Film history, theory or criticism Books

Trade ReviewThe originality of Hainge’s work is in its philosophical method...He systematically unpacks noise to reveal its complexity, and its materiality in the virtual and actual worlds. Traversing many rich and wide-ranging topics, his book moves beyond the potential traps of falling into truisms, offering a highly nuanced reading of noise in all its materializations. -- Sally MacArthur, University of Western Sydney, Australia * Musicology Australia *Across eight chapters, Hainge runs through an irregular but illuminating sequence of cultural situations and texts in which noise proves determining […]Hainge's study responds to the institutional unmooring of cultural studies with recourse to 'ontology'. What makes his book a more interesting study than many of the other 'ontologies' currently on offer is that, rather than promulgating a return to (low-grade phantasy) objects, Hainge focuses on the anti-object par excellence, the nothing that is noise. Now that's a noise we can all feel, if not in the way Slade intended. -- Justin Clemens * Cultural Studies Review *In the decade since, a stunning range of new offerings from a variety of publishers has become readily available, and sound studies is a far more expansive discipline. This fact is nowhere more evident than in Bloomsbury Academic’s excellent sound studies catalog ... the scholarship here shows how adept the cultural study of sound can be at unearthing the thorny political and social tensions that define contemporary culture. -- Nicholas C. Laudadio, University of North Carolina Wilmington * Journal of Popular Music Studies *Table of ContentsIntroduction SECTION 1. Chapter 1. The (not so) Noisy Elephants in the Room. Chapter 2. Noisea. Chapter 3. Noise, Horror, Death. SECTION 2. Chapter 4. On the Difficulties of Attending to Noise. Chapter 5. On the Difficulties of Listening to Noise. SECTION 3. Chapter 6. On Noise and Film. Planet, Rabbit, Lynch. Chapter 7. On Noise and Photography. Forest, Fuzz, Ruff. Chapter 8. On Noise and Music. Concrete (reprise), Woolly Mammoth. Conclusion

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Book Synopsis Richard Nowell, currently lecturing in Prague, has taught for the University of Miami, University of Salford, UK, University of East Anglia, UK, and University of Heidelberg, Germany. He has essays published or forthcoming in, among others, the Journal of Film and Video, Cinema Journal, Post Script, and the New Review of Film and Television Studies, and he is currently guest editing a special English-language edition of the Czech Replublic's leading film studies journal, Iluminace, on the subject of genre and the movie business. Trade Review"Richard Nowell's meticulously researched, engagingly presented and forcefully argued study offers new insights into how films, filmmaking and film marketing operated in the North American film industry of the 1970s and early 1980s. It is an exemplary piece of work, which will hopefully inspire other scholars to work along similar lines." - Peter Kramer, Senior Lecturer in Film Studies, University of East Anglia, UK; author of The New Hollywood: From Bonnie and Clyde to Star Wars (2005)."Table of ContentsIntroduction: "Co-Ed Frenzy"; Chapter One; "There's more than one way to lose your Heart":; The Teen Slasher Film - Film-type, Industry Strategies and Film Cycle; Chapter Two; A Slay Ride to Small-Town U.S.A.:; The Emergence and Early Development of the Teen Slasher Film - Black Christmas (1974) and Halloween (1978); Chapter Three; "They were Warned... They are Doomed":; The Development of the Teen Slasher Film, Variant One - Friday the 13th (1980); Chapter Four; Murder on the Dance Floor:; The Development of the Teen Slasher Film, Variant Two - Prom Night (1980); Chapter Five; The Animal House on Sorority Row:; The Establishment of the Teen Slasher Film, 1980-1981; Conclusion: "Time after Time"; Filmography; Bibliography; Index.

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Book Synopsis The most powerful films have an afterlife. Their sensory appeal and their capacity to elicit involvement in story, character and conflict reaches beyond the screen to subtly reframe the way spectators view ethical issues and agents within the narrative, and in the world outside the cinema. Pulling Focus: Intersubjective Experience and Narrative Film questions how cinematic narratives relate to and affect ethical life. Extending Martha Nussbaum and Wayne Booth''s work on moral philosophy and literature to consider cinema, Dr. Stadler shows that film spectatorship can be understood as a model for ethical attention that engages the audience in an affective relationship with characters and their values. Building on Vivian Sobchack''s Address of the Eye and Carnal Thoughts, she uses a phenomenological approach to analyse ethical dimensions of film extending beyond narrative content, arguing thatTrade ReviewMention -Chronicle of Higher Education, December 19, 2008First published when the ethical implication of viewer and film was not on the agenda of contemporary film studies, Pulling Focus: Intersubjective Experience, Narrative Film, and Ethics was a courageous exploration of how narrative cinema both presents and solicits an ethical gaze. Now in paperback, Stadler's groundbreaking work can take its proper place at the forefront of a growing body of literature that recognizes that any axiology of cinema entails ethics as well as aesthetics. Moreover, the book's accessible and graceful prose and its convincing phenomenologoical interperetations of a range of well-known films make it an ideal text for the undergraduate and graduate classroom. --Vivian Sobchack, UCLA, School of Theater, Film and Television"The author is interested in the camera as a narrator that guides spectators to judgment and engages their sensory apparatus and capacity for affect in reshaping what might otherwise by abstract and rational judgment....Stadler interprets several films, doing especially well with David Lynch's enigmatic Lost Highway, which unsettles notions of narrative genre, identity, and morality. SUMMING UP: Recommended."- Choice * Choice *Table of ContentsChapter 1: Ethics in Narrative Form and Content; Chapter 2: A Phenomenological Approach to the Ethics of Film; Chapter 3: Losing the Plot: Narrative Structure and Ethical Identity; Chapter 4: Under the Influence: Vice, Violence and Villainy; Chapter 5: Resistance and Responsiveness: Emotion and Character Engagement; Chapter 6: Imagination: Inner Sight and Silent Voices; Chapter 7: Seeing in the Dark: Cinema, Ethics, and Alternative Engagement.

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Trade ReviewIn the end, Dark Energy has the considerable virtue of raising questions not only about the value of the particular scientific analogies he develops but of the value of argument by analogy in general. * Hitchcock Annual *Throughout the book, Skerry's enthusiasm is obvious, both for Hitchcock and for popular cosmology. Aficionados of Hitchcock will find new language with which to marvel, and those humanists with an interest in physics will find inviting ways to engage landmark theories of the last century. -- Anthony Collamati, Alma College, US * Cinema Journal *To link Einstein with cinema and Hitchcock with modern physics is a daring experiment, and works on many levels. It is delightful for a physicist (and Hitchcock fan) to see terms like spacetime, antimatter, dark energy, black hole, entropy, etc. turn up as metaphors in a Hitchcock study. A thoroughly enjoyable read. -- Nandor Bokor, Lecturer in the Department of Physics, Budapest University of Technology and Economics, HungaryThe 20th Century scientific theories of relativity, quantum mechanics and cosmology substantially changed the way we view the world. In interweaving these revolutions and their implications with the concurrent emergence of moving images as the predominant means of cultural expression, exemplified by their arguably greatest artist and innovator, Phil Skerry does much more than find a fresh angle on the depth in light and dark, the order and chaos in Hitchcock’s visual storytelling. Always careful to emphasize that his approach implies the application of universal scientific truths only as metaphors to the most comprehensive (and, as Skerry argues, indeed spatiotemporal art form), he yet paints a bigger and most intriguing picture on how the 20th century zeitgeist was shaped through seeing the world differently, both in science and cinema. A most engrossing read, admirably aiming to bridge the regrettable modern gap between sciences and arts, via the genius of the likes of Einstein and Hitchcock, and finding nothing less than philosophy therein. -- Ulrich Ruedel, Conservation Technology Manager at British Film Institute National Archive, UKTable of ContentsIntroduction; 1: Science, Technology and Hitchcock; 2: Dark Matter, Dark Energy, and Physics; 3: Neurocinematics and Hitchcock's theory of suspense; 4: Three "Princes of Dark Energy": Uncle Charlie, Bruno, and Norman Bates; 5: Space and Place; 6: Vertigo and Psycho - The shower and the bell tower; Conclusion; Filmography; Bibliography; Index

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Book SynopsisRichard Martin completed his PhD at Birkbeck, University of London, having previously worked at the Commission for Architecture and the Built Environment (CABE). He has taught at Birkbeck, Middlesex University and Tate Modern.Trade ReviewA thoughtful exploration of Lynchian space, The Architecture of David Lynch ... [provides] a wealth of architectural readings, a diverse bibliography, and a wonderfully insightful analysis of Lynch's filmography that inspire and enrich re-viewings. * New Review of Film and Television Studies *Architecture is more central to the cinema of David Lynch than that of any other film-maker, and now a book finally exists that not only grasps architecture's significance for Lynch but shows that it is impossible to understand these films without a thorough knowledge of the role that architecture plays in them. Martin's book is godsend for anyone with even a passing interest in David Lynch or the relationship between architecture and cinema. He bombards us with insight after insight. -- Todd McGowan, University of Vermont, USAIn this important and original study Richard Martin explores connections between the cinema of David Lynch and a series of distinctive urban spaces, drawing on insights from architectural history, cultural geography and contemporary film theory. -- Matthew Gandy, University College London, UKWhile David Lynch’s admirers have long marvelled at his talents as an engineer of atmosphere, the director’s architectural thinking has not received the scholarly attention it deserves. The Architecture of David Lynch is thus a welcome study. Brimming with insight and intelligence, this book inhabits the obsessive spatial topoi of Lynch’s films, and finds there the traces of history. In Martin’s fascinating account, Lynch’s moody architecture is a way of engaging modernity’s built environments through the kinds of spaces that only cinema can fashion. -- Justus Nieland, Michigan State University, USAThe reviewer commends the author on the work’s intelligence and insightful considerations of Lynch’s use of space, place and architecture in his films... With an impressive bibliography and 62 color plates of film stills, reproductions of paintings, and photographs of filming locations, the book is an important contribution to Lynch scholarship and engages film scholars to consider the dynamics of space, place and architecture in cinema... Martin’s text effectively joins the canonical works of Lynch scholarship, while simultaneously forcing all film scholars to re-evaluate the impact, effect and importance of space, place and architecture in film. * CINEJ Cinema Journal *Incisive and highly readable... Martin finds solid rhetorical ground and a plethora of interdisciplinary source material from which to articulate astonishingly deep, intricate, and, yes, original readings of Lynch’s work... The Architecture of David Lynch is clearly an indispensable entry in a densely analyzed field of film and auteur studies. * Jason Clemence, Cultural Politics *Martin’s study is such an important addition to ‘Lynch’ studies, offering a unique analysis of Lynch’s cinematic work through design and construction... Martin’s particular, unique focus shows how architecture forces us to confront the strange within the urban and suburban, and the social forces at work in the use of architecture, essentially re-establishing and altering our conceptions of the everyday. * Siobhan Lyons, Media International Australia *Table of ContentsPrologue: Three Journeys Introduction: Mapping the Lost Highway 1. Town and City 2. Home 3. Road 4. Stage 5. Room Acknowledgments Notes Image Credits Works Cited Index

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Book SynopsisBritish cinema has been far richer and more diverse than is generally recognized, as this collection of key writings on British film culture from the conversion to sound in the late 1920s to the 1990s testifies. Dissolving Views brings together a number of important and influential essays and the light they throw on 70 or so years of British cinema history makes this volume a vital, provocative and highly informative collection.Table of Contents1. Introduction Andrew Higson 2. Hitchcock’s British Films Revisited Charles Barr 3. The Production Designer and the Gesamtkunstwerk: German Film Technicians in the British Film Industry of the 1930s Tim Bergfelder 4. Engendering the Nation: British Documentary Film 1930-1939 Kathryn Dodd and Philip Dodd 5. Neither Here Nor There: National Identity in Gainsborough Costume Drama Pam Cook 6. The Quality Film Adventure: British Critics and the Cinema, 1942-1948 John Ellis 7. From Holiday Camp to High Camp: Women in British Feature Films, 1945-1951 Sue Harper 8. Victim: Text as Context Andy Medhurst 9. Space, Place, Spectacle: Landscape and Townscape in the ‘Kitchen Sink’ Film Andrew Higson 10. Landscapes and Stories in the 1960s British Realism Terry Lovell 11. The British Avant-Garde and Art Cinema from the 1970s to the 1990s Michael O’Pray 12. A Post-National European Cinema: A Consideration of Derek Jarman’s The Tempest and Edward II Colin MacCabe 13. Beyond ‘The Cinema of Duty’? The Pleasures of Hybridity: Black British Film of the 1980s and 1990s Sarita Malik 14. Crossing Thresholds: The Contemporary British Woman’s Film Justine King 15. The Heritage Film and British Cinema Andrew Higson Bibliography Index

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Book SynopsisScarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with the first book on the sound, languages, scenery, media, and culture in post-Socialist China.

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Book SynopsisHere at last is the complete story of Dana Andrews (19091992): a great actor who struggled to overcome alcoholism while enjoying the accolades of his contemporaries, a successful term as president of the Screen Actors Guild, and the love of family and friends that never deserted him.

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Book SynopsisKeith McDonald holds a PhD from Birkbeck College, University of London, UK, and is the Head of Programme for Media, Film Studies and Mass Communications at York St John University, UK. His research interests include popular culture, cult cinema and digital media.Roger Clark taught literature and film in UK Universities for over thirty years and has published on contemporary fiction and film. He was Senior Lecturer in Literature Studies at York St John University, UK, where he is currently Honorary Research Fellow in the Faculty of Arts.Trade ReviewAs a scholar of del Toro myself, [after reading Film as Alchemic Art] I found my understanding of this filmmaker enriched by readings of his works that I had never considered and furthermore, my comprehension of contemporary auterism expanded. [...] McDonald and Clark's book lays a solid foundation for whatever work may follow in this impressive and comprehensive reading of del Toro's cinema. -- Ian Pettigrew, University of Miami * Cinema Journal *In this study, McDonald and Clark achieve a comprehensive and scholarly examination of the director and his cinema. In a thoroughly researched account of del Toro’s literary and cinematic influences, his experimentation with genre, the trans-national quality of his work and his self-identification as a fan, the authors build a sharp and fascinating portrait of del Toro. To this they add a series of lucid and critical readings of the director’s films that show an admirable command of del Toro’s multi-generic and multicultural points of reference. Building the study around the apposite metaphor of del Toro as alchemist, McDonald and Clark’s study captures the person and the work brilliantly, combining exhaustive research with an evident enthusiasm for the subject matter. The result, as alchemical as del Toro’s cinema, is an in-depth yet highly approachable book that will appeal to scholars and fans alike. -- Sheldon Penn, Lecturer in Latin American Studies, University of Leicester, UK.A lucid, rigorous mid-career study of Guillermo del Toro’s films, Guillermo del Toro: Film as Alchemic Art is critical reading for students and scholars of del Toro’s cinematic oeuvre. McDonald and Clark situate del Toro’s films as transnational, hybrid narratives informed by traditional and non-traditional styles as well as the fantasy and horror genres and auteurist tradition. The result is a nuanced portrait of the transformative nature or “alchemic art” of del Toro’s narratives, which the authors point out feature “counter-narratives,” non-Hollywood endings, and imagery that is alternately brutal and beautiful. This hybrid, “accented” cinema illustrates the mystery, violence, and transformations inherent in the stories del Toro tells. -- Juli A. Kroll, Associate Professor of Spanish, University of St. Thomas, USAThis is as good an account of del Toro’s influences, preoccupations and films as one could hope for. It combines detailed analysis of the films with a wide-ranging examination of the cultural context of his work, including cinematic, literary and artistic influences, as well as considering him from the perspectives of transnational cinema, queer cinema, and the rich relationship that he has with the world of fandom. A well informed, lucid and stimulating study. -- Andrew Tudor, Emeritus Professor of Film and Television, University of York, UKTable of ContentsAcknowledgments Introduction Part 1 Chapter 1. Influences and Intertexts Chapter 2. Accented Fantasy and the Gothic Perverse Chapter 3. Fan as Filmmaker Part 2 Chapter 4. Twisted Genres: Cronos and Mimic Chapter 5. Trauma – Childhood –History: The Devil’s Backbone and Pan’s Labyrinth Chapter 6. Gothic Superheroes: Blade II, Hellboy and Hellboy II: The Golden Army Chapter 7. From Development Hell to the Pacific Depths: The Strain and Pacific Rim Bibliography Filmography and Comicography Index

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Trade ReviewIn this useful entry in Bloomsbury’s Film Theory in Practice series, Neroni (The Subject of Torture) clearly and helpfully explains concepts that are important to feminist film theory, using French director Agnès Varda’s 1962 film Cléo from 5 to 7 as a case study … Cléo is a rich subject for study, and the author’s analysis is nuanced … the work’s accessibility makes this an invaluable primer on film theory. One hopes the rest of the series is just as well executed and that Neroni’s voice will often be heard in future. * Publishers Weekly *Neroni’s eloquent prose educates the novice while delighting the expert. Through a deft analysis of the contradictions of femininity—particularly the conflicting ideals of sexuality and motherhood—Neroni brings to life key concerns of feminist film theory, including identification, engagement, ideology, desire, and the cinematic framing of the female body. Her subtle interpretation of Agnès Varda as a female auteur is feminist film theory at its most compelling: a dazzling addition to the theoretical tradition her volume explicates. * Mari Ruti, Professor of Critical Theory, University of Toronto, Canada, and author of The Age of Scientific Sexism *A highly engaging and incisive introduction to the history of feminism and feminist film theory that explores their role for contemporary debates and feminist film practice through lucid and subtle discussion of a range of women film-makers. * Elizabeth Cowie, Professor Emeritus of Film Studies, University of Kent, UK *…Neroni’s text will appeal to many since its approach is both general and specific in its concise review of previous research and trends in the field as well as its presentation of new perspectives … a must-read in French feminist film theory courses. * The French Review *Table of ContentsIntroduction Section 1: Feminist Film Theory Section 2: Feminist Film Theory and Cléo from 5 to 7 Conclusion Appendices: Further Reading Filmography for Feminist Film Theory Treatment

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Book SynopsisDavid Deamer is Associate Lecturer in film at Manchester Metropolitan University, UK. He has published in Martin-Jones and Brown's Deleuze and Film; Bell and Colebrook's Deleuze and History; Deleuze Studies; and the online A/V Journal, of which he was co-founder. He blogs on Deleuze and cinema at www.daviddeamer.com.Trade ReviewThis ambitious book brings together three different constellations: the national cinema of Japan; the atom bombs thrown on Hiroshima and Nagasaki; and Deleuze. Surprising though this may sound, the book patiently and expertly weaves these three strands together to the point of making us feel that the Deleuzian cineosis was conceived to address precisely this kind of historico-cinematic encounter. Moving away from reductive ideas of genre, Deamer tackles the complexity of a wide and extremely varied body of films united by the catastrophe of the atom bomb, allowing for a re-evaluation of forgotten gems as well as celebrated masterpieces. Unveiling not one but many Japans, this book testifies to the enduring power and infinite uses of Deleuze’s vision of cinema. -- Lúcia Nagib, Professor of Film, University of Reading, UKDeamer’s study is exemplary in its interweaving of film and philosophy. From a philosophical perspective, the book provides a clear, rigorous, and concrete reading of Deleuze’s semiotics of cinema and its philosophical grounds. From a cinematic perspective, the book provides a fascinating, detailed study of Japanese cinema, demonstrating the continuing importance of the event of Hiroshima. It provides a thoroughly convincing case for the importance to Japanese cinema of the atom bomb, and the importance to the analysis of cinema more generally of Deleuze’s philosophy of film. Highly recommended. -- Henry Somers-Hall, Senior Lecturer in Philosophy, Royal Holloway, University of London, UKDeleuze, Japanese Cinema, and the Atom Bomb: The Spectre of Impossibility is a well written, clear, insightful and always to-the-point examination of the ways in which Japanese cinema has (and has not) dealt with the atomic bombs ... I congratulate Deamer for both the depth and the breadth with which he approaches this challenging topic ... Deamer writes fluidly, organises his thoughts clearly and displays a profound familiarity with the films that he has chosen as his examples. As a result, the book is a thoroughly pleasant, if demanding, reading experience. * Akira Kurosawa info *Table of ContentsList of tables List of images Acknowledgements Introduction: event, cinema, cineosis 1. Special images, contingent centres Movement-images: Bergson, sensory-motor process The Effects of the Atomic Bomb on Hiroshima and Nagasaki (Ito Sueo, 1946) Children of the Atom Bomb (Shindo Kaneto, 1952) Godzilla (Honda Ishiro, 1954) 2. Horizons of history Action-images: Nietzsche, history Terror of Mechagodzilla (Honda Ishiro, 1975) Lucky Dragon No. 5 (Shindo Kaneto, 1959) Barefoot Gen (Masaki Mori, 1983) Nausicaa of the Valley of the Wind (Hayao Miyazaki, 1984) Akira (Katsuhiro Otomo, 1988) 3. Traces: symptoms and figures Impulse-images; reflection-images: Peirce, semiosis The Naked Island (Shindo Kaneto, 1960) Dead or Alive (Takashi Miike, 1999) Ring (Nakata Hideo, 1998) Kwaidan (Kobayashi Masaki, 1964) The Face of Another (Teshigahara Hiroshi, 1966) Navel and A-bomb (Eikoh Hosoe, 1960) Tetsuo (Shinya Tsukamoto, 1989) Face of Jizo (Kuroki Kazuo, 2004) 4. Consummation (and crisis) Mental-images: Bergson, memory I Live in Fear (Kurosawa Akira, 1955) Rashomon (Kurosawa Akira, 1950) Dreams (Kurosawa Akira, 1990) Rhapsody in August (Kurosawa Akira, 1991) 5. Impure anarchic multiplicities Time-images: Deleuze, syntheses of time Casshern (Kiriya Kazuaki, 2004) The Pacific War (Nagisa Oshima, 1968) A History of Postwar Japan as Told by a Bar Hostess (Imamura Shohei, 1970) Black Rain (Imamura Shohei, 1989) Hiroshima (Sekigawa Hideo, 1953) Conclusion: spectres of impossibility Notes Index Select bibliography Select filmography

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Book SynopsisWill Kitchen is Teaching Fellow in Film Studies at the University of Southampton, UK. He is Academic Editor for the journal Romance, Revolution and Reform. Trade ReviewWith topics ranging from the archaeology of film music to the representational politics of musicians’ biopics, Romanticism and Film is an expansive and theoretically savvy addition to the study of the relationship between film and musical aesthetics. * Carlo Cenciarelli, Lecturer, School of Music, Cardiff University, UK *A very high order of organisation...[this volume] addresses a real need in film musicology. * Charles Francis Leinberger, Professor of Music, The University of Texas at El Paso *This carefully researched book is an important contribution to understanding the intersections between Romantic culture and the history of film. The author has cleverly chosen Liszt as a central focus. This provides a coherent thread through diverse topics such as the uses of Romantic music in film, cinematic representations of Romantic figures, and the impact of Romantic ideals on filmmaking. Romanticism and Film will provoke you to rethink the relevance of Romanticism today." * David Dennen, Assistant Professor of English, Chihlee University of Technology *Table of ContentsIntroduction 1.Culture and Transcendence: Three Explanations of Romanticism 2.The Archaeology of Film Music: Wagner, Liszt and the Symphonic Poem 3.Audio-Visual Explanations of Franz Liszt and His Music: Cultural Image and Schematic Types 4.‘Nothing untrue, simply convenient’: Song Without End (1960) and the Hollywood Composer Biopic 5.‘Piss off, Brahms!’: Lisztomania (1975) and Ken Russell in 1975 Conclusion Appendix A. Music and Language Appendix B. Wagnerian Terminology and Film Bibliography Index

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Book SynopsisAfter 45 years, Steven Spielberg's Jaws remains the definitive summer blockbuster, a cultural phenomenon with a fierce and dedicated fan base. The Jaws Book: New Perspectives on the Classic Summer Blockbuster is an exciting illustrated collection of new critical essays that offers the first detailed and comprehensive overview of the film's significant place in cinema history. Bringing together established and young scholars, the book includes contributions from leading international writers on popular cinema including Murray Pomerance, Peter Krämer, Sheldon Hall, Nigel Morris and Linda Ruth Williams, and covers such diverse topics as the film's release, reception and canonicity; its representation of masculinity and children; the use of landscape and the ocean; its status as a western; sequels and fan-edits; and its galvanizing impact on the horror film, action movie and contemporary Hollywood itself.Trade ReviewAn excellent variety of fascinating readings about a surprisingly complex film of the 1970s. The range of approaches is stimulating, accessible, and superbly thought out. Each essay increases our knowledge of Jaws from a variety of perspectives and heightens our understanding of the film. * Robert P. Kolker, Emeritus Professor of English, University of Maryland, USA *The Jaws Book is rich, insightful and comprehensive. It revisits this landmark film from an extremely wide range of perspectives, covering production, film style, genre, representation and reception. As a consequence, it is essential reading for anyone interested in the history of American popular cinema, as well as the impact and legacy of this enduring, ever-popular film * Kate Egan, Senior Lecturer in Film and Media, Northumbria University, UK *45 years after its release, Steven Spielberg's Jaws continues to endlessly fascinate and function as a cornerstone for contemporary popular culture. Hunter and Melia's collection brings together an impressive group of scholars, who deftly debate and analyse Jaws in a series of original, insightful and highly readable essays. Distinguishing fact from myth, and scrutinizing details pertaining to its production, textual organisation and reception, The Jaws Book offers genuinely new perspectives on why the film continues to resonate. No doubt, it will appeal to everyone interested in the film, its director and the industrial, cultural and political cultures that produced it. * Yannis Tzioumakis, Reader in Film and Media Industries, University of Liverpool, UK *This is a terrific collection of essays that genuinely brings new insight, and with a foreword provided by Jaws’ screenwriter and supporting actor Carl Gottlieb himself, The Jaws Book is highly recommended for any fan of Jaws, or for anyone with even a passing interest in this crucial moment in film history. * Cinema Retro Magazine *Table of ContentsList of illustrations Notes on contributors Acknowledgements Foreword Carl Gottlieb (Screenwriter of Jaws) Introduction I.Q. Hunter (De Montfort University, UK) and Matthew Melia (Kingston University, UK) Part One: Production, Reception and Style 1. ‘She Was the First’: The Place of Jaws in American Film History Peter Krämer (De Montfort University, UK) 2. Not the First: Myths of Jaws Sheldon Hall (Sheffield Hallam University, UK) 3. Cutting to the Chase: Editing Jaws Warren Buckland (Oxford Brookes University, UK) 4. ‘The Shark is Not Working’ – But the Music Is: Scoring a Hit with Jaws Emilio Audissino (University of Southampton, UK) 5. In the Teeth of Criticism: Forty-Five Years of Jaws Nigel Morris (University of Lincoln, UK) 6. Jaws, in Theory Murray Pomerance (Independent scholar, Canada) Part Two: Interpretation 7. Jaws as Jewish Nathan Abrams (Bangor University, UK) 8. Children as Bait Linda Ruth Williams (Exeter University, UK) 9. Reflexive Epistemology in Jaws and Jurassic Park Robert Geal (University of Wolverhampton, UK) 10. ‘We Delivered the Bomb’: On Jaws, Guilt, and the Atomic Myth Matthew Leggatt (University of Winchester, UK) 11. The Way Home: Shifting Perspectives in Jaws Daniel Varndell (University of Winchester, UK) 12. Relocating the Western in Jaws Matthew Melia (Kingston University, UK) Part Three: Beyond Jaws 13. ‘Just When You Thought It Was Safe...’: The Jaws Sequels Kathleen Loock (Freie Universität Berlin, Germany) 14. Martha’s Vineyard Revisited: The Making-Ofs and Their Narrative Strategies Felix Lempp (University of Hamburg, Germany) 15. Ben Gardner’s Head is Missing: Notes on Jaws: The Sharksploitation Edit Neil Jackson (University of Lincoln, UK) 16. Live Every Week Like It’s Shark Week: Jaws and Natural History Documentary Vincent Campbell (University of Leicester, UK) Index

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Book SynopsisJeremi Szaniawski is Assistant Professor of comparative literature and film studies in the Department of Languages, Literatures, and Cultures at the University of Massachusetts Amherst, USA. He is the editor of Directory of World Cinema: Belgium and the author of The Cinema of Alexander Sokurov: Figures of Paradox (both 2014), as well as the translator, into French, of Thomas Elsaesser's and Malte Hagener's Film Theory: An Introduction Through the Senses (2011) and Alexander Sokurov's V tsentre okeana (2015).Trade Review[T]reads new ground in Kubrick-ademia. * The Film Stage *Here is a collection of lambently written and fascinating explorations of an important filmmaker's scintillating career. Admirers and students will rightfully cherish After Kubrick for its unprecedented depth, its smart variety of approaches, and the intense light it shines on films that have become classics. * Murray Pomerance, author of Virtuoso: Film Performance and the Actor's Magic (2019) *These fascinating, often ingenious, and always insightful essays explore the complex legacy of one of the great artists of the 20th century. * Robert P. Kolker, Emeritus Professor, University of Maryland, USA *Never sentimental, fawning, or uncritical, this collection tackles the complex subject of the legacy of Kubrick’s films with the most promiscuous possible sense of aesthetic influence. Kubrick, or, rather, 'Kubrick,' thereby becomes a machine, a form, a process, a method, a medium, an excuse, a vibrant philosophical conceit, enabling the revisiting of some of the most pressing contemporary debates in the study of representation—the aesthetic status of affect; the post- and trans-human relation to technology and artificial intelligence; environmental catastrophe and the machinery of war; in addition to film-philosophical concerns with cinematic time; the grotesque and violent; and the status of aesthetic form itself. Grounding its far-reaching considerations in exemplary close readings, and with a particularly rich editorial introduction, After Kubrick thereby brings out the etymological debt of the word 'influence' itself: from the Latin influere, to flow into, an undetermined streaming of energy, fluid, or even unobservable forces, demonstrating that aesthetic influence is the unpredictable and impersonal capacity to produce new and surprising effects. * Eugenie Brinkema, Associate Professor, Massachusetts Institute of Technology, author of The Forms of the Affects *After Kubrick represents an infusion of rich blood into Kubrick studies and contemporary cinema studies. Contributing authors are among the finest in those fields, but this volume is not a collection of “the usual Kubrick suspects”: it extends much further than that in its inclusiveness and in its ambitious scope to cut new pathways back into Kubrick’s work and forward into emergent work. * Senses of Cinema *Table of ContentsIntroduction: 1999–2019, and Beyond: A Post-Kubrickian Odyssey (Jeremi Szaniawski, UMass Amherst, USA) 1. Stanley Kubrick’s Prototypes: the Author as World-Maker (Thomas Elsaesser, University of Amsterdam, the Netherlands) 2. “Kubrick’s Cube”: Stanley Kubrick, Judaism and his Jewish Heirs (Nathan Abrams, Bangor University, UK) 3. Kubrick’s Inheritors: Aesthetics, Independence, and Philosophy in the Films of Joel and Ethan Coen (Rodney F Hill, Hofstra University, USA) 4. Blurring the Lines between Victim and Perpetrator: Yorgos Lanthimos and Stanley Kubrick’s legacy (Pierre Simon Gutman, ESRA, France) 5. Glimpses of Eternity: Stanley Kubrick’s Time Machines (Jeremi Szaniawski, UMass Amherst, USA) 6. Kubrickian Dread: Echoes of 2001 and The Shining in Works by Jonathan Glazer, Paul Thomas Anderson, and David Lynch (Rick Warner, UNC Chapel Hill, USA) 7. Excessive and Incomplete: Kubrick’s Turing (Marta Figlerowicz, Yale University, USA) 8. Thus Spoke Kubrick: “Guide Pieces,” Modes of Citation and the Rise of the Temp Track (Adrian Daub, Stanford University, USA) 9. Fade to Crude: Petro-Horror and Kubrick’s The Shining (Pansy Duncan, Massey University, New Zealand) 10. The Anxiety of Interpretation: The Shining, Room 237I, and Film Criticism (Daniel Fairfax, Frankfurt am Main University, Germany) 11. Political Opacity in the Films of Stanley Kubrick (John Pitseys, Université Catholique de Louvain-la-Neuve, France) 12. Coping with the Unknown in 2001: A Space Odyssey and Interstellar (Mircea Deaca, University of Bucarest, Romania) 13. Biopolitical Abjection and Sexuation: Stanley Kubrick’s Political Films (Seung-hoon Jeong, NYU Abu Dhabi, United Arab Emirates) 14. Kubrick at the Museum: Post-cinematic Conditions, Limitations, and Possibilities (Jihoon Kim, Chung-Ang University, South Korea) 15. The Dead Kitten: Sacrifice in Barry Lyndon (Alexander Nemerov, Stanford University, USA) Appendix: Interview with Gaspar Noé (Pip Chodorov, Dong-Guk University, South Korea) Index

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Book SynopsisHow do we approach a figure like Mario Bava, a once obscure figure promoted to cult status? This book takes a new look at Italy's maestro of horror' but also uses his films to address a broader set of concerns. What issues do his films raise for film authorship, given that several of them were released in different versions and his contributions to others were not always credited? How might he be understood in relation to genre, one of which he is sometimes credited with having pioneered? This volume addresses these questions through a thorough analysis of Bava''s shifting reputation as a stylist and genre pioneer and also discusses the formal and narrative properties of a filmography marked by an emphasis on spectacle and atmosphere over narrative coherence and the ways in which his lauded cinematic style intersects with different production contexts. Featuring new analysis of cult classics like Kill, Baby Kill (1966) and Five Dolls for an August Moon (1970), Mario BTrade Review[A] meticulously researched new book on the Italian filmmaker … an excellent way to develop an even deeper appreciation of his work. * Cinema Retro Magazine *Leon Hunt’s Mario Bava: The Artisan as Italian Auteur is a thorough exploration of a director whose cult status has grown in recent times. Hunt explores several themes in this book, including the relation between Bava’s work and genre cinema, his status as an artisan-auteur and the broader critical reception of his work. Written in an accessible style, this book is essential reading for those interested in Italian genre cinema, cult cinema and authorship and film. * Jamie Sexton, Senior Lecturer in Film and Television Studies, Northumbria University, UK *Leon Hunt’s Mario Bava: The Artisan as Italian Horror Auteur masterfully asks and answers perennially important questions in relation to the study of the auteur and film: how can we approach a filmmaker like Bava whose achievements are often compromised by their production circumstances, and what issues do his films raise with regards to cultural value? * Dolores Tierney, Head of Film Studies at the University of Sussex, UK and co-editor of Latsploitation, Exploitation Cinemas and Latin America *Table of Contents1. Between Expendability and Connoisseurship - Situating Bava 2. Artisan or Auteur - Bava and Authorship 3. Navigating filoni- From Sword and Sandal to il gotico italiano 4. Giallo all’italiana - Bava and the ‘Italian style’ Thriller 5. The poetics of ‘Serie B’ Cinema - Bava and Film Style 6. ‘Grande stronzate’? - Reception and Reputation 8. Conclusion Bibliography Index

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