Film history, theory or criticism Books
Indiana University Press Race and the Revolutionary Impulse in The Spook
Book SynopsisTable of ContentsAcknowledgementsIntroduction: The Spook Who Sat by the Door / Michael T. Martin and David C. Wall1. Writer/Producer's Statement: The Making of The Spook Who Sat by the Door / Sam Greenlee2. "[D]uality is a survival tool. It's not a disease": Interview with Sam Greenlee on The Spook Who Sat By the Door / Michael T. Martin and David C. Wall3. Cinema as Political Activism: Contemporary Meanings in The Spook Who Sat by the Door / Marilyn Yaquinto4. Persistently Displaced: Situated Knowledges and Interrelated Histories in The Spook Who Sat by the Door / Samantha N. Sheppard5. Subverting the System: The Politics and Production of The Spook Who Sat By the Door / Christine Acham6. The Spook Who Sat By the Door, Screenplay / Sam Greenlee and Melvin ClayAppendix A: Press KitAppendix B: National Film Registry Entry, The Spook Who Sat by the Door / Michael T. Martin and David C. WallAppendix C: Sam Greenlee: Biography and Select BibliographyAppendix D: Ivan Dixon: Biography and Select FilmographyIndex
£45.00
Indiana University Press Race and the Revolutionary Impulse in The Spook
Book SynopsisTable of ContentsAcknowledgementsIntroduction: The Spook Who Sat by the Door / Michael T. Martin and David C. Wall1. Writer/Producer's Statement: The Making of The Spook Who Sat by the Door / Sam Greenlee2. "[D]uality is a survival tool. It's not a disease": Interview with Sam Greenlee on The Spook Who Sat By the Door / Michael T. Martin and David C. Wall3. Cinema as Political Activism: Contemporary Meanings in The Spook Who Sat by the Door / Marilyn Yaquinto4. Persistently Displaced: Situated Knowledges and Interrelated Histories in The Spook Who Sat by the Door / Samantha N. Sheppard5. Subverting the System: The Politics and Production of The Spook Who Sat By the Door / Christine Acham6. The Spook Who Sat By the Door, Screenplay / Sam Greenlee and Melvin ClayAppendix A: Press KitAppendix B: National Film Registry Entry, The Spook Who Sat by the Door / Michael T. Martin and David C. WallAppendix C: Sam Greenlee: Biography and Select BibliographyAppendix D: Ivan Dixon: Biography and Select FilmographyIndex
£16.14
Indiana University Press Main Street Movies
Book SynopsisTrade ReviewThis carefully researched and nuanced account of local film history is essential reading for researchers and students who are interested in understanding the evolution of film culture as it played out beyond Hollywood. * Early Popular Visual Culture *[A] quietly radical rewriting of American film history since the 1910s. * Historical Journal of Film, Radio, and Television *Table of ContentsAccessing Moving Images AcknowledgmentsAbbreviationsIntroduction: Defining the Local Film1. The Silent Pageant: Municipal Booster Films 2. The Home Talent Film and the Origins of Itinerancy3. "How Movies Are Made": Hollywood and the Local Film4. Itinerants Adopt a Baby: The Local Hollywood Film and the Operational Aesthetic5. Kidnapping the Movie Queen: Amateur Aesthetics as Cultural Critique 6. The Cameraman Has Visited Your Town: The Local Film and the Politics of Recognition7. Every Town has its Main Street: The Banal Localism of the Civic Film8. Reclaiming the Local Film: Artifacts, Archives, and AudiencesConclusion: See Your Town Disappear: The Historicity of the Local FilmFilmographyBibliographyIndex
£66.60
Indiana University Press Orson Welles in Focus
Book SynopsisTrade ReviewThis is a fascinating collection, several of the contributions making the reader wish for more. * Film International *Table of ContentsForeword / James NaremoreIntroduction: The Totality of Orson Welles / Sidney Gottlieb and James N. Gilmore1. The Death of the Auteur: Orson Welles, Asadata Dafora, and the 1936 Macbeth / Marguerite Rippy 2. Revisiting "War of the Worlds": First-Person Narration in Golden Age Radio Drama / Shawn VanCour 3. Old-Time Movies: Welles and Silent Pictures / Matthew Solomon 4. Orson Welles's Itineraries in It's All True: From "Lived Topography" to Pan-American Transculturation / Catherine L. Benamou 5. Orson Welles as Journalist: The New York Post Columns / Sidney Gottlieb6. Progressivism and the Struggles Against Racism and Anti-Semitism: Welles's Correspondences in 1946 / James N. Gilmore7. Multimedia Magic in Around the World, Orson Welles's Film-and-Theater Hybrid / Vincent Longo8. "The Worst Possible Partners for Movie Production": Orson Welles, Louis Dolivet, and the Filmorsa Years (1953-56) / François Thomas9. Presenting Orson Welles: An Exhibition Challenge / Craig S. SimpsonIndex
£63.00
Indiana University Press Roots of the New Arab Film
Book SynopsisTrade ReviewSituating Arab cinema in pertinent historical, social, economic, and political settings, this insightful, well-researched book abounds with interesting material about pioneering women filmmakers in Arab countries and less-popular documentary films, as well as prominent feature-length motion pictures. A must-read for anyone interested in cinema of the Arab world. * Choice *Table of ContentsAcknowledgementsList of AbbreviationsIntroduction 1. The International Era- Foreign Influences- The Role of Television- Feature Film Funding Mechanisms- Francophonie- Aid to the Cinemas of the South2. A New Independence - Beur Filmmaking in France- Algeria- Morocco- Tunisia- Egypt- Lebanon- Palestine- Iraq- SyriaBibliographyIndex
£66.60
Indiana University Press Migrant Anxieties
Book SynopsisDuring a period of heightened global concerns about the movement of immigrants and refugees across borders, Migrant Anxieties explores how filmmakers in Italy have probed the tensions accompanying the country's shift from an emigrant nation to a destination point for over five million immigrants over the course of three decades.Trade ReviewMigrant Anxieties is a compelling, up-to-date analysis of Italian migration cinema since the 1990s in a transnational perspective, under the critical lens of race, class, gender, and nationality. * Modern Language Review *Table of ContentsAcknowledgmentsIntroduction1. After 1989: Projecting the Balkans2. Traffic from the East: Gender, Labor, and Biopolitics3. African Immigration in the 1990s4. Migration, Masculinity, and Italy's New Urban Geographies5. Imagining an Expanded Mediterranean Borderscape6. Living with Difference: From Noir to MelodramaAfterword: Accented and Transnational Filmmaking in ItalyFilmographyBibliographyIndex
£56.10
Indiana University Press Arctic Cinemas and the Documentary Ethos
Book SynopsisArctic Cinemas and the Documentary Ethos is a comprehensive study of the creation of documentary cinema in and about the global Arctic region from Nanook of the North to the present day.Trade ReviewHighly recommended. * Choice *
£59.50
Indiana University Press Arctic Cinemas and the Documentary Ethos
Book SynopsisArctic Cinemas and the Documentary Ethos is a comprehensive study of the creation of documentary cinema in and about the global Arctic region from Nanook of the North to the present day.Trade ReviewHighly recommended. * Choice *
£28.80
Indiana University Press Household Horror
Book SynopsisTake a tour of the house where a microwave killed a gremlin, a typewriter made Jack a dull boy, a sewing machine fashioned Carrie's prom dress, and houseplants might kill you while you sleep. In Household Horror: Cinematic Fear and the Secret Life of Everyday Objects, Marc Olivier highlights the wonder, fear, and terrifying dimension of objects in horror cinema.Trade Review"Household Horror provides a lively and highly original contribution to horror studies. As a work on cinema, it introduces the reader to films that may be less well-known to casual fans and scholars; more conspicuously, it returns to horror staples, gleefully reanimating works that one might otherwise assume had been critically "done to death" (Psycho, The Exorcist, The Shining). The close readings of individual films provide sophisticated, nuanced and even startling insights."—Allan Cameron, University of AucklandTable of ContentsAcknowledgmentsIntroductionPart I: Kitchen/Dining Room1. Refrigerator2. Microwave3. Telephone4. Dining TablePart II: Living Room5. (Sleeper) Sofa6. Remote7. Sewing Machine8. HouseplantPart III: Bedroom9. Bed10. Typewriter11. ArmoirePart IV: Bathroom12. Radiator13. Pills14. Shower CurtainConclusionFilmographyBibliographyIndex
£67.15
Indiana University Press Household Horror
Book SynopsisTake a tour of the house where a microwave killed a gremlin, a typewriter made Jack a dull boy, a sewing machine fashioned Carrie's prom dress, and houseplants might kill you while you sleep. In Household Horror: Cinematic Fear and the Secret Life of Everyday Objects, Marc Olivier highlights the wonder, fear, and terrifying dimension of objects in horror cinema.Trade Review"Household Horror provides a lively and highly original contribution to horror studies. As a work on cinema, it introduces the reader to films that may be less well-known to casual fans and scholars; more conspicuously, it returns to horror staples, gleefully reanimating works that one might otherwise assume had been critically "done to death" (Psycho, The Exorcist, The Shining). The close readings of individual films provide sophisticated, nuanced and even startling insights."—Allan Cameron, University of AucklandTable of ContentsAcknowledgmentsIntroductionPart I: Kitchen/Dining Room1. Refrigerator2. Microwave3. Telephone4. Dining TablePart II: Living Room5. (Sleeper) Sofa6. Remote7. Sewing Machine8. HouseplantPart III: Bedroom9. Bed10. Typewriter11. ArmoirePart IV: Bathroom12. Radiator13. Pills14. Shower CurtainConclusionFilmographyBibliographyIndex
£26.99
Indiana University Press Desire After Dark
Book SynopsisTrade ReviewOwens's Desire after Dark makes clear and important contributions to existing literature on queer theory, media studies, and the horror genre. His insightful, focused study will interest both fans of the TV programs and films examined and scholars in various disciplines who will appreciate how adeptly Owens incorporates well-balanced discussions of culture, industry, genre, reception, and representation in compelling reads of the media re-viewed. -- Richard Wolff * The Journal of Religion, Film, and Media *Table of ContentsAcknowledgmentsIntroduction: Blood, Sulfur, Sex, Magick1. Aquarian Alternatives: Mid-century Media and the Quest for Occultly Queer Histories2. Le sexe qui parle du surnaturel: Supernatural Sexualities and Satanic Subcultures in the 1970s3. The Blood is the Life/Death: Queer Contagion and Viral Vampirism in the Age(s) of HIV/AIDS4. Now is the time, now is the hour, ours is the magick, ours is the power: Casting as Coming Out in Millennial Media5. Hold Me, Thrill Me, Kiss Me, Kill Me: The Ambivalent Queer of Occult Cable TVEpilogueIndex
£59.50
Indiana University Press Desire After Dark
Book SynopsisTrade ReviewOwens's Desire after Dark makes clear and important contributions to existing literature on queer theory, media studies, and the horror genre. His insightful, focused study will interest both fans of the TV programs and films examined and scholars in various disciplines who will appreciate how adeptly Owens incorporates well-balanced discussions of culture, industry, genre, reception, and representation in compelling reads of the media re-viewed. -- Richard Wolff * The Journal of Religion, Film, and Media *Table of ContentsAcknowledgmentsIntroduction: Blood, Sulfur, Sex, Magick1. Aquarian Alternatives: Mid-century Media and the Quest for Occultly Queer Histories2. Le sexe qui parle du surnaturel: Supernatural Sexualities and Satanic Subcultures in the 1970s3. The Blood is the Life/Death: Queer Contagion and Viral Vampirism in the Age(s) of HIV/AIDS4. Now is the time, now is the hour, ours is the magick, ours is the power: Casting as Coming Out in Millennial Media5. Hold Me, Thrill Me, Kiss Me, Kill Me: The Ambivalent Queer of Occult Cable TVEpilogueIndex
£19.79
Indiana University Press Flash Flaherty
Book SynopsisTrade ReviewAs the essays move through time and space, we are left with the knowledge that The Flaherty was and remains a complex, meaningful and often confounding event that could only be experienced by being there. -- Cynthia Close * Documentary *Table of ContentsPrefaceAcknowledgmentsIntroduction1. Sheafe Satterthwaite, "Francis in Her Inglenook"2. Jonas Mekas, "A Screening of Flaming Creatures in Vermont"3. Jay Ruby, "The Aborted Indigenous Seminar"4. Amalie R. Rothschild, "I Was Taken Seriously as a Filmmaker"5. Nadine Covert, "Reminiscences of Flaherty"6. Linda Lilienfeld, "Notes on the Flaherty Seminar"7. Dierdre Boyle, "Video Slowly Emerges at the Flaherty Seminar"8. Juan Mandelbaum, "Forty Years"9. Patricia R. Zimmermann, "Get Out Your Shovel"10. Lucy Kostelanetz, "Godmothers, Godfathers, and an Organization with a Soul"11. Bruce Jenkins, "Bordering on Fiction"12. Richard Herskowitz, "My First Few Flahertys"13. Ann Michel and Phil Wilde, "Video Projection at the Flaherty"14. Michael Grillo, "A Mediaevalist's Projection"15. Lynne Sachs, "Refractions"16. Tony Buba, "Taking the Plunge"17. Linda Blackaby and Tony Gittens, "Media Matters and Meteor Showers"18. Jeffrey Skoller, "Thirty Years Later"19. Helen De Michiel, "The Flaherty in 1986"20. Louis Massiah, "The One Who Names You"21. Philip Mallory Jones, "Sparks"22. Tim Murray, "On the Road to Flaherty"23. Su Friedrich, "One Lake and Two Kerfuffles"24. Scott MacDonald, "Without Anesthesia"25. Mark Geiger, "In over My Head"26. Patti Bruck, "Simply Put"27. Stacey Steers, "The Flaherty Laboratory"28. Margarita de la Vega Hurtado, "Practical Difficulties and Different Locations"29. Ayoka Chenzira, "At the Table"30. Andrei Zagdansky, "Notes from the 1990 Flaherty Seminar"31. Steven Montgomery, "Overcoming Contempt"32. Laura U. Marks, "The Scent of Places"33. Aviva Weintraub, "Folders"34. Ken Jacobs, "THE TO-DO OVER XCXHXEXRXRXIXEXSX"35. Portia Cobb, "Points of Departure"36. Jason Livingston, "Many Moons"37. Kathy Geritz, "Programming the 2000 Flaherty"38. Sami van Ingen, "Coming of Age at the Flaherty"39. Marlina Gonzales, "Flaherty 1995"40. Ayisha Abraham, "Aurora, Bangalore, Mysore"41. Grace An, "Beginnings/Endings"42. Dorothea Braemer, "Talking"43. Ulises A. Mejias, "Recovering Lost Memories"44. Thomas W. Bohn, "I Never Met Robert Flaherty"45. Jacqueline Goss, "Tendon Stretches"46. Dan Streible, "Up All Night"47. Tan Pin Pin, "The Art of Asking Questions"48. Alyce Myatt, "Indelible Marks"49. Erika Mijlin, "An Unruly Endeavor"50. Vicky Funari, "Familiar and Strange"51. Brian L. Frye, "How I Learned to Stop Worrying & Love the Flaherty"52. Ed Halter and Matt Wolf, "Remembering"53. Chi-hui Yang, "A Radical Openness"54. Simon Tarr, "Flaherty Reflections"55. Lucius Barre, "Flaherty Replaces Cannes"56. Howard Weinberg, "Film vs. TV—Flaherty & INPUT"57. John Gianvito, "I Remember Being Profoundly Moved and Inspired"58. Ilisa Barbash, "Five Reflections in Search of the Flaherty's Zeitgeist"59. Sam Gregory, "'Witnessing' and Witnessing at the Flaherty"60. Carlos A.Gutiérrez, "I Drank the Kool-Aid"61. Joanna Raczynska, "Four Flaherty Seminars"62. Roger Hallas, "Critical Humility"63. Jean-Marie Teno, "Long Walks"64. Andrés Di Tella, "Breaking All the Ordered Surfaces"65. Leandro Katz, "Un banquete at Claremont"66. Amir Muhammad, "The Sound of White People Talking"67. John Knecht, "Flaherty Finds a New Home, at Colgate University"68. Jim Supanick, "Stranger Comes to Town"69. Dale Hudson, "Patty Sent Me"70. Shannon Kelley, "Tilting, Torqueing, and Shuffling between Dimensions"71. Jason Fox, "Returning to the Scene of the Crime"72. Amalia Córdova, "Indigenous Media Detonations"73. John Muse, "Forgetting Flaherty"74. Marit Kathryn Corneil, "Breathing through the Screen"75. Richard Shpuntoff, "The Act of Seeing Attentively"76. Frances Guerin, "From Colgate University to the Central African Republic"77. Dagmar Kamlah, "A Virus and a Mission"78. Paweł Wojtasik, "I Didn't Know What I Was Doing"79. Dayong Zhao, "Scents"80. Josetxo Cerdan, "My Own Private Rayuela"81. Karin Chien, "Reverberations and Amplifications"82. Caroline Martel, "My Imaginary"83. Susana de Sousa Dias, "From DocsKingdom to the Brotherhood of the Crystal Skull"84. David Gracon, "Homecoming"85. Joel Neville Anderson, "My First Flaherty"86. Bo Wang, "Everyone Recommended It"87. Gabriela Monroy and Caspar Stracke, "Turning the Outside in Again"88. Ohad Landesman, "The Tactile Unconscious"89. Alberto Zambenedetti, "Small Victories"90. Eli Horwatt, "What the Flaherty Taught"91. Hend F. Alawadhi, "Certain Voices Were Painfully Missing"92. Ekrem Serdar, "Learning Things, Losing Things"93. Jonathan Marlow, "Time Travels"94. Roy Grundmann, "A Cinema that Breathes"95. Lina Žigelytė, "Grass, Rocks, Water"96. Jiangtao (Harry) Gu, "Not Exactly a House of Prayer"97. Greg de Cuir, Jr., "Speaking Nearby Flaherty"98. Sheafe Satterthwaite, "No Longer an Odd Voice at the Flaherty"99. John Bruce, "Uncertain Expeditions"100. Anocha Suwichakornpong, "In That Silence"101. Scott MacDonald, "Alas, the Logo!"102. Patricia R. Zimmermann, "Seeing Bill Sloan, 1928-2017"
£33.25
Indiana University Press Theorizing Colonial Cinema Reframing Production
Book SynopsisA fascinating read combining film and Asian studies, Theorizing Colonial Cinema reveals new contexts within film theory, history, and ideologies as it centers the question of the colonial perspective and emphasizes how the present is constantly entangled with the colonial past.Trade Review"With this excellent anthology, the history of colonization finally receives the full reckoning it deserves in articulations of film history and theory. By accounting for the legacies, stages, stagings, and afterlives of imperialism writ large and small in cinemas of or about Asia, the authors of this collection teach us how profoundly our historical and conceptual understanding of film transforms when we begin from the time and place of the colony. This is a ground shift that can no longer be ignored."—Priya Jaikumar, author of Where Histories Reside: India as Filmed Space"There was a time when writing about cinema was mostly about cinema from Western European countries and the US, spoken in one of the six European languages of Western modernity. No longer. Storytelling in moving images and non-Western languages carries within them praxes of living rooted in colonial legacies absent in the hegemonic history of Western cinematography. Theorizing Colonial Cinema is written by a majority of scholars that inhabits and endures colonial legacies and are embedded in the soundtrack languages of these moving images. This book is a landmark that complements and surpasses Third Cinema's heritage of the '60s and '70s."—Walter D. Mignolo, author of The Politis of Decolonial Investigations"A brilliant intervention into history, film, and cultural studies that goes far beyond the national cinema rubric and conventional binaries such as colonizer/colonized, white/non-white, East/West, anthropos/humanitas, theory/text, human/animal – this work by leading scholars of colonialism and film excavates cultural production and its political unconscious under colonialism to show not only the entanglements of colonialism and film but also the coloniality of cinema itself and the inevitable return of the repressed through the Cold War and postmillennial moments. A major work that will make many waves across disciplines and areas of specialization."—Takashi Fujitani, author of Race for Empire, University of TorontoTable of ContentsAcknowledgmentsOn Romanization, Naming and TranslationIntroduction, by Nayoung Aimee Kwon and Takushi OdagiriPart I: "Time and Racialized Other: Colonial Modernity and Early Cinema"1. Time, Race, and the Asynchronous in the Colonial Documentaries of Malaya, by Nadine Chan2. Facing Malcontent Colonial Korean Comrades: A Typology of Colonial Cinema in Asia's Socialist Alliances, by Moonim Baek3. Colonial-Era Film Theory, Spectatorship, and the Problem of Internalization, by Aaron Gerow4. Chinese Cinema's Other: Wrangling over "China-humiliating" Films (ruHua pian), by Yiman Wang5. World Export: Melodramas of Colonial Conquest, by Jane Marie GainesPart II: "Divided Mis-en-Scène: Colonial Cinema and Cold War Afterimages"6. Tarzan/Taishan and Other Orphans: Taiwan's Melodrama of Decolonization, by Zhang Zhen7. What Is an Auteur? Hŏ Yŏng/Hinatsu Eitarō/Huyung Between (Post)Colonial Indonesia, Japan, and Korea, by Thomas A. C. Barker and Nikki J. Y. LeePart III: "Millennial Hauntings: Rising Global Asian Cinemas"8. Cinema's Coloniality, by Takushi Odagiri9. A Hallucinatory History of the Philippine-American War: Khavn's Balangiga: Howling Wilderness, by José B. Capino10. Millennial Vengeance: Park Chan-Wook's Agassi (The Handmaiden) and the Return of Postcolonial Japonisme, by Nayoung Aimee KwonIndex
£48.60
Indiana University Press Jews in Contemporary Visual Entertainment
Book SynopsisTrade Review"Jews in Contemporary Visual Entertainment explores the racialization and sexualization of Jews through a selection of film and television examples. In so doing, it is a contribution not only to Jewish studies, as well as film and television studies, but also a personal and political intervention to address the contemporary situation in the United States."—Nathan Abrams, Bangor University"I cannot imagine a more timely book than Carol Siegel's Jews in Contemporary Visual Entertainment. More than ever, cultural-studies scholarship urgently needs to track, evaluate, and analyze the ways popular culture represents Jews because such representations constitute commonsense knowledge and assumptions about this minority. Prof. Siegel's book is an important contribution to this effort."—Linda Mizejewski, Ohio State University"Provocative, wide-ranging, and disarmingly personal, Jews in Contemporary Visual Entertainment provides timely and urgent readings of Jewish characters on American screens."—Henry Bial, University of Kansas"Jews in Contemporary Visual Entertainment is a book that fuses film with theories of spectatorship to decipher the impact of representations of Jewishness in popular entertainment with a broad lens."—Thabiti Lewis, Washington State University VancouverTable of ContentsAcknowledgmentsIntroduction1. Sexual Perversity and the Jewish Therapist Figure2. Imaginary Histories of Americanized Jews in Love3. Sex and Revenge, Rage and Bliss4. Jews, Sex Crimes, and Holocaust Erasure on Film5. Two Funerals and a Wedding6. Monstrous Jewish Sexualities and Minoritarian Cinema7. Our Erasure Is Being TelevisedConclusionFilmographyBibliographyIndex
£52.70
Indiana University Press Jews in Contemporary Visual Entertainment
Book SynopsisTrade Review"Jews in Contemporary Visual Entertainment explores the racialization and sexualization of Jews through a selection of film and television examples. In so doing, it is a contribution not only to Jewish studies, as well as film and television studies, but also a personal and political intervention to address the contemporary situation in the United States."—Nathan Abrams, Bangor University"I cannot imagine a more timely book than Carol Siegel's Jews in Contemporary Visual Entertainment. More than ever, cultural-studies scholarship urgently needs to track, evaluate, and analyze the ways popular culture represents Jews because such representations constitute commonsense knowledge and assumptions about this minority. Prof. Siegel's book is an important contribution to this effort."—Linda Mizejewski, Ohio State University"Provocative, wide-ranging, and disarmingly personal, Jews in Contemporary Visual Entertainment provides timely and urgent readings of Jewish characters on American screens."—Henry Bial, University of Kansas"Jews in Contemporary Visual Entertainment is a book that fuses film with theories of spectatorship to decipher the impact of representations of Jewishness in popular entertainment with a broad lens."—Thabiti Lewis, Washington State University VancouverTable of ContentsAcknowledgmentsIntroduction1. Sexual Perversity and the Jewish Therapist Figure2. Imaginary Histories of Americanized Jews in Love3. Sex and Revenge, Rage and Bliss4. Jews, Sex Crimes, and Holocaust Erasure on Film5. Two Funerals and a Wedding6. Monstrous Jewish Sexualities and Minoritarian Cinema7. Our Erasure Is Being TelevisedConclusionFilmographyBibliographyIndex
£18.99
Indiana University Press Transnationalism and Imperialism
Book SynopsisTrade Review"This edited volume is transnational in scope, demonstrating how filmmakers have used the Western genre to confront the ideologies of imperialism and colonization in various locations and periods. It is a detailed and comparative study of individual films, and an important contribution towards understanding the continuing vitality of the Western."—Stephen Teo Kian Teck, author of Eastern Westerns: Film and Genre Outside and Inside Hollywood"This is a timely, dizzying mix of powerful and well-researched explorations of the Western as a potent, transnational and worlding genre."—Neil Campbell, author of The Rhizomatic West, Post-Westerns, and Worlding the WesternTable of ContentsAcknowledgmentsIntroduction, by Hervé Mayer and David RochePart I: US-American Westerns from a Transnational Perspective1. Transnationalism on the Transcontinental Railroad: John Ford's The Iron Horse (1924), by Patrick Adamson2. John Ford's Cavalry Trilogy (1948-1950): Caught Between US-American Imperialism and Irish Republicanism, by Costanza Salvi3. Decentering the National in Hollywood: Transnational Storytelling in the Mexico Western Vera Cruz (Robert Aldrich, 1954), by Hervé Mayer4. Transnational Identity on the Contemporary Texan-Mexican Border in Tejano (David Blue Garcia, 2018), by Marine SoubeillePart II: European Westerns and the Critique of Imperialism5. A Yugoslav "Lemon Tree in Siberia": The Partisan Western Kapetan Leši (Živorad Mitrović, 1960), by Dragan Batančev6. Lawrence of Arabia (David Lean, 1962) and the Western: Reframing the Imperialist Hero, by Hadrien Fontanaud7. Unwanted Salvation: The Use of the Savior Formula in The Dark Valley (Andreas Prochaska, 2014), by Marek Paryż8. Transnational Post-Westerns in French Cinema: Adieu Gary (Nassim Amaouche, 2009) and Les Cowboys (Thomas Bidegain, 2015), by Jesús Ángel GonzálezSpotlight on the Italian Western9. Silent Westerns Made in Italy: The Dawn of a Transnational Genre between US Imperial Narratives and Nationalistic Appropriations, by Alessandra Magrin Haas10. Where the Classical, the Transnational and the Acid Western Meet: Matalo! (Cesare Canevari, 1970), Violence and Cultural Resistance on the Spaghetti Western Frontier, by Lee BroughtonPart III: Westerns in a Post-Colonial or Post-Empire Context11. West by Northeast: The Western in Brazil, by Mike Phillips12. (Not) John Wayne & (Not) the US-American West: Jauja (Lisandro Alonso, 2014), by Jenny Barrett13. Remaking the Western in Japanese Cinema: East Meets West (Kihachi Okamoto, 1995), Sukiyaki Western Django (Takashi Miike, 2007), and Unforgiven (San-il Lee, 2013), by Vivian P. Y. Lee14. The South African Frontier in Five Fingers for Marseilles (Michael Matthews, 2017), by Claire Dutriaux and Annael Le PoullennecSpotlight on the Australian Western15. "They like all pictures which remind them of their own": The 'Entangled' Development of Australian Westerns, by Emma Hamilton16. Westerns from an Aboriginal Point of View or Why the Australian Western (Still) Matters: The Tracker (Rolf de Heer, 2002) and Sweet Country (Warwick Thornton, 2017), by David RocheCoda: We Will Not Ride Off into the Sunset, by Hervé Mayer and David RocheIndex
£62.90
Indiana University Press Transnationalism and Imperialism Endurance of
Book SynopsisTrade Review"This edited volume is transnational in scope, demonstrating how filmmakers have used the Western genre to confront the ideologies of imperialism and colonization in various locations and periods. It is a detailed and comparative study of individual films, and an important contribution towards understanding the continuing vitality of the Western."—Stephen Teo Kian Teck, author of Eastern Westerns: Film and Genre Outside and Inside Hollywood"This is a timely, dizzying mix of powerful and well-researched explorations of the Western as a potent, transnational and worlding genre."—Neil Campbell, author of The Rhizomatic West, Post-Westerns, and Worlding the WesternTable of ContentsAcknowledgmentsIntroduction, by Hervé Mayer and David RochePart I: US-American Westerns from a Transnational Perspective1. Transnationalism on the Transcontinental Railroad: John Ford's The Iron Horse (1924), by Patrick Adamson2. John Ford's Cavalry Trilogy (1948-1950): Caught Between US-American Imperialism and Irish Republicanism, by Costanza Salvi3. Decentering the National in Hollywood: Transnational Storytelling in the Mexico Western Vera Cruz (Robert Aldrich, 1954), by Hervé Mayer4. Transnational Identity on the Contemporary Texan-Mexican Border in Tejano (David Blue Garcia, 2018), by Marine SoubeillePart II: European Westerns and the Critique of Imperialism5. A Yugoslav "Lemon Tree in Siberia": The Partisan Western Kapetan Leši (Živorad Mitrović, 1960), by Dragan Batančev6. Lawrence of Arabia (David Lean, 1962) and the Western: Reframing the Imperialist Hero, by Hadrien Fontanaud7. Unwanted Salvation: The Use of the Savior Formula in The Dark Valley (Andreas Prochaska, 2014), by Marek Paryż8. Transnational Post-Westerns in French Cinema: Adieu Gary (Nassim Amaouche, 2009) and Les Cowboys (Thomas Bidegain, 2015), by Jesús Ángel GonzálezSpotlight on the Italian Western9. Silent Westerns Made in Italy: The Dawn of a Transnational Genre between US Imperial Narratives and Nationalistic Appropriations, by Alessandra Magrin Haas10. Where the Classical, the Transnational and the Acid Western Meet: Matalo! (Cesare Canevari, 1970), Violence and Cultural Resistance on the Spaghetti Western Frontier, by Lee BroughtonPart III: Westerns in a Post-Colonial or Post-Empire Context11. West by Northeast: The Western in Brazil, by Mike Phillips12. (Not) John Wayne & (Not) the US-American West: Jauja (Lisandro Alonso, 2014), by Jenny Barrett13. Remaking the Western in Japanese Cinema: East Meets West (Kihachi Okamoto, 1995), Sukiyaki Western Django (Takashi Miike, 2007), and Unforgiven (San-il Lee, 2013), by Vivian P. Y. Lee14. The South African Frontier in Five Fingers for Marseilles (Michael Matthews, 2017), by Claire Dutriaux and Annael Le PoullennecSpotlight on the Australian Western15. "They like all pictures which remind them of their own": The 'Entangled' Development of Australian Westerns, by Emma Hamilton16. Westerns from an Aboriginal Point of View or Why the Australian Western (Still) Matters: The Tracker (Rolf de Heer, 2002) and Sweet Country (Warwick Thornton, 2017), by David RocheCoda: We Will Not Ride Off into the Sunset, by Hervé Mayer and David RocheIndex
£28.80
Indiana University Press The Worlds of John Wick
Book SynopsisTrade Review"The Worlds of John Wick is a brilliant, wide-ranging, interdisciplinary, and theoretically savvy collection on one of the most compelling and successful phenomena of action cinema in recent years: the John Wick franchise. Using approaches ranging from the discussion of 'world-building' in the 'Wickverse,' to the films' striking use of games and play, and allusions to forms such as folklore and fairy tales, the contributors present a stellar case for (re-) engaging with these remarkable movies. The chapters offer groundbreaking readings referencing Frankfurt School 'Culture Industry,' gender performance and masculinity, and much more. Caitlin G. Watt and Stephen Watt are to be applauded for their bold, original, and exciting work."—Oliver Buckton, author of The World is Not Enough: A Biography of Ian Fleming, Florida Atlantic University"Especially because the John Wick franchise is largely viewed by the critical establishment as well-made, but fundamentally inconsequential, this volume is important in revealing the layers of meaning and significance."—James Kendrick, author of A Companion to the Action Film"This wide-ranging and thought-provoking collection of essays is essential reading. Its breadth and accessibility will appeal not only to fans of the John Wick franchise but also to anyone interested in film, gender studies, architecture, and popular culture as a whole."—David Schmid, Professor of English, University at Buffalo"The Worlds of John Wick explores the (first) three John Wick films. In fifteen richly referential essays, Caitlin and Stephen Watt and their contributors discuss the balletic fight choreography, allusive storytelling, underlying philosophies, folkloric roots, and more. An illuminating academic examination of one of the very best – and most popular – contemporary action film franchises."—Chris Holmlund, University of Tennessee, Knoxville"Through an inventive array of critical lenses, methodologies, and theoretical perspectives on gender, the body, and space and time, Watt and Watt's collection explicates the crucial importance of the John Wick franchise within contemporary action cinema, confirming its place alongside the enduring legacies of action cinema icons James Bond, Ellen Ripley, Sarah Connor, and John Rambo."—Ian Kinane, editor of the International Journal of James Bond StudiesTable of ContentsAcknowledgmentsIntroduction: The Worlds of John Wick, by Caitlin G. Watt and Stephen WattPart I: John Wick and Action Cinema1. Red Circle of Revenge: Anatomy of the Fight Sequence in John Wick, by Lisa Coulthard and Lindsay Steenberg2. Hidden in Plain Sight: Stunt-Craft Work in John Wick and the Networked Worlds of 87Eleven Action Design, by Lauren Steimer3. Killing in Equanimity: Theorizing John Wick's Action Aesthetics, by Wayne WongPart II: The Economies and Phenomenology of the Wickverse4. The Continental Abyss: John Wick vs. the Frankfurt School, by Skip Willman5. Bitcoin, Shitcoin, Wickcoin: The Hidden Phenomenology of John Wick, by Aaron JaffePart III: John Wick: Other Cultural Forms and Genres6. Fortune Favors the Bold: The State of Games and Play in the John Wick Films, by Edward P. Dallis-Comentale7. 'The One You Sent to Kill the Boogeyman': Folklore and Identity Deconstruction in the John Wick Universe, by Caitlin G. Watt8. Captain Dead Wick: Grief and the Monstrous in the John Wick and Deadpool Films, by Mary NestorPart IV: John Wick's Matrix: Space and Time9. Classical Orders, Modernist Revisions, Fantastical Expansions: Reading the Architecture of the John Wick Franchise, by Andrew Battaglia and Marleen Newman10. Out of Time and Going Sideways: John Wick, Time Traveler, by Charles M. Tung11. John Wick's Blank Cosmopolitanism and the Global Spatiality of the Wickverse, by Mi Jeong LeePart V: Gender and the Body in John Wick12. John Wick's Multiply Signifying Dogs, by Karalyn Kendall-Morwick13. Masculinity, Isolation, and Revenge: John Wick's Liminal Body, by Owen R. Horton14. Professionalism and Gender Performance in the John Wickverse, by Vivian Nun Halloran15. Style and the Sacrificial Body in John Wick 3, by Stephen WattBibliographyIndex
£62.90
Indiana University Press You Are Tearing Me Apart Lisa
Book SynopsisTrade ReviewWe enjoy laughing at The Room, but to stop there would reflect poorly on us as an audience. Something so singular and immense deserves loving attention and careful study, and that's what we find in this rich and delightful collection of essays. -- Matthew Strohl, author of Why It's OK to Love Bad Movies, Professor of Philosophy at the University of MontanaTable of ContentsAcknowledgmentsIntroduction: Let's Toss the Ball Around, by Adam RosenPart I: Cliché and Convention, Misapplied1. Chris-R's Gun: The Room as an Unconscious Parody of Hollywood Film Conventions, by Carter Soles2. Do You Understand Life? Do You? Tommy Wiseau and the Anti-Method Acting Style, by James Curnow3. "She Can't Love Anyone": The Evil Women and Tormented Men of The Room, by Lenika CruzPart II: Unlocking The Room4. Is The Room Worse than Vertigo? The Aesthetic Philosophy of "So Bad it's Good", by James MacDowell5. Everybody Betray Me! Revenge, Reverse Revenge, and Slave Morality in The Room, by John Dyck6. Anything for My Princess: Using Don Quixote to Bring (Some) Coherence to The Room, by Adam Rosen7. Crypto-Wiseaulogy: Uncovering Stanley Kubrick, Jewishness, and Judaism in The Room, by Nathan AbramsPart III: Cult and the (Class)Room8. I Just Like to Watch You Guys: How Screenings of The Room Give People Permission to Perform, by Ellen Wright9. The Room in the Classroom: How I Use a Bad Movie to Teach Good Filmmaking, by Ross Morin10. For the Love of Cult, Or, How I Learned to Stop Worrying and Build My Own Screening of The Room, by Amanda Ann KleinPart IV: Fan Reception11. How Can They Say This About Me? Riffing Johnny, Lisa, and Denny in Online Homebrew Commentaries of The Room, by Matt Foy12. "Can We Please Not Talk about James Franco?": How The Disaster Artist Threatened The Room's Fanbase, by John Donegan13. I'm Tired, I'm Wasted: The Room as a Waste of Time, by Ernest MathijsPart V: Constructing Tommy Wiseau14. Oh Man, I Just Can't Figure You Out: Building the Persona of Tommy Wiseau through The Disaster Artist, by Hario Satrio Priambodho15. I'm an American, Just Like You: The Room and American Cinema, Identity, and Masculinity, by Landon Palmer16. To Err Is Human, to Auteur, Divine: Tommy Wiseau as Auteur, by Renee Middlemost17. I Don't Have a Friend in the World: The Lonely Authenticity of Tommy Wiseau, by Keith Kahn-HarrisWorks CitedIndex
£16.14
Indiana University Press Animated Film and Disability
Book SynopsisTrade ReviewA tour de force that will enrich the way we experience and value our diverse embodiments both personally and socially, Animated Film and Disability: Cripping Spectatorship is an immensely important and much needed contribution not only to film and media studies but also to the humanities and social sciences. Taking some (but not all) of the 'dis' out of 'disability,' Greenberg approaches embodiment through the metamorphic plasmatics of animation. This strikingly original and expansive critical strategy and its highlighted films give shape and subjective voice to a variety of 'crip' ways of 'being in the world,' that may also 'crip' these films' spectators, who sense (if not re-cognize) the various onscreen possibilities and probabilities of their own embodied and ever-mutable animation. -- Vivian Sobchack, author of Carnal Thoughts: Embodiment and Moving ImageSlava Greenberg's powerful new book, Animated Film and Disabiity: Cripping Spectatorship, explores new territory at the intersection of animation theory and disability studies. Greenberg identifies the multisensory cinematic strategies that "crip animations" use to not only represent their disabled subjects, but to involve them as key creators, and further, to make them accessible to a diversely disabled audience. This text is essential reading and a necessary companion for all who teach animation studies. Similar to the 2020 wake-up call to include BIPOC animators and subjects in course content, Greenberg's list of crip animations must also be included on our animation syllabi as a means of countering ablist animation content and its assumed able-bodied, able-minded spectatorship. -- Lisa Mann, Professor of the Practice of Cinematic Arts andExpanded Animation Research + Practice (XA), School of Cinematic Art, University of Southern CaliforniaIn Animated Film and Disability, Slava Greenberg opens up a theory of 'crip animation' that grapples with the fullness of disability, queer, and trans experience. Applying a phenomenological approach, the book enables the radical basis of the animated film genre's alternative world-building objectives to surface. No longer child's play, animation operationalizes plastic universes to destabilize viewers' and normative film conventions that typically structure the visual, auditory, and cognitive processing fields. In doing so, Greenberg unveils the political possibilities of disability representation and its potential to upend the over-worn expectations of cinematic normalcy. -- David T. Mitchell, George Washington UniversityIn this imaginative, brave, and extensively researched book, Slava Greenberg puts two generally understudied areas of film studies—animation and disability media studies—into dialogue around media spectatorship. Specifically, he rethinks spectatorship and the transformative possibilities of media representation from interrelated perspectives of disability and trans embodiment. Animation dynamizes screen, spectator and the being-in-the-world experience their relation evokes. Greenberg carefully traces how it thereby imagines and generates possibilities for a non-ableist gaze and spectatorial experience. Animated Film and Disability is thereby a must-read for scholars of animation, disability studies and film spectatorship in general. -- Kathleen McHugh, author of American Domesticity: From How-to-Manual to Hollywood MelodramaIn this fresh and exciting study, Greenberg offers an engaging account of animation's unique potential to reflect disability experiences beyond live-action's usual realism, didacticism, and stereotypes. Greenberg argues convincingly that animation can express disabled people's interior worlds in imaginative ways that can provoke a multisensory response, moving audiences beyond the empathic to an embodied prefiguration of worlds made possible by disabled ways of being. Animated Films and Disability is essential reading for anyone interested in film and social justice. -- Carrie Sandahl, Professor and Director of the Program on Disability Art, Culture and Humanities, Disability and Human Development at the University of Illinois at ChicagoIs it possible to understand others' experiences of embodied difference or disability? In Slava Greenberg's investigation of crip animation, we see how the imaginative possibilities of animation challenge cinematic expectations of non-disabled spectatorship, producing novel sensorial experiences that offer affirmation for disabled spectators and challenge non-disabled spectators to moments of productive disorientation. Through such cinematic efforts, perhaps we may find points of connection and possibilities for anti-ableist change in the theater and beyond. -- Elizabeth Ellcessor, author of Restricted Access: Media, Disability, and the Politics of ParticipationThrough a creative use of many examples, Animated Film and Disability moves readers to consider the able-ist gaze that forms the content and perception of cinematic renderings of disability. Slava Greenberg invites us, both spectators and theorists, to detach ourselves from our typical perceptions of disability as a method to get in touch with alternative relations forged through a focus on crip subjectivities and viewpoints. This book is essential reading for anyone interested in the power of perception as a political and creative site of inquiry. -- Tanya Titchkosky, author of Reading and Writing Disability Differently: The Textured Life of EmbodimentAnimated Film and Disability: Cripping Spectatorship offers a much needed interdisciplinary intervention by interrogating cinema's 'ableist gaze' and theorizing animated media's capacity to subvert it. Poised to become a foundational text in disability studies and animation studies alike, Greenberg's groundbreaking and timely study deftly combines phenomenological analysis and critical disability theory, defining a rigorous, inclusive framework for the study of disabled subjectivities and their transformative potential. -- Mihaela Mihailova, editor of Coraline: A Closer Look at Studio LAIKA's Stop-Motion WitchcraftSlava Greenberg's Animated Film and Disability is not just about disabled characters or creators, it is about how we take in, sense, and are immersed within animated media – what this does to our bodies and minds – or bodyminds – and how this spectatorship forms new relationships between bodyminds. Readers of this compelling, clear, and beautifully-written book, like spectators for these films, will find themselves guided into and through similar processes of encountering and embodying difference and disability. The book is highly personal – and not just in the sense that Greenberg so carefully and openly captures his own crip power and vulnerability, but also in the sense that the reader will have a deeply personal response, likewise powerful and vulnerable, fraught and desirable. The book develops novel methodologies for reading any cultural text with and through disability, as well as means of animating a wide range of conversations about embodiment, affect, intersubjectivity, and the sensorium. -- Jay Dolmage, author of Disabled Upon Arrival: Eugenics, Immigration, and the Construction of Race and DisabilityIn Animated Film and Disability: Cripping Spectatorship, Slava Greenberg combines cinema studies, gender studies, and disability studies in an interdisciplinary investigation that goes beyond negative images and underrepresentation. Focusing on avant-garde animation films that enact crip subjectivities, he postulates an affective link between certain stylistic choices and viewer experiences. In nontraditional formal constructions that disrupt viewers' conventional ease, he elucidates an inter-corporeality between film and viewer. The variable world of animated film acknowledges that all people, including all film viewers, live with illness and change. With astute analysis, Greenberg explicates how films that engage viewers in the mental and corporeal states of disability expand their audiences' subjective prospects. Slava Greenberg has given to us not only a scholarly book, but also a gift of improved spectatorship. -- Chris Straayer, author of Deviant Eyes, Deviant BodiesTable of ContentsPREFACE: CALL ME TRANS-CRIPACKNOWLEDGMENTSINTRODUCTION: ANIMATION, DISABILITY, AND SPECTATORSHIP1. RESISTING THE ABLEIST GAZE: BETWEEN MAINTREAM AND EXPERIMENTAL FORMS2. EMBODYING SPECTATORSHIP: INTERSUBJECTIVE WAYS OF BEING-IN-THE-WORLD3. BLINDING THE SPECTATOR: NON-VISION-CENTRIC PLEASURES4. DEAFENING THE SPECTATOR: RETHINKING SONIC PLEASURES AND AUDISM5. TOWARD ACCESSIBLE SPECTATORSHIPSBIBLIOGRAPHYFILMOGRAPHYINDEX
£48.60
Indiana University Press Animated Film and Disability
Book SynopsisTrade ReviewA tour de force that will enrich the way we experience and value our diverse embodiments both personally and socially, Animated Film and Disability: Cripping Spectatorship is an immensely important and much needed contribution not only to film and media studies but also to the humanities and social sciences. Taking some (but not all) of the 'dis' out of 'disability,' Greenberg approaches embodiment through the metamorphic plasmatics of animation. This strikingly original and expansive critical strategy and its highlighted films give shape and subjective voice to a variety of 'crip' ways of 'being in the world,' that may also 'crip' these films' spectators, who sense (if not re-cognize) the various onscreen possibilities and probabilities of their own embodied and ever-mutable animation. -- Vivian Sobchack, author of Carnal Thoughts: Embodiment and Moving ImageSlava Greenberg's powerful new book, Animated Film and Disabiity: Cripping Spectatorship, explores new territory at the intersection of animation theory and disability studies. Greenberg identifies the multisensory cinematic strategies that "crip animations" use to not only represent their disabled subjects, but to involve them as key creators, and further, to make them accessible to a diversely disabled audience. This text is essential reading and a necessary companion for all who teach animation studies. Similar to the 2020 wake-up call to include BIPOC animators and subjects in course content, Greenberg's list of crip animations must also be included on our animation syllabi as a means of countering ablist animation content and its assumed able-bodied, able-minded spectatorship. -- Lisa Mann, Professor of the Practice of Cinematic Arts andExpanded Animation Research + Practice (XA), School of Cinematic Art, University of Southern CaliforniaIn Animated Film and Disability, Slava Greenberg opens up a theory of 'crip animation' that grapples with the fullness of disability, queer, and trans experience. Applying a phenomenological approach, the book enables the radical basis of the animated film genre's alternative world-building objectives to surface. No longer child's play, animation operationalizes plastic universes to destabilize viewers' and normative film conventions that typically structure the visual, auditory, and cognitive processing fields. In doing so, Greenberg unveils the political possibilities of disability representation and its potential to upend the over-worn expectations of cinematic normalcy. -- David T. Mitchell, George Washington UniversityIn this imaginative, brave, and extensively researched book, Slava Greenberg puts two generally understudied areas of film studies—animation and disability media studies—into dialogue around media spectatorship. Specifically, he rethinks spectatorship and the transformative possibilities of media representation from interrelated perspectives of disability and trans embodiment. Animation dynamizes screen, spectator and the being-in-the-world experience their relation evokes. Greenberg carefully traces how it thereby imagines and generates possibilities for a non-ableist gaze and spectatorial experience. Animated Film and Disability is thereby a must-read for scholars of animation, disability studies and film spectatorship in general. -- Kathleen McHugh, author of American Domesticity: From How-to-Manual to Hollywood MelodramaIn this fresh and exciting study, Greenberg offers an engaging account of animation's unique potential to reflect disability experiences beyond live-action's usual realism, didacticism, and stereotypes. Greenberg argues convincingly that animation can express disabled people's interior worlds in imaginative ways that can provoke a multisensory response, moving audiences beyond the empathic to an embodied prefiguration of worlds made possible by disabled ways of being. Animated Films and Disability is essential reading for anyone interested in film and social justice. -- Carrie Sandahl, Professor and Director of the Program on Disability Art, Culture and Humanities, Disability and Human Development at the University of Illinois at ChicagoIs it possible to understand others' experiences of embodied difference or disability? In Slava Greenberg's investigation of crip animation, we see how the imaginative possibilities of animation challenge cinematic expectations of non-disabled spectatorship, producing novel sensorial experiences that offer affirmation for disabled spectators and challenge non-disabled spectators to moments of productive disorientation. Through such cinematic efforts, perhaps we may find points of connection and possibilities for anti-ableist change in the theater and beyond. -- Elizabeth Ellcessor, author of Restricted Access: Media, Disability, and the Politics of ParticipationThrough a creative use of many examples, Animated Film and Disability moves readers to consider the able-ist gaze that forms the content and perception of cinematic renderings of disability. Slava Greenberg invites us, both spectators and theorists, to detach ourselves from our typical perceptions of disability as a method to get in touch with alternative relations forged through a focus on crip subjectivities and viewpoints. This book is essential reading for anyone interested in the power of perception as a political and creative site of inquiry. -- Tanya Titchkosky, author of Reading and Writing Disability Differently: The Textured Life of EmbodimentAnimated Film and Disability: Cripping Spectatorship offers a much needed interdisciplinary intervention by interrogating cinema's 'ableist gaze' and theorizing animated media's capacity to subvert it. Poised to become a foundational text in disability studies and animation studies alike, Greenberg's groundbreaking and timely study deftly combines phenomenological analysis and critical disability theory, defining a rigorous, inclusive framework for the study of disabled subjectivities and their transformative potential. -- Mihaela Mihailova, editor of Coraline: A Closer Look at Studio LAIKA's Stop-Motion WitchcraftSlava Greenberg's Animated Film and Disability is not just about disabled characters or creators, it is about how we take in, sense, and are immersed within animated media – what this does to our bodies and minds – or bodyminds – and how this spectatorship forms new relationships between bodyminds. Readers of this compelling, clear, and beautifully-written book, like spectators for these films, will find themselves guided into and through similar processes of encountering and embodying difference and disability. The book is highly personal – and not just in the sense that Greenberg so carefully and openly captures his own crip power and vulnerability, but also in the sense that the reader will have a deeply personal response, likewise powerful and vulnerable, fraught and desirable. The book develops novel methodologies for reading any cultural text with and through disability, as well as means of animating a wide range of conversations about embodiment, affect, intersubjectivity, and the sensorium. -- Jay Dolmage, author of Disabled Upon Arrival: Eugenics, Immigration, and the Construction of Race and DisabilityIn Animated Film and Disability: Cripping Spectatorship, Slava Greenberg combines cinema studies, gender studies, and disability studies in an interdisciplinary investigation that goes beyond negative images and underrepresentation. Focusing on avant-garde animation films that enact crip subjectivities, he postulates an affective link between certain stylistic choices and viewer experiences. In nontraditional formal constructions that disrupt viewers' conventional ease, he elucidates an inter-corporeality between film and viewer. The variable world of animated film acknowledges that all people, including all film viewers, live with illness and change. With astute analysis, Greenberg explicates how films that engage viewers in the mental and corporeal states of disability expand their audiences' subjective prospects. Slava Greenberg has given to us not only a scholarly book, but also a gift of improved spectatorship. -- Chris Straayer, author of Deviant Eyes, Deviant BodiesTable of ContentsPREFACE: CALL ME TRANS-CRIPACKNOWLEDGMENTSINTRODUCTION: ANIMATION, DISABILITY, AND SPECTATORSHIP1. RESISTING THE ABLEIST GAZE: BETWEEN MAINTREAM AND EXPERIMENTAL FORMS2. EMBODYING SPECTATORSHIP: INTERSUBJECTIVE WAYS OF BEING-IN-THE-WORLD3. BLINDING THE SPECTATOR: NON-VISION-CENTRIC PLEASURES4. DEAFENING THE SPECTATOR: RETHINKING SONIC PLEASURES AND AUDISM5. TOWARD ACCESSIBLE SPECTATORSHIPSBIBLIOGRAPHYFILMOGRAPHYINDEX
£999.99
Indiana University Press Wandering Women
Book SynopsisTrade ReviewLaura Di Bianco combines ecocritical and feminist perspectives with acute awareness of social inequalities as she travels through the landscape of contemporary women's cinema in Italy. For its interdisciplinary outlook, Wandering Women will be of great interest to readers in Italian studies, gender studies, and environmental humanities. They will discover eight remarkable women film directors spanning three generations, who treat the urban environment as a living ecology. -- Giuliana Bruno, Harvard University, author of Streetwalking on a Ruined MapWandering Women invites readers on a lively voyage through Italian urban environments, from Milan to Rome, from Naples to Taranto and Reggio Calabria, following a dynamic canon of films made by Italian women directors. Addressing questions of ideology, geography, ecology, and aesthetics, Di Bianco's engrossing book examines figures both on screen and behind the scenes, showing how innovative filmmakers and their films reciprocally shape cinematic, urban, and affective places. This groundbreaking study is built on Di Bianco's deep knowledge of cinematic history and its many protagonists—directors, production crews, cities, ecologies, landscapes. Wandering Women is a convivial, generative conversation across generations of filmmakers. It is an innovative and timely treatise on ecology, cinema, and the Anthropocene in Italy, one that is destined to become a landmark in Italian film studies. -- Elena Past, author of Italian Ecocinema Beyond the HumanTable of ContentsPreface: Women Make Movies in ItalyAcknowledgmentsNote on TranslationIntroduction: Mapping Italian Women's Filmmaking1. Walking in Resilient Cities: Traveling with CeciliaFegatello: The Nightless City2. Urban Wandering, Scrapbooking, and Filmmaking: As the Shadow, My Tomorrow, Poetry You See MeFegatello: Ophelia Does Not Drown3. Mothers and Daughters: Stories of Survival and Care: The White Space, I Like to WorkFegatello: All About You4. Coming of Age in the City: Garbage, Corpses, and Miracles: Corpo Celeste, Domenica, Lost KissesFegatello: The Macaluso Sisters5. A Psychogeology of the City: N-AbleFegatello: In This WorldEpilogue: The Cities of WomenFilmographyBibliographyIndex
£45.00
Indiana University Press French B Movies
Book SynopsisTrade Review"A much-needed contribution to scholarship on banlieue cinema. . . . Pettersen's analyses provide a thoughtful and highly informed discourse on identity politics in contemporary Western, multiracial societies that is of broad relevance, just as his overview of transnational genre theory and industrial exegeses will provide paradigms applicable to other areas of audiovisual study."—Mary Harrod, author of Heightened Genre and Women's Filmmaking in Hollywood: The Rise of the Cine-fille"This compelling study revises our ideas about contemporary French cinema, foregrounding the banlieue film—from the work of Mathieu Kassovitz to Luc Besson to Céline Sciamma—and linking it the horror film, socially critical cinema, and art film. Pettersen makes judicious use of the tools of cultural history, critical theory, and film analysis in this excavation of the national and transnational character of French cinema."—Kelley Conway, University of Wisconsin-MadisonTable of ContentsAcknowledgmentsNote on Film Titles and French-Language CitationsIntroduction1. Suburban Cinema Between Art and Genre2. Luc Besson's EuropaCorp and Parkour in the Suburbs3. Suburban Gangsters: Screen Violence and the Banlieues4. Suburbanoia and French Banlieue Horror Films5. Omar Sy: Black Superstardom in Contemporary France6. Beyond the Art/Genre Divide: Céline Sciamma's GirlhoodConclusion: Genre, Inclusive Casting, and the Suburbs in the Age of SVoDBibliographyIndex
£67.15
Indiana University Press French B Movies
Book SynopsisTrade Review"A much-needed contribution to scholarship on banlieue cinema. . . . Pettersen's analyses provide a thoughtful and highly informed discourse on identity politics in contemporary Western, multiracial societies that is of broad relevance, just as his overview of transnational genre theory and industrial exegeses will provide paradigms applicable to other areas of audiovisual study."—Mary Harrod, author of Heightened Genre and Women's Filmmaking in Hollywood: The Rise of the Cine-fille"This compelling study revises our ideas about contemporary French cinema, foregrounding the banlieue film—from the work of Mathieu Kassovitz to Luc Besson to Céline Sciamma—and linking it the horror film, socially critical cinema, and art film. Pettersen makes judicious use of the tools of cultural history, critical theory, and film analysis in this excavation of the national and transnational character of French cinema."—Kelley Conway, University of Wisconsin-MadisonTable of ContentsAcknowledgmentsNote on Film Titles and French-Language CitationsIntroduction1. Suburban Cinema Between Art and Genre2. Luc Besson's EuropaCorp and Parkour in the Suburbs3. Suburban Gangsters: Screen Violence and the Banlieues4. Suburbanoia and French Banlieue Horror Films5. Omar Sy: Black Superstardom in Contemporary France6. Beyond the Art/Genre Divide: Céline Sciamma's GirlhoodConclusion: Genre, Inclusive Casting, and the Suburbs in the Age of SVoDBibliographyIndex
£31.50
Indiana University Press Everything Is Sampled
Book SynopsisTrade Review"Everything Is Sampled deploys the idea of production in deft and thoughtful manners to think together African arts, the integrity of the discrete aesthetic phenomenon, and the historical matrix within which aesthetic objects gain life. Everything Is Sampled adopts and rechannels terms implicated in the workings of text-making practices like curation, translation, media and modes (streaming technologies included), to establish patterns of changes and regularities in drama, film, video, poetry, and art installation. Individuals interested in lucid cultural analysis ought to find the eminently accessible style of presentation very appealing."—Adeleke Adeeko, Ohio State University"Everything Is Sampled will make significant contributions to African literary and cultural studies, postcolonial studies, and world literature studies. It's central objects of analysis extend over an impressively wide range of artistic productions in sub-Saharan Africa, from the mid twentieth-century to the contemporary moment of globalization and digital culture. This unusual capaciousness is risky but exciting. Adesokan's work takes on this ambitious task with a flair that is at once substantive and stylistic."—Olakunle George, Brown UniversityTable of ContentsPrefaceAcknowledgmentsIntroduction: The New Terrains of African Arts and LettersPart One: Shifting Margins1. Modes of Creative Practice2. Spatial Assemblages: Festivals as CurationPart Two: Across the Digital Divide3. The Griot's Compositions in Time4. Adaptation or Remake: New Formats for Old Prints5. Approaching the World as Platform, Literally6. The Remix: Of New Identities and Technologies of ReuseEpilogue: In Relative AccountAppendixNotesBibliographyIndex
£62.90
Indiana University Press Political Camerawork
Book SynopsisTrade ReviewAn innovative contribution to media studies that explores the embodied experiences of both performers and camerapersons filming war reenactments, military training simulations, and an annual lynching reenactment. -- Wendy Kozol, author of Distant Wars Visible: The Ambivalence of WitnessingTable of ContentsIntroduction: Reflecting on "Moments of Truth"1. Being There Again: Reenacting Camerawork in In Country (2014)2. Weaponizing Affect: A Film Phenomenology of 3D Military Training Simulations During the Iraq War3. 'Do You Want to Play a Klansman?': Lynching Photography, Civil Rights Camerawork, and the Moore's Ford Lynching Reenactment in Georgia4. Establishing a Black Affective Infrastructure: From Lynching Performance in the Hollywood of the South to Always in Season (2019)Conclusion: Toward an Embodied Social Cinema, or From Point of View to Social SenseFilmographyBibliographyIndex
£52.70
Indiana University Press Political Camerawork
Book SynopsisTrade ReviewAn innovative contribution to media studies that explores the embodied experiences of both performers and camerapersons filming war reenactments, military training simulations, and an annual lynching reenactment. -- Wendy Kozol, author of Distant Wars Visible: The Ambivalence of WitnessingTable of ContentsIntroduction: Reflecting on "Moments of Truth"1. Being There Again: Reenacting Camerawork in In Country (2014)2. Weaponizing Affect: A Film Phenomenology of 3D Military Training Simulations During the Iraq War3. 'Do You Want to Play a Klansman?': Lynching Photography, Civil Rights Camerawork, and the Moore's Ford Lynching Reenactment in Georgia4. Establishing a Black Affective Infrastructure: From Lynching Performance in the Hollywood of the South to Always in Season (2019)Conclusion: Toward an Embodied Social Cinema, or From Point of View to Social SenseFilmographyBibliographyIndex
£24.29
Indiana University Press African Cinema Manifesto and Practice for
Book SynopsisTrade Review"African Cinema: Manifesto and Practice for Cultural Decolonization combines theory and praxis as a means to explore the social, cultural, political, economic and gendered dynamics of African cinemas within a global context, all of which are determining factors in how African filmmaking practitioners and stakeholders negotiate their place as directors, producers, organizers, activists, scholars, distributors, cultural readers. The collection is an important addition to African Cinema Studies in particular, and the library of Film Studies in general."—Beti Ellerson, Founder and Director, Centre for the Study and Research of African Women in Cinema"Setting out, African Cinema positioned itself at the intersection of a theory and practice of cultural self-apprehension, with all the contradictions that come with that position. In this three-volume compendium, Martin, Kaboré and their various collaborators have provided a comprehensive, almost exhaustive, account eventuating in a third, element—history. A more comprehensive account will be hard to find anywhere else."—Akin Adesokan, Indiana University"This is a long-awaited volume of detailed, and analytical information and commentary that maps the development of the cinema of a large continent and the background ideas that have influenced its formation."—June Givanni, Director of the June Givanni Pan African Cinema Archive (JGPACA)Table of ContentsDedicationAcknowledgmentsPreface, by Ardiouma SomaAfrican Cinema and the Diasporic: Introductory Considerations, by Michael T. Martin and Gaston Jean-Marie KaboréPart I: Sites and Contexts of ExhibitionAfrican Film Festivals in Africa: Curating "African Audiences" for "African Films", by Lindiwe DoveyOn Tracking World Cinema: African Cinema at Film Festivals, by Manthia DiawaraAfrican Women on the Film Festival Landscape: Organizing, Showcasing, Promoting, Networking, by Beti EllersonAfrican Cinema in the Tempest of Minor Festivals, by Sambolgo BangrePostcolonial Film Collaboration and Festival Politics, by Dorothee WennerPart II: FESPACO: An Evolving Cinematic and Cultural FormationAfrican Cinema and Festival: FESPACO, by Manthia DiawaraFESPACO: Promoting African Film Development and Scholarship, by M. Africanus AvehFESPACO and Cultural Valorization, by Mahir SaulAfrican Cinema: Between the "Old" and the "New", by Mbye ChamStatement at Ouagadougou (1979), by Ousmane SembeneA Name Is More Than the Tyranny of Taste, by Wole SoyinkaCine-Agora Africana: Meditating on the Fiftieth Anniversary of FESPACO, by Aboubakar SanogoCultural Politics of Production and Francophone West African Cinema: FESPACO 1999, by Teresa Hoefert de TureganoA Mirage in the Desert? African Women Directors at FESPACO, by Claire Andrade-WatkinsCabascabo, the Film That Lastingly Established FESPACO: An Interview with Alimata Salambere, by Olivier BarletThe Long Take: Gaston Kaboré on FEPACI & FESPACO, by Michael T. MartinPressing Revelations: Notes on Time at FESPACO, by Rod StonemanFifty Years of Women's Engagement at FESPACO, by Beti EllersonThiaroye or Yeelen? The Two Ways of African Cinemas, by Férid BoughedirLong Live Cinema! Long Live FESPACO.: A Luta Continua!, by Claire DiaoRethinking FESPACO As an Echo, by Michel AmargerGoing to the Cinema in Burkina Faso, by Mustapha OuedgraogoFESPACO Film Festival, by Colin DupréFESPACO and Its Many Afterlives, by Sheila PettyPart III: Conditionalities and ChallengesTowards Reframing FESPACO, by Imruh BakariFESPACO Past and Future: Voices from the Archive, by June GivanniThe Opening of South Africa and the Future of African Film, by Mahir SaulFESPACO 2019: Moving Toward Resurrection, by Olivier BarletFifty Years of Memories for Shaping the Future!, by Rémi AbegaPart IV: Commentaries: Filmmakers, Film Scholars, and Media ProfessionalsPart V: DocumentsResolution on the Pan-African Film Festival of Ouagadougou (1972)Regulations of the Carthage Film Festival (1970s)Regulations of the Pan-African Film Festival of Ouagadougou (1980)Regulations for the Official Juries of the 26th Edition of FESPACO (2019)FESPACO Award Winners (1972-2019)FESPACO 50th Anniversary Symposium (2019)Manifesto of Ouagadougou (2017)FESPACO Poster Gallery (1969-2019)Organizing Themes of the FESPACO Festival (1973-2019)Major Events of FESPACO (1969-2016)The African Film Library of OuagadougouDossier 1: Paul Robeson Award Initiative (PRAI)Dossier 2: The Higher Institute of Image and Sound / Studio School (ISIS-SE)Dossier 3: Imagine Film Training InstitutePower to the Imagination (2020), by Rod StonemanFounding Myths and Storytelling: The African Modern (2011), by Michael T. Martin
£26.09
Indiana University Press African Cinema Manifesto and Practice for
Book SynopsisTrade Review"African Cinema: Manifesto and Practice for Cultural Decolonization combines theory and praxis as a means to explore the social, cultural, political, economic and gendered dynamics of African cinemas within a global context, all of which are determining factors in how African filmmaking practitioners and stakeholders negotiate their place as directors, producers, organizers, activists, scholars, distributors, cultural readers. The collection is an important addition to African Cinema Studies in particular, and the library of Film Studies in general."—Beti Ellerson, Founder and Director, Centre for the Study and Research of African Women in Cinema"Setting out, African Cinema positioned itself at the intersection of a theory and practice of cultural self-apprehension, with all the contradictions that come with that position. In this three-volume compendium, Martin, Kaboré and their various collaborators have provided a comprehensive, almost exhaustive, account eventuating in a third, element—history. A more comprehensive account will be hard to find anywhere else."—Akin Adesokan, Indiana University"This is a long-awaited volume of detailed, and analytical information and commentary that maps the development of the cinema of a large continent and the background ideas that have influenced its formation."—June Givanni, Director of the June Givanni Pan African Cinema Archive (JGPACA)Table of ContentsDedicationAcknowledgmentsAfrican Cinema and the Diasporic: Introductory Considerations, by Michael T. Martin and Gaston Jean-Marie KaboréPart I: Africa1958 Declaration and Resolutions of the Conference of Independent African States1968 Manifesto of New Cinema in Egypt1969 Pan-African Cultural Manifesto, Algiers, Algeria1969 Resolution on Inter-African Cultural Festival1970 Proposed Establishment of an All-African Cinema Union1970s Regulations of the Carthage Film Festival1972 Resolution on the Pan-African Film Festival of Ouagadougou1974 Workshop Resolutions: Seminar on "The Role of the African Filmmaker in Rousing an Awareness of Black Civilization"1975 The Algiers Charter on African Cinema1975 The Accra Declaration on Cultural Policies1976 Cultural Charter of Africa1977 Cinematographic Art (FESTAC 77)1977 Resolution of Commendation and Appreciation to the Federal Republic of Nigeria1980 Regulations of the Pan-African Film Festival of Ouagadougou (FESPACO)1982 Niamey Manifesto of African Filmmakers1984 Final Communique, African Regional Film Workshop1986 The Language Plan of Action for Africa1987 Resolutions on the Development of Film and Endogenous and non-Endogenous Cultural Industries1989 First International Day of Partnership (FEPACI)1989 An Outlook on FEPACI1990 Final Communique of the First Frontline Film Festival and Workshop1991 Statement by the African Women Professionals of Cinema, Television, and Video1991 The Status of the Audiovisual Sector in Africa1991 Declaration of Windhoek1992 African Audio-Visual Industries: Prospects and Strategies1992 Cultural Industries for Development in Africa: Dakar Plan of Action1995 Resolution on the Celebration of the Centenary of Film Invention2001 African Charter on Broadcasting2002 Accra Declaration on Public Service Broadcasting in West Africa2002 Declaration of Principle on Freedom of Expression in Africa2006 African Film Summit2009 FEPACI Master Report: Selections2010 Queer African Manifesto/Declaration2010 Manifesto: Conference of African Women Filmmakers2010 Sollywood: A Movement2010 Communique from the "Sustaining the New Wave of Pan-Africanism" Workshop2011 The WEMF V Accra Declaration2013 African Declaration on Internet Rights and Freedom2013 Declaration at the Second African Women in Film Forum2016 The African Editors Forum (TAEF): Declaration on World Media Freedom Day2016 African Media Initiative2016 Sisters Working in Film and Television (SWIFT)2017 Manifesto of Ouagadougou, FESPACO 25th Edition2017 The Surreal16 Collective Manifesto White Paper2018 African Cinema Day: One Africa, One Cinema Project2003 & 2019 The African Audiovisual and Cinema Commission (AACC): Decision on the Establishment of an AACC (2003), Draft Statute of the AACC (2019)Part II: Black Diaspora1920 Declaration of the Rights of Negro Peoples of the World1945 Selections from the Declarations and Resolutions of the Fifth Pan-African Congress1956 First Congress of Negro Writers and Artists1958 Appeal: The Unity and Responsibilities of African Negro Culture1959 Second Congress of Negro Writers and Artists1965 An Esthetic of Hunger1969 Black Manifesto1970 Towards a Third Cinema1972 Manifesto of the Palestinian Cinema Group1973 Resolutions of the Third World Filmmakers Meeting1974 The Resolution on Culture, Sixth Pan-African Congress1974 Final Resolutions: International Conference for a New Cinema1983 Black Independent Filmmaking: A Statement by the Black Audio Film Collective1983 Symposium Declaration: Third Eye – Struggle for Black & Third World Cinema1983 NAMEDIA Declaration1986 Inauguration of the San Antonio de Los Baños International School of Cinema and Television1990 FeCAVIP Manifesto1990 Audiovisual Market Caught Between the Chances in the North and South-South Cooperation1991 Special Broadcasting Service Charter1992 Caribbean Film and Video Federation: A Report1993 Working Group: Women in Cinema, Television, and Video Workshop1994 Resolution of the Seventh Pan-African Congress1995 Pan-African Union of Women of the Moving Image (UPAFI)1999 Dogma Feijoada1999 Tunis Declaration for the Defense of National Cinemas2003 Dakar Declaration on the Promotion of ACP Cultures and Cultural Industries2003 National Cultural Policy of Jamaica: Towards Jamaica the Cultural Superstate2003 Towards a Protocol for Filmmakers Working with Indigenous Content and Indigenous Communities2004 Poor Cinema Manifesto2005 Principles of Kaupapa Māori2006 Santo Domingo Resolution From the 2nd Meeting of the ACP Ministers of Culture2008 Jollywood Manifesto2009 Brussels Declaration by Artists and Cultural Professionals and EntrepreneursAnnex to the Brussels Declaration: The Cinema and Audiovisual Sector as a Factor of Development (2009)2009 Afrosurreal Manifesto: Black is the New black—A 21st-Century Manifesto2011-14 ABCD CINEMA: Filmmakers of Africa, Brazil, the Caribbean, and their Diasporas: Final Declaration of the First Meeting of ABCD CINEMA (2011): Final Declaration of the Second Meeting of ABCD CINEMA (2012): Final Declaration of the Third Meeting of ABCD CINEMA (2013: Cameras of Diversity (2012-2014)2012 The Association for the Advancement of Cinematic Creative Maladjustment: A Manifesto2012 Forty Years of Cinema by Women of Africa2013 Tela Preta Manifesto2013 Trinidad and Tobago Declaration on Developing the Caribbean Film Industry2013 The New Negress Film Society2015 Resolutions of the Eighth Pan-African Congress2016 "Black Is" and That's the Beauty of It: Ten Propositions Concerning the Visible and the Visual, in Consideration of Black Cinema and Black Visual Culture2016 Report on the Launch of the African Women Filmmakers Hub2016 Cinema Pasifika: Developing the narrative film and television sector in the Pacific Island region2017 Pan-African Alliance of Screenwriters and Filmmakers (APASER)2018 More Shamans, less intolerance! An Indigenous Manifesto at Berlin Film Festival2018 Kia Manawanui: Kaupapa Māori Film Theoretical Framework2019 Reclaiming Black Film and Media Studies2021 The New Normal: A Manifesto to Create a Safe Space, Free of Racism, for the Black Artist
£26.09
Indiana University Press Indecent Detroit Race Sex and Censorship in the
Book SynopsisTrade Review"This is a book I've long been waiting for, one that moves beyond the rarefied histories of case law and intellectual theorizations of free speech to tell the story from the bottom up. . . . This is a major contribution to multiple scholarly fields, which also speaks to key debates of our own day about freedom of speech and expression."—Whitney Strub, author of Obscenity Rules
£62.90
Indiana University Press Indecent Detroit Race Sex and Censorship in the
Book SynopsisWhile Detroit has been a major focus in urban history, little has been written on censorship in the very city thatâdue to shifting legalities, the urban crisis, and racial tensionsâprofoundly shaped media suppression in the United States. By examining censorship in film and literature, Indecent Detroit recounts the evolution of media control from the end of WWII through the 1970s, when the US saw a major change in the legal mechanisms used to censor media due to court rulings that curtailed censorship laws. Ben Strassfeld reveals how Detroit altered its censorial tactics and rhetoric from an obscenity-based system of censorship centered in the Detroit Police Department to a regulatory model based in zoning law that was then expanded nationwide. This shift was connected to broader social and political trends, including the sexual revolution, that led the public to increasingly turn against censorship. A must-read for film and media scholars, Indecent Detroit highlights how one Midwest cTrade Review"This is a book I've long been waiting for, one that moves beyond the rarefied histories of case law and intellectual theorizations of free speech to tell the story from the bottom up. . . . This is a major contribution to multiple scholarly fields, which also speaks to key debates of our own day about freedom of speech and expression."—Whitney Strub, author of Obscenity Rules
£26.99
Indiana University Press The Years Work in Showgirls Studies
Book SynopsisTrade Review"This book does nothing less than stage a major reconsideration of one of cinema's most cherished and contested works. Collectively, these articles offer the reader an invigorating account of the complex intermedial and historiographic relations that can be generated by one movie over time. Whether rethinking what constitutes powerful acting, opening up new trajectories in the study of sex work on film and beyond, or activating a treasure trove of archival material, The Year's Work in Showgirl Studies is an indispensable book for scholars of cinema, performance, and culture."—Ryan Powell, author of Coming Together: The Cinematic Elaboration of Gay Male Life, 1945-1979"Smart, intricate and delightful, this collection does full justice to the complexities of camp through explorations of Showgirls, the most canonized of bad films. A true treat."—Susanna Paasonen,author of Carnal Resonance: Affect and Online Pornography
£62.90
Indiana University Press Too Soon Too Late History in Popular Culture
Book SynopsisDiscusses role of ohistoriesO in cultural studies.Trade ReviewIn my opinion, Meaghan Morris is perhaps the most original practitioner of cultural studies in the English-speaking world . . . Too Soon Too Late continues the effort to forge an original and experimental practice of cultural studies, and confronts one of the most interesting questions I can imagine: How does history function, not as an intellectual or academic enterprise, but as a popular practice and desire? What is the place of history in everyday life? In a series of sometimes bizarre but always beautiful, engaging and brilliantly insightful essays, Morris gives a new power to history and to language. * International Journal of Communication *
£16.99
Indiana University Press How a Film Theory Got Lost and Other Mysteries in
Book SynopsisIn the 1920s, when film criticism was as new as the cinema itself, a particular way of thinking about the movies developed in Paris. This collection of essays discusses this mystery and others like it: Why did photography and the detective story originate at exactly the same time?Table of ContentsContentsForeword by James Naremore1. Impressionism, Surrealism, and Film Theory: Path Dependence, or How a Tradition in Film Theory Gets Lost2. The Bordwell Regime and the Stakes of Knowledge3. Snapshots: The Beginnings of Photography4. Tracking5. How to Start and Avant-Garde6. How to Teach Cultural Studies7. The Best Way to Understand Postmodernism8. The Mystery of Edward Hopper9. Film and LiteratureConclusionNotesIndex
£15.19
Indiana University Press Image and Remembrance Representation and the
Book SynopsisThe passage of time and the reality of an aging survivor population have made it increasingly urgent to document and give expression to testimony, experience, and memory of the Holocaust. This title demonstrates that artistic representations are central to the practice of remembrance and commemoration.Trade Review"This comprehensive collection of essays on art and the Holocaust... [is] a valuable volume." -Jewish Book WorldTable of ContentsIntroduction Shelley Hornstein and Florence JacobowitzPART ONE: COMMEMORATION AND SITES OF MOURNING1. Shoah as Cinema Florence Jacobowitz2. Second-Sight: Shimon Attie's Recollection Berel Lang3. Rituals of Mourning and Mimesis: Arie A. Galles's Fourteen Stations Andrea Liss4. Trauma Daniel Libeskind5. Memory, Counter-memory, and the End of the Monument James YoungPART TWO: PERSONAL RESPONSES AND FAMILIAL LEGACIES6. Material Memory: Holocaust Testimony in Post-Holocaust Art Marianne Hirsch and Susan Rubin Suleiman7. Caught by Images: Visual Imprints in Holocaust Testimonies Ernst Van Alphen8. Gays and the Holocaust: Two Documentaries Robin Wood9. War Stories: Witnessing in Retrospect Marianne Hirsch and Leo SpitzerPART THREE: MEMENTO MORI: ATROCITY AND AESTHETICS10. The Iconic and the Allusive: The Case for Beauty in Post-Holocaust Art Janet Wolff11. Burnt Books and Absent Meaning: Morris Louis' Charred Journal: Firewritten Series and the Holocaust Mark Godfrey12. Emblems of Atrocity: Holocaust Liberation Photographs Carol Zemel13. The Uses and Abuses of Photography in Holocaust-Related Art Monica Bohm-DuchenPART FOUR: NATIONAL EXPRESSIONS OF REMEMBRANCE14. The Jewish Museum, Vienna: A Holographic Paradigm for History and the Holocaust Reesa Greenberg15. Memory Block: Rachel Whiteread's Holocaust Memorial in Vienna Rebecca Comay16. Turning the Places of Holocaust History into Places of Holocaust Memory: Holocaust Memorials in Budapest, Hungary 1945-1995 Tim Cole17. Berlin Elegies: Absence, Postmemory, and Art after Auschwitz Leslie Morris18. Invisible Topographies: Looking for the Mémorial de la Déportation in Paris Shelley HornsteinContributorsIndex
£18.89
Indiana University Press Beyond Casablanca
Book SynopsisExplores the problems of creativity in the Arab and African world, focusing on Moroccan cinema and one of its key figures, filmmaker M A Tazi. This book centers on a series of interviews conducted with Tazi, whose career provides a rich commentary on the world of Moroccan cinema and on Moroccan cinema in the world.Trade ReviewA specialist on the Middle East and North Africa, particularly Morocco, Dwyer (social anthropology, American Univ., Cairo) set himself the task of investigating the complexities of creative activity in a Third World context by focusing on the Moroccan national cinema and, more specifically, on the life and career of the country's best known film director, Muhammad Abderrahman Tazi. Dwyer devotes a great deal of space and analysis to Tazi's most profitable film, À (A) la recherche du mari de ma femme (Looking for My Wife's Husband), to date the most commercially successful movie ever shown in Morocco. The analysis of this 1994 film makes it sound like a delightful Islamic romantic comedy; the plot could only occur in a Muslim context, hinging on polygamy and the three-repudiation divorce. Dwyer's treatment of Tazi's career is both detailed and contextualized. His interviews with the filmmaker sometimes seem trivial, perhaps even nit-picking, but his estimations of the general position of Third World filmmaking in world cinema, especially in competition with Hollywood, are extremely well documented. The book has copious notes and a useful bibliography. Summing Up: Recommended. Collections supporting study of world cinema at the upper-division undergraduate level and above.July 2005 -- R. D. Sears * Berea College *Table of ContentsAcknowledgmentsIntroduction: Third World, Many Worlds1. The Most Successful Moroccan Film EverInterlude: Film's Power and Function2. Building the National Cinema, Building a CareerInterlude: A First Feature-The Big Trip (1981)3. Huston, Wise, Coppola, Camus and Pasolini, Scorsese and Some Others4. Badis (1989)Interlude: How to Tell a Story-Narrative and Symbols5. The Other Side of the Wind, AlmostInterlude: Lalla Hobby-The Film6. Reflections and ProjectionsConclusion: Future Flights of the BumblebeeNotesBibliographyChronologyIndex
£18.99
Indiana University Press Cinephilia and History or The Wind in the Trees
Book SynopsisCinephiles have regularly fetishized contingent, marginal details in the motion picture image. This title demonstrates that the spectatorial tendency that produces such cinematic encountersoa viewing practice marked by a drift in visual attention away from the primary visual elements on display - in fact has clear links to the origins of film.Trade Review"..original, provocative, and well—written.." —ChoiceTable of ContentsContentsList of IllustrationsAcknowledgmentsIntroduction1. The Desire for Cinema2. The Cinephiliac Moment and Panoramic Perception3. André Bazin and the Revelatory Potential of Cinema4. Cahiers du Cinéma and the Way of Looking5. Film and the Limits of History6. A Cinephiliac History7. Five Cinephiliac AnecdotesNotesBibliographyIndex
£15.19
Indiana University Press Turbulence and Flow in Film
Book SynopsisThe use of rhythm in filmmaking from the silent era to todayTrade ReviewIn [Biro's] new work, turbulence and flow advance a theme that has been central to the seventh art since its origins, but which concerns us now more than ever: that of time. Yvette Biro, in a series of brilliant chapters, which are at the same time complex and free of jargon, broaches all the facets of this problem—aesthetic as well as philosophical. * Michel Ciment, Director of Positif, President of FIPRESCI *Table of ContentsContentsPrefaceAcknowledgments1. Volatile Time2. Setting the Pace3. Intricate (Extended) Story Structures4. Detours5. Seeing in Time: Quasi una pausa6. Repetitions or Reprise7. Odysseys8. Everyday Rituals9. Endgames10. Strategies of TimeNotesSelected BibliographyFilmographyIndex
£17.99
Indiana University Press Italy in Early American Cinema
Book SynopsisTraces the origins of American cinema's century-long fascination with Italy and Italian immigrants to the popularity of the pre-photographic aesthetic - the picturesque.Trade ReviewBertellini situates early cinema within a broad geopolitical framework that 'calls for a reconsideration of race as a long-lasting visual form' and invites the film scholar to reexamine the medium's specificity. This makes Italy in Early American Cinema a seminal contribution to the field of cinema studies. June 2011, Vol. 31:2 * Historical Journal of Film, Radio, and Television *The book is beautifully illustrated and its sources are often spectacular. Bertellini finds historical evidence where previous researchers found none. . . . Unlike much of recent film historical research, which remains confined to a rather empirical presentation of previously unknown documents, Bertellini wants to insert these archives into a rich interdisciplinary, long-term development. July - December 2010 * Altreitalie *Bertellini's Italy in Early American Cinema is simply an extraordinary achievement. . . . He has been meticulous and indefatigable in discovering a wealth of original historical source material and honed and re-honed the text into an exemplary model of lucid, sophisticated, critical historical analysis. Vol. 22, 2010 * Film History *Bertellini's sophisticated interdisciplinary study addresses questions of race moving between Italy and America in the prehistory and early history of film. . . . Bertellini's persuasive thesis that identity-formation works, among other things, through the picturesque, provides a further explanation for our persistent need for a local aura of realist 'authenticity' in our idea of what Italian cinema should give us. July 2011 * Times Literary Supplement *Bertellini has done a great service not just to scholars of American film, but also to the Italian-American citizen, by concentrating on this overlooked, but rich vein of American culture. August 2010 * Fra Noi *Table of ContentsAcknowledgmentsIntroduction: Transatlantic Racial Culture and Modern Visual ReproductionsPart 1. Picturing Italy's Natural and Social Landscapes 1. Picturesque Mode of Difference 2. The Picturesque Italian South as Transnational CommodityPart 2. Picture-Perfect America 3. Picturesque Views and American Natural Landscapes 4. Picturesque New York 5. Black Hands, White Faces 6. White Hearts 7. Performing GeographyAfterword: "A Mirror with a Memory"NotesFilmographyBibliographyIndex
£19.94
Indiana University Press Josephine Bakers Cinematic Prism
Book SynopsisTrade ReviewJosephine Baker's Cinematic Prism explores Baker's celebrity and ability to have such a hold in the Black film industry even while working almost exclusively with white directors, actors and crew in white—specifically European—spaces. Francis examines the dialogue between Baker and the characters she portrayed, particularly those whose narratives seemed to undermine the stardom they offered. Expertly crafted, Josephine Baker's Cinematic Prism illustrates the most prominent links between Black cinema, conflicting opinions of Baker in the popular press and the broader aspirations for progress towards racial equality. * The Root *New Josephine Baker biography chronicles her 'labor on screen' as the first 'global' black woman film star. . . . Josephine Baker's Cinematic Prism is available now and details the early days of Baker's stunning career. -- Rae Williams * Atlanta Black Star *Expertly crafted, Josephine Baker's Cinematic Prism illustrates the most prominent links between Black cinema, conflicting opinions of Baker in the popular press and the broader aspirations for progress towards racial equality. -- Bella Morais * The Root *An insightfully informative work of meticulous research and painstaking scholarship, Josephine Baker's Cinematic Prism is an extraordinary and unreservedly recommended addition to community, college, and university library Cinematic History, African-American Studies, and American Biography collections in general, and Josephine Baker supplemental curriculum studies lists in particular. -- James A. Cox * Midwest Book Reviw *This academic, but accessible deep dive into her film career and the impact of her image in the movies is thorough in considering what influenced her, how she reflected the current culture, and how she continues to be an influence today. Francis explores how Baker's performance style was inspired by African dance and blues singers like Ethel Waters, Ma Rainey, and Clara Smith (with whom she performed in the US). She put her own comic lens on these varied influences and presented her take with a boldness that would later show in the style of top stars like Diana Ross and Beyoncé. . . . This is an impressively thorough examination of a relatively short period of Baker's career that nevertheless had a significant impact on her image and legacy. -- Kendahl Cruver * A Classic Movie Blog *The ability of a figure to be discovered and rediscovered with new fascination and excitement time and again is the mark of a true legend. The life and career of the international sensation and multitalented performer Josephine Baker has thus been solidified. . . . Josephine Baker's Cinematic Prism follows through with exactly what it announces as its goal in its first few pages: to "treat Baker with care and seriousness as a producer of knowledge" (4). . . . Baker's cinematic prism engenders a way of knowing, thinking, and seeing that transcends the limits of space-time and productively reconsiders how Black women's labor can be assessed and valued. The method through which Francis conducts this thoughtful, yet rigorous, analysis will hopefully inspire those who evoke Baker in the future to do so in the same collaborative spirit. -- Philana Payton * Film Quarterly *In promoting Baker's stature as an American star, Francis has crafted an impressive and pressingly important book. . . . Refreshingly contemporary in its orienation, the light that Josephine Baker's Cinematic Prism opens onto its eponymous star brings its author's crucial perspective to an essential history of transnational cinema and performance. -- Colleen Kennedy-Karpat * History *Table of ContentsAcknowledgmentsPrologue: What Might Be Josephine Baker's Film HistoryIntroduction: Hey! Ha! Shimmy My Bananas! Refracting Baker's Image1. Traveling Shoes: Baker's Migrations and the Conundrums of Sweet Paris2. Shouting at Shadows: The Black American Press, French Colonial Culture, and La sirène des tropiques3. Unintended Exposures: Baker's Prismatic Ethnological Performance in ZouZou4. Seeing Double: Parody and Desire in Le pompier de Folier Bergère and Princesse Tam-TamEpilogue: Long Live Josephine Baker!BibliographyIndex
£18.04
Indiana University Press Josephine Bakers Cinematic Prism
Book SynopsisTrade ReviewJosephine Baker's Cinematic Prism explores Baker's celebrity and ability to have such a hold in the Black film industry even while working almost exclusively with white directors, actors and crew in white—specifically European—spaces. Francis examines the dialogue between Baker and the characters she portrayed, particularly those whose narratives seemed to undermine the stardom they offered. Expertly crafted, Josephine Baker's Cinematic Prism illustrates the most prominent links between Black cinema, conflicting opinions of Baker in the popular press and the broader aspirations for progress towards racial equality. * The Root *New Josephine Baker biography chronicles her 'labor on screen' as the first 'global' black woman film star. . . . Josephine Baker's Cinematic Prism is available now and details the early days of Baker's stunning career. -- Rae Williams * Atlanta Black Star *Expertly crafted, Josephine Baker's Cinematic Prism illustrates the most prominent links between Black cinema, conflicting opinions of Baker in the popular press and the broader aspirations for progress towards racial equality. -- Bella Morais * The Root *An insightfully informative work of meticulous research and painstaking scholarship, Josephine Baker's Cinematic Prism is an extraordinary and unreservedly recommended addition to community, college, and university library Cinematic History, African-American Studies, and American Biography collections in general, and Josephine Baker supplemental curriculum studies lists in particular. -- James A. Cox * Midwest Book Reviw *This academic, but accessible deep dive into her film career and the impact of her image in the movies is thorough in considering what influenced her, how she reflected the current culture, and how she continues to be an influence today. Francis explores how Baker's performance style was inspired by African dance and blues singers like Ethel Waters, Ma Rainey, and Clara Smith (with whom she performed in the US). She put her own comic lens on these varied influences and presented her take with a boldness that would later show in the style of top stars like Diana Ross and Beyoncé. . . . This is an impressively thorough examination of a relatively short period of Baker's career that nevertheless had a significant impact on her image and legacy. -- Kendahl Cruver * A Classic Movie Blog *The ability of a figure to be discovered and rediscovered with new fascination and excitement time and again is the mark of a true legend. The life and career of the international sensation and multitalented performer Josephine Baker has thus been solidified. . . . Josephine Baker's Cinematic Prism follows through with exactly what it announces as its goal in its first few pages: to "treat Baker with care and seriousness as a producer of knowledge" (4). . . . Baker's cinematic prism engenders a way of knowing, thinking, and seeing that transcends the limits of space-time and productively reconsiders how Black women's labor can be assessed and valued. The method through which Francis conducts this thoughtful, yet rigorous, analysis will hopefully inspire those who evoke Baker in the future to do so in the same collaborative spirit. -- Philana Payton * Film Quarterly *In promoting Baker's stature as an American star, Francis has crafted an impressive and pressingly important book. . . . Refreshingly contemporary in its orienation, the light that Josephine Baker's Cinematic Prism opens onto its eponymous star brings its author's crucial perspective to an essential history of transnational cinema and performance. -- Colleen Kennedy-Karpat * History *Table of ContentsAcknowledgmentsPrologue: What Might Be Josephine Baker's Film HistoryIntroduction: Hey! Ha! Shimmy My Bananas! Refracting Baker's Image1. Traveling Shoes: Baker's Migrations and the Conundrums of Sweet Paris2. Shouting at Shadows: The Black American Press, French Colonial Culture, and La sirène des tropiques3. Unintended Exposures: Baker's Prismatic Ethnological Performance in ZouZou4. Seeing Double: Parody and Desire in Le pompier de Folier Bergère and Princesse Tam-TamEpilogue: Long Live Josephine Baker!BibliographyIndex
£52.20
University of Texas Press Latino Images in Film
Book SynopsisIn this book, Charles Ramírez Berg develops an innovative theory of stereotyping that accounts for the persistence of images of Latinos in U.S. popular cultureTrade Review"This book fills a void in bringing together Hollywood stereotyping and Latino self-representation in one study. With clarity and insight, Berg demonstrates why it is so important to take such an approach." Chon Noriega, author of Shot in America: Television, the State, and the Rise of Chicano CinemaTable of Contents Acknowledgments Introduction Part 1: Theory 1. Categorizing the Other: Stereotypes and Stereotyping 2. Stereotypes in Film 3. A Crash Course on Hollywood's Latino Imagery 4. Subversive Acts: Latino Actor Case Studies Part 2: The Hollywood Version: Latino Representation in Mainstream Cinema 5. Bordertown, the Assimilation Narrative, and the Chicano Social Problem Film 6. The Margin as Center: The Multicultural Dynamics of John Ford's Westerns 7. Immigrants, Aliens, and Extraterrestrials: Science Fiction's Alien "Other" as (among Other Things) New Hispanic Imagery Part 3: Latino Self-Representation Backstory: Chicano and Latino Filmmakers behind the Camera 8. El Genio del Género: Mexican American Border Documentaries and Postmodernism 9. Ethnic Ingenuity and Mainstream Cinema: Robert Rodríguez's Bedhead (1990) and El Mariachi (1993) 10. The Mariachi Aesthetic Goes to Hollywood: An Interview with Robert Rodríguez Conclusion: The End of Stereotypes? Notes Index
£18.89
University of Texas Press Multiculturalism and the Mouse
Book SynopsisA spirited defense of Disney entertainment which argues that Disney paved the way for today's multicultural values through its positive portrayal of women, ethnic minorities, gays, and non-Christian spirituality.Trade Review"Brode emerges [as] a worthy proponent of Disney's democratic vision, wielding a powerful argument for Disney as a forerunner of multicultural values in America. The significance of his work cannot be overstated." Deborah C. Mitchell, Westminster College, author of Diane Keaton: Artist and Icon and co-author of The Makeover in MoviesTable of Contents Acknowledgments Introduction. I Had a Dream Is a Wish Your Heart Makes: In Defense of Disney, Part I 1. Return of the Vanishing American: Disney and the Native Experience 2. Together in Perfect Harmony: Disney and the Civil Rights Movement 3. Beat of a Different Drum: Ethnicity and Individualization in Disney 4. Racial and Sexual Identity in America: Disney's Subversion of the Victorian Ideal 5. "If It Feels Good, Do It!": Disney and the Sexual Revolution 6. Our Bodies, Ourselves: Disney and Feminism 7. Something Wiccan This Way Comes: Walt's Wonderful World of Witchcraft 8. Beyond the Celluloid Closet: Disney and the Gay Experience Conclusion. Popular Culture and Political Correctness: In Defense of Disney, Part II Notes Index
£18.89
University of Texas Press The Fictional Christopher Nolan
Book SynopsisWith close readings of Memento, Insomnia, Batman Begins, The Prestige, The Dark Knight, and Inception, this theoretically sophisticated study explores how Christopher Nolan has developed a politically engaged filmmaking that makes explicit use of cinema’s tendency toward the lie.Trade Review"Unassumingly brilliant and surgically incisive..." Psychoanalysis, Culture, and SocietyTable of Contents Acknowledgments Introduction: The Ethics of the Lie Chapter 1. The Snare of Truth: Following and the Perfect Patsy Chapter 2. Memento and the Desire Not to Know Chapter 3. The Dirty Cop: Insomnia and the Art of Detection Chapter 4. The Banal Superhero: The Politicized Realism of Batman Begins Chapter 5. The Violence of Creation in The Prestige Chapter 6. The Hero’s Form of Appearance: The Necessary Darkness of The Dark Knight Chapter 7. A Plea for the Abandonment of Reality in Inception Conclusion: Lying without Consequence Notes Bibliography Index
£17.99
University of Washington Press Return to the Land of the Head Hunters
Book SynopsisTrade Review"Richly illustrated, multivocal, and altogether remarkable. . . . This book does us all a service by ushering Curtis’s In the Land of the Head Hunters into the 21st century." * American Ethnologist *"Offers a stunning range of perspectives and visual materials drawing from the original production to the present. . . . Ambitious not only in its scope but in its commitment to understanding and presenting the film in its multiple indigenous contexts." * American Literary History *"A detailed and thoughtful book that brings together scholars, artists, and Kwakwaka’wakw community members in a wide-ranging discourse on the film." * American Indian Culture and Research Journal *"The essays provide a rare look at both the tremendous amount of planning, negotiation, and artistic work that goes into this kind of production, but also the diversity of reactions it necessarily inspires—from sturdy appreciation to charges of romanticism and exploitation." * Pacific Historical Review *"[An] accomplished critical engagement with the complicated and tumultuous nature of the place of the film in academia and in First Nations communities. . . . The volume is also testimony to the fact that 100 years after the original production, the film can still capture the imaginations and minds of scholars and the broad public." * BC Studies: The British Columbian Quarterly *"[This] generously illustrated anthology of essays—some decidedly academic, others more personal and anecdotal—address the film from every angle while also placing Curtis (1868–1952) and his First Nations collaborators on the film in their historical context." * Seattle Times *
£33.98
University of Washington Press South Asian Filmscapes
Book SynopsisNew political realities and shared histories connect film cultures across bordersIn South Asia massive anticolonial movements in the twentieth century created nation-states and reset national borders, forming the basis for emerging film cultures. Following the upheaval of the partition of India and Pakistan in 1947 and the Bangladesh Liberation War of 1971, new national cinemas promoted and reinforced prevailing hierarches of identity and belonging. At the same time, industrial and independent cinemas contributed to remarkably porous and hybrid film cultures, reflecting the intertwining of South Asian histories and their reciprocal cultural influences. This cross-fertilization within South Asian cultural production continues today. South Asian Filmscapes excavates these complex politics and poetics of bordered identity and crossings through selected histories of cinema in South Asia. Several essays reveal ways in which fixed notions of national identity have been destabilized by the Table of ContentsIntroduction. Transregional Archives, Cinematic Encounters: Filmscapes across South Asia Elora Halim Chowdhury and Esha Niyogi De Part I: Nations and Regional Margins 1.) National Identity and Cinematic Representation: Independent Films in Bangladesh Fahmidul Haq 2.) Female Friendship and Forbidden Desire: Two Films from 1960s Pakistan Kamran Asdar Ali 3.) Bringing Back Sikhs after the 1984 Pogrom: The Politics of Picturization in Hindi Cinema Amit Ranjan 4.) Silencing Films from the Chittagong Hill Tracts: Indigenous Cinema’s Challenge to the Imagined Cultural Homogeneity of Bangladesh Glen Hill and Kabita Chakma 5.) Pakistan, History, and Sleep: Hassan Tariq, a Progressive Patriarch, and Neend Nasreen Rehman Part II: Transregional Crossings 6.) The Public in the Cities: Detouring through Cinemas of Bombay, Calcutta, and Lahore (1920s–1930s) Madhuja Mukherjee 7.) Cross-Wing Filmmaking: East Pakistani Urdu Films and Their Traces in the Bangladesh Film Archive Lotte Hoek 8.) Action Heroines and Regional Gifts: Authorship Crossing Pakistan Esha Niyogi De 9.) Realism and Region in South Indian Cinemas, 1947–1977 Hariprasad Athanickal 10.) "This Is London, Not Pakistan!": Articulations of the Diaspora in Pakistani Punjabi Film Gwendolyn S. Kirk 11.) The Birth of a Cinema in Post-9/11 Pakistan Zebunnisa Hamid Part III: Fractured Geographies, South Connectivities 12.) Zahir Raihan's Stop Genocide (1971): A Dialectical Cinematic Message to the World Fahmida Akhter 13.) Gender, War, and Resistance: The Case of Kashmir Alka Kurian 14.) Cinema That Raises a Critical Consciousness: The Films of Alamgir Kabir Naadir Junaid 15.) Ethical Encounters: Friendship and Healing in Contemporary Films about the Bangladesh Liberation War Elora Halim Chowdhury Contributors Index
£35.26
University of Washington Press Lahore Cinema
Book SynopsisTrade Review"[A] pioneering contribution to the emerging field of cinema studies in Pakistan. Going beyond the spatial borders of nation-states in South Asia and the limitations of decades, Dadi explores the cinematic movement of aesthetic forms and political consciousness. Professor Dadi's work will appeal to a wide readership, including South Asian cinephiles and scholars working on South Asian history and media studies. It serves as a key reference and a classic in the field of South Asian film and media studies." * The News on Sunday *"Even before Lahore Cinema: Between Realism and Fable, the study of the cinema in Pakistan owed much to the work of Iftikhar Dadi…In many ways, [it] can be read as a companion to Dadi’s 2010 Modernism and the Art of Muslim South Asia. For the curious reader, these books should be read side-by-side. Together, they help us to better understand and appreciate the distinct contribution of these two seminal work" * South Asia: Journal of South Asian Studies *
£110.48
