The Terminator (BFI Modern Classics) [Paperback]

Sean French (Author)

Book Description

Publication Date: January 22, 2008

Made on a low budget, "The Terminator" was one of the most influential films of the 1980s. This text places the film in the context of exploitation films, and argues that it is compelling because it deals with the darker, more visceral pleasures of movie-going.

Editorial Reviews

Review

"A beautifully written and elusive study of Cameron's film . . . which powerfully conveys his passion for the movie." -- Sight and Sound

About the Author

Sean French writes a weekly column for the New Statesman and is the author of two novels and biographies of Patrick Hamilton and Brigitte Bardot. His last novel, The Memory Game (1997) is cowritten with Nicci Gerrard.

Product Details

• Paperback: 72 pages
• Publisher: British Film Institute; First Edition edition (January 22, 2008)
• Language: English
• ISBN-10: 0851705537
• ISBN-13: 978-0851705538
• Product Dimensions: 7.4 x 5.3 x 0.2 inches
• Shipping Weight: 6.4 ounces (View shipping rates and policies)
• Average Customer Review: 3.8 out of 5 stars  See all reviews (6 customer reviews)
• Amazon Best Sellers Rank: #1,190,624 in Books (See Top 100 in Books)

More About the Author

Discover books, learn about writers, read author blogs, and more.

Customer Reviews

Most Helpful Customer Reviews

6 of 6 people found the following review helpful:

5.0 out of 5 stars Appropriate Response, August 4, 2002

By 

Michael Samerdyke (Big Stone Gap, VA USA) - See all my reviews
(REAL NAME)   

This review is from: The Terminator (BFI Modern Classics) (Paperback)

This was a very good look at "The Terminator." It covers issues such as the debt to Harlan Ellison, the image of Arnold Schwarzenegger, and how the violence and anti-social nature of the original movie were sanitized in "Terminator 2: Judgment Day." There is a fascinating discussion on why the audience responds to the villain in "Terminator" and not the hero (Michael Biehn), and the analysis of the scenes of the film and their duration is quite interesting.

In short, this book takes its topic seriously and addresses issues that previous articles I had seen on "The Terminator" hadn't really raised.

The "Appropriate Response" to this book by people who enjoyed the movie is to buy it.

10 of 12 people found the following review helpful:

4.0 out of 5 stars Swift, June 27, 2000

By 

Mr. A. Pomeroy (Wiltshire, England) - See all my reviews
(REAL NAME)   

This review is from: The Terminator (BFI Modern Classics) (Paperback)

Whereas many of the BFI film guides descend into realms of film-school arsiness (literally so in the case of Michael Rogin's semi-classic 'Independence Day'), this is a refreshingly straightforward collection of trivia and informed commentary on 'The Terminator', and probably the best that is likely to appear. Given that 'The Terminator' was produced quickly on a low budget, and that not much was expected of it, no records were kept of the filming, and there really isn't much to write about the making of the film itself. Rather, the author takes us through the film, pointing out the clever bits, and writing about them. It's almost as spartan and efficient as the film itself - you'll probably finish it in half an hour, and wish that it was longer.

3 of 3 people found the following review helpful:

2.0 out of 5 stars A huge disappointment...., August 23, 2010

By 

Sorcha Ní Fhlainn (Dublin, Dublin Ireland) - See all my reviews

This review is from: The Terminator (BFI Modern Classics) (Paperback)

Over the last few years, I have taken a particular interest in the BFI series, particularly since many excellent film theorists, critics and academics have contributed excellent essays on many modern classic films. For many fans, The Terminator seems an obvious choice for inclusion in the BFI series. However, much is missing from this short and odd volume. While the usual infamous film stills are present (and for the most part are fine), the argument and presentation lack considerable depth. No fan of the series (academic or otherwise) will learn anything substantial that has not already featured previously in interviews and 'making of' documentaries about T1 or T2. Speaking of T2, French seems particularly interested in bringing it up at every given opportunity - a film that should in no way dominate any interesting discussion on the original film. Furthermore, the tone of the book is as times quite flippant - hardly what anyone wanting an interesting read about the film wishes to be burdened with.
While this book certainly does not reflect the usual quality of the BFI Modern Classics series, it unfortunately treats a modern classic film as a minor piece of textual analysis, which, for any fan or film scholar, is truly disappointing.