Film history, theory or criticism Books

Book SynopsisOffers a comparative analysis of Maghrebi-French and North African emigre cinema in France. Through a detailed study of this transformative decade for Maghrebi-French and North African emigre filmmaking in France, this book argues for the emergence of a 'Post-Beur' cinema in the 2000s that is simultaneously global and local in its outlook.

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Book SynopsisA cinematic and vibrant coming-of-age memoir, Chasing the Panther captures the thrilling and, at times, heartbreaking early years of Carolyn Pfeiffer, a pioneering film producer and one of Hollywood''s first female executives—a “mini-mogul” in the words of the Wall Street Journal.  For a moment in the 1980s, Carolyn Pfeiffer was the only woman in Hollywood who could greenlight a movie. Working with directors like Sam Shepard and Wes Craven, and with actors like River Phoenix and Bette Davis, she had a hand in producing or distributing many landmark films, among them Ridley Scott''s The Duellists, Alan Rudolph''s Choose Me, and the Academy Award-winning Kiss of the Spider Woman. However, long before establishing herself as a player in the world of film, Carolyn was a horseback-riding tomboy who dreamed of exploring the world beyond her small hometown. Her journey turned out to be a tale fit foTrade Review'The young southern girl who stepped through the looking glass at the right time may be the one to explain the magic hold of movies. Immensely pleasurable, vivid, and precise, Carolyn Pfeiffer's beautifully written and acutely felt memoir brings you into her life and puts you in her skin as she discovers the seductions of Europe and the glamour of show business. And she writes so well about what love affairs are made of and how they go'. * Joan Juliet Buck, author of The Price Of Illusion *'Chasing the Panther is the feminist serial you always longed for, dropping you right into the middle of the explosive European film world of the fifties and sixties, where Carolyn Pfeiffer not only is in the right place at the right time but is the right person: she makes her own way, meets everyone, falls in love a lot, works hard on and off the set with directors and actors, and by the seventies, winds up being the only female producer in Hollywood able to green-light a film. And she has wisdom. This book is such a beautiful read.' * Eileen Myles, poet, author of Chelsea Girls *'A terrific read. The education of a pioneering indie studio executive as a young woman whose film school was European art cinema at its heyday, and also an intimate memoir of a life in the fast lane during the Swinging Sixties, careening from Rome to Paris to London, working and partying with the likes of Visconti, Truffaut, and the Beatles.' * Thomas Schatz, professor at the University of Texas at Austin; film historian and author of the bestselling book The Genuis of the System: Hollywood Filmmaking in the Studio Era *'Carolyn has experienced firsthand what it's like to be part of the glamour and guts of greatness while still feeling her cheeks blush and heart soar. Those same sensations become ours. This book should be required reading for anyone with a dream.' * Alan Rudolph, multiple award-winning director and writer *'Carolyn Pfeiffer fearlessly joined an international cultural revolution where she gracefully embraced opportunities in fashion, the film industry, and single motherhood. Achievement, glorious highs, and tragic lows . . . her life reads like a novel.' * Joan Tewkesbury, filmmaker, author, and senior advisor at the Sundance Institute *'Carolyn Pfeiffer's adventures in her most unusual and adventurous life have included associations with rogues and royalty, creative changers of culture and wayward souls looking for redemption. She has, in the process, built companies, created media moguls, built schools, produced Academy-recognized films, and crashed through more glass ceilings than imaginable, all with grace and wit and charm. If there was cutting-edge of action of the cultural front, Carolyn was there: brave, confronting, and unbowed. And on top of all of that, her men have generally been famous, good looking, literate rascals, and she always gave them the run of their lives.' * Thom Mount, producer and former president of Universal Pictures *'Carolyn was there at virtually every defining juncture of modern entertainment culture--from the French New Wave to the London music scene through the rise of the American independent film movement.' * Keith Carradine, Emmy and Tony-Award nominated actor and Academy Award-winning songwriter *'This book is a gem. Carolyn's dazzlingly bold and marvelous souvenirs knock one out from page one. Her prose is powerful and graceful, her life fascinating: she worked for the likes of Visconti, Claudia Cardinale, and Alain Delon (to drop a few names) and is always gracious and generous about them. I love her and love her book. So will you.' * Geraldine Chaplin, actor and winner of the Golden Globe, BAFTA, and Goya Awards *

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Book SynopsisDefines the food film genre, and analyzes the relationship between cinematic food imagery and various cultural constructs, including politics, family, identity, race, ethnicity, nationality, gender and religion. This work includes a filmography of movies within the food genre.

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Book SynopsisHow is one to think the significance of the art of film for philosophy? What would it mean to introduce film as a question into the heart of the philosophical enterprise? How would this transform our understanding of film, on the one hand, and of philosophy and the philosophical tradition, on the other? These are the questions that guide this project on the hitherto critically neglected but seminal film director Brian De Palma. Becoming Visionary: Brian De Palma''s Cinematic Education of the Senses is located at the intersection of philosophy and film studies, and makes each of these disciplines productive and useful for each other in a new way. It is a concrete examination of the logic governing the work of a major American artist that is, at the same time, a general philosophical examination of the logic of meaning governing all the major filmic categories and is thus a comprehensive theory of film. Becoming Visionary develops a new matrix for thinking the relations Trade Review"This book's analysis of individual films are among the deepest known to me, tireless and surprising to the end, unswervingly following the experience or conviction that film, in its high instances (more numerous than a hasty glance announces) deserves the attention due to, rewarded by, a great art. If there is such a field in the offing as Film and Philosophy, Peretz's book must form a notable piece of its curriculum."—Stanley Cavell, Harvard University"Modestly framed as an attempt to lift Brian de Palma from the category of Hitchcock imitator and restore his unique vision, and as a rethinking of the function of the frame in film, Becoming Visionary opens into a brilliant speculation on cinema itself, on cinema as an apparatus of sensation. A certain mirror paradox—how can what is limited contain the reflection of what is infinitely more vast?—thus defines the method and argument of this stunning, breakaway book. Philosophy and film have never seemed more suited for mutual enlightenment than in Peretz's deft analysis." -- Joan Copjec * SUNY Buffalo *Table of Contents@fmct:Contents @toc4:FOREWORD: On Eyal Peretz's Becoming Visionary BY STANLEY CAVELL 000 @toc2:INTRODUCTION: THE REALM OF THE SENSES AND THE VISION OF THE BEYOND--TOWARD A NEW THINKING OF THE IMAGE 000 CHAPTER ONE: CARRIE--FILM AND THE WOUNDING OF REPRESENTATION 000 CHAPTER TWO: BETWEEN PARANOIA AND PASSION--QUESTIONING THE FRAME AND THE SCREEN IN THE FURY 000 CHAPTER THREE: FILM AND THE MEMORY OF THE OUTSIDE: OR, CINEMA AS TECHNOLOGY, CINEMA AS PORNOGRAPHY, CINEMA AS SCREAM--BLOW OUT 000 CODA: FOR A NEW ENLIGHTENMENT: FEMME FATALE, A PARADOXICAL HAPPY ENDING; OR, THE IDEA OF A FUTURE 000 @toc4:Notes 000 Index 000

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Book SynopsisTraces how the environmental effects of industrialization reverberated through the cinema of Germany's Weimar Republic. Framing hygiene within the project of national reconstruction, the book explores cinema's material contexts alongside its representations of housework, urban space, traffic, pollution, disability, aging, and labour.Trade Review“This study brilliantly unpacks the imbrications between early German cinema and a pervasive concern with hygiene, understood as a set of ideas and techniques for managing the interactions between bodies and environments. Dobryden shows how hygienic thinking impacted not only filmic representations and the development of distinct genres, but also the understanding of cinema more broadly: its spaces of production and reception, its technological development, and its power to bolster or disrupt the disciplinary regimes of industrial capitalism.”—Michael Cowan, author of Walter Ruttmann and the Cinema of Multiplicity: Avant-Garde Film—Advertising—Modernity“The Hygienic Apparatus beautifully weaves together two aspects of German modernity that are usually considered separately: the simultaneously unfolding trajectories of hygienic discourse and of cinema during the early decades of the twentieth century. It demonstrates on the one hand how nonfiction films on topics as diverse as the design of urban and domestic space, the perils of big city traffic, and sexual and reproductive life helped define a new hygienic imaginary, and on the other hand how feature films forged a counter-hygienic alternative to the powerfully normative schemas that emerged from the modern obsession with efficiency, order and health.” —Andreas Killen, author of Homo Cinematicus: Science, Motion Pictures, and the Making of Modern Germany“In this superb reconsideration of Weimar cinema, Paul Dobryden places film at the heart of a struggle for environmental and hygienic control that is at once fascinating and unnervingly timely. Connecting architecture and infrastructure, biopolitics and disability, and both canonical and forgotten figures of early German cinema, The Hygienic Apparatus offers a model of how capacious cultural film histories should be written and important lessons for scholars of German history and the environmental humanities.” —Brian R. Jacobson, author of Studios Before the System: Architecture, Technology, and the Emergence of Cinematic SpaceTable of Contents Acknowledgments Introduction: Hygiene, Cinema, and German Modernity 1. The Hygienic Dispositif: Health and the Movie Theater Environment 2. Hygienic Modernization: Visions of Environmental Order in the Weimar Kulturfilm 3. Matter Out of Place: Pollution and Distraction in F.W. Murnau's Faust 4. Bodies Out of Place: Images of Disability and Aging 5. Landscapes of Exploitation: Environmental Disorder and Late Weimar Oppositional Filmmaking Afterword: Hygiene and Media, Then and Now Filmography Notes Bibliography Index

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Book SynopsisThe original edition of Planks of Reason was the first academic critical anthology on horror. In retrospect, it appeared as a kind of homage to the golden age of the American horror film, as this genre played an increasing role in film culture and American life. The original material represented the history of the genre through the early 1980s and is a crucial part of the book''s value, then and now. The first edition helped legitimize academic writing on the horror genre by addressing breakthrough works of such directors as John Carpenter, Tobe Hooper, George Romero, David Cronenberg, and Wes Craven. This revised edition retains the spirit of the original, but also offers new takes on rediscovered classics and recent developments in the genre. In addition to reprinting 17 essays, including Robin Wood''s An Introduction to the American Horror Film, this revised edition features a new essay on the yuppie horror film by editor Barry Keith Grant, as well as an updated analysis of The Texas Chainsaw Massacre by co-editor Christopher Sharrett. Other new essays focus on William Castle''s The Tingler and Roger Corman''s Pit and the Pendulum, and the recent wave of Japanese horror films. Contains more than 60 photos.Trade ReviewOriginally published in 1984, this collection of essays remains relevant and informative for those seeking a broad overview of the genre....Grant and Sharrett provide a new introduction (it is twice the length of the previous one) and do an excellent job of summing up that state of horror film at the dawn of the new century....Recommended. * CHOICE *The 1984 edition of academic essays sought to establish the genre as a legitimate subject of study. The second edition takes that achievement as given, and also accounts for films produced over the past two decades, which above all have lost all interest in any social or cultural commentary or critique. Only one essay has been revised; otherwise, some have been dropped and new ones added. Ten of them explore definitions and approaches, the other 12 focus on particular films and filmmakers. * Reference and Research Book News *Table of ContentsPart 1 Acknowledgments Part 2 Introduction Part 3 Part I: Definitions and Approaches Chapter 4 1. The Mummy's Pool Chapter 5 2. Faith and Idolatry in Horror Cinema Chapter 6 3. Conditions of Pleasure in Horror Cinema Chapter 7 4. The Aesthetics of Fright Chapter 8 5. The Witch in Films: Myth and Reality Chapter 9 6. Daughters of Darkness: The Lesbian Vampire on Film Chapter 10 7. Canyons of Nightmare: The Jewish Horror Film Chapter 11 8. An Introduction to the American Horror Film Chapter 12 9. Eros and Syphilization: The Contemporary Horror Film Chapter 13 10. Rich and Strange: The Yuppie Horror Film Part 14 Part 2: Films and Filmmakers Chapter 15 11. Enunciation and the Production of Horror in White Zombie Chapter 16 12. King Kong: Ape and Essence Chapter 17 13. The Comic and the Grotesque in James Whale's Frankenstein Films Chapter 18 14. Film, Society, and Ideas: Nosferatu and Horror of Dracula Chapter 19 15. Ritual, Tension, and Relief: The Terror of The Tingler Chapter 20 16. AIP's Pit and the Pendulum: Poe as Drive-In Gothic Chapter 21 17. The Idea of Apocalypse in The Texas Chainsaw Massacre Chapter 22 18. Archetypal Landscapes and Jaws Chapter 23 19. Biological Alchemy and the Films of David Cronenberg Chapter 24 20. The Enemy Within: The Economy of Violence in The Hills Have Eyes Chapter 25 21. Halloween: Suspense, Aggression, and the Look Chapter 26 22. Demons in the Family: Tracking the Japanese Uncanny Mother Film from A Page of Madness to Ringu Chapter 27 Select Bibliography Chapter 28 Index Chapter 29 About the Editors and Contributors

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Book SynopsisCinema of Actuality analyzes Japanese avant-garde filmmakers' struggle to radicalize cinema in light of the intensifying politics of spectacle and a rapidly changing media environment, one that was increasingly dominated by television.Trade Review"Cinema of Actuality demonstrates that—despite the copious scholarship on Japanese films of the 1960s and 1970s—we know less about this period than we think. Yuriko Furuhata provides crucial new insights, deftly placing the films in the context of the era's media mix, while introducing us to the theoretical writings underpinning the filmmakers' creative practices. The result is a vital contribution to the history of film theory."—Abé Mark Nornes, author of Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary"Cinema of Actuality is a tour de force, a potentially field-changing intervention in Japanese film studies, TV and media theory, and the study of postwar world film culture. Yuriko Furuhata shows that during the 1960s and 1970s, major political events and their portrayal in the media formed the basis for an entire Japanese cinema. At the same time, she poses vital questions about media theory and representation more broadly. This is a singularly important work."—Akira Mizuta Lippit, author of Ex-Cinema: From a Theory of Experimental Film and Video"At last there's a book that reads the Japanese cinema of the 1960s and 1970s in a cross-media context and with a rigorous historical and theoretical eye. Elegantly and precisely argued, this is a book that is both exemplary and surprising. From manga to militant cinema, from landscape theory to pink film, Yuriko Furuhata gives readers the discursive and political history that allows a new understanding of the Japanese film and media of this era."—Miryam Sas, author of Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return"Artists often make great sociological commentators, and Furuhata’s book sheds new light on the insights of these filmmakers.... [a] compelling and necessary addition to cinema scholarship." -- Lyle Sylvander * JQ Magazine *“Studies that grapple with the complexities of cross-cultural analysis are few… the author is well qualified to achieve an excellent addition to the literature.” -- Mike Leggett * Leonardo Reviews *“[A] remarkably researched and argued case for Japan's complex theoretical contributions to the field of cinema studies…. The totality of Furuhata's work is a benchmark of attained, wide-reaching scope that any serious academic work should ascribe to achieve.” -- Clayton Dillard * Slant Magazine *“Furuhata convincingly sketches the intellectual and social environment that gave birth to some of Japan’s most distinctive films.” -- Alexander Jacoby * TLS *"Adds significant depth, nuance and context to a topic that has, for good reason, long captivated an audience of cinephiles, activists and researchers." -- Steven Ridgely * Pacific Affairs *"Furuhata … brilliantly analyses a radical movement whose effects can be traced in contemporary film, anime, manga, and television representations. Cinema of actuality sets a new standard of scholarly excellence in Japanese film studies and is a book to go on all our reading lists." -- Dolores P. Martinez * Anthro Forum *“Cinema of Actuality highlights the many ways the cinematic avant-garde was deeply concerned with the rise of the broadcast political spectacle. This attention to the contemporaneous gives the book itself a strong feeling of ‘actuality,’ and the richly detailed contexts it offers will have a profound impact on our understanding of this ‘season of image politics.’” -- Paul Roquet * Japan Forum *"Fascination with actuality is alive and well, in social media and on the streets, where we find old vanguards among the fresh faces of counter-politics. Although the media platforms have changed, this continuity suggests that the reach of Furuhata’s insightful analysis in this book may be far greater than the period it covers." -- Mariko Shigeta Schimmel * Monumenta Nipponica *Table of ContentsAcknowledgments vii Introduction 1 1. Intermedial Experiments and the Rise of the Eizo Discourse 13 2. Cinema, Event, and Artifactuality 53 3. Remediating Journalism: Politics and the Media Event 88 4. Diagramming the Landscape: Power and the Fukeiron Discourse 115 5. Hijacking Television: News and Militant Cinema 149 Conclusion 183 Notes 203 Bibliography 239 Index 255

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Book SynopsisTrade Review“Women’s Cinema, World Cinema is another smart, deep and open-hearted achievement I will choose to live beside. White lets us know, in this collection of essays, investigations, speculations, gossip and political insights that feminist cinema is now, in fact, a global event that defies national boundary…. It’s a book that succeeds in expanding the reader’s consciousness with wit and bold intellectual drive.” -- Sarah Schulman * Lambda Literary Review *“Bringing these excellent, inspiring filmmakers into sharp focus, this comprehensive study is smoothly organized and could even serve as a text for a semester-long course on 21st-century feminist cinema. Boldly illustrated and written in a clear, accessible style, this will be a key resource for those interested in contemporary film history, theory, and criticism…. Highly recommended. All readers.” -- G. A. Foster * Choice *"Women’s Cinema, World Cinema is a substantial victory in terms of scholarship and the ripple effect it could have on the far-flung communities of people who care about women’s cinema." -- Erin Trahan * Women's Review of Books *"With her brilliantly clear-sighted study,White bestows on her readers the right not to be defensive about female film authorship quantitatively any longer. Her work argues, instead, that 'women’s cinema' be understood, valued, and defended qualitatively as the key space of feminist film culture—as a 'discursive terrain . . . still very much at stake' (3)." -- Catherine Grant * Film Quarterly *"A must-read for programmers, critics, teachers, and all viewers.... It’s both a brilliant reading of some of the most inventive current filmmakers... and an insightful lowdown of changes in film production, exhibition and reception over the last decade." -- Sophie Mayer * British Film Institute *"White’s book is one of 2015’s major feminist works because of its demonstration of feminism as a process defying stereotypes and driving continual cultural change—‘post’ only in its capacity to overtake itself." -- Leanne Bibby * Year's Work in Critical and Cultural Theory *"White’s monograph is undoubtedly an invaluable addition to the discussion of women’s cinema. White’s most far-reaching contribution to both women’s and film studies is her carefully crafted and detailed exploration of the geopolitics of global women’s cinema. Her case studies convey the struggle between the personal and the global, and the national and the international, showing multiple pathways of engagement with these issues, and the close links between distribution, exhibition and evaluation within the US art house and international film festival spheres." -- Judith Rifeser * Film-Philosophy *"White has dealt with material that is dauntingly unwieldy and has provided the great scholarly service of making it far less so for others. She has provided a wonderful 'map', one that enables an informed and focused engagement with the very best of contemporary women's cinema from the Global South. Her book makes a very strong case for the importance of women's cinema as world cinema. I recommend it most warmly." -- Mette Hjort * Cultural Studies Review *"A must-read book for a wide variety of audiences. White’s writing, rich and densely coded, avoids overly specialized terminology . . . . Reading this book feels like a comprehensive experience in learning how to read the world differently." -- Maggie Hennefeld * Cultural Critique *Table of ContentsAcknowledgments viiIntroduction 11. To Each Her Own Cinema. World Cinema and the Woman Cineaste 29Jane Campion's Cannes Connections 30Lucrecia Martel's Vertiginous Authorship 44Samira Makhmalbaf's Sororal Cinema 562. Framing Feminisms. Women's Cinema as Art Cinema 68Deepa Mehta's Elemental Feminism 76Iranian Diasporan Women Directors and Cultural Capital 883. Feminist Film in the Age of the Chick Flick. Global Flows of Women's Cinema 104Engendering New Korean Cinema in Jeong Jae-eun's Take Care of My Cat 108Nadine Labaki's Celebrity 1204. Network Narratives. Asian Women Directors 132Two-Timing the System in Nia Dinata's Love for Share 136Zero Chou and the Spaces of Chinese Lesbian Film 1425. Is the Whole World Watching? Fictions of Women's Human Rights 169Sabiha Sumar's Democratic Cinema 175Jasmila Žbanic's Grbavica and Balkan Cinema's Incommensurable Gazes 181Claudia Llosa's Trans/national Address 187Afterword 199Notes 203Bibliography 235Filmography 247Index 251

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Book SynopsisCatherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology—the reuse, recycling, appropriation, and borrowing of archival sounds and images—by filmmakers provides ways to imagine the past and the future.Trade Review"Archiveology opens up yet more rich and very pertinent questions relating to film-making as an archival practice in which themes of time, memory and imagination are fluidly interwoven and fleshed out as new cinematic experiences." -- Davina Quinlivan * Times Higher Education *"Archiveology is a refreshing for film archivists looking to expand their horizons and better understand potential users. . . . Catherine Russell’s masterful explanations ensure that the book remains accessible to readers from all disciplines." -- Kristen E. Muenz * Journal of Contemporary Archival Studies *"Archiveology offers insightful analyses enlightened by Benjamin's legacy. . . . Catherine Russell adds authority to a new model of cultural intelligibility that we can use to rescue voices relegated to oblivion." -- Cesar Ustarroz * Found Footage *"Archiveology is. . . one of the few books of film theory and criticism that takes Benjamin seriously in all of his complexity, and, more importantly and innovatively, shows us the mechanics of what one can do with the concepts in an era of disturbingly unstable media." -- Joshua Wiebe * Film and History *Table of ContentsAcknowledgments ix Prologue 1 1. Introduction to Archiveology 11 2. Walter Benjamin and the Language of the Moving Image Archive 35 3. The Cityscape in Pieces 55 4. Collecting Images 97 5. Phantasmagoria and Critical Cinephilia 141 6. Awakening from the Gendered Archive 184 Epilogue 218 Notes 225 Selected Filmography 245 Bibliography 247 Index 261

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Book SynopsisPeter Lorre described himself as merely a "face-maker." His own negative attitude also characterizes traditional perspectives on the actor's career which position Lorre as a tragic figure within film history: the promising European artist reduced to a Hollywood gimmick, unable to escape the murderous image of his role in Fritz Lang's M.Trade Review “…in her important new study of Lorre’s career…[the author pursues] a rewarding approach that combines careful archival research with clever film analysis to illuminate Lorre’s career from a new angle that not only impacts our understanding of this actor, but also presents an important new way to understand the complex exchanges between on-screen and off-screen performances more generally.” · Senses of Cinema “In general, the strength of Thomas’s work is that she is familiar with the previous scholarship but also feels free to critique the conclusions of those earlier authors. She focuses much less on biography and gives more attention to theories of drama, which allows her to explore new and interesting aspects of Lorre’s performances…This is an excellent text that adds tremendously to our understanding of the works of Peter Lorre and, by extension, émigré artists in general.” · Journal of Austrian Studies "The author has a sophisticated command of the material and the book is balanced, judicious and very thorough. In particular, the author explores aspects of Lorre’s career that have been neglected or misunderstood: his “Mr. Moto” roles; his extensive work on radio and television; and the final phase of his film career working at AIP" · Andrew Spicer, University of the West of England "[This book] makes a significant contribution to the existing literature on stardom and acting, with not only a useful reappraisal of Lorre’s work and reputation but also with some valuable insights into the nature of “extra cinematic person,” the interrelationship between radio and cinema during the studio era, and the significance of actor collaborations. This is a fascinating study of how misconceptions arise over time regarding an actor’s persona and reputation" · Martin Shingler, University of SunderlandTable of Contents List of Illustrations Introduction Chapter 1. Lorre and the European Stage (1922–1931) Chapter 2. M, Fritz Lang and Hans Beckert (1931) Chapter 3. The Hollywood Leading Roles (1935–1941) Chapter 4. The Supporting Actor (1941–1946) Chapter 5. Der Verlorene (The Lost One)(1951) Chapter 6. The Final Screen Roles (1954–1964) Chapter 7. Alternative ‘Hollywood’ Media Contexts Conclusion Bibliography Index

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Book SynopsisJohn Rain is a Bond fanatic, and the host of the cult podcast Smersh Pod. He lives in Sussex in an abandoned volcanoTrade Review'An affectionately droll Bond-by-Bond stroll through the films we know and love, whether we like them or not' -- Al Murray'Beautifully observed and a laugh-out-loud joy' -- Kathy Burke'A book full of Bond love and occasional bewilderment' -- Samira Ahmed'Nobody does it better. John Rain delivers his love letter to Bond with a raised eyebrow that would do Roger Moore proud' -- Joel Morris

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Book SynopsisThis book explores ways in which screen-based storyworlds transfix, transform, and transport us imaginatively, physically, and virtually to the places they depict or film. Topics include fantasy quests in computer games, celebrity walking tours, dark tourism sites, Hobbiton as theme park, surf movies, and social gangs of Disneyland. How physical, virtual, and imagined locations create a sense of place through their immediate experience or visitation is undergoing a revolution in technology, travel modes, and tourism behaviour. This edited collection explores the rapidly evolving field of screen tourism and the affective impact of landscape, with provocative questions and investigations of social groups, fan culture, new technology, and the wider changing trends in screen tourism. We provide critical examples of affective landscapes across a wide range of mediums (from the big screen to the small screen) and locations. This book will appeal to students and scholars in fTable of Contents List of FiguresList of ContributorsAcknowledgements Introduction Screen Tourism: Marketing the Moods and Myths of Magic Places Windshield Tourism Goes Viral: On YouTube Scenic Drive Videos of U.S. National Parks "Forever Bali": Surf Tourism and Morning of the Earth (1972) Locating Fellini: Affect, Cinecittà, and the Cinematic Pilgrimage Walking in Cary Grant’s Footsteps: The Looking for Archie Walking Tour Vancouver Unmoored: Hollywood North as a Site of Spectres Always The Desert – Creating Affective Landscapes in Breaking Bad Nordic Noir and Miserable Landscape Tourism Serial Killer Cinema and Dark Tourism: The Affective Contours of Genre and Place Down the Rabbit Hole: Disneyland Gangs, Affective Spaces, and Covid-19 Immersive Worlds and Sites of Participatory Culture: The Evolution of Screen Tourism and Theme Parks Hobbiton 2.0, 20 years On: Authenticity and Immersive Themed Space Swords, Sandals, and Selfies: Videogame-Induced Tourism Index

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Book SynopsisThis international collection focuses on the phallic character of classic and contemporary literary and visual cultures and their invasive nature. It focuses on thrillers, horror cinema, sexual art and photography, erotic literature, female and male body politics, queer pleasures, gender/cross-gender/transgenderism, CCTV and phallic ethnicities.Table of ContentsContents Notes on Contributors Introduction: The Phallic: "An Object of Terror and Delight"; Gilad Padva and Nurit Buchweitz PART I: FORBIDDEN SPECTATORSHIP AND VISCERAL IMAGERIES 1. The Unpardoned Gaze: Forbidden Erotic Vision in Greek Mythology; Rachel Gottesman 2. The Haptic Eye: On Nan Goldin's Scopophilia; Lorrain Dumenil 3. The Peepshow and the Voyeuse: Colette's Challenge to Patriarchy and the Male Gaze; Marion Krautkaher-Ringa 4. The Monstrous Nonheteronormative: A Queer Positioning within American Horror Films By the Male Gaze; Matthew Martin 5. Bearing Witness to the Unbearable: The Ethics of the Gaze in Irréversible; Kathleen Scott PART II: PHALLIC AND ANTI-PHALLIC FANTASIES 6. Pornographic Images of Transmasculinity; Finn Ballard 7. 'Look Closer': Sam Mendes' Visions of White Men; Ruth Heholt 8. Between the Joy of the Woman Castrator and the Silence of the Woman Victim: Following the Exhibition The Uncanny XX; Sigal Barkai 9. Zack Snyder's Impossible Gaze: The Fantasy of 'Looked-at-ness' Manifested in Sucker Punch (2011); Alexander Sergeant 10 In-Between Complicity and Subversion: D. M. Thomas's Charlotte, Or, A Reflection of/on 'Pornographic' Literature and Society; Fanny Delnieppe PART III: BLEEDING MASCULINITIES 11. "There's No Losing It:' Disability and Voyeurism in Rear Window and Vertigo; Laura Christiansen 12. The Vaginal Apocalypse: Phallic Trauma and the End of the World in Romeo is Bleeding; James D. Stone 13. Ambiguous Exposures: Gender Bending Muscles in the 1930s Physique Photographs of Tony Sansone and Sports Photographs of Babe Didrikson; Jacqueline Brady 14. Reframing Gender and Visual Pleasure: New Signifying Practices in Contemporary Cinema; Francis Pheasant-Kelly PART IV: SURVEILLANCE AND BIG BROTHERS 15. Voyeurism and Surveillance: A Cinematic and Visual Affair; Mira Perampalam 16. Thrust and Probe: The Phallic Blade, The Physician, and the Voyeuristic Pleasures of Violent Penetration; Brenda S. Gardenour PART V: GAPS AND CRACKS 17. Seeing Red: The Female Body and the Body of the Text in Hitchcock's Marnie; Inbar Shaham 18. Pictura in Arcana: the Traumatic Real as In/visible Crack Lysane Fauvel 19. The Female Body in Frederick Sandys's Paintings, or, The Sublimation of Desire; Virginie Thomas

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Book SynopsisPreface.- 1.Memory, Modernity and the Moving Image.- 2.Mémoir(e) and Mémoir(e)s.- 3.Trauma, Latency and Amnesia.- 4.Sound, Trace and Interference.- 5.Amnesia and the Archive.- ConclusionTable of ContentsPreface.- 1.Memory, Modernity and the Moving Image.- 2.Mémoir(e) and Mémoir(e)s.- 3.Trauma, Latency and Amnesia.- 4.Sound, Trace and Interference.- 5.Amnesia and the Archive.- Conclusion

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Book SynopsisThis edited collection brings together academics and practitioners to explore the uses of Digital Storytelling, which places the greatest possible emphasis on the voice of the storyteller.Trade Review“The reader—whether new to digital storytelling or a seasoned practitioner—comes away with a sense of possibilities and a deeper appreciation for digital storytelling as a means for amplifying voice and inspiring civic engagement.” (Heather Gerhart, Storytelling, Self, Society, Vol. 16 (2), 2020)“The most compelling aspects of this volume are the stories … . The stories presented in each of these chapters are rather remarkable and, indeed, powerful. Anyone interested in modern media, narrative, social activism, communication studies, film, as well as those versed in DS scholarship, will find this a compelling read.” (Katherine Daley-Bailey, Reflective Teaching, May, 2018)“Digital Storytelling is relevant for diverse audiences. Above all, it will interest practitioners as the book showcases a number of usage scenarios and applications, while also fostering deeper reflection on practice. … For educators involved with qualitative methodologies as well as in the creative studies fields, DS might offer an interesting outlet to explore new ways of working with students to make stories together.” (Lavinia Marin, LSE Review of Books, blogs.lse.ac.uk, May, 2018)Table of Contents1. Form and Content in Digital Storytelling: An Introduction.- 2. Practice matters in Digital Storytelling by Joe Lambert.- 3. My Story from Kibera by Marita Rainbird.- 4. One Million Life Stories by Carol Misoreli.- 5. Collaborating With Other Artforms. History in Our Hands: A Long-Term Storytelling Project With Older People by Alex Henry.- 6. Digital Storytelling in Multicultural Singapore by Angeline Koh.- 7. Digital Storytelling With Users and Survivors of the UK Mental Health System by Pip Hardy and Tony Sumner.- 8. Digital Storytelling for women’s wellbeing in Turkey by Burcu Simsek.- 9. Going Beyond “the moment”: Towards Making the “Preferably Unheard” Malaysian Sexual Minorities Heard by Angela M. Kuga Thas.- 10. The afterlife of Capture Wales: digital stories and their listening publics by Nicole Matthews and Karen Lewis.- 11. The ethics, aesthetics and practical politics of ownership in co-creative media by Christina Spurgeon.- 12. From the Pre-Story Space: A Proposal of a Story Weaving Method for Digital Storytelling by Akiko Ogawa and Yuko Tsuchiya.- 13. Digital stories as tools for advocacy by Camelia Crisan and Dumitru Bortun.- 14. Reconceptualising Digital Storytelling: Thinking through Audiovisual Inquiry by Darcy Alexander.- 15. Making emotional and social influence: Digital storytelling and the cultivation of creative influence by Chloë Brushwood Rose.- 16. Smiling or Smiting? - Selves, states and stories in the constitution of polities by John Hartley.- 17. Therapy, democracy and the creative practice of digital storytelling by Nancy Thumim.

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Book SynopsisThis book follows the hybrid and contradictory history of magic realism through the writings of three key figures art historian Franz Roh, novelist Alejo Carpentier, and cultural critic Fredric Jameson drawing links between their political, aesthetic, and philosophical ideas on art's relationship to reality. Magic realism is vast in scope, spanning almost a century, and is often confused with neighbouring styles of literature or art, most notably surrealism. The fascinating conditions of modernist Europe are complex and contradictory, a spirit that magic realism has taken on as it travels far and wide. The filmmakers and writers in this book acknowledge the importance of feeling, atmosphere, and mood to subtly provoke and resist global capitalism. Theirs is the history of magic-realist cinema. The book explores this history through the modernist avant-garde in search of a new theory of cinematic magic realism. It uncovers a resistant, geopolitical form of world cinemTable of ContentsForeword: Magic realism – The chronicle of a discourse ; 1. Introduction ; 2. Magischer Realismus and the ‘demon fantastic’: painting, photography, film ; 3. Ethno-magic-realist documentary: ecstatic practice ; 4. Lo real maravilloso americano: prismatic reality and the screen ; 5. Magic realism: the prehensile toe – Jameson, Magritte, and affect ; 6. ‘Soviet magic realism’ and world cinema ; 7. Hyperreality, understatement, atmosphere, and ambivalence; Coda

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Book SynopsisExamining post-1990s Indie cinema alongside more mainstream films, Brereton explores the emergence of smart independent sensibility and how films break the classic linear narratives that have defined Hollywood and its alternative ''art'' cinema. The work explores how bonus features on contemporary smart films speak to new generational audiences.Trade Review'This book is using 'smart' in at least three ways in relation to cinema: first, in taking up ideas on smart films and their audiences, particularly as these have been articulated by Jeffrey Sconce, as the best way of thinking about a wide range of mostly independent films that rely and play on an assumed advanced cinematic literacy in their audience; second, in relation to the bonus material provided on DVDs, which constitutes not merely a form of marketing but also and more interestingly an educational resource and a site of additional pleasurable engagement with the films that it accompanies; and third, in thinking about the use of digital technologies at all levels of the film industry, including in relation to the nature and organization of content (narrative) that emphasize similarities with newer digital forms such as computer games. All these sense of smart are in play in the book, which makes a particular claim to originality in its focus on DVD add-ons.' - Denis Condon, National University of Ireland 'Through accessible and insightful close readings, Smart Cinema brings together movies from different countries, genres, and directors in order to show how how these films participate in the wider cultures of cinephilia. Brereton is especially sharp in his assessment of the role of DVD extras in promoting new modes of cinematic storytelling.' - Chuck Tryon, Fayetteville State University, USA 'From Donnie Darko to Pixar, this is a fascinating and timely overview of 21st Century western cinema's defining feature: its smartness. Brereton gives new insights into the digital technologies, complex storytelling and savvy audiences that typify film culture today, through accessible analyses of Pulp Fiction, Fight Club, Be Kind Rewind, In Bruges, Inception and many others. As smart as the films it studies.' - Ernest Mathijs, University of British Columbia, CanadaTable of ContentsAcknowledgements Setting out the Parameters of Smart Cinema, New Technology and DVD Add-ons Postmodernism: Parody and Smart Cinema Independent New Smart Creatives and Niche Marketing Smart Cult Classics European Art and Smart Cinema Smart Irish Comedy Social Realism and Contemporary British Smart Cinema Smart Green Animation Smart SFX and Science Fiction Smart Post-9/11 Narratives Conclusions and Future Research Appendix 1 – History of DVDs Appendix 2 – Bonus Features Used in Book Bibliography Index

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Book SynopsisA detailed, theoretically attuned analysis of all of the Scorsese-directed features from The Last Waltz to Bringing Out the Dead . Grist illuminates Scorsese's authorship, but also reflects back upon a range of informing contexts.Table of ContentsAcknowledgements Evolving Authorship, Developing Contexts: 'Life Lessons' Scorsese and Documentary: The Last Waltz Masculinity, Violence, Resistance: Raging Bull Back to Travis#1: The King of Comedy Adventures in Reagan and Bush Snr's USA: The Color of Money and GoodFellas Yuppies in Peril: After Hours and Cape Fear Religion, Blasphemy, and the Hollywood Institution: The Last Temptation of Christ Style, Narrative, Adaptation: The Age of Innocence Power and the Look: Casino Cinema of Transcendence, Cinema as Transcendence: Kundun Back to Travis#2: Bringing Out the Dead Conclusion: 'Of course, there's less time...' Notes Bibliography

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Book SynopsisPopular Spanish Film Under Franco is the first book of its kind to analyze cinematic comedy during the initial two decades of Francisco Franco's dictatorship. Its cultural studies approach - combining Gramsci, de Certeau and Bakhtin - interrogates the ambiguous nature of subversion and challenges common assumptions concerning post-war Spanish film.Trade Review'Steven Marsh offers a thoughtful analysis of Spanish comedy during Francoism that makes us better understand the role of resistance played by popular culture...This is a stimulating book that paves the way for further research on comedy in the ideological arena.' - David Rodr?guez-Solás, Arizona Journal of Hispanic Cultural StudiesTable of ContentsList of Figures Acknowledgements Introduction Comedy and the Weakening of the State Tactics and Thresholds in Edgar Neville's Life on a Thread (1945) Metropolitan Masquerades: The Destabilization of Madrid in the Neville Trilogy Populism, the National-Popular and the Politics of Luis García Berlanga: Welcome Mister Marshall! (1952) Humor and Hegemony: Berlanga, the State and the Family in Plácido (1961) and The Executioner (1963) 'Making Do' or the Logic of the Ersatz Economy in the Spanish Films of Marco Ferreri The Pueblo Travestied in Fernando Fernán Gómez's The Strange Journey (1964) Conclusion: Gila's Telephone Notes Bibliography Filmography Index

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Book SynopsisLasting Starsexamines the issue of stardom and longevity and investigates the many reasons for the persistence or disappearance of different star personas. Through a selection of chapters that look at issues such as inappropriate ageing, national identity and physical characteristics, this book will be the first volume to consider in depth and breadth the factors that affect the longevity of film stardom. The range of stars includes popular stars who are approached from fresh angles (Brando, Loren), less popular stars whose lower-profiles than their peers may be surprising (Taylor, Shearer) and stars whose national identity is integral to their perception as they age (Riva, Bachchan, Pavor). There are stars from the beginning of Hollywood (Valentino, Reid) to the present day (Jolie), and those who made uneasy transitions between countries (Mason), ages (Ringwald) and industrial eras (Keaton). The book examines the range of factors that affect how star images endure, including approprTable of ContentsAcknowledgements.- List of Illustrations.- Foreword by Sue Harris.- Introduction.- Section 1: Lasting Stardom.- 1. Aparna Sharma, 'From Angry Young Men to Brand Bachchan — Extra-cinematic Strategies that make India’s lasting Super-Star’.- 2. Antonella Palmieri, ‘Sophia Loren and the Healing Power of Female Italian Ethnicity in Grumpier Old Men’.- 3. Gabor Gergely, ‘Cutting a Dash in Interwar Hungry: The Enduring Stardom of Pál Jávor’.- 4. Julie Lobalzo Wright, ‘From Boy N the Hood to Hollywood Mogul: Ice Cube’s Lasting Stardom in Contemporary Hollywood’.- Section 2: Faded Stardom.- 5. Lies Lanckman, ‘The Queen’s Household: Norma Shearer, Stardom and Domesticity’.- 6. Gillian Kelly, ‘Robert Taylor: The “Lost” Star With the Long Career’.- 7. Lucy Bolton, ‘Melanie Griffith: Wild Child and Working Woman’.- Section 3: Ageing.- 8. Fiona Handyside, ‘The Ageing Stars of European Art-House Cinema: Jean-Louis Trintignant and Emmanuelle Riva in Amour’.- 9. Paul Flaig, ‘The Great Stoneface Ruined: From The Buster Keaton Story to Film’.- 10. Adrian Garvey, ‘Masculinity and Ageing in the Films of James Mason’.- Section 4: Posthumous Stardom.- 11. Lisa Bode, ‘The Afterlives of Rudolph Valentino and Wallace Reid in the 1920s and 1930s’.- 12. Hannah Graves, ‘Beyond the Bounds of Criticism: Preserving Spencer Tracy as a Liberal Hero’.- 13. Lisa Patti, ‘Everybody’s All-American: The Posthumous Rebranding of Marlon Brando’.- Section 5: Characters, Series and Types.- 14. Claire Mortimer, ‘Mrs. John Bull: The Later Life Stardom of Margaret Rutherford’.- 15. Japp Verheul, ‘¬¬This Never Happened to the Other Fellow: The Fluctuating Stardom of James Bond and George Lazenby’.- 16. Frances Smith, ‘Don’t You Forget About Me: Molly Ringwald, Nostalgia and Teen Girl Stardom’.- 17. Glen Donnar, ‘Redundancy and Ageing: Sylvester Stallone’s Enduring Action Star Image’.- Section 6: Reflections Beyond the Screen.- 18. Linda Marchant, ‘Still Famous: Fixing the Star Image of Diana Dors in the Photography of Cornel Lucas’.- 19. Joshua Gulam, ‘From Action Babe to Mature Actress: The Place of Humanitarianism in Angelina Jolie’s Lasting Screen Career’.- 20. Dorothy Wai-sim Lau, ‘Rearticulating Bruce Lee and his “Hip-Hop Fury” in Fan Made Videos’.- List of Contributors.- Index

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Book SynopsisFrom cinema's silent beginnings, fashion and interior design have been vital to character development and narrative structure. Despite spectacular technological advancements on screen, stunning silhouettes and striking spaces still have the ability to dazzle to dramatic effect. This book is the first to consider the significant interplay between fashion and interiors and their combined contribution to cinematic style from early film to the digital age.With examples from Frank Lloyd Wright inspired architecture in Hitchcock's North by Northwest, to Coco Chanel's costumes for Gloria Swanson and a Great Gatsby film-set turned Ralph Lauren flagship, Cinematic Style describes the reciprocal relationship between these cultural forms. Exposing the bleeding lines between fashion and interiors in cinematic and real-life contexts, Berry presents case studies of cinematic styles adopted as brand identities and design movements promoted through filmic fantasy.Shedding light onTrade ReviewCinematic Style approaches the long-term disciplinary distinction between fashion, architectural decor and interior design through the lens of cinema, arguing for the interconnectivity of these fields. Abundantly illustrated, with an approachable writing style and innovative story line, it is an essential read for scholars of the domestic, commercial, or fictive interior, fashion historians, architects and historic preservationists alike. * Anca Lasc, Pratt Institute, USA *Berry brings themes from feminist theory, and to a lesser degree, Queer theory, to bear on this slice through film history to consider intersections between fashion, design and groupings of films (many canonical) from the 1920s and 1930s, the mid- and late 20th-century, and more recent examples. Anyone with an interest in masquerade, transformation, performativity, staging, interiority, gender, and sexuality, as well as camp, Queer nostalgia, and Queer heterotopias, fashion and luxury, will find much to intrigue them in here. * Pat Kirkham, Kingston School of Art, UK *Table of ContentsList of Figures Acknowledgements Introduction: Cinematic Style—Fashion, Architecture and the Interior on Film 1. Bedrooms, Boudoirs and Bathrooms: Modern Women, Seductive Spaces and Spectacular Silhouettes 2. Evil Lairs and Bachelor Dandies: Modernist Architecture, Spies and the Suit 3. Luxurious Longings: Queer Heterotopias in Décor and Dress 4. Grand Entrances: Staircases, Stages and Fashion Parades 5. Windows and Screens: Cinema, Department Stores and Boutique Displays 6. Dream Spaces: Film Sets as Fashion Flagships and Experiential Retail Environments Conclusion Notes Filmography Bibliography Index

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Book SynopsisChristopher Nolan is the writer and director of Hollywood blockbusters like The Dark Knight and The Dark Knight Rises, and also of arthouse films like Memento and Inception. Underlying his staggering commercial success however, is a darker sensibility that questions the veracity of human knowledge, the allure of appearance over reality and the latent disorder in contemporary society. This appreciation of the sinister owes a huge debt to philosophy and especially modern thinkers like Friedrich Nietzsche, Sigmund Freud and Jacques Derrida. Taking a thematic approach to Nolan's oeuvre, Robbie Goh examines how the director's postmodern inclinations manifest themselves in non-linearity, causal agnosticism, the threat of social anarchy and the frequent use of the mise en abyme, while running counter to these are narratives of heroism, moral responsibility and the dignity of human choice. For Goh, Nolan is a reluctant postmodernist'. His films reflect the cTrade ReviewA magisterial sweep over a multifold canvas. At once auteur, social critic, genie, and moralist, Goh’s Nolan is a layered and evolving medium for our times. From the restless noir of the earliest works, to the historical gravitas of the most recent, Goh’s survey penetrates intricacies and opens new perceptions. A must-read study on a crucial oeuvre for critics, students, filmmakers and fans alike. * Lauren M.E. Goodlad, Professor of English, Rutgers, The State University of New Jersey, USA *With deft handling of Christopher Nolan’s diverse oeuvre, Robbie Goh puts forward a strong argument for the philosophical depths of films such as Inception, Dunkirk, and The Dark Knight. Taking readers through Nolan’s audio-visual medium, Goh interrogates the place of the individual in a decaying social structure, questions the production of truth, and finds reasons for hope. * S. Brent Plate, author of "Religion and Film: Cinema and the Re-Creation of the World" *Table of Contents1. Christopher Nolan as Philosophical Filmmaker: Themes and Influences 2. Postmodernism and Cynicism 3. The Moral Turn: Against Postmodernism 4. Nolan’s Heroes as Philosophers 5. Film Narrative and/as Philosophy

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Book SynopsisAlejandro Jodorowsky is a force of nature. At 90 years old he is still making films and is a cultural phenomenon who has influenced other artists as disparate as John Waters and Yoko Ono. Although his body of work has long been considered disjointed and random, William Egginton claims that Jodorowsky's writings, theatre work and mime, and his films, along with the therapeutic practice he calls psychomagic, can all be tied together to form the philosophical programme that underpins his films. Incorporating surrealism and thinkers including Lacan, Kant, Hegel, and Žižek into his interpretation of Jodorowsky''s work, Egginton shows how his diverse films are connected by interpretive practices with a fundamental similarity to Lacanian psychoanalysis. Using case studies of Jodorowsky''s cult films, El Topo, Fando y Lis and Holy Mountain and more, this book provides a unique perspective on a filmmaker whose work has been notoriously difficult to analyse.Trade ReviewAlejandro Jodorowsky: Filmmaker and Philosopher is a captivating exploration of Jodorowsky’s work, and a vital read for those seeking a deeper understanding of the filmmaker’s elusive concept of psychomagic. Egginton’s analysis, premised on highlighting the parallel structures that exist between Jodorowsky’s body of work and Lacanian psychoanalysis, has unlocked a register of criticism that will serve Jodorowsky scholars for years to come * Michael Newell Witte, Visiting Assistant Professor of Art History, University of San Diego, USA *Table of ContentsAcknowledgements 1. Introduction 2. The Violence of Desire 3. Staging the Fantasy 4. Subjective Destitution Bibliography Index

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Book SynopsisMark Le Fanu is a well-known writer on film who has contributed regular pieces and columns to Sight and Sound, Positif and the East-West Review. A former Lecturer in English at the University of Cambridge, he was from 1993-2008 Director of Studies in Film History at the European Film College in Ebeltoft, Denmark. He is the author of The Cinema of Andrei Tarkovsky (1987) and Mizoguchi and Japan (2005), which was shortlisted in its year of publication for the Kraszna-Krausz Book Award.Trade ReviewStyle is one of the remarkable aspects of Dr Le Fanu’s book. It is beautifully free from useless technicalities and the clotted syntax that afflicts many academic writers … [he has] an ability to convey the thrust of a film that the reader might not have seen, and an openness to directors’ ideas that might be uncongenial to the author ... gripping. * The Telegraph *In this superb cultural history, Mark Le Fanu considers the religious impulse that distinguishes so much European cinema in its golden age from the second world war up to the 1980s … Le Fanu’s wonderful survey, with its aphoristic grace and erudition lightly worn, is from start to finish a delight to read. * The Spectator *[There is] much of fascination here for a general reader … [This book] has not only stimulated and educated, but led to my seeking out copies of four films that Le Fanu makes seem especially fascinating: Bergman’s Winter Light, Buñuel’s Simon of the Desert, Zanussi’s Spirala and Dreyer’s Day of Wrath. These purchases prove this deeply-felt treatise also to be a work of evangelism. * The Tablet *Clearly and thoughtfully written, with thankfully no film studies jargon, this book is one to be truly grateful for. * Catholic Herald *The substance of Believing in Film is an auteurist, country-by-country survey of the place of the Christian religion among the output of European directors during the golden age of art cinema from the time of World War II up to the end of the 1980s. The author’s criterion for inclusion is not that a film should exhibit, or that a director should possess, faith, but only that the film should evidence a sympathy for Christianity, even when criticising its pretensions. One of the pleasures of tourism for the thinking traveller is the appreciation of different European countries’ attitudes to what remains of their religion, and that pleasure is replicated and enhanced in this book by the author’s understated and sensitive discussion of favourite films, based on a life-time of critical discernment. For Le Fanu is one of those nuanced and thoughtful people who, while rejecting extremes, is not embarrassed to confess that he remains open to the ‘still-living truths of Christianity’. * Standpoint Magazine *Are we all still Christian? Or at least unwilling to stop framing the world in a Christian narrative? Mark Le Fanu’s compelling and courageous account of European cinema is an invitation to think of films in a different light, and to explore a marvellous repertoire of films everyone ought to know better. From Pavel Lungin’s The Island to Ermanno Olmi’s The Fiancés, Andrzej Wajda’s Ashes and Diamonds to Bunuel’s Nazarin, Le Fanu ably shows how saturated our Western imagination is in such notions as sin and sacrifice, predestination and redemption, how frequently, even in the work of atheists and agnostics, epiphanies, miracles and resurrections occur. Proceeding from one engaging account to another, Believing in Film is a timely reminder of the resilience and narrative fertility of our Christian tradition. * Tim Parks, novelist and Associate Professor of English, IULM University, Milan, Italy *Mark Le Fanu, who "endured a Catholic upbringing during the 1950s in the north of Scotland", has written a lucid and highly readable study of the role of religion – and specifically, the Christian religion – in classic European cinema. His thesis, unfashionable in certain quarters but cogently argued, that religion and culture are inseparable, takes in not only expected figures like Bresson and Tarkovsky, but also such avowed atheists as the Spanish director Luis Buñuel. Altogether this book offers many penetrating insights, such as will rivet the attention – and challenge the assumptions – of even the most irreligious reader. * Philip Kemp, film critic and Lecturer in the Department of Journalism, University of Leicester, UK *Table of ContentsGeneral Editor’s Introduction Introduction CHAPTER 1: Russia: Tarkovsky, Eisenstein and Christianity CHAPTER 2: Poland: A Trio of Catholics CHAPTER 3: France: The Apostasy of Robert Bresson CHAPTER 4: Italy: Christianity and Neo-Realism CHAPTER 5: Scandinavia: Lutheran Interludes CHAPTER 6: Spain: The Heresies of Don Luis CHAPTER 7: Russia Again: Millennial Faith and Nihilism Afterword Acknowledgements List of Illustrations Bibliography Index

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Book SynopsisThis innovative study finds that, through his unique representation of violence, Argentine director Pablo Trapero has established himself as one of the 21st century's distinctly political filmmakers. By examining the broad concept of violence and how it is represented on-screen, Douglas Mulliken identifies and analyzes the ways in which Trapero utilizes violence, particularly Žižek's concept of objective violence, as a means through which to mediate the politicalThrough a focus on several previously under-studied elements of Trapero's films, Mulliken highlights the ways in which the director's work represents present-day concerns about social inequalities and injustice in neoliberal Argentina on-screen. Finally, he examines how Trapero combines aspects of Argentina's long tradition of political film with elements of Nuevo Cine Argentino to create a unique political voice.Trade ReviewPablo Trapero and the Politics of Violence is the first serious examination of the oeuvre of one of Argentina most important contemporary filmmakers. The author offers meticulous analyzes of Trapero’s films that cohere around the topic of violence, providing an exploration of Argentine culture that is both timely and well-conceived. -- Carolina Rocha, Southern Illinois University Ewardsville, USATable of ContentsIntroduction A History of Violence A Hauntology of Violence The Changing Nature of Political Film Neoliberalism and Ideology A Cyclical Career Part I: The Individual and the State 1. Neoliberalism, Violence, and the New Argentina 1.1 The Violence of Neoliberalism From Objective to Subjective Violence Masculinity in Crisis 1.2 Mundo Grúa The Precariat on Screen Physical and Emotional Estrangement 1.3 Carancho What is Shown, What is Not Resistance and the Middle Class Margani v. Darín Response to Violence 2. Repression, Ideology, and the Manipulation of Power 2.1 Theories of Power 2.2 El Bonaerense El Conurbano “La Bonaerense” Police Repressive State Apparatus Zapa 2.3 Elefante Blanco Ciudad Oculta and the Catholic Church Authority and the Legacy of Mugica State Violence and Death Part II: Violence and the Family 3. The Violence of the Arborescent Family 3.1 Theories of the Family Family and Control Family as Source of Violence 3.2 Familia Rodante The Potent Symbolism of the Family The Family as a Locus of Retention Discipline and Rebellion 3.3 El Clan Adult Paranoiacs, Child Neurotics The Violence of the Family 4. The Rhizome as Alternative Family Model 4.1 Rhizomes and the becoming-family Prison: Arborescent or Rhizomatic? The State of Exception 4.2 Nacido y Criado Desaparecidos Homo Sacer and the State of Exception Patagonia and Rhizomes 4.3 Leonera Prison and Prison Films Rhizomatic Families Conclusion Appendix: Interview with Pablo Trapero

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Book SynopsisGhost in the Well is the first study to provide a full history of the horror genre in Japanese cinema, from the silent era to Classical period movies such as Nakagawa Nobuo's Tokaido Yotsuya kaidan (1959) to the contemporary global popularity of J-horror pictures like the Ring and Ju-on franchises. Michael Crandol draws on a wide range of Japanese language sources, including magazines, posters and interviews with directors such as Kurosawa Kiyoshi, to consider the development of kaiki eiga, the Japanese phrase meaning weird or bizarre films that most closely corresponds to Western understandings of horror. He traces the origins of kaika eiga in Japanese kabuki theatre and traditions of the monstrous feminine, showing how these traditional forms were combined with the style and conventions of Hollywood horror to produce an aesthetic that was both transnational and peculiarly Japanese.Ghost in the Well sheds new light on one of Japanese ciTrade ReviewAn engrossing, insightful celebration of Japan’s rich horror-film history, a saga shaped by war, military occupation, time-honored tales, and innovative artists who remain largely unknown abroad. * Cineaste *Crandol’s research is firmly grounded in meticulous citation of relevant Japanese-language sources. * Monumenta Nipponica *Moving beyond the usual suspects of internationally acclaimed turn-of-the-millennium J-horror flicks, Michael Crandol’s groundbreaking study of the transnational history of the horror film in Japan plunges us into the very bowels of the kitschy, wonderfully creepy, sometimes terrifying, always thrilling realm of the perennially popular Japanese “cinema of the strange.” -- Adam L. Kern, University of Wisconsin-Madison, USAA welcome challenge to the prevailing notion that genres such as supernatural horror should only be understood in Western terms. -- Jasper Sharp, Independent scholar, UKTable of ContentsIntroduction 1. Kaiki eiga: Naming the Classic Japanese Horror Film 2. Ghost Cat vs Samurai: Prewar Kaiki Cinema 3. The Dead Sleep Unwell: Censorship and the Postwar Return of Kaiki 4. Uncanny Invasions and Osore Incarnate: Shintoho Studios and Nakagawa Nobuo 5. Back from the Dead: The Kaiki Legacy of J-horror Afterword: …The End? Index

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Book SynopsisGay pornography, online and onscreen, is a controversial and significantly under-researched area of cultural production. In the first book of its kind, Gay Pornography: Representations of Sexuality and Masculinity explores the iconography, themes and ideals that the genre presents. Indeed, John Mercer argues that gay pornography cannot be regarded as one-dimensional, but that it offers its audience a vision of plural masculinities that are more nuanced and ambiguous than they might seem. Mercer examines how the internet has generated an exponential growth in the sheer volume and variety of this material, and facilitated far greater access to it. He uses both professional and amateur examples to explore how gay pornography has become part of a wider cultural context in which modern masculinities have become ''saturated'' by their constantly evolving status and function in popular culture.

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Book SynopsisIn this book, Lea Gerhards traces connections between three recent vampire romance series; the Twilight film series (2008-2012), The Vampire Diaries (2009-2017) and True Blood (2008-2014), exploring their tremendous discursive and ideological power in order to understand the cultural politics of these extremely popular texts. She uses contemporary vampire romance to examine postfeminist ideologies and discuss gender, sexuality, subjectivity, agency and the body. Discussing a range of conflicting meanings contained in the narratives, Gerhards critically looks genre's engagement with everyday sexism and violence against women, power relations in heterosexual relationships, sexual autonomy and pleasure, (self-) empowerment, and (self-) surveillance. She asks: Why are these genre texts so popular right now, what specific desires, issues and fears are addressed and negotiated by them, and what kinds of pleasures do they offer?Trade ReviewInsightful, compelling and provocative, this book offers an enlightening analysis of the global phenomenon of vampire romance that has as much to tell us about gender, sexuality and post-feminism as it does the vampires that we love, or love to hate. A must-read for fans and scholars alike -- Stacey Abbott, University of Roehampton London, UK.Interrogating the tricky terrain of post-feminist discourse via a close reading of three vampire juggernauts of the early 2000s, Gerhard's book offers an incisive deep-dive into contemporary gender politics. -- Natalie Wilson, California State University San Marcos, USA.Gerhards offers a comprehensive look at three populist vampire texts that provides a strong introduction to vampire studies for undergraduates across the liberal arts. Using a sophisticated analysis, she reconstructs arguments from many well know feminist and cultural theorists to help guide new scholars through the ways vampire products can help students navigate gender and identity in the 21st century. -- Melissa Anyiwo, Curry College, USATable of ContentsAcknowledgements Series Editors’ Introduction Introduction: The Cultural Politics of Contemporary Vampire Romance 1. More than a Backlash: The Contradictions of Postfeminist Culture 2. Paranormal Romance: A Quintessentially Postfeminist Genre? 3. The Politics of Looking: Female Protagonists between Subject and Object 4. Vampire Transformation as Makeover: The Making of Ideal Postfeminist Subjects 5. Fantasy Solutions to Postfeminist Culture: Vampire Heroes and Postfeminist Masculinity Conclusion: Paradoxical Pleasures Notes Bibliography Index

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Book SynopsisThe cinema of Theo Angelopoulos is celebrated as challenging the status quo. From the political films of the 1970s through to the more existential works of his later career, Vrasidis Karalis argues for a coherent and nuanced philosophy underpinning Angelopoulos'' work. The political force of his films, including the classic The Travelling Players (1975), gave way to more essayistic works exploring identity, love, loss, memory and, ultimately, mortality. This development of sensibilities is charted along with the key cultural moments informing Angelopoulos' shifting thinking. From Voyage to Cythera (1984) until his last film, The Dust of Time (2009), Angelopoulos' problematic heroes in search of meaning and purpose engaged with the thinking of Plato, Mark, Heidegger, Arendt and Luckacs, both implicitly and explicitly.Theo Angelopoulos also explores the rich visual language and ocular poetics' of Angelopopulos' oeuvre and his mastery of communicating profunditTrade ReviewThis book has impressively decoded the potential of philosophical complexities in Angelopoulos' films. Vrasidas Karalis has un-framed the director's cinematic language from traditional filmic reasoning and previously marked spatiotemporal ocular 'slowness', to reach the anti-rhetorical interpretation in terms of: visuality, aesthetics and logic towards Angelopoulos' art. * Grzegorz Pamrów, CEO, Speakers' Avenue, Educational Film Collective, Poland *Vrasidas Karalis’s new book on the inexhaustible, profound and mysterious cinema of Theo Angelopoulos offers a bold and original argument. Can philosophical thinking occur purely through the work of images, without standard plots and characters? Karalis affirms and demonstrates this possibility in all its historical complexity. It’s an extraordinary achievement. * Adrian Martin, Adjunct Professor of Film and Media Studies, Monash University, Australia *Table of Contents1. Introduction: against the historicist imprisonment of art 2. The quest for existential poesis Or Prelude to Theo Angelopoulos’ Iconosophy 3. On First Encountering Theo Angelopoulos Or on the Existential Grounding of films 4. On Seeing films Philosophically Or from Politics to Existence 5. On Being, Loss & Memory Or the social ontology of historicity 6. On Redemption: Saving the Phenomena and the Dread of Shadows in Eternity and a Day 7. The Risk of Being Tempted by the ‘Déjà vu’ Or on the Ontological Sublime 8. Visual Essay: The Discovery of the Psyche Bibliography Index

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Film maker Nuri Bilge Ceylan''s meditative, visually stunning contributions to the ''New Turkish Cinema'' have marked him out as a pioneer of his medium. Reaping success from his prize-winning, breakout film Uzak (2002), and from later festival favourites Once Upon a Time in Anatolia (2011) and Winter Sleep (2014), he has quickly established himself as an original and provocative writer, director and producer of 21st century cinema. In an age where Turkey''s modernisation has created societal tensions and departures from past tradition, Ceylan''s films present a cinema of dislocation and a vision of ''nostalgia'' understood as homesickness: sick of being away from home; sick of being at home. This book offers an overdue study of Ceylan''s work and a critical examination of the principle themes therein. In particular, chapters focus on time and space, melancholy and loneliness, absence, rural and urban experience, and notions of paradox, as explored through films which are often slow

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Book SynopsisDrawing on a wide range of archival sources, Andrew Shail traces the emergence of film stardom in Europe and North America in the early 20th century. Modifying and supplementing Richard deCordova's account of the birth of the US star system, Shail describes the complex set of economic circumstances that led film studios and actors to consent to the adoption of a star system. He then explores the film industry's turn, from 1908, to making character-based series films. He details how these characters both prefigured and precipitated the star system, demonstrating that series characters and the firmament' of film stars are functionally equivalent, and shows how openly fictional characters still provide the model for real' film stars.Trade ReviewThe Origins of the Film Star System includes an impressive bibliography and reproductions of rarely seen publicity photographs and posters … Shail's book stands as a monumental achievement, demonstrating the dynamism of historiography while arguing for the necessity of looking beyond American modes and machinations of the early star system. Summing Up: Highly recommended. Upper-division undergraduates through faculty. * CHOICE *Shail has provided a fresh account of the emergence of the star system, impressively systematic in its argumentation, that could easily become the new standard for the next thirty years. -- Charlie Keil, University of Toronto, CanadaTable of ContentsIntroduction Part I: A New Run at the Story Chapter 1: Europe Chapter 2: North America Chapter 3: What Happened Next? Chapter 4: Causality Part II: Another Run at the Story Chapter 5: The Series Character Chapter 6: The Series Character and the Star System Chapter 7: The Ontology of Film Stardom Conclusion Works Cited

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Book SynopsisSue Vice is Professor of English Literature at the University of Sheffield, UK. Her books include the BFI Film Classics volume on Shoah (2011), Representing Perpetrators in Holocaust Literature and Film (co-edited with Jenni Adams, 2013), Textual Deceptions: False Memoirs and Literary Hoaxes in the Contemporary Era (2014) and Barry Hines: Kes', Threads' and Beyond (2017, with David Forrest).Trade ReviewClaude Lanzmann’s Shoah is notorious not only for its length but for the huge quantity of its outtakes. Vice’s book not only demonstrates that the daunting outtake material demands to be viewed, but also provides a model of how to read it. -- Dominic Williams, Northumbria University, UKTable of ContentsIntroduction: Reacting to Genocide 1. Abba Kovner: ‘Like Sheep to the Slaughter’ 2. Hansi Brand: ‘Selling One’s Soul’ 3. Indirect Testimony: Rabbi Michael Weissmandl 4. Ghetto Rescue and Resistance: Tadeusz Pankiewicz, Hersh Smolar and Leib Garfunkel 5. Communal Testimony and the War Refugee Board: Peter Bergson, Roswell McClelland, John Pehle and Robert Reams 6. Leadership, Responsibility and Resistance: Yehuda Bauer, Richard Rubenstein, Ya’akov Arnon 7. Allied Responses: Henry Feingold in New York, Shmuel Zygielboim in London Conclusion Bibliography Index

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Book SynopsisExplores the detail of Jane Campion's film and television output, considering her vision and practice, legacy, and her contribution to feminist filmmakingTrade Review"This impressive and timely book is a welcome addition to the scholarship on Jane Campion, a filmmaker whose work, despite her significance, remains under-researched. The essays revisit her early, often neglected, films as well as offering new insights into canonical texts such as The Piano, and exploring more recent films, including The Power of the Dog." -Estella Tincknell, University of the West of England

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Book SynopsisExamines the film practice of the Chilean-French filmmaker and artist Alejandro Jodorowsky

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Book SynopsisExamines how girls' hairstyles have become such a significant part of how girlhood is articulated in contemporary visual cultures.

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Book SynopsisThe first academic study on the work of Wes Craven.

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Book SynopsisExplores British director Steve McQueen's diverse output, from video installations to independent cinema to Hollywood to the BBC

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisExplores the influence of the graphic user interface on contemporary screen mediaTrade Review"With sparkling prose, Nick Jones provides a multi-plane illumination of graphic user interfaces their provenance, aesthetics, inter-medial connections, and how they shape experience, imagination, and creative labour. Gooey Media should be essential reading for anyone seeking to understand this key layer of our screen lives, and its aesthetic links across our media ecology." -Lisa Bode, The University of Queensland

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