s Twelve: relationship to first film
Julia Roberts playing herself in
plot holes in
Ocean’s Thirteen
relationship to first two Ocean’s films in
self-referential jokes in
absence of violence in
Ocean’s franchise
One Fine Day
structure of central relationships in
sexual politics in
Out of Sight
the trunk scene in
Sisco and Foley relationship in
generic twists in
Pakula, Alan J.
Paley, William
Parker, Trey
Payne, Alexander
Peacemaker, The
similarities with Bond films in
dramatic power of closing chase sequence in
Perfect Storm, The: relationship to literary precursors in
element of blame attached to Tyne in
historical accuracy in
Petersen, Wolfgang
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
About the Author
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.
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