Film history, theory or criticism Books

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Book Synopsis

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Book Synopsis

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Book SynopsisMike Leigh may well be Britain’s greatest living film director; his worldview has permeated our national consciousness. Written with the co-operation of Leigh himself, this book gives detailed readings of the nine feature films he has made for the cinema, as well as an overview of his work for television.Table of ContentsIntroduction: ‘You’ve gotta laugh’1. ‘Really wants to direct’: formative years2. ‘A kind of language’: Bleak Moments3. ‘A long time in the womb’: the TV films4. ‘A different world’: High Hopes5. ‘So long as you’re happy’: Life is Sweet6. ‘The future is now’: Naked7. ‘Welcome to the family’: Secrets and Lies8. ‘All these memories’: Career Girls9. ‘Laughter – tears – curtain’: Topsy-Turvy10. ‘Life’s too short’: All or Nothing11. ‘Out of the kindness of her heart’: Vera DrakeConclusion: ‘The journey continues’Filmography

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Book SynopsisA bold and original study, this is the first book to examine in detail a new genre which evolved since the 1980s in tandem with shifts in the culture of sexuality and the rise of video - the erotic thriller.Trade ReviewShe intersperses her wryly provocative analyses of 'suspense in suspenders' or 'cops and copulation' pictures with to-the-point interviews. Williams has graced us with a witty, discerning, elegant, exhaustive study of a byzantine and meaningful genre that is, as she declares in closing, "not'just for the boys'". Much as the release of Fatal Attraction became a cultural event in 1987, the publication of this remarkable book should become an academic event in the fields of cultural studies, film studies and porn studies. The Erotic Thriller in Contemporary Cinema makes groundbreaking contributions to the study of popular film genres and to the study of pornography... Williams has demonstrated that the erotic thriller's sex-is-dangerous ehtos had ramifications beyond the frame for industry figures seduced by a risky but lucrative genre and for a culture coping with AIDS and riven by gender wars and porn debates. In the process, she has graced us with an elegant, exhaustive study of a Byzantine "genre certainly not 'just for the boys'" In this comprehensive survey of one of contemporary cinema's most popular genres, Linda Ruth Williams describes Hollywood's coupling of softcore pornography with the narratives of film noir, arguing that an analysis of these hybrid fantasies of the rich and uninhibited can provide us with a history of the desires, excitements and paranoias of the last two decades. From Basic Instinct and Fatal Attraction to Naked Obsession and Victim of Desire, Williams provides a roadmap to the exploitation cinema of the video age that is as lively as the movies it describes. -- Richard Maltby, Flinders University, Australia 'She intersperses her wryly provocative analyses of 'suspense in suspenders' or 'cops and copulation' pictures with to-the-point interviews.' - Sight and Sound Book of the Month 'Williams has graced us with a witty, discerning, elegant, exhaustive study of a byzantine and meaningful genre that is, as she declares in closing, "not'just for the boys'". Much as the release of Fatal Attraction became a cultural event in 1987, the publication of this remarkable book should become an academic event in the fields of cultural studies, film studies and porn studies.' - Journal of Film and Video, 59.1, Spring 2007, David Andrews 'The Erotic Thriller in Contemporary Cinema makes groundbreaking contributions to the study of popular film genres and to the study of pornography... Williams has demonstrated that the erotic thriller's sex-is-dangerous ethos had ramifications beyond the frame for industry figures seduced by a risky but lucrative genre and for a culture coping with AIDS and riven by gender wars and porn debates. In the process, she has graced us with an elegant, exhaustive study of a Byzantine "genre certainly not 'just for the boys'"' - The Journal of Popular Culture David Andrews, Independent Scholar, vol 39, no 4, 2006 She intersperses her wryly provocative analyses of 'suspense in suspenders' or 'cops and copulation' pictures with to-the-point interviews. Williams has graced us with a witty, discerning, elegant, exhaustive study of a byzantine and meaningful genre that is, as she declares in closing, "not'just for the boys'". Much as the release of Fatal Attraction became a cultural event in 1987, the publication of this remarkable book should become an academic event in the fields of cultural studies, film studies and porn studies. The Erotic Thriller in Contemporary Cinema makes groundbreaking contributions to the study of popular film genres and to the study of pornography... Williams has demonstrated that the erotic thriller's sex-is-dangerous ehtos had ramifications beyond the frame for industry figures seduced by a risky but lucrative genre and for a culture coping with AIDS and riven by gender wars and porn debates. In the process, she has graced us with an elegant, exhaustive study of a Byzantine "genre certainly not 'just for the boys'" In this comprehensive survey of one of contemporary cinema's most popular genres, Linda Ruth Williams describes Hollywood's coupling of softcore pornography with the narratives of film noir, arguing that an analysis of these hybrid fantasies of the rich and uninhibited can provide us with a history of the desires, excitements and paranoias of the last two decades. From Basic Instinct and Fatal Attraction to Naked Obsession and Victim of Desire, Williams provides a roadmap to the exploitation cinema of the video age that is as lively as the movies it describes. 'She intersperses her wryly provocative analyses of 'suspense in suspenders' or 'cops and copulation' pictures with to-the-point interviews.' - Sight and Sound Book of the Month 'Williams has graced us with a witty, discerning, elegant, exhaustive study of a byzantine and meaningful genre that is, as she declares in closing, "not'just for the boys'". Much as the release of Fatal Attraction became a cultural event in 1987, the publication of this remarkable book should become an academic event in the fields of cultural studies, film studies and porn studies.' - Journal of Film and Video, 59.1, Spring 2007, David Andrews 'The Erotic Thriller in Contemporary Cinema makes groundbreaking contributions to the study of popular film genres and to the study of pornography... Williams has demonstrated that the erotic thriller's sex-is-dangerous ethos had ramifications beyond the frame for industry figures seduced by a risky but lucrative genre and for a culture coping with AIDS and riven by gender wars and porn debates. In the process, she has graced us with an elegant, exhaustive study of a Byzantine "genre certainly not 'just for the boys'"' - The Journal of Popular Culture David Andrews, Independent Scholar, vol 39, no 4, 2006Table of ContentsPreface; 1. Introduction; PART ONE: BLOCKBUSTER THRILLS: EROTIC NOIR IN THE MAINSTREAM; 2. Femmes Fatales, Fall Guys and Paranoid Women: Sexual and Narrative Blueprints; 3. 'Meisters of Porno-Noir': Key Players in the Cinematic Erotic Thriller; PART TWO: SUSPENSE IN SUSPENDERS: THE DIRECT-TO-VIDEO EROTIC THRILLER; 4. Softcore on the Sofa; 5. The Bad and the Beautiful: Key Players in the Direct-to-Video Erotic Thriller; 6. Uncovered and Undercover: Issues in the Direct-to-Video Thriller; Conclusion: The Erotic Thriller's Hybrid Children; Afterword; Bibliography; Filmography.

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Book SynopsisBringing together some of the most influential international scholars on the subject, this anthology provides a detailed, diverse and accessible perspective on music in the cinema.Table of ContentsContents; Introduction; Chapter One:; The Hidden Heritage of Film Music: History and Scholarship; K. J. Donnelly; Chapter Two:; Analytical and Interpretive Approaches to Film Music (I): Analysing the Music; David Neumeyer and James Buhler; Chapter Three:; Analytical and Interpretive Approaches to Film Music (II): Analysing Interactions of Music and Film; James Buhler; Chapter Four:; 'In the Mix': How Electrical Producers Facilitated the Transition to Sound in British Cinemas; Michael Allen; Chapter Five:; King Kong and Film on Music (Out of the Fog); Peter Franklin; Chapter Six:; The Dies Irae in Citizen Kane: Musical Hermeneutics Applied to Film Music; William H. Rosar; Chapter Seven:; The Documentary Film Scores of Gail Kubik; Alfred W. Cochran; Chapter Eight:; Embracing Kitsch: Werner Schroeter, Music and The Bomber Pilot; Caryl Flinn; Chapter Nine:; Performance and the Composite Film Score; K.J. Donnelly;; Chapter Ten:; Sound and Empathy: Subjectivity, Gender and the Cinematic Soundscape; Robynn J. Stilwell; Chapter Eleven:; 'Would You like to Hear Some Music?' Music in-and-out-of-control in the Films of Quentin Tarantino; Ken Garner; Contributors.

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Book SynopsisThe horror film analysed from a Deleuzian perspectiveTrade ReviewPowell's book is brimming with ideas, focusing as she does on style, movement and time. Through the practice of her beautifully rendered close analysis she makes an excellent case for returning to Deleuze and Bergson. -- Tanya Krzywinska Gothic Studies Anna Powell's book is both visceral and intellectual. It deftly combines attentive accounts of specific films with broader theoretical speculation. Powell gets to the heart of what's compelling and addictive about horror films: their rhythms and intensities, the feelings they arouse, the ways they get under the skin of the viewer. -- Professor Steven Shaviro, Wayne State University With its complex but fresh theories and inviting style, this work will enhance both film and gothic studies collections. Choice It is always satisfying to read a thoughtful and inventive contribution to the discipline, especially when it challenges the standard and recommended procedure of doing things... [Powell] applies Deleuzian models to horror film and demonstrates that the mind of the spectator is indeed transformed, his perceptions altered, and the "mundane modes of consciousness" (201) are extended and changed. Most importantly, Powell's examination should begin to reset the way in which films are discussed and explored. -- Edmund P. Cueva, Xavier University SCOPE: An Online Journal of Film Studies Anna Powell's study seems an unlikely mash-up, combining the free-wheeling musings of French philosopher Gilles Deleuze on art cinema with the visceral frisson of an oft-despised genre, but the combination proves surprisingly fruitful... For the serious horror film scholar, Powell's study offers a welcome addition to the existing theoretical works. For the serious horror fan who does not quail before academic jargon, the book will open up many favorite films to additional aesthetic perspectives. For Deleuzian scholars, it may well provide new insight into the usefulness of frameworks usually applied only to a rarified genre of films-it may even offer the opportunity to appreciate the complexity of the much-maligned horror genre. -- K. A. Laity Journal of the Fantastic in the ArtsTable of Contents1. The Affects of Horror; 2. Schizoanalysis; 3. Becoming-Animal, Becoming-Woman (Becoming-Monster); 4. Fractured Time; 5. Body-Horror/Body Without Organs; 6. Aesthetics of Horror; i) "The Movement Image"; ii) Molecularity; iii) Light and Shadow; 7. Conclusion: The Neuro-Aesthetics of Film: An Evaluation.

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Book SynopsisThis book provides an overview of the cinemas of Europe, the Middle East, East Asia and South Asia, interpreting some of the recent developments as strategic responses to globalisation. Highlighting transnational and cross-cultural structures, influences and themes.Trade ReviewChaudhuri's thinking is clean, complex, important, scholarly, and informed ! A blurb on the back says the book is "vital" for students and teachers of film. And it really is. Her book is fluent and readable, and should encourage film students to explore further. This book is an indispensable introductory tool that grants readers insights into some of the most exciting and diverse global cinematic movements and styles on screens today. Forum for Modern Language Studies Chaudhuri's thinking is clean, complex, important, scholarly, and informed ! A blurb on the back says the book is "vital" for students and teachers of film. And it really is. Her book is fluent and readable, and should encourage film students to explore further. This book is an indispensable introductory tool that grants readers insights into some of the most exciting and diverse global cinematic movements and styles on screens today.Table of ContentsIntroduction; PART ONE: EUROPE; 1. Overview of European Cinema; 2. Case Study: Scandinavian Cinema; PART TWO: THE MIDDLE EAST; 3. Overview of Middle Eastern Cinema; 4. Case Study: New Iranian Cinema; PART THREE: EAST ASIA; 5. Overview of East-Asian Cinema; 6. Case Study: Hong Kong Cinema; PART FOUR: THE INDIAN SUB-CONTINENT; 7. Overview of Cinema of the Indian Sub-continent; 8. Case Study: Indian Cinema; Conclusion; Glossary; Further Reading (including Filmography).

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Book SynopsisA wide-ranging analysis of modern South Korean cinema.Trade ReviewA vital addition to the body of work available to those teaching Asian cinema in the west. It is a clearly structured and well written series of approaches to Korean Cinema. -- Screening the Past Among the most popular cinemas in Asia and increasingly visible and influential in Europe and the US, recent films from South Korea did not arise out of nowhere. This volume, drawing on scholars from three continents, including many native Korean speakers and scholars, provides a wealth of material for understanding the socio-cultural context out of which these popular films arose and in which they are consumed. Yet its greatest contribution may very well be in analysing not just the 'why' of Korean cinema, but the "how" - how the Korean film industry remade itself in the early 1990s to become a veritable juggernaut at home and abroad, a major player in global film culture, arguably more important on the world stage today than either the Japanese or Hong Kong cinemas. To this end, the volume provides insightful glimpses into under-appreciated areas within global film studies, such as the significance of film financing and film festivals; the mobilisation of film genre (Horror, comedy, melodrama); and issues of gender and sexuality. Not just a must-read for scholars of Korean film and culture, or Asian cinema, but a major intervention into the study of global media production and consumption. -- David Desser, Unit for Cinema Studies, University of Illinois at Champaign-Urbana A vital addition to the body of work available to those teaching Asian cinema in the west. It is a clearly structured and well written series of approaches to Korean Cinema. Among the most popular cinemas in Asia and increasingly visible and influential in Europe and the US, recent films from South Korea did not arise out of nowhere. This volume, drawing on scholars from three continents, including many native Korean speakers and scholars, provides a wealth of material for understanding the socio-cultural context out of which these popular films arose and in which they are consumed. Yet its greatest contribution may very well be in analysing not just the 'why' of Korean cinema, but the "how" - how the Korean film industry remade itself in the early 1990s to become a veritable juggernaut at home and abroad, a major player in global film culture, arguably more important on the world stage today than either the Japanese or Hong Kong cinemas. To this end, the volume provides insightful glimpses into under-appreciated areas within global film studies, such as the significance of film financing and film festivals; the mobilisation of film genre (Horror, comedy, melodrama); and issues of gender and sexuality. Not just a must-read for scholars of Korean film and culture, or Asian cinema, but a major intervention into the study of global media production and consumption.Table of ContentsIntroduction; JULIAN STRINGER; Part I: Forging a New Cinema; 1; Contemporary Cultural Production in South Korea: Vanishing Meta-Narratives of Nation; MICHAEL ROBINSON; 2; The Korean Film Industry: 1992 to the Present; DARCY PAQUET; 3; Globalization and New Korean Cinema; JEEYOUNG SHIN; 4; 'Chunhyang': Marketing an Old Tradition in New Korean Cinema; HYANGJIN LEE; 5; 'Cine-Mania' or Cinephilia: Film Festivals and the Identity Question; SOYOUNG KIM; Part II: Generic Transformations; 6; Putting Korean Cinema in Its Place: Genre Classifications and the Contexts of Reception; JULIAN STRINGER; 7; Horror as Critique in 'Tell Me Something' and 'Sympathy for Mr; Vengeance'; KYU HYUN KIM; 8; Two of a Kind: Gender and Friendship in 'Friend' and 'Take Care of My Cat'; CHI-YUN SHIN; 9; 'Just Because': Comedy, Melodrama, and Youth Violence in Attack the Gas Station; NANCY ABELMANN AND JUNG-AH CHOI; 10; All at Sea?: National History and Historiology in Soul's Protest and Phantom, the Submarine; CHRIS BERRY; Part III: Social Change and Civil Society; 11; Peppermint Candy: The Will Not to Forget; AARON HAN JOON MAGNAN-PARK; 12; The Awkward Traveler in 'Turning Gate'; KYUNG HYUN KIM; 13; Memento Mori and Other Ghostly Sexualities; ANDREW GROSSMAN AND JOORAN LEE; 14; Interethnic Romance and Political Reconciliation in 'Asako in Ruby Shoes'; HYE SEUNG CHUNG AND DAVID SCOTT DIFFRIENT; Glossary of Key Terms; CHI-YUN SHIN; Bibliography of Works on Korean Cinema; SOOJEONG AHN.

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Book SynopsisAn introduction to a wide range of traditions in world cinema.Trade ReviewTraditions in World Cinema takes a more sophisticated and wide-ranging approach! This collection contains plenty of useful and informative material [and] several chapters throw light on neglected corners of cinematic history. Times Higher Education Supplement Traditions in World Cinema takes a more sophisticated and wide-ranging approach! This collection contains plenty of useful and informative material [and] several chapters throw light on neglected corners of cinematic history.Table of ContentsPreface (Toby Miller); Introduction (Linda Badley & R. Barton Palmer); I. European Traditions; 1. German Expressionism (J.P. Telotte); 2. Italian Neorealism (Peter Bondanella); 3. The French New Wave (Richard Neupert); 4. The British New Wave (R. Barton Palmer); II. Central, Eastern and Northern European Traditions; 5. The Czechoslovak New Wave (Peter Hames); 6. Danish Dogma (Linda Badley); 7. Post-Communist Cinema (Christina Stojanova); III. South American Traditions; 8. Post-Cinema Novo Brazilian Cinema (Randal Johnson); 9. New Argentine Cinema (Myrto Konstantarakos); IV. African and Middle Eastern Traditions; 10. Early Cinematic Traditions in Africa (Roy Armes); 11. Israeli Persecution Films (Nitzan Ben-Shaul); 12. New Iranian Cinema (Negar Mottahedeh); V. Asian Traditions; 13. Popular Hindi Cinema and the Film Song (Corey Creekmur); 14. Chinese Melodrama (Stephen Teo); 15. Japanese Horror Cinema (Jay McRoy); VI. American and Transnational Traditions; 16. The 'New' American Cinema (Robert Kolker); 17. The Global Art of Found Footage Cinema (Adrian Danks).

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Book SynopsisThis broad-ranging survey considers the importance of the Western in American history. It explores the interconnections between the Western (in literature, film and history) and America in the 20th centuryTrade ReviewThe American Western places depictions of the West into the complex history and spectacular landscape of this emblematically American region McVeigh's work lays claim to an impressive, interdisciplinary field of study. It should be read, taught, and appreciated. -- Professor Eric Sandeen, University of Wyoming The American Western places depictions of the West into the complex history and spectacular landscape of this emblematically American region McVeigh's work lays claim to an impressive, interdisciplinary field of study. It should be read, taught, and appreciated.Table of ContentsPreface 1. The American West in the 1890s -- a Pivotal Decade 2. Founding Western History: Theodore Roosevelt and Frederick Jackson Turner 3. Buffalo Bill's Wild West and the Codification of the Western 4. Western Literature from The Virginian to Shane 5. Western Film from Silent to Noir 6. The Western and the Cold War: the Gunfighter, Heroic Leadership and Political Culture 7. New Western Perspectives: History and Literature 8. The Western and Political Culture 1960--1992: Revisions of Shane 9. Wanted Dead or Alive: 9/11 and the American Western Bibliography Index

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Book SynopsisThis broad-ranging survey considers the importance of the Western in American history. It explores the interconnections between the Western (in literature, film and history) and America in the 20th centuryTrade ReviewThe American Western places depictions of the West into the complex history and spectacular landscape of this emblematically American region McVeigh's work lays claim to an impressive, interdisciplinary field of study. It should be read, taught, and appreciated. -- Professor Eric Sandeen, University of Wyoming Taken as a while The American Western further demonstrates the ongoing contemporaneous appeal and diverse meanings of the nation's frontier past... there is considerable merit in the author's integration of teh historical and literary along with cinematic depictions that illustrate the importance of the West in American political culture. -- John H Lenihan, Texas A&M University Western Historical Review The American Western places depictions of the West into the complex history and spectacular landscape of this emblematically American region McVeigh's work lays claim to an impressive, interdisciplinary field of study. It should be read, taught, and appreciated. Taken as a while The American Western further demonstrates the ongoing contemporaneous appeal and diverse meanings of the nation's frontier past... there is considerable merit in the author's integration of teh historical and literary along with cinematic depictions that illustrate the importance of the West in American political culture.Table of ContentsPreface 1. The American West in the 1890s -- a Pivotal Decade 2. Founding Western History: Theodore Roosevelt and Frederick Jackson Turner 3. Buffalo Bill's Wild West and the Codification of the Western 4. Western Literature from The Virginian to Shane 5. Western Film from Silent to Noir 6. The Western and the Cold War: the Gunfighter, Heroic Leadership and Political Culture 7. New Western Perspectives: History and Literature 8. The Western and Political Culture 1960--1992: Revisions of Shane 9. Wanted Dead or Alive: 9/11 and the American Western Bibliography Index

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Book SynopsisAn introduction to some of the issues and concerns arising from the concept of film remaking.Trade ReviewConstantine's Verevis's recent study is a welcome addition to the growing discourse on the sea of topics that 'remakes' embrace that will prove invaluable for students, scholars of media studies as well as for disciplined general readers of cinematic culture. In this groundbreaking study, Constantine Verevis explores an aspect of commercial film production interesting to the scholar and movie enthusiast alike: remaking. Film remakes can be profitably viewed from a number of perspectives, and this book provides an intriguing and revealing anatomy of the phenomenon. Verevis writes with verve and insight; an important feature of Film Remakes is the series of individual analyses that sparkle with revealing and intelligent comment as they clarify general points about remaking. Though theoretically informed, this book is wonderfully accessible to the general reader. -- R. Barton Palmer, Calhoun Lemon Professor of Literature at Clemson University A fine work of scholarship, Film Remakes promises to change the way we think about the phenomenon of the remake, and indeed about films, culture and intertextuality. This is the most authoritative, subtle and complex work on the cinematic remake that I have encountered. Verevis moves elegantly between history, theoretical argument and case studies -- Lesley Stern, Professor of Film and Media, Visual Arts Department, University of California, San Diego "Constantine's Verevis's recent study is a welcome addition to the growing discourse on the sea of topics that 'remakes' embrace that will prove invaluable for students, scholars of media studies as well as for disciplined general readers of cinematic culture." - Screeing the Past, online journal, Issue 20 Constantine's Verevis's recent study is a welcome addition to the growing discourse on the sea of topics that 'remakes' embrace that will prove invaluable for students, scholars of media studies as well as for disciplined general readers of cinematic culture. In this groundbreaking study, Constantine Verevis explores an aspect of commercial film production interesting to the scholar and movie enthusiast alike: remaking. Film remakes can be profitably viewed from a number of perspectives, and this book provides an intriguing and revealing anatomy of the phenomenon. Verevis writes with verve and insight; an important feature of Film Remakes is the series of individual analyses that sparkle with revealing and intelligent comment as they clarify general points about remaking. Though theoretically informed, this book is wonderfully accessible to the general reader. A fine work of scholarship, Film Remakes promises to change the way we think about the phenomenon of the remake, and indeed about films, culture and intertextuality. This is the most authoritative, subtle and complex work on the cinematic remake that I have encountered. Verevis moves elegantly between history, theoretical argument and case studies "Constantine's Verevis's recent study is a welcome addition to the growing discourse on the sea of topics that 'remakes' embrace that will prove invaluable for students, scholars of media studies as well as for disciplined general readers of cinematic culture." - Screeing the Past, online journal, Issue 20Table of Contents1. Introduction: Remaking Film; 2. Commerce; 3. Authors; 4. Texts; 5. Genres; 6. Audiences; 7. Discourse; 8. Conclusion: Remaking Everything.

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Book SynopsisAn introduction to some of the issues and concerns arising from the concept of film remaking.Trade ReviewConstantine's Verevis's recent study is a welcome addition to the growing discourse on the sea of topics that 'remakes' embrace that will prove invaluable for students, scholars of media studies as well as for disciplined general readers of cinematic culture. Screening the Past In this groundbreaking study, Constantine Verevis explores an aspect of commercial film production interesting to the scholar and movie enthusiast alike: remaking. Film remakes can be profitably viewed from a number of perspectives, and this book provides an intriguing and revealing anatomy of the phenomenon. Verevis writes with verve and insight; an important feature of Film Remakes is the series of individual analyses that sparkle with revealing and intelligent comment as they clarify general points about remaking. Though theoretically informed, this book is wonderfully accessible to the general reader. -- R. Barton Palmer, Calhoun Lemon Professor of Literature at Clemson University A fine work of scholarship, Film Remakes promises to change the way we think about the phenomenon of the remake, and indeed about films, culture and intertextuality. This is the most authoritative, subtle and complex work on the cinematic remake that I have encountered. Verevis moves elegantly between history, theoretical argument and case studies -- Lesley Stern, Professor of Film and Media, Visual Arts Department, University of California, San Diego "Constantine's Verevis's recent study is a welcome addition to the growing discourse on the sea of topics that 'remakes' embrace that will prove invaluable for students, scholars of media studies as well as for disciplined general readers of cinematic culture." - Screeing the Past, online journal, Issue 20 The book offers an elegant and insightful review of previous scholarly writing on film remakes and a series of case-studies -- ranging from close textual analyses to the exploration of fan, copyright and industrial discourses -- that pin down the remake in both a critical and historical fashion, offering both students and scholars an essential guide to approach film remakes. SCOPE: An Online Journal of Film Studies Constantine's Verevis's recent study is a welcome addition to the growing discourse on the sea of topics that 'remakes' embrace that will prove invaluable for students, scholars of media studies as well as for disciplined general readers of cinematic culture. In this groundbreaking study, Constantine Verevis explores an aspect of commercial film production interesting to the scholar and movie enthusiast alike: remaking. Film remakes can be profitably viewed from a number of perspectives, and this book provides an intriguing and revealing anatomy of the phenomenon. Verevis writes with verve and insight; an important feature of Film Remakes is the series of individual analyses that sparkle with revealing and intelligent comment as they clarify general points about remaking. Though theoretically informed, this book is wonderfully accessible to the general reader. A fine work of scholarship, Film Remakes promises to change the way we think about the phenomenon of the remake, and indeed about films, culture and intertextuality. This is the most authoritative, subtle and complex work on the cinematic remake that I have encountered. Verevis moves elegantly between history, theoretical argument and case studies "Constantine's Verevis's recent study is a welcome addition to the growing discourse on the sea of topics that 'remakes' embrace that will prove invaluable for students, scholars of media studies as well as for disciplined general readers of cinematic culture." - Screeing the Past, online journal, Issue 20 The book offers an elegant and insightful review of previous scholarly writing on film remakes and a series of case-studies -- ranging from close textual analyses to the exploration of fan, copyright and industrial discourses -- that pin down the remake in both a critical and historical fashion, offering both students and scholars an essential guide to approach film remakes.Table of Contents1. Introduction: Remaking Film; 2. Commerce; 3. Authors; 4. Texts; 5. Genres; 6. Audiences; 7. Discourse; 8. Conclusion: Remaking Everything.

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Book SynopsisThe scope of this collection is indicative of the breadth and diversity of music''s role in cinema, as is its emphasis on musical contributions to ''non-musical'' films. By bringing together chapters that are concerned both with the relationship between performance, music and film and the specificity of national, historical, social, and cultural contexts, Film''s Musical Moments will be of equal importance to students of film studies, cultural studies and music. The book is organised into four sections: Music, Film, Culture focuses on cinema representations of music forms; Stars, Performance and Reception explores stars, fan cultures and intertextuality; The Post-Classical Hollywood Musical considers the importance of popular music to contemporary cinema; and Beyond Hollywood looks to specific national contexts.Trade ReviewFilm's Musical Moments will be of use to film and TV scholars, as well as scholars whose work is more directly focused on music in media. It is a promising first entry in the Edinburgh University Press's 'Music & the Moving Image' series. -- Paul N. Reinsch, University of Southern California Film International The strength of Film's Musical Moments is ultimately based on the strength of the individual contributions. Yet this is something more than a collection of articles about music in film... [a] welcome addition to the literature on film's musical nature. -- Guy Barefoot Journal of British Cinema and Television Film's Musical Moments is a refreshing look at music in film, specifically musical performance within film... [It] is the first from the 'Music and the Moving Image' series edited by Kevin Donnelly, and if this book is any indication of what the later books in this series will be like, the study of music, film, popular culture, and other media will continue to open up, offering new or fresh perspectives within each respected field while being complementary and interrelated with one another. -- Lara Hrycaj, Wayne State University SCOPE: An Online Journal of Film Studies Covers a wide variety of cinematic texts and traditions in its attempts to dissect the various guises and effects of the musical moment, and its genuiniely interdisciplinary nature makes it a valuable resource for researchers working in many different areas of scholarship. -- Catherine Haworth Music, Sound and the Moving Image Film's Musical Moments will be of use to film and TV scholars, as well as scholars whose work is more directly focused on music in media. It is a promising first entry in the Edinburgh University Press's 'Music & the Moving Image' series. The strength of Film's Musical Moments is ultimately based on the strength of the individual contributions. Yet this is something more than a collection of articles about music in film... [a] welcome addition to the literature on film's musical nature. Film's Musical Moments is a refreshing look at music in film, specifically musical performance within film... [It] is the first from the 'Music and the Moving Image' series edited by Kevin Donnelly, and if this book is any indication of what the later books in this series will be like, the study of music, film, popular culture, and other media will continue to open up, offering new or fresh perspectives within each respected field while being complementary and interrelated with one another. Covers a wide variety of cinematic texts and traditions in its attempts to dissect the various guises and effects of the musical moment, and its genuiniely interdisciplinary nature makes it a valuable resource for researchers working in many different areas of scholarship.Table of ContentsIntroduction; PART I: MUSIC, FILM, CULTURE; 1. Jazz, Ideology and the Animated Cartoon; 2. A Short History of the Big Band Musical; 3. Television, the Pop Industry and the Hollywood Musical; 4. The Operatic in New German Cinema; PART II: STARS, PERFORMANCE AND RECEPTION; 5. Jack Buchanan and the British Musical Comedy of the 1930s; 6. Star Personae and Authenticity in the Country Music Biopic; 7. Stardom, Reception and the ABBA 'Musical'; PART III: THE POST-CLASSICAL HOLLYWOOD MUSICAL; 8. Musical Performance and the Cult Film Experience; 9. The Soundtrack Movie, Nostalgia and Consumption; 10. Youth, Excess and the Musical Moment; 11. Music, Film and Post-Stonewall Gay Identity; PART IV: BEYOND HOLLYWOOD; 12. Early Danish Musical Comedies, 1931-1939; 13. Film Musicals in the GDR; 14. The Bollywood Musical.

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Book SynopsisThis bold new collection offers an innovative discussion of Shakespeare on screen after the millennium. Cutting-edge, and fully up-to-date, it surveys the rich field of Bardic film representations, from Michael Almereyda''s Hamlet to the BBC ''Shakespea(Re)-Told'' season, from Michael Radford''s The Merchant of Venice to Peter Babakitis'' Henry V. In addition to offering in-depth analyses of all the major productions, Screening Shakespeare in the Twenty-First Century includes reflections upon the less well-known filmic ''Shakespeares'', which encompass cinema advertisements, appropriations, post-colonial reinventions and mass media citations, and which move across and between genres and mediums.Arguing that Shakespeare is a magnet for negotiations about style, value and literary authority, the essays contend that screen reinterpretations of England''s most famous dramatist simultaneously address concerns centred upon nationality and ethnicity, gender and romance, and ''McDonaldisation'' and the political process, thereby constituting an important intervention in the debates of the new century. As a result, through consideration of such offerings as the Derry Film Initiative Hamlet, the New Zealand The Maori Merchant of Venice and the television documentary In Search of Shakespeare, this collection is able to assess as never before the continuing relevance of Shakespeare in his local and global screen incarnations.Trade ReviewThe ten essays in this collection ! have something new and special to offer. The book is cutting-edge not only because it is sharply focused on the latest screen versions of Shakespeare, but also because of its twenty-first century approach to the subject. Brings the study of Shakespeare on film bang up to date...These are engaged and provocative critical assessments of twenty-first-century Shakespeare and post-millennial culture in general. -- Ewan Fernie, Department of English, Royal Holloway College, University of London The editors' period- and theme-based approach offers (in addition to the excitement of genuinely new and illuminating approaches) real clarity and direction. -- Peter S. Donaldson, Department of Literature, MIT, & Director of the Shakespeare Electronic Archive Screening Shakespeare is the first anthology specifically to address screen Shakespeare in the new millennium ... this consistently superb collection offers the critical state of the art. ... The contributions are so strong that it is difficult to single out essays for special praise. ...provides refreshing and current insight... Film & History The ten essays in this collection ! have something new and special to offer. The book is cutting-edge not only because it is sharply focused on the latest screen versions of Shakespeare, but also because of its twenty-first century approach to the subject. Brings the study of Shakespeare on film bang up to date...These are engaged and provocative critical assessments of twenty-first-century Shakespeare and post-millennial culture in general. The editors' period- and theme-based approach offers (in addition to the excitement of genuinely new and illuminating approaches) real clarity and direction. Screening Shakespeare is the first anthology specifically to address screen Shakespeare in the new millennium ... this consistently superb collection offers the critical state of the art. ... The contributions are so strong that it is difficult to single out essays for special praise. ...provides refreshing and current insight...Table of ContentsIntroduction; Mark Thornton Burnett and Ramona Wray; 1. 'If I'm right': Michael Wood's In Search of Shakespeare, Richard Dutton; 2. 'I see my father' in 'my mind's eye': Surveillance and the Filmic Hamlet, Mark Thornton Burnett; 3. Backstage Pass(ing): Stage Beauty, Othello and the Make-up of Race, Richard Burt; 4. The Postnostalgic Renaissance: The 'Place' of Liverpool in Don Boyd's My Kingdom, Courtney Lehmann; 5. Our Shakespeares: British Television and the Strains of Multiculturalism, Susanne Greenhalgh and Robert Shaughnessy; 6. Looking for Shylock: Stephen Greenblatt, Michael Radford and Al Pacino, Samuel Crowl; 7. Speaking Maori Shakespeare, Catherine Silverstone; 8. 'Into a thousand parts divide one man', Sarah Hatchuel; 9. Screening the McShakespeare in Post-Millenial Shakespeare Cinema; 10. Shakespeare and the Singletons, Ramona Wray; Notes on Contributors; Index.

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Book SynopsisA textbook introduction to Japanese horror cinema, divided into broad thematic areas.Trade ReviewScholars and spectators of world cinema coming to Japanese horror will find much to whet their appetites here, and will take away a solid grounding in the roots of this particular genre, presented accessibly and sincerely throughout. -- Timothy Iles, Associate Professor, Department of Pacific and Asian Studies, University of Victoria Electronic Journal of Contemporary Japanese Studies Even though this book is primarily oriented toward an audience with film and media background, it can be appealing to anyone who is interested in Japanese horror movies and Japanese anime and manga. In fact, through sustained references to Japanese mythology and folktales, it provides the reader with a deep insight into Japanese culture and the Western influence on its evolution. This book can actually be considered an original analysis of a transversal type of transformative work because it showcases the continuous cross-cultural influences between the United States/Europe and Japan that are elaborated and incorporated in each country's movie production. Of particular interest are the author's frequent comparisons with American horror that underline Western and Eastern cultural differences and how they are reflected through a film genre that has universal connotations. Thus, the book successfully overcomes Western readers' possible biases and allows them to fully understand the intrinsic meaning of symbols and archetypes that permeate the Japanese horror genre. -- Alessia Alfieroni Transformative Works and Cultures Scholars and spectators of world cinema coming to Japanese horror will find much to whet their appetites here, and will take away a solid grounding in the roots of this particular genre, presented accessibly and sincerely throughout. Even though this book is primarily oriented toward an audience with film and media background, it can be appealing to anyone who is interested in Japanese horror movies and Japanese anime and manga. In fact, through sustained references to Japanese mythology and folktales, it provides the reader with a deep insight into Japanese culture and the Western influence on its evolution. This book can actually be considered an original analysis of a transversal type of transformative work because it showcases the continuous cross-cultural influences between the United States/Europe and Japan that are elaborated and incorporated in each country's movie production. Of particular interest are the author's frequent comparisons with American horror that underline Western and Eastern cultural differences and how they are reflected through a film genre that has universal connotations. Thus, the book successfully overcomes Western readers' possible biases and allows them to fully understand the intrinsic meaning of symbols and archetypes that permeate the Japanese horror genre.Table of ContentsIntroduction; PART I: ORIGINS; 1. Laying the Foundations; 2. Horror after Hiroshima; 3. Deceitful Samurais and Wronged Women; 4. The Erotic Ghost Story; PART II: GENRE; 5. Rape and Revenge: from violation to vengeance; 6. Zombies, Cannibals and the Living Dead; 7. Haunted Houses and Family Melodrama; 8. Serial Killers and Slashers Japanese Style; 9. Techno-Horror and Urban Alienation; Conclusion.

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Book SynopsisA series of studies on small national (or sub-national) cinemasTrade ReviewA fabulous read - finding out about these cinemas was almost like reading detective fiction - unveiling, as the book does, the enigmatic nature of small nations' cinemas and giving the reader insights and knowledges heretofore squirreled away. -- Professor Susan Hayward, University of Exeter It's astonishing that we have had to wait until now to get our hands on this timely, informative, and lively volume. The Cinema of Small Nations offers us a rich overview of what this very important but underappreciated phenomenon might mean. How do films get produced and, under the sign of various national cultures, attached to states that are on the small side, geographically, demographically, and politically? How do these works then circulate on local turf and across the globe? These questions are addressed via rich and theoretically informed case studies from leading scholars in each area. After reading this book, it is impossible to speak of world cinema, national cultures, or globalization in easy platitudes. -- Professor Faye Ginsburg, New York University The introduction offers an excellent conceptual framework to situate the case studies... The strength of the volume lies in its multilevel analysis: going beyond, but not excluding, textual analysis. The reader gets a detailed and balanced overview of the major issues of film industry and culture within a wide variety of small nations! The collection is a timely and important contribution to the study of national and global cinemas and a highly recommendable read for a wide audience. It provides a view on a wide variety of national cinemas worldwide. -- Philippe Meers, University of Antwerp Historical Journal of Film, Radio and Television A fabulous read - finding out about these cinemas was almost like reading detective fiction - unveiling, as the book does, the enigmatic nature of small nations' cinemas and giving the reader insights and knowledges heretofore squirreled away. It's astonishing that we have had to wait until now to get our hands on this timely, informative, and lively volume. The Cinema of Small Nations offers us a rich overview of what this very important but underappreciated phenomenon might mean. How do films get produced and, under the sign of various national cultures, attached to states that are on the small side, geographically, demographically, and politically? How do these works then circulate on local turf and across the globe? These questions are addressed via rich and theoretically informed case studies from leading scholars in each area. After reading this book, it is impossible to speak of world cinema, national cultures, or globalization in easy platitudes. The introduction offers an excellent conceptual framework to situate the case studies... The strength of the volume lies in its multilevel analysis: going beyond, but not excluding, textual analysis. The reader gets a detailed and balanced overview of the major issues of film industry and culture within a wide variety of small nations! The collection is a timely and important contribution to the study of national and global cinemas and a highly recommendable read for a wide audience. It provides a view on a wide variety of national cinemas worldwide.Table of ContentsIntroduction (Mette Hjort and Duncan Petrie); PART ONE: EUROPE; Denmark (Mette Hjort); Iceland (Bjorn Nordfjord); Ireland (Martin McLoone); Scotland (Jonathan Murray); Bulgaria (Dina Iordanova); PART TWO: ASIA AND OCEANIA; Hong Kong (Ackbar Abbas); Singapore (See Kam Tan & Jeremy Fernando); Taiwan (James Udden); New Zealand (Duncan Petrie); PART THREE: THE AMERICAS AND AFRICA; Cuba (Ana M. Lopez); Burkina Faso (Eva Jorholt); Tunisia (Florence Martin)

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Book SynopsisA monograph exploring the ways in which Deleuze's philosophy of time can enhance our understanding of contemporary mainstream cinema.Trade ReviewThis book fruitfully and originally combines three areas of investigation: recent cinema, Deleuzean film theory, and national identity... This is a timely and well-informed addition to current discussions in Anglophone film studies. Forum for Modern Language Studies Deleuze, Cinema and National Identity tackles the burning questions of globalisation. While critiquing the dated, European, even French nature of Deleuzian philosophy, David Martin-Jones brings out its contemporary relevance in a global context. !The strength of the analyses, and the work as a whole lies in its avoidance of triumphalism, whether national or transnational. Applied to such highly political questions, the notions of deterritorialisation and reterritorialisation emerge in all their complexity and power. (original quote in French) Question de Communication An impressive feat, and a model for future scholarship in this vein. Martin-Jones makes Deleuze 'matter' in that his historical perspective stresses that the Deleuzian distinction between time- and movement-images is not merely formal, but deeply political. Screen David Martin-Jones' Deleuze, Cinema and National Identity is one of the standout books of the year. Martin-Jones provides a profound and original reassessment of Gilles Deleuze's own concepts of style and history in modern cinema. At the same time, the book goes beyond Deleuze, indeed displaces his thought on to new territories. With his engaging and deeply thoughtful analyses of mixtures of movement and time in contemporary world cinema, Martin-Jones takes us beyond movement and time-images towards something like a new genre-hybrid global cinemas where questions of national identity are deterritorialised within and across borders and cultures. This is a remarkable book. -- Professor David Rodowick, Harvard University Martin-Jones combines theoretical insights with a profound knowledge of various national cinemas and sharp analytical observations. His reading of a challengingly wide selection of contemporary films as Deleuzian time-images 'caught in the act' of becoming movement-images in relation to national identity offers a convincing and important contribution to film studies and to Deleuzian scholarship. -- Laura Marks, Simon Fraser University Martin-Jones is able to argue for the manifestation of the relationship between history and memory via a particular film's focus on narrative time, and thus re-engage his textual analysis with the particular national cinema's political or historical context. Given that such a project gestures to the potential of film analysis for constructive political critique and cultural analysis, this volume posits an intervention in film studies' discursive formation. -- Sharon Lin Tay Screening the Past Rather than producing another philosophical explication of Deleuze's Eurocentrically inflected cinema books, Deleuze, Cinema and National Identity mobilises their concepts by engaging them in critical and creative action in a crucial new field! By moving from the letter to the spirit of Deleuzian critique, Martin-Jones's lucid, impressively argued book makes a provocative intervention in both Deleuze studies and film studies. This distinctive and politically engaged assemblage demands our closest attention. -- Anna Powell, University of Manchester Deleuze Studies Underpinning Deleuze, Cinema and National Identity is a debate as to where and how Deleuze can fit into the broader remit of the academic discipline of Film Studies. For this, as well as Martin-Jones's talent for opening up a discussion of (often) convoluted theoretical concepts in a manner that is as lucid as it is accessible, the book will, one imagines, find a broad readership in both Film Studies and Deleuze Studies. -- Will Higbee, University of Exeter Film-Philosophy Martin-Jones' book contains suggestive lines of inquiry for the analysis of the question of national identity in cinema. He manages to construct a theoretical model able to think through multiple perspectives when discussing national identity, narrative and nationality as interconnected dimensions. Secuencias: Revista de Historia del Cine A useful and even essential book for considerations of transnationalism as an emerging concept in the critical discourse of world cinema. SCOPE: An Online Journal of Film Studies This book fruitfully and originally combines three areas of investigation: recent cinema, Deleuzean film theory, and national identity... This is a timely and well-informed addition to current discussions in Anglophone film studies. Deleuze, Cinema and National Identity tackles the burning questions of globalisation. While critiquing the dated, European, even French nature of Deleuzian philosophy, David Martin-Jones brings out its contemporary relevance in a global context. !The strength of the analyses, and the work as a whole lies in its avoidance of triumphalism, whether national or transnational. Applied to such highly political questions, the notions of deterritorialisation and reterritorialisation emerge in all their complexity and power. (original quote in French) An impressive feat, and a model for future scholarship in this vein. Martin-Jones makes Deleuze 'matter' in that his historical perspective stresses that the Deleuzian distinction between time- and movement-images is not merely formal, but deeply political. David Martin-Jones' Deleuze, Cinema and National Identity is one of the standout books of the year. Martin-Jones provides a profound and original reassessment of Gilles Deleuze's own concepts of style and history in modern cinema. At the same time, the book goes beyond Deleuze, indeed displaces his thought on to new territories. With his engaging and deeply thoughtful analyses of mixtures of movement and time in contemporary world cinema, Martin-Jones takes us beyond movement and time-images towards something like a new genre-hybrid global cinemas where questions of national identity are deterritorialised within and across borders and cultures. This is a remarkable book. Martin-Jones combines theoretical insights with a profound knowledge of various national cinemas and sharp analytical observations. His reading of a challengingly wide selection of contemporary films as Deleuzian time-images 'caught in the act' of becoming movement-images in relation to national identity offers a convincing and important contribution to film studies and to Deleuzian scholarship. Martin-Jones is able to argue for the manifestation of the relationship between history and memory via a particular film's focus on narrative time, and thus re-engage his textual analysis with the particular national cinema's political or historical context. Given that such a project gestures to the potential of film analysis for constructive political critique and cultural analysis, this volume posits an intervention in film studies' discursive formation. Rather than producing another philosophical explication of Deleuze's Eurocentrically inflected cinema books, Deleuze, Cinema and National Identity mobilises their concepts by engaging them in critical and creative action in a crucial new field! By moving from the letter to the spirit of Deleuzian critique, Martin-Jones's lucid, impressively argued book makes a provocative intervention in both Deleuze studies and film studies. This distinctive and politically engaged assemblage demands our closest attention. Underpinning Deleuze, Cinema and National Identity is a debate as to where and how Deleuze can fit into the broader remit of the academic discipline of Film Studies. For this, as well as Martin-Jones's talent for opening up a discussion of (often) convoluted theoretical concepts in a manner that is as lucid as it is accessible, the book will, one imagines, find a broad readership in both Film Studies and Deleuze Studies. Martin-Jones' book contains suggestive lines of inquiry for the analysis of the question of national identity in cinema. He manages to construct a theoretical model able to think through multiple perspectives when discussing national identity, narrative and nationality as interconnected dimensions. A useful and even essential book for considerations of transnationalism as an emerging concept in the critical discourse of world cinema.Table of ContentsIntroduction PART I: DELEUZE AND NARRATIVE TIME 1. History 2. Memory PART II: MOVEMENT/TIME-IMAGE FILMS 3. National Identity in the Global City 4. American Triumphalism and the First Gulf War 5. Renegotiating the National Past after 9/11 6. The Pacific Rim Conclusion

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Book SynopsisEngages Deleuze's philosophy with a range of popular films and explores the degree to which a film's popularity impacts upon its ability to 'think' (in the manner that Deleuze described in relation to examples of the art of film in his Cinema books), and the global diversity of this cinematic 'thinking' in popular international film.Trade ReviewDeleuze and Film presents a rich collection of essays that takes Deleuze's work on cinema out of its dominant Eurocentric corpus. Taking us on an inspiring world tour of film analysis and creative conceptual thinking, this book testifies to the continuing productive generosity of Deleuze's film-philosophy, and includes a dynamic range and depth of film scholarship. -- Patricia Pisters, Professor of Media and Film Studies, University of Amsterdam This book testifies to the continuing vitality of Gilles Deleuze's Cinema volumes: they still offer resources to film scholars and theorists today even when they are working on the sorts of films that Deleuze himself never commented on. -- Steven Shaviro, DeRoy Professor of English, Wayne State University Deleuze and Film presents a rich collection of essays that takes Deleuze's work on cinema out of its dominant Eurocentric corpus. Taking us on an inspiring world tour of film analysis and creative conceptual thinking, this book testifies to the continuing productive generosity of Deleuze's film-philosophy, and includes a dynamic range and depth of film scholarship. This book testifies to the continuing vitality of Gilles Deleuze's Cinema volumes: they still offer resources to film scholars and theorists today even when they are working on the sorts of films that Deleuze himself never commented on.Table of ContentsAcknowledgements; Introduction: Deleuze's World Tour of Cinema, David Martin-Jones and William Brown; 1. An Imprint of Godzilla: Deleuze, the Action-Image and Universal History, David Deamer; 2. Philosophy, Politics and Homage in Tears of the Black Tiger, Damian Sutton; 3. Time-Images in Traces of Love: Repackaging South Korea's Traumatic National History for Tourism, David Martin-Jones; 4. The Rebirth of the World: Cinema According to Baz Luhrmann, Richard Rushton; 5. 'There as many paths to the time-image as there are films in the world': Deleuze and The Lizard, William Brown; 6. In Search of Lost Reality: Waltzing with Bashir, Markos Hadjioannou; 7. The Schizoanalysis of European Surveillance Films, Serazer Pekerman; 8. Fictions of the Imagination: Habit, Genre and the Powers of the False, Amy Herzog; 9. Feminine Energies, or the Outside of Noir, Elena del Rio; 10. The Daemons of Unplumbed Space: Mixing the Planes in Hellboy, Anna Powell; 11. Digitalising Deleuze: The Curious Case of the Digital Human Assemblage, or What Can a Digital Body Do?, David H. Fleming; 12. The Surface of the Object: Quasi-Interfaces and Immanent Virtuality, Seung-hoon Jeong; Notes on Contributors; Index.

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Book SynopsisA few days after 9/11, US Vice-President Dick Cheney invoked the need for the USA to work ''the dark side'' in its global ''War on Terror''. In Cinema of the Dark Side, Shohini Chaudhuri explores how contemporary cinema treats state-sponsored atrocity, evoking multiple landscapes of state terror. She investigates the ethical potential of cinematic atrocity images, arguing that while films help to create and confirm normative perceptions about atrocities, they can also disrupt those perceptions and build different ones. Asserting a crucial distinction between morality and ethics, the book proposes a new conceptualisation of human rights cinema that repositions human rights morality within an ethical framework that reflects upon the causes and contexts of violence. It builds upon theories of embodied spectatorship to explore how films can implicate us in histories that may appear to be distant and unrelated to us, and how they draw connections between past and present patterns of oppression.The book covers a diverse spectrum of 21st century cinema dealing with documentary or fictional representations of atrocity such as state-sanctioned torture, genocide, enforced disappearance, deportation, and apartheid, including Zero Dark Thirty (2012), Standard Operating Procedure (2008), Hotel Rwanda (2004), Sometimes in April (2005), Nostalgia for the Light (2010), Chronicle of an Escape (2006), Children of Men (2006), District 9 (2009), Waltz With Bashir (2008), and Paradise Now (2005). Cinema of the Dark Side provides readers with fresh insights into how we respond to atrocity images and the ethical issues at stake.

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Book SynopsisArgues that cinema provides an ideal opportunity to engage with ideas of temporal flow and change. This book traces the operation of duration in cinema, and argues that temporality should be a central concern of film scholarship. It is suitable for students and scholars in Film Studies.

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Book SynopsisThe first collection of critical essays on the film work of the philosopher Jacques Rancière. Jacques Rancière rose to prominence as a radical egalitarian philosopher, political theorist and historian. Recently he has intervened into the discourses of film theory and film studies, publishing controversial and challenging works on these topics. This book offers an exciting range of responses to and assessments of his contributions to film studies and includes an afterword response to the essays by Rancière himself. Contributors include* Nico Baumbach, Columbia University* Rey Chow, Duke University* Bram Ieven, Utrecht University* Mónica Lopez Lerma, Helsinki University* Patricia MacCormack, University of East Anglia* Richard Stamp, Bath Spa University and James Steintrager, University of California, Irvine

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Book SynopsisA study of one of the most intriguing aspects of contemporary French cinema - the cinema of transgression.Trade ReviewBeugnet's book offers a compelling example of how film criticism can operate at the junction between perception and understanding, between embodied response and critical reflection... In its articulation of connections between sensation and transgression, and in its linking of film's affective powers to the urgency of political contexts, Cinema and Sensation presents a rich and timely assessment of contemporary French film's engagement with the senses. -- Laura McMahon, Girton College, Cambridge The Senses and Society Cinema and Sensation persuasively argues that the radical styles of recent French films merit new theories and approaches. -- Hunter Vaughan Film Quarterly Cinema and Sensation achieves a seamless intermingling of theoretical enquiry and film analysis, allowing film and theory to shape and inflect each other... Beugnet is an unflinching viewer, and her boldness, combined with her evident pleasure in the works she discusses, makes for much of the exhilaration of the volume. Cinema and Sensation offers new and elastic contact with French cinema, as it also awakens new thought through the senses. -- Emma Wilson Screen This exciting work by film scholar Martine Beugnet makes an important contribution to contemporary debates on the materiality and affective potential of cinema. -- Carrie Tarr, Kingston University Modern and Contemporary France It is a testament to her incisive and highly eloquent prose that her core argument is never obscured by dense theorising or hijacked by all-too obvious straining for academic profundity... those who still remain inured to (or unconvinced by) Deluzean film analysis would do well to dip into this book, so lucidly does it present complex arguments. -- Ben McCann, University of Adelaide Screening the Past Beugnet's book offers a compelling example of how film criticism can operate at the junction between perception and understanding, between embodied response and critical reflection... In its articulation of connections between sensation and transgression, and in its linking of film's affective powers to the urgency of political contexts, Cinema and Sensation presents a rich and timely assessment of contemporary French film's engagement with the senses. Cinema and Sensation persuasively argues that the radical styles of recent French films merit new theories and approaches. Cinema and Sensation achieves a seamless intermingling of theoretical enquiry and film analysis, allowing film and theory to shape and inflect each other... Beugnet is an unflinching viewer, and her boldness, combined with her evident pleasure in the works she discusses, makes for much of the exhilaration of the volume. Cinema and Sensation offers new and elastic contact with French cinema, as it also awakens new thought through the senses. This exciting work by film scholar Martine Beugnet makes an important contribution to contemporary debates on the materiality and affective potential of cinema. It is a testament to her incisive and highly eloquent prose that her core argument is never obscured by dense theorising or hijacked by all-too obvious straining for academic profundity... those who still remain inured to (or unconvinced by) Deluzean film analysis would do well to dip into this book, so lucidly does it present complex arguments.Table of Contents1. Beginnings; 2. A 'Third Path'; 3. The Aesthetics of Sensation; 4. Film Bodies (Becomings and Embodiment); Epilogue.

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Book SynopsisThis book examines how the interplay between nineteenth-century literary and visual media paralleled the emergence of a modern psychological understanding of the ways in which reading, viewing and dreaming generate moving images in the mind.Table of ContentsAcknowledgements; List of Illustrations; Introduction: Moving Images: Nineteenth-Century Reading and Screen Practices; Chapter 1: Moving Books in Regency London; Chapter 2: Byronic Networks: Circulating Images in Minds and Media; Chapter 3: Natural Magic and the Technologies of Reading: David Brewster and Sir Walter Scott; Chapter 4: Reading Habits and Magic Lanterns: Dickens and Dr Pepper's Ghost; Chapter 5: Dissolving Views: Dreams of Reading Alice; Chapter 6: Flickering Effects: George Robert Sims and the Psychology of the Moving Image; Chapter 7: Literary Projections and Residual Media: Cecil Hepworth and Robert Paul; Bibliography.

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Book SynopsisApplies Badiou''s philosophy to well-known films such as Hiroshima Mon Amour, Vertigo and The MatrixAlex Ling employs the philosophy of Alain Badiou to answer the question central to all serious film scholarship: ''can cinema be thought?'' Treating this question on three levels, the author first asks if we can really think what cinema is, at an ontological level. Secondly, he investigates whether cinema can actually think for itself; that is, whether or not it is truly ''artistic''. Finally, he explores in what ways we can rethink the consequences of the fact that cinema thinks. In answering these questions, the author uses well-known films ranging to illustrate Badiou''s philosophy and to consider the ways in which his work can be extended, critiqued and reframed with respect to the medium of cinema.Table of ContentsIntroduction: Gorky's Maxim; 1. Presenting Alain Badiou; 2. Can Cinema Be Thought?; 3. In the Kingdom of Shadows; 4. An Aesthetic of Truth; 5. An Instant or an Eternity: Rethinking Cinema After Deleuze; 6. Alain Resnais and the Mise-en-Scene of Two; 7. The Castle of Impurity; Bibliography; Filmography; Index.

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Book SynopsisHow can the cinema articulate the interstices between visibility and invisibility, and how are such notions of absence and the unseen implicated in the film experience? This study considers the locus of the breathing body in the film experience and its implications for the study of embodiment in film and sensuous spectatorship. Quinlivan puts forward a mode of critical engagement with film shaped by the foregrounding of the human body in the filmic diegesis and the viewing experience. The book''s foregrounding of the human body as an, importantly, breathing body in film, coupled with its fresh engagement with continental philosophy, Post-Structuralist Film Theory and Contemporary Western Cinema, makes a unique and valuable contribution to the field.

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Book SynopsisThe process of aesthetic imaging in time is a unique and fascinating characteristic of cinema. Why, then, has temporality, and specifically duration, received so little attention in theoretical accounts of film experience? This book makes the concept of duration the central tenet in an understanding of cinema and spectatorship.Table of ContentsIntroduction; 1 Time, in Theory; 2 L'Avventura: Temporal Adventures; 3 Mirror: Traces and Transfiguration; 4 Signs and Meaning in The Decalogue; Epilogue.

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Book SynopsisShowcasing an evolving personal mode of narrating memory, documenting reality, and inscribing subjectivity, this book presents a provocative portrait of the independent filmmakers as a peculiarly pained yet active group of historical subjects of the transitional, post-socialist era.

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Book SynopsisIn this first reappraisal of his filmography (1958-2009), readers are introduced to a new Chabrol, one influenced by Balzac, Magritte, Kubrick.

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Book SynopsisOffers a transnational comparative approach to contemporary popular Nordic genre film. This book analyses the production, distribution and the reception of contemporary genre films. It provides industrial perspectives and in depth discussion of specific films.

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Book SynopsisThe first book to address the vast diversity of Northern circumpolar cinemas from a transnational perspective, Films on Ice presents the region as one of great and previously overlooked cinematic diversity. With chapters on polar explorer films, silent cinema, documentaries, ethnographic and indigenous film, gender and ecology, as well as Hollywood and the USSR''s uses and abuses of the Arctic, this book provides a groundbreaking account of Arctic cinemas from 1898 to the present and radically alters stereotypical views of the Arctic region.

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Book SynopsisExamines the translation of classical Hollywood into Disney's feature films from a Deleuzian perspective. This book retells the emergence of Disney animation and classical Hollywood cinema from the perspective of affect and the embodied modes of generating affection.

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Book SynopsisAs the first book-length exploration of internationally distributed, multi-director episode films, Omnibus Films fills a considerable gap in the history of world cinema and aims to expand contemporary understandings of authorship, genre, narrative, and transnational production and reception.

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Book SynopsisOfering an exploration of internationally distributed, multi-director episode films, this book fills a considerable gap in the history of world cinema and aims to expand contemporary understandings of authorship, genre, narrative, and transnational production and reception.

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Book SynopsisOffers an in-depth critical exploration of cinematic representations of the family in transnational cinema. This book fills this gap and provides an essential resource for academics and researchers with an interest in cinematic representations of the family and transnational cinema.

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Book SynopsisAn exploration of some of Deleuze's key concepts and an introduction to Deleuze's Cinema books. It takes up Deleuze's idea that the true objects of the theory of cinema are the concepts that cinema generates when understood as a practice of images.

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