Titlebook: Referentiality and the Films of Woody Allen; Klara Stephanie Szlezák,D. E. Wynter Book 2015 The Editor(s) (if applicable) and The Author(s

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Introduction by the time we completed our volume, it was announced that Allen’s latest film . would open at the 2015 Cannes Film Festival. No doubt, it is a challenge for scholars to keep up with the pace of Allen’s creativity and productivity.

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Guitar and Cultural Trespass in ,e was once a state of mind for the recent college graduate and the young age quickly in .. The whole is not necessarily greater than the sum of its parts for this junket of three improbable love triangles. Far worse, the whole can be insufferable in the portrait of love.

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: A Simulated Lifend films. Where in fiction, he surprises his readers by mocking scholarly criticism when he deeply analyzes something as banal as, for example, the laundry lists of Metterling (Allen, . 141–149), in his films, he also exploits a number of ways to tickle his viewers’ imagination by employing a pletho

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Woody Allen’s , A Seductively Scented Flower Performing in a Theatrical Bubblece, “Cate Blanchett Finds Humor”; Corliss; Dargis; Papamichael; Schwarzbaum). Allen denies having appropriated Williams’s play or, for that matter, the Bernie Madoff scandal; instead, he claims that a story told by his wife triggered the screenplay’s central idea (Itzkoff; Shoard). While the work of