Film history, theory or criticism Books
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 *
£33.98
University of Washington Press Reel Nature
Book SynopsisExamines how wildlife filmmaking changed in reaction to the struggle between portraying good science and gaining a popular audience.Trade Review"Mitman's research, nuanced and satisfying, contributes to both film theory and ecocritical theory and explores the ways in which they should not be separated." -- Stephanie Lyells * Journal of Ecocriticism *"How the wildlife documentary got from Roosevelt to Disneyworld is a story of charlatans, hucksters, crooks, imaginative cameramen, brilliant zoology and shameless appeal to the sex and violence of life as cinema audiences have grown to expect it to be. Mitman . . . tells the American version of this lurid celluloid safari." -- Tim Radford * The Guardian *"American wildlife film-makers . . . abandoned truth in favor of more alluring lode stars. Reel Nature is an admirable history of why they did so. . . . Very well told." -- Stephen Mills * Times Literary Supplement *"While nature films have had a positive impact on our understanding of nature, the whole truth about our place in the web of life has been left on the cutting-room floor." * Booklist *Table of ContentsPrologue 1 / Hunting with the Camera 2 / Science versus Showmanship on the Silent Screen 3 / Zooming In on Animals' Private Lives 4 / Wildlife Conservation through a Wide-Angle Lens 5 / Disney's True-Life Adventures 6 / Domesticating Nature on the Television Set 7 / A Ringside Seat in the Making of a Pet Star 8 / Global Visions, Tourist Dreams Epilogue Notes Credits Index
£29.66
University of Washington Press Nordic Exposures
Book SynopsisNordic Exposures explores how Scandinavian whiteness and ethnicity functioned in classical Hollywood cinema between and during the two world wars.Trade Review"Nordic Exposures is a revealing and often amusing examination of racial questions where we least expect them to arise." -- Agust Guomundsson * Scandinavian-Canadian Studies *"This study does more than extend to another group the already voluminous literature condemning Hollywood's treatment of minorities. . . . Lunde concentrates on a more intriguing issue: the way Scandinavian identity conveyed a cluster of concepts about whiteness." * Choice *Table of ContentsAcknowledgments Introduction 1. Racializing Vinland: The Nordic Conquest of Whiteness in Technicolor’s “The Viking” 2. Scandinavian/American Whiteface: Ethnic Whiteness and Assimilation in Victor Sjostrom’s “He Who Gets Slapped” 3. Hotel Imperial: The Border Crossings of Mauritz Stiller 4. Garbo Talks: Scandinavians, the Talkie Revolution, and the Crisis of Foreign Voice 5. Charlie Chan is Swedish: The Asian Racial Masquerades and Nordic Otherness of Warner Oland 6. Two-Faced Women: Hollywood’s and Third Reich Cinema’s War for the Nordic Female Star Conclusion Notes Bibliography Index
£30.06
MP-WIS Uni of Wisconsin The Cinema of Sergei Parajanov
Book Synopsis
£23.96
MP-WIS Uni of Wisconsin Six Turkish Filmmakers
Book SynopsisExamining the vanguard of New Turkish Cinema, Laurence Raw shows how these films reveal the effects of profound socio economic change on ordinary people in contemporary Turkey. Raw interleaves his film discussion with thoughtful commentary on nationalism, gender, personal identity, and cultural pluralism.Trade ReviewRaw chooses filmmakers whose films individually, and differently, reflect personal encounters with the culture, history, and politics of the Republic of Turkey. Replete with keen insights, this book is a delight to read and a model for compelling film scholarship and cultural commentary."" - Dennis Rothermel,California State University, Chico""Surprising and innovative. Raw integrates historical research with literary references and personal reflections, using the work of contemporary Turkish filmmakers to discuss pressing issues of identity and transcultural understanding."" - Iain Robert Smith,King's College London
£60.00
MP-WIS Uni of Wisconsin Faster Higher Stronger Comrades Sports Art and
Book SynopsisWith interdisciplinary analysis of literature, painting, and film, Faster, Higher, Stronger, Comrades! traces how physical fitness had an even broader impact on culture and ideology in the Soviet Union than previously realized.Trade ReviewThis is a lively and engaging study that explores the impact ofsports on the cultural world of both pre- and postrevolutionary Russia. The numerous analyses of works from the worlds of literature, film, cinema, and photographyare both fresh and insightful." - Barry Scherr, Dartmouth College"An exciting, thoughtful volume, with a wide-ranging purview, impressively thorough research, original perspective, eloquently bold collocation of pertinent texts, and many fascinating aperçus. This eminently readable study is a must for Slavists and lovers of sport." - Helena Goscilo, The Ohio State University
£60.00
University of Wisconsin Press JeanLuc Godard The Permanent Revolutionary
Book SynopsisIn this biography, now translated into English for the first time, Bert Rebhandl provides a balanced evaluation of the work of Jean-Luc Godard. In this sympathetic yet critical overview, he argues that Godard’s work captured the revolutionary spirit of Paris in the late 1960s as no other filmmaker has dared, and in fact reinvented the medium.Trade ReviewA wonderfully fact-filled new biography of Godard. . . . You immediately want to watch the best of his films again as you read Rebhandl’s confidently narrated book about the filmmaker, which analyzes with genteel restraint." - Der Spiegel"Rebhandl has undoubtedly hit it big here." - Walter Gasperi, Die Furche"A wonderful, dense tapestry of cinematic knowledge, not without a pattern of personal enthusiasm, which lets one walk reasonably safely into the workrooms of a guy who doesn’t exactly welcome guests with open arms." - Georg Seeßlen, epd Film"Rebhandl’s lucidly written monograph offers a perfect introduction to Godard’s complex intellectual and cinematic world." - Stefan Grissemann, Profil "Rebhandl’s treatise lends itself to introductory reading, but also provides enough page-turners for Godard connoisseurs. . . . No small feat." - Andreas Busche, TagesspiegelTable of Contents List of Illustrations Preface Introduction 1 Modern Times: 1950 to 1959 2 Pop Art: 1959 to 1967 3 Revolutionary Cinema: 1967 to 1972 4 Video, Ergo Sum: 1973 to 1980 5 The Idiot of Cinema: 1980 to 1996 6 The Partisan of Images: 1997 to 2020 7 The Joy of Learning Notes Bibliography Filmography Chronology Index
£22.46
John Wiley & Sons Somerset Maugham and the Cinema
a huge range and FREE tracked UK delivery on ALL orders.
£18.04
Yale University Press Play All
Book SynopsisTrade Review"James loves television, he loves the winding stories it tells and that we share them together. Play All is a late love letter to the medium of our lives."—AA Gill, Sunday Times"His style, smart as paint and full of esoteric references, but entranced by the stupid and the stupidly enjoyable, has been widely copied but never surpassed. . . . He shares with these serial dramas a fiercely intelligent populism, a willingness to play to the crowd while trusting they will be able to keep up without too much plot-summary or handholding."—Joe Moran, The Guardian"A loving and breezy set of essays about the shows [James] admires and the flowering of TV more generally. . . . James is an incisive and hilarious critic with a relaxed, learned voice. . . . Play All is full of riotous turns of phrase, keen observations, and sick burns."—Willa Paskin, Slate"James brings a fundamentally serious eye to his chosen medium, littering the prose with grand literary references, eager to engage with television as a worthy, even important, part of culture. . . . He does so with wit and knowing levity, conscious that television is neither fiction nor film, and that it carries its own evaluative criteria."—Andrew Irwin, Times Literary Supplement"Play All is a small book but by no means a slight one. Large-brained and largehearted, and written with astonishing energy, it carries its study of the box-set dramas . . . into revelatory depths while reserving the right to be, wherever possible, superficial, waggish, ludicrous, Clive James-ian. It is also quite obviously and plangently full of love: love of life, love of story, love of art, love of daughters. Against a darkening background the TV screen flickers brighter, and James’s mind casts its illuminations with still greater vividness."—James Parker, New York Times Book Review“If the [Nobel Prize in Literature] were ever to go to a critic, I’d give it to Clive James. He has so much erudition and high-stepping passion. He writes excellent poems and even better memoirs. He has delivered very good books of translation. He is a polymath. He is also very funny.”—Dwight Garner, New York Times"James brings his sharp critical eye to TV’s current golden age, providing witty and insightful musing on popular and critically acclaimed series of the past two decades."—Publishers Weekly“Clive James was the best television critic of his generation, and in this absorbing look at the US TV dramas that have flooded our screens in recent years, he shows that he has lost none of his flair.” —Simon Shaw, Mail on Sunday"Everyone who has written television criticism since the 1970s, including this reviewer, has done so in the long shadow of Clive James. . . . On every page and sometimes every paragraph there’s a sentence at which you have little choice but to stop, think and, inevitably, admire."—Andrew Anthony, The Observer"This snug body of writings will enrich your appreciation of TV drama’s big hitters and help elevate discussion of them . . . Often as entertaining and compulsorily viewed as the very shows themselves."—Hilary A. White, Belfast Telegraph"On almost every page of Play All there is an example of splendid, wilful contentiousness and tart observations that hit the bulls-eye."—Alan Taylor, Glasgow Herald"We need a definite reassessment of the so-called Golden Age of Television, and who better to do it than Clive James. . . . There’s no doubt that James has still got it. Even when you don’t agree with him you will be pleasantly provoked."—James Medd, New Statesman"Book critics often write about the importance of a distinctive authorial voice but there can’t be many writers whose voice is as clear and as dear to its readers as Clive James. . . . Few so successfully combine the erudition of the academic with the giddiness of the true fan, capable of analysing The Wire via Camus and Nietzsche without sounding like a pretentious/delusional fool. Instead James sounds thoughtful, confident and generous."—Big Issue"A work that is a joy to read for anyone with any interest in television. . . . Whatever James is writing about his prose is full of wit, fire and lightly worn learning. Play All has, for obvious reasons, a valedictory tone, but if this is James’s farewell to writing about television, it is an abundantly grateful and happy one."—Nigel Andrew, Literary Review"Play All is brilliant, comic nourishment. James has never written better or with so much mischief and elan. His observations—withering and celebratory—are bracingly intelligent and written in so accessible and winning a voice."—David Thomson“Clive James was the best television critic of his generation, and in this absorbing look at the US TV dramas that have flooded our screens in recent years, he shows that he has lost none of his flair.” —Simon Shaw, Mail on Sunday -- Simon Shaw * Mail on Sunday *
£11.77
WW Norton & Co American Film
Book SynopsisA closer look at the captivating history of American cinema.
£76.00
John Wiley and Sons Ltd The Hollywood Action and Adventure Film
Book SynopsisThe Hollywood Action and Adventure Film presents a comprehensive overview and analysis of the history, myriad themes, and critical approaches to the action and adventure genre in American cinema.Trade Review“Even for readers familiarised with the previous work of Yvonne Tasker, this book brings a new look into her main area of study, as it presents not only issues pertaining the body and the representation of women in action and adventure, but also more general elements which help understand genre criticism as a whole and the action and adventure film in particular. Furthermore, and as a manual for students of Film Studies, the book fulfils its goal, as it combines the exposition of theory with clear examples, of both how the theory was previously applied and how it can be now employed to analyse the latest productions“. (Pop-Zeitschrift, 9 October 2015)Table of ContentsContents List of Plates vii Acknowledgements xiii 1 Action and Adventure as Genre 1 2 Action and Adventure:Historical and Cultural Overview 23 3 Critical Perspectives on Action and Adventure 45 4 Silent Spectacle and Classical Adventure: The Thief of Bagdad (1924) and The Adventures of Robin Hood (1938) 71 5 War, Violence and the American Action Hero: Sands of Iwo Jima (1949) and Hell is for Heroes (1962) 89 6 Violence and Urban Action: Dirty Harry (1971) 107 7 Nostalgic Adventure and Recycled Culture: Raiders of the Lost Ark (1981) and Pirates of the Caribbean (2003) 121 8 Action Blockbusters in the 1980s: Rambo: First Blood Part II (1985) and Die Hard (1988) 137 9 Global and Postmodern Action: Crouching Tiger, Hidden Dragon (2000) and Kill Bill (2003) 151 10 Espionage Action: The Bourne Identity (2002) and Salt (2010) 165 11 Superhero Action Cinema 179 Bibilography 193 Index 000
£28.45
John Wiley and Sons Ltd Psychology at the Movies
Book SynopsisAppealing to film buffs, students, and academics, Psychology at the Movies provides a concise, interdisciplinary overview of the psychology of film. This book explores how psychologists have interpreted movies as well as how psychology specifically psychotherapy and psychopathology have been portrayed in film.Trade Review“From the beginning of the text, Psychology at the Movies draws the reader in and provides a clear direction and foundation to be built upon through the remainder of the text. Young’s ability to do so, not only allows this text to be read and applied in various fields, but also could be used in any level of study. From the movie buff who seeks to learn about their past time to psychology and other social science students, this text offers a balanced amount of both breadth and depth.” (The Journal of Popular Culture, 29 August 2013) “In sum, Psychology at the Movies offers the basis for a useful survey course in film and psychology, packaged in an engaging format. As Young asserts, “Once you start looking for it, you can’t escape psychology in the movies” (p. 6). And he adds, “Sometimes . . . a movie stays with us, and we reflect on it—for an hour, a week, a year or a lifetime” (p. 114). With the increasing prevalence of massive open online courses (MOOCS), Young’s seminar has potential to interest a very wide audience.” (PsycCRITIQUES, 6 February 2013) Table of ContentsList of Illustrations and Figures xi Acknowledgments xiii 1. Introduction—The Many Sides of Psychology and the Many Faces of the Movies 3 Goals of Psychology at the Movies 6 Story, Entertainment and Art in the Movies 9 A Liberal Use of Psychology 10 A Symbolic Framework for the Psychology of Film 12 Organization of Psychology at the Movies 14 Further Reading 16 2. The Search for Meaning—Psychological Interpretations in the Movies 19 Human Behavior in the Movies 21 Unconscious Conflict in the Movies 24 Archetypes in the Movies 28 Ideology in the Movies 30 Spectators in the Movies 33 Closing Shots: The Boons and Banes of Interpretation 37 Further Reading 39 3. Psychopathology, Psychotherapy and Psycho—Psychologists and Their Patients in the Movies 43 Representations of Psychological Disorders 44 Representations of Psychologists and Psychological Treatment 49 Closing Shots: The Impact of Representations of Psychology 55 Further Reading 60 4. Crazy Genius—The Psychology of Filmmakers 63 Psychobiography and Filmmakers 64 Auteurs: Profiles of Directors 65 Star-Gazing: Profiles of Actors 69 Psychology for Filmmakers: The Case ofWoody Allen 73 Closing Shots: Evaluating Psychobiography 76 Further Reading 77 5. Picturing the Audience—Psychological Profiles of Moviegoers 81 Movie Audiences through the Years 83 The Movies PeopleWatch 85 The Movies People Like 88 Closing Shots: The Viewers behind the Numbers 91 Further Reading 91 6. The Cinematic Moment—Emotions and the Comprehension of Movies 95 Cognitive Psychology and the Movies 96 The Perception of Movies 97 The Narrative Comprehension of Movies 99 The Emotional Comprehension of Movies 101 Brain Functioning and the Movies 107 Closing Shots: An Unlikely Partnership 109 Further Reading 110 7. Reflecting on the Screen—The Reception of Movies 113 Viewer Enjoyment of Movies 115 Viewer Interpretations of Movies 120 Closing Shots: The Challenges of Audience Response 126 Further Reading 127 8. The Movies Made Me Do It—The Effects of Film 131 Effects on Behavior 133 Effects on Thoughts and Emotions 139 Propaganda and Effects on Culture 143 Closing Shots: The Great Debate over Media Effects 145 Further Reading 149 9. Movies as Equipment for Living—The Functions of Film 153 Professional Functions of Movies 155 General Functions of Movies in Everyday Life 159 Personal Functions of Movies in Everyday Life 161 Closing Shots: Seeing Movies from a Different Angle 168 Further Reading 169 10. Conclusion—Putting the Pieces Together 173 An Appeal for Interdisciplinarity 177 Movies as Art 179 Appendix A: Mental Health Professionals in Top Box Office Grossing Movies, 1990–1999 181 Appendix B: Three Top 50 Lists of Acclaimed Movies 183 Appendix C: Emotionally Arousing Movie Scenes 187 Appendix D: Therapeutic Movies 189 Endnotes 191 Bibliography 219 Filmography 239 Index 249
£999.99
The University of Michigan Press MadeUp Asians Yellowface During the Exclusion
Book SynopsisTraces the history of yellowface, the theatrical convention of non-Asian actors putting on makeup and costume to look East Asian. Using specific case studies from European and US theatre, race science, and early film, Esther Kim Lee traces the development of yellowface in the US context during the Exclusion Era.Trade Review“Written for a wide audience from theater aficionados to Asian American performance makers to academics, this timely book illuminates a fascinating archive of make-up conventions derived from instructional manuals and specific case studies from both the stage and the cinema.” —Sean Metzger, University of California, Los AngelesTable of Contents List of Illustrations Acknowledgments Introduction – The Persistence of Yellowface Chapter 1 – “A Dumb Chinese Slave”: The Stage Chinaman and Clown Yellowface Chapter 2 - “Chinee by Nature”: Physiognomy and Scientific Yellowface Chapter 3 – “How to Makeup”: Theatrical Makeup Guidebooks and Private Yellowface Chapter 4 - “Dainty as Needs Be”: The White Actress and Cosmetic Yellowface Chapter 5 – “The Oriental Eye”: Special Effects Technology and Prosthetic Yellowface Epilogue – Casting as Gatekeeping Appendix - Yellowface Instructions in Theatrical Makeup Guidebooks during the Exclusion Era Notes Bibliography Index
£27.50
LUP - University of Michigan Press MadeUp Asians Yellowface During the Exclusion
Book Synopsis
£65.50
LUP - University of Michigan Press AntiHeimat Cinema The Jewish Invention of the
Book SynopsisStudies an overlooked yet fundamental element of German popular culture in the twentieth century. In tracing Jewish filmmakers' contemplations of “Heimat” - a provincial German landscape associated with belonging and authenticity – this book analyses their distinctive contribution to the German identity discourse between 1918 and 1968.
£65.55
The University of Michigan Press Magnificent Méliès
Book SynopsisThe films of Georges Melies (1861-1938) are landmarks in the early history of narrative filmmaking and cinematic special effects. He was a harbinger of modern aesthetics and media manipulation, and this book, written by his granddaughter, is the only one that tells his full story.Table of Contents List of Figures Editor’s Acknowledgments Editor’s Introduction Author’s Foreword Chapter 1. Bootmaker to Queen Hortense Chapter 2. The Dreams of a Student Chapter 3. Early Adventures Chapter 4. An Introduction to Magic in London Chapter 5. A Marriage Set in Motion Chapter 6. Opponent of the “Brave General” Chapter 7. Director of the ThÉ tre Robert-Houdin Chapter 8. From La Griffe to the Moulin Rouge Chapter 9. Spiritism, Catalepsy, Magnetism Chapter 10. A New Passion: Jehanne d’Alcy Chapter 11. Birth of the KinÉtographe Chapter 12. The First Feature Film Chapter 13. All Kinds of Trick Effects Chapter 14. The Dreyfus Affair Chapter 15. 1900 Chapter 16. Happy MÉliÈs! Chapter 17. The Triumphant Years, 1902-1903 Chapter 18. The “Genre MÉliÈs” Chapter 19. Cinema Becomes an Industry Chapter 20. The First Signs of Collapse Chapter 21. The Death of EugÉnie Chapter 22. Ruin Chapter 23. Candy-Seller at the Gare Montparnasse Chapter 24. MÉliÈs, Lord of the Manor Chapter 25. The End of a Pioneer
£69.30
University of California Press Blood Cinema The Reconstruction of National
Book SynopsisExamines the films of such key directors as Bunuel, Saura, Erice, and Almodovar, as well as works from the popular cinema and television, exploring how they manifest political and cultural tensions related to the production of Spanish national identity within a changing global context.Table of ContentsAcknowledgments Introduction: Beyond the Boundaries of a National Cinema PART I. TRANSCULTURAL REINSCRIPTION I . The Ideological Reinscription of Neorealist and Hollywood Conventions in Spanish Cinema of the 1950s: Falangist Neorealism in Surcos 2. The Subversive Reinscription of Melodrama in Muerte de un ciclista 3. Breaking New Ground in Los golfos, El cochecito, and El esplritu de Ia colmena PART II. THE REPRESENTATION OF VIOLENCE IN THE SPANISH OEDIPAL NARRATIVE 4. Sacrifice and Massacre: On the Cultural Specificity of Violence 5. The Spanish Oedipal Narrative and Its Subversion PART III. EXILE AND DIASPORA 6. Exile and Ideological Reinscription: The Unique Case of Luis Bufiuel 7. The Economics of Exile: Borau On the Line of the National/International Interface PART IV. MICRO- AND MACROREGIONALISM 8. Micro- and Macroregionalism in Catalan Cinema, European Coproductions, and Global Television Epilogue: El Sol Also Rises Notes Bibliography Index
£27.90
University of California Press Romance and the Yellow Peril
Book SynopsisFocusing upon Hollywood's portrayal of Asian races, this study describes how social taboos concerning Orientals helped to perpetuate social and racial inequality in the USA. The author's discussion covers early silent films, later classics such as Shanghai Express and the recurring geisha movies.Table of Contents Illustrations Preface 1 Introduction 2 The Rape Fantasy: The Cheat and Broken Blossoms 3 The Threat of Captivity: The Bitter Tea of General Yen and Shanghai Express 4 Passport Seductions: Lady of the Tropics 5 The Scream of the Butterfly: Madame Butterfly, China Gate, and "The Lady from Yesterday" 6 White Knights in Hong Kong: Love Is a Many-Splendored Thing and The World of Suzie Wong 7 Tragic and Transcendent Love: Sayonara and The Crimson Kimono 8 Japanese War Brides: Domesticity and Assimilation In Japanese War Bride and Bridge to the Sun 9 The Return of the Butterfly: The Geisha Masquerade In My Geisha and "An American Geisha" 10 Conclusion: The Postmodern Spectacle of Race and Romance In Year of the Dragon Notes Bibliography Index
£24.30
University of California Press Moving Places
Book SynopsisOffers an account of a life steeped in and shaped by the movies. Part autobiography, part film analysis, and part social history, this title leads us through a series of screen memories, making us aware of movies as markers of the past - when and where we saw them, with whom, and what we did afterward.Table of ContentsLooking Back at Moving Places Acknowledgments Prelude: What I Did on My Summer Vacation (September 1977) 1 The Plucking of Three Birds of Paradise Station Identification 2 ON MOONLIGHT BAY as Time Machine 3 If Looks Could Kill 4 Rocky Horror Playtime Vs. Shopping Mall Home Station Identification II 5 Made in Hoboken Directions for Use
£24.30
University of California Press Cinema and the Invention of Modern Life
Book SynopsisCasting aside the traditional conception of film as an outgrowth of photography, theatre, and the novel, the essays in this volume reasses the relationship between the emergence of film and the broader culture of modernity.Table of ContentsCONTRIBUTORS: Richard Abel, Leo Charney, Margaret Cohen, Jonathan Crary, Tom Gunning, Miriam Bratu Hansen, Alexandra Keller, Jeannene M. Pryzblyski, Erika Rappaport, Mark Sandberg, Vanessa R. Schwartz, Ben Singer, Marcus Verhagen
£27.90
University of California Press Lost Illusions
Book SynopsisDiscusses films such as: "Five Easy Pieces"; "Chinatown"; "Carnal Knowledge"; "Straw Dogs"; "A Clockwork Orange"; "Mean Streets"; "The Conversation"; "Nashville"; "Shampoo"; "Taxi Driver"; and, "Apocalypse Now".Trade Review"A book of impressive research which eschews vague impressions for a rigorous look at industry documents and publications, among other sources of information.... The breakthrough in Cook's study comes primarily from the ways he figures the interrelation of the two key developments in 1970s American film around auteurism and industry reconsolidation."-Dana Polan, Film Quarterly "David Cook's Lost Illusions is an excellent account of Hollywood in the 1970s-a decade of social upheaval around the world and major transformation in the U.S. movie industry.... His book overflows with useful data, and his lucid account of mainstream entertainment is nicely supplemented by the special chapters by other scholars: Douglas Gomery on exhibition, William Rothman on documentaries, and Robin Blaetz on the avant-garde."-James O. Naremore, author of More than Night: Film Noir in Its ContextsTable of ContentsAcknowledgments Contributors Contents Preface: A Time of Illusion A Note on Box-Office Revenues A Note on Aspect Ratios 1 Introduction: A Decade of Change 2 Formative Industry Trends, 1970--1979 3 Manufacturing the Blockbuster: The "Newest Art Form of the Twentieth Century" 4 The Auteur Cinema: Directors and Directions in the "Hollywood Renaissance" 5 Genres 1: Revision, Transformation, and Revival 6 Genres II: Exploitation and Allusion 7 Orders of Magnitude I: Majors, Mini-Majors, "Instant Majors," and Independents 8 Orders of Magnitude II: Costs, Agents, Stars 9 Technological Innovation and Aesthetic Response 10 Motion Picture Exhibition in 1970s America Douglas Gornery 11 Looking Back and Turning Inward: American Documentary Films of the Seventies William Rothman 12 Avant-Garde Cinema of the Seventies Robin Blaetz Avant-Garde Cinema Filmography Appendixes: APPENDIX 1 ANNUAL U.S. BOX OFFICE RECEIPTS, 1970-1979 APPENDIX 2 AVERAGE WEEKLY ATTENDANCE, 1970-1980 APPENDIX 3 INFLATION 1970-1g8o, ACCORDING TO "CONSUMER PRICE INDEX" FIGURES COMPILED BY THE U.S. DEPARTMENT OF COMMEHCE APPENDIX 4 AVERAGE TICKET PRICE IN THE U.S. EACH YEAR, 1970-1980 APPENDIX 5 NUMBER OF MOVIE THEATERS IN THE U.S., 1970-1980 APPENDIX 6 MAJOR COMPANY SHARE OF NEW RELEASES HANDLED BY NATIONAL DISTRIBUTORS, 1970-1980 APPENDIX 7 MARKET DOMINATION BY SIX LEADING DISTRIBUTORS OF THEATRICAL FILMS, 1977 AND 1980 APPENDIX 8 MARKETING EXPENSES FOR MAJOR RELEASES, 1970-1980 APPENDIX 9 MAJOR STUDIO REVENUES AND AFTER-TAX PROFITS, 1970-1980 APPENDIX 10 LATE SIXTIES FLOPS APPENDIX 11 HIT MOVIES OF THE 1968-1969 SEASON APPENDIX 12 TOP TwENTY RENTAL FILMS, 1970-1980 APPENDIX 13 NORTH AMERICAN RENTALS IN EXCESS OF $22.25 MILLION, 1970-1980 APPENDIX 14 MAJOR ACADEMY AWARDS, 1970-1980 Notes Bibliography Picture Sources General Index Index of Films
£36.90
University of California Press An Unspeakable Betrayal
Book SynopsisA collection which proceeds chronologically, from poetry and short stories which offer insights into the filmmaker, Luis Bunuel's life and thought.Trade Review"In this collection, Bunuel eloquently proves to be an intellectual and an ideologue and a jokester as well." -Publishers Weekly; "This book will be treasured by anyone who cares about cinema."-Sunday Tribune (Dublin); "A lovely, startling grab bag of jokes, insights, recollected dreams, superbly grave mini-essays, and general bits and pieces retrieved from Bunuel's life."-Artforum's Bookforum; "Bunuel is a filmmaker I have been stylistically haunted and influenced by for a very long time. After reading this collection of essays, some of which have never been published before, I am even more enthralled by this man. He remains my favorite voice of the surrealists."-Gus Van Sant; "This lively and diverse selection of Bunuel's literary work should provide the American reader with a much greater understanding of the man and his work, and with hours of enjoyment as well."-Julie Jones, University of New Orleans; "Bunuel didn't like to put words on paper, but thankfully he did, revealing the sly, shy, quirky, passionate, unpredictable genius whose superbly subversive films were everything but shy. This trove of reluctant writings is a rare and historical treat."-Charles Champlin, retired arts editor, Los Angeles TimesTable of ContentsAcknowledgments Foreword by Jean-Claude Carriere Surrealist Writings An Unspeakable Betrayal Orchestration Suburbs: Motifs Unnoticed Tragedies as Themes for a Totally New Theater Why 1 Don't Wear a Watch Theorem Lucille and Her Three Fish Deluge Ramuneta at the Beach Cava/feria rusticana The Pleasant Orders of St. Huesca Letter to Pepin Bello on St. Valero's Day Idea for a Story La Sancta Misa Vaticanae Menage a trois A Decent Story On Love A Giraffe An Andalusian Dog For Myself I Would Like Miraculous Polisher It Seems to Me Neither Good nor Evil Upon Getting into Bed The Rainbow and the Poultice Redemptress Bacchanal Odor of Sanctity Palace of Ice Bird of Anguish Theater Hamlet Guignol On Cinema BUNUEL AS CRITIC A Night at the Studio des Ursulines Metropolis Fred Niblo's Camille Abel Gance's Napoleon Victor Fleming's The Way of All Flesh Buster Keaton's College Variations on Adolphe Menjou's Mustache News from Hollywood Our Poets and the Cinema Carl Dreyer's The Passion of Joan of Arc The Comic in Cinema BUNUEL AS THEORIST The Cinematic Shot Decoupage, or Cinematic Segmentation Cinema as an Instrument of Poetry BUNUEL AS SCRIPTWRITER Goya and the Duchess of Alba Un Chien andalou L'Age d'or Gags Hallucinations about a Dead Hand Illegible, the Son of a Flute Agon (Swansong) Bunuel on Bunuel Land without Bread Viridiana To PECIME Autobiographical Writings Fragments of a Journal from Bufiuel's Youth in Calanda Medieval Memories of Lower Aragon From Bufiuel's Autobiography Pessimism Afterword by Juan Luis Bufiuel and Rafael Bufiuel
£27.00
University of California Press Moving Viewers
Book SynopsisThrough a discussion of mainstream Hollywood films, this title investigates what the author terms 'the paradox of negative emotion' and the function of mainstream narratives as ritualistic fantasies. It describes the sensual nature of the movies and shows how film emotions are often elicited for rhetorical purposes.Table of ContentsList of Illustrations Acknowledgments Introduction: Affect and the Movies 1. Pleasures, Desires, Fantasies 2. Movies and Emotions 3. Stories and Sympathies 4. The Sensual Medium 5. Affective Trajectories and Synesthesia 6. Negative Emotions and Sympathetic Narratives 7. The Rhetoric of Emotion: Disgust and Beyond Conclusion: Moving Viewers Notes Bibliography Index
£27.00
University of California Press The Tactile Eye
Book SynopsisArgues that the experience of cinema can be understood as deeply tactile - a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the skin, and reverberates in the body. This title combines analysis of embodiment and phenomenological film theory to provide a description of cinematic tactility.Trade Review"The Tactile Eye brings the cinematic experience to the emergence and convergence of our and the film's bodies." Anthropological Notebooks "Straightforward." The Senses & SocietyTable of ContentsList of Illustrations Acknowledgments Introduction: Eye Contact Tactility Film's Body Moving Pictures Touch and Go 1. Skin Textural Analysis Film's Skin Eroticism Pleasure Horror History Mon Amour 2. Musculature Through a Glass Deftly Empathy Here and There A Tenuous Grasp Apprehension 3. Viscera Heart-stopping Hiccups La Petite Mort Child's Play Conclusion: Inspiration Breathtaking The Wind in the Trees Everywhere and Always The Big Swallow Notes Bibliography Index
£27.00
University of California Press Closely Watched Films An Introduction to the Art
Book SynopsisHow do films work? How do they tell a story? How do they move us and make us think? Through examinations of passages from classic films, this title supplies the analytic tools and background in film history and theory to enable us to see more in every film we watch.Table of ContentsList of Illustrations Acknowledgments Introduction 1 The Beginnings of Film Narrative: D. W. Griffith's The Birth of a Nation 2 The Art of Montage: Sergei Eisenstein's The Battleship Potemkin 3 Expressionism and Realism in Film Form: F. W. Murnau's The Last Laugh and Charles Chaplin's The Adventurer 4 The Conversion to Sound and the Classical Hollywood Film: Howard Hawks's His Girl Friday 5 Expressive Realism: Orson Welles's Citizen Kane 6 Italian Neorealism: Vittorio De Sica's The Bicycle Thief 7 Auteur Theory and the French New Wave: Franc,ois Truffaut's The 400 Blows 8 Hollywood Auteur: Alfred Hitchcock's Notorious 9 The European Art Film: Federico Fellini's 8 1/2 10 Film and Postmodernism: Woody Allen's Annie Hall 11 Political Cinema: Spike Lee's Do the Right Thing 12 Feminism and Film Form: Patricia Rozema's I've Heard the Mermaids Singing 13 Digital Video and New Forms of Narrative: Mike Figgis's Timecode and James Cameron's Avatar Notes Glossary Bibliography Index
£22.50
University of California Press Andre Bazins New Media
Book SynopsisThe author's writings on cinema are among the most influential reflections on the medium ever written. Even so, his critical interests ranged widely and encompassed the new media" of the 1950s. This book includes reviews and essays addressing new technologies their artistic potential, social influence, and relationship to existing art forms.Trade Review"A panoramic and rewarding view of the most insightful and influential critic of cinema ... most memorable and remarkable." Critical InquiryTable of ContentsEditor's Note: About This Collection Introduction: Andre Bazin Meets the New Media of the 1950s PART ONE. THE ONTOLOGY AND LANGUAGE OF TELEVISION 1. The Aesthetic Future of Television 2. In Quest of Telegenie 3. Television Is Unbeatable for Live Coverage 4. Was It Live? Preserve Our Illusions 5. The Talking Head: Must the Commissaire Stand on His Head for TV? 6. Television Is Neither Theater nor Cinema 7. At the Venice Festival, TV Shares the Screen 8. Voice-Overs on TV: Let the Animals Talk 9. Looking at Television PART TWO. TELEVISION AMONG THE ARTS 10. Long Live Radio! Down with the 8th Art! 11. A Seat at the Theater 12. False Improvisation and "Memory Lapses" on TV 13. To Serve Theater, Let Television Adopt Some Modesty 14. Respect the Spirit of Theater First and Foremost! 15. TV and the Disenchantment of Theater 16. Art on Television: A Program That Loses on All Counts 17. Reporting on Eternity: TV Visits the Musee Rodin PART THREE. TELEVISION AND SOCIETY 18. A Contribution to an Erotology of Television 19. Censors, Learn to Censor 20. You Can Now "Descend into Yourself" 21. Television, Sincerity, Liberty 22. Information or Necrophagy 23. Television as Cultural Medium and The Sociology of Television 24. Do We Really Need Those Serials? 25. A Superb Clown Made Incoherent by TV 26. TV Can Popularize without Boredom or Betrayal PART FOUR. TELEVISION AND CINEMA 27. Television and the Revival of Cinema 28. Television and Cinema 29. Is Television a Degradation for Filmmakers? 30. Some Films Are Better on the Small Screen Than the Large 31. Should Television Be Allowed to Chop Films to Pieces? 32. From Small Screen to Widescreen 33. Sacha Guitry Is Confident about TV, Just as He Was about Cinema in 1914 34. Jean Gabin Gets TV's "Sour Lemon" Prize 35. "The Glass Eye" Will Reveal a New Hitchcock 36. Hitchcock on TV 37. Renoir and Rossellini: Two Top Recruits for Television 38. Renoir and Rossellini Debut on TV 39. Cinema and Television: An Interview with Jean Renoir and Roberto Rossellini 40. About Television: A Discussion with Marcel Moussy and Andre Bazin PART FIVE. CINERAMA AND 3D 41. New Screen Technologies 42. Cinerama: A Bit Late 43. Cinerama, a Disappointment 44. Cinema in 3D and Color: Amazing! 45. A New Stage in the Process: Math Equations for 3D 46. Will a War in Three Dimensions Take Place? 47. The Return of Metroscopix 48. The House of Wax: Scare Me ... in Depth! 49. The Real Crime on La Rue Morgue: They Assassinated a Dimension! 50. The 3D Revolution Did Not Take Place PART SIX. CINEMASCOPE 51. Will CinemaScope Save the Cinema? 52. CinemaScope and Neorealism 53. CinemaScope: The End of Montage 54. The Trial of CinemaScope: It Didn't Kill the Close-Up 55. Massacre in CinemaScope 56. Will CinemaScope Bring about a Television Style in Cinema? PART SEVEN. FINALE 57. Is Cinema Mortal? Appendix: A Selective Reference Guide to 1950s French Television Index
£22.50
University of California Press HardBoiled Hollywood
Book SynopsisTwo spectacular dead bodies-Elizabeth Short, known as the Black Dahlia, found dumped and posed in a vacant lot in January 1947, and Marilyn Monroe, found dead in her home in August 1962-bookend this new history of Hollywood's postwar transition.Trade Review"Jon Lewis's range as a film scholar is vast... He leaves us with the conviction that the movie business is even more complicated and dangerous than we ever suspected, but never without great plots." National PostTable of ContentsAcknowledgments Introduction 1. The Real Estate of Crime: The Black Dahlia Dumped by the Side of the Road 2. Mobsters and Movie Stars: Crime, Punishment, and Hollywood Celebrity 3. Hollywood Confi dential: Crime and Punishment in Postwar Los Angeles 4. Hollywood’s Last Lonely Places: The Sad, Short Stories of Barbara Payton and Marilyn Monroe Notes Index
£999.99
University of California Press Slow Fade to Black
Book SynopsisCompleting the detailed two-part history of the RKO film studio, which began with RKO Radio Pictures: A Titan Is Born, this second volume charts the studio's fortunes, which peaked during World War II, declined in the postwar period, and finally collapsed in the 1950s. It chronicles the period from 1942 to the company's demise in 1957.Trade Review"Jewell's scholarship is impeccable and his text is plain-spoken and highly readable. Every studio deserves a similar examination; thank goodness the right man tackled this particular task." -- Leonard Maltin
£50.15
University of California Press Smutty Little Movies
Book SynopsisIn the late 1970s, the adult film industry began the transition from celluloid to home video. This book traces this change and examines the cultural and legal efforts to regulate, contain, limit, or eradicate pornography. Drawing on a wide variety of materials, it de-centers the film text in favor of industry histories and contexts.Trade Review"Alilunas explores the complex route adult video took from taboo suburban scourge to a fixture of neighborhood video boutiques ... Summing up: Highly recommended." CHOICETable of ContentsList of Illustrations Acknowledgments Prologue. Naked Ladies and Ice Cream Bars Introduction. Smaller Than Life: Adult Video, Pleasure, and Control 1. Panorams, Motels, and Pirates: The Origins of Adult Video 2. Adult Video News: Selling XXX without the Sex 3. The Means of Production: Vivid Video and Femme Productions 4. Saving the Family: Video Rental Stores and the Toxicity of Pornography Epilogue. Limousines and Legacies Notes Selected Bibliography Index
£22.50
University of California Press Parameters of Disavowal
Book SynopsisAt publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. The colonial experience of the twentieth century (1910-1945) decidedly shaped the culture and identity of Korea, yet the precise manner as to how South Korean postcolonial cinema depicts this troubling past has not received sufficient scholarly attention. Parameters of Disavowal seeks to break this hiatus. It approaches the subject of the colonial past in South Korean cinema as a particular kind of postcolonial knowledge-production that responds to the repercussions of Cold War geopolitics while also subscribing to the precept of anticolonial nationalism. It also advances beyond manifest readings of anticolonial messages by examining how postcolonial cinema not only posits, but also constructs Korean national history through disavowals and elisions of the very past they wish to represent. In particular, this book focuses on how South Korean films have created ways of seeing and imagining the colonial past by privileging certain Korean sites as spaces generating unique meanings and values contrary to the assumed total domination of the colonial power. These films thereby inscribe colonial power within parameters of disavowal, ultimately rendering it delimited, incomplete, and flawed. This unique cinematic mode of visualization, the author argues, has shaped historical thinking about Korea's colonial past and demands further investigation of the relationship between politics and aesthetics in cinema.Trade Review"An’s study is complex as he deals with people and culture at different times—colonial days, the days of producing the films, and contemporary audiences and critics. His painstaking work of sorting and collecting relevant films and analyzing such a huge data set indeed represents a tremendous effort and achievement. The memory of colonial days should not be forgotten; Koreans have to embrace, cherish, and be able to confidently live with this enduring han." * Cross-Currents *Table of ContentsList of Illustrations Acknowledgments Introduction 1. Under the Banner of Nationalism: The Changing Imagery of Anticolonial Leadership 2. Film and the Waesaek (“Japanese Color”) Controversies of the 1960s 3. The Manchurian Action Film: A New Anticolonial Imaginary in the Cold War Context 4. In the Colonial Zone of Contact: Kisaeng and Gangster Films 5. Horror and Revenge: Return of the Repressed Colonial Violence Coda: After 2000 Notes Bibliography Index
£27.00
University of California Press Immortal Films
Book SynopsisCasablanca is one of the most celebrated Hollywood films of all time, its iconic romance enshrined in collective memory across generations. Drawing from archival materials, industry trade journals, and cultural commentary, Barbara Klinger explores the history of Casablanca's circulation in the United States from the early 1940s to the present by examining its exhibition via radio, repertory houses, television, and video. By resituating the film in the dynamically changing industrial, technological, and cultural circumstances that have defined its journey over eight decades, Klinger challenges our understanding of its meaning and reputation as both a Hollywood classic and a cult film. Through this single-film survey, Immortal Films proposes a new approach to the study of film history and aesthetics and, more broadly, to cinema itself as a medium in constant interface with other media as a necessary condition of its own public existence and endurance.Trade Review"A terrific new book." * Critical Inquiry *Table of ContentsContents List of Figures Preface Acknowledgments Introduction: The Cultural Biography of a Film 1 • Listening to Casablanca: Radio Adaptations and Sonic Hollywood 2 • Back in Theaters: Postwar Repertory Houses and Cult Cinema 3 • Everyday Films: Broadcast Television, Reruns, and Canonizing Old Hollywood 4 • Movie Valentines: Holiday Cult and the Romantic Canon in VHS Video Culture 5 • Happy Anniversaries: Classic Cinema on DVD/Blu-ray in the Conglomerate Age Epilogue: Streaming Casablanca and Afterthoughts Appendix 1: Casablanca’s First Appearances on US Platforms/Formats Appendix 2: Casablanca’s Physical-Format Video Rereleases Notes Selected Bibliography Index
£64.00
University of California Press The Stuff of Spectatorship Material Cultures of
Book SynopsisFilm and television create worlds, but they are also of a world, a world that is made up of stuff, to which humans attach meaning. Think of the last time you watched a movie: the chair you sat in, the snacks you ate, the people around you, maybe the beer or joint you consumed to help you unwindall this stuff shaped your experience of media and its influence on you. The material culture around film and television changes how we make sense of their content, not to mention the very concepts of the mediums. Focusing on material cultures of film and television reception, The Stuff of Spectatorshipargues that the things we share space with and consume as we consume television and film influence the meaning we gather from them. This book examines the roles that six different material cultures have played in film and television culture since the 1970sincluding video marketing, branded merchandise, drugs and alcohol, and even gun violenceand shows how objects considered peripheral to film and television culture are in fact central to its past and future.Trade Review "This book is an important and cutting-edge contribution. . . . A provocative, entertaining contribution to context and material culture studies, The Stuff of Spectatorship provides an outstanding rationale to investigate stuff." * Film Quarterly * "These unique analyses leave readers aware that a show's or a film's meaning and interest hinge on a material experience inseparable from the images flashing on the screen." * CHOICE *Table of ContentsList of Figures Acknowledgments Introduction: Material Mediations 1. Collecting and Recollecting: Battlestar Galactica through Video's Varied Technologies of Memory 2. The Commercial Economy of Film History: Or, Looking for Looking for Mr. Goodbar 3. "Let’s Movie": How TCM Made a Lifestyle of Classic Film 4. Spirits of Cinema: Alcohol Service and the Future of Theatrical Exhibition 5. Blunt Spectatorship: Inebriated Poetics in Contemporary US Television 6. Shot in Black and White: The Racialized Reception of US Cinema Violence Conclusion: Expanding the Scene of the Screen Appendix: Documented Incidents of Cinema Violence in the United States through December 31, 2019 Notes Selected Bibliography Index
£64.00
University of California Press The Stuff of Spectatorship
Book SynopsisFilm and television create worlds, but they are also of a world, a world that is made up of stuff, to which humans attach meaning. Think of the last time you watched a movie: the chair you sat in, the snacks you ate, the people around you, maybe the beer or joint you consumed to help you unwindall this stuff shaped your experience of media and its influence on you. The material culture around film and television changes how we make sense of their content, not to mention the very concepts of the mediums. Focusing on material cultures of film and television reception, The Stuff of Spectatorshipargues that the things we share space with and consume as we consume television and film influence the meaning we gather from them. This book examines the roles that six different material cultures have played in film and television culture since the 1970sincluding video marketing, branded merchandise, drugs and alcohol, and even gun violenceand shows how objects considered peripheral to film and television culture are in fact central to its past and future.Trade Review "This book is an important and cutting-edge contribution. . . . A provocative, entertaining contribution to context and material culture studies, The Stuff of Spectatorship provides an outstanding rationale to investigate stuff." * Film Quarterly * "These unique analyses leave readers aware that a show's or a film's meaning and interest hinge on a material experience inseparable from the images flashing on the screen." * CHOICE *Table of ContentsList of Figures Acknowledgments Introduction: Material Mediations 1. Collecting and Recollecting: Battlestar Galactica through Video's Varied Technologies of Memory 2. The Commercial Economy of Film History: Or, Looking for Looking for Mr. Goodbar 3. "Let’s Movie": How TCM Made a Lifestyle of Classic Film 4. Spirits of Cinema: Alcohol Service and the Future of Theatrical Exhibition 5. Blunt Spectatorship: Inebriated Poetics in Contemporary US Television 6. Shot in Black and White: The Racialized Reception of US Cinema Violence Conclusion: Expanding the Scene of the Screen Appendix: Documented Incidents of Cinema Violence in the United States through December 31, 2019 Notes Selected Bibliography Index
£22.50
University of California Press Struggles for Recognition Melodrama and
Book SynopsisStruggles for Recognition traces the emergence of melodrama in Latin American silent film and silent film culture. Juan Sebastián Ospina León draws on extensive archival research to revealhow melodrama visualized and shaped the social arena of urban modernity in early twentieth-century Latin America. Analyzing sociocultural contexts through film, this book demonstrates the ways in which melodrama was mobilized for both liberal and illiberal ends, revealing or concealing social inequities from Buenos Aires to Bogotá to Los Angeles. Ospina León critically engages Euro-American and Latin American scholarship seldom put into dialogue, offering an innovative theorization of melodrama relevant to scholars working within and across different national contexts.Trade Review"Struggles for Recognition, given its subject, scope, and method, will be of interest to melodrama scholars; film scholars, particularly historians; and scholars of Latin American cultural studies." * Film Quarterly *"A solid and enlightening piece of scholarship that makes an important contribution to film studies and the history of twentieth-century Latin America more broadly." * Hispanic American Historical Review *"Ospina’s book will become essential reading for scholars of silent cinema, melodrama, and Latin America." * Nineteenth Century Theater and Film *Table of ContentsList of Illustrations Acknowledgments Introduction: Melodrama and Visibility 1. "Filmdom" before and during the Great War 2. Buenos Aires Shadows: Urban Space, Fallen Women, and Destitute Men 3. Bogotá and Medellín: A Tale of Two Cities and Conservative Progress 4. Orizaba, Veracruz: Yesterday's Melodrama Today 5. South to North: Latin American Modernities Conclusion: Struggles for Recognition List of Abbreviations Notes Works Cited Index
£27.00
University of California Press Relaying Cinema in Midcentury Iran
Book SynopsisRelaying Cinema in Midcentury Iran investigates how the cultural translation of cinema has been shaped by the physical translation of its ephemera. Kaveh Askari examines film circulation and its effect on Iranian film culture in the period before foreign studios established official distribution channels and Iran became a notable site of world cinema. This transcultural history draws on cross-archival comparison of films, distributor memos, licensing contracts, advertising schemes, and audio recordings. Askari meticulously tracks the fragile and sometimes forgotten material of film as it circulated through the Middle East into Iran and shows how this material was rerouted, reengineered, and reimagined in the process. Table of ContentsContents List of Illustrations Acknowledgments Note on Transliteration and Titles Introduction 1. An Afterlife for Junk Prints Film Traffic and Regional Influence Serials Out of Sync Ironies of Appropriation 2. Circulation Worries Sustenance: Engineering and Maintenance Copyright: The Public Good and Creativity License: Junk Prints and Affidavits of Destruction Obsolescence: Dubbing Technologies and Leverage 3. Collage Sound as Industrial Practice Founding and the Found Archiving, Assembly, and Recognition Temp Love, Out of Sync Relaying the Popular Song 4. The Anxious Exuberance of Tehran Noir The Crime Thriller as Currency in the Press Currency Disputes Aesthetic Standards and Scarce Resources Modularity and Fluency Mixed Signals of Kin and Home 5. Eastern Boys and Failed Heroes Year of The Heroes Failures of The Heroes Kimiai’s First Film Cycle Sponsorship, Nostalgia, and Collecting Under the Sign of Rio Bravo Coda Notes Index
£27.00
University of California Press The First True Hitchcock
Book SynopsisHitchcock's previously untold origin story. Alfred Hitchcock called The Lodger the first true Hitchcock movie,the one that anticipated all the others. And yet the story of how The Lodger came to be made is shrouded in myth, often repeated and much embellished, even by Hitchcock himself. The First True Hitchcock focuses on the twelve-month period that encompassed The Lodger's production in 1926 and release in 1927, presenting a new picture of this pivotal year in Hitchcock's life and in the wider film world. Using fresh archival discoveries, Henry K. Miller situates Hitchcock's formation as a director against the backdrop of a continent shattered by war and confronted with the looming presence of a new superpower, the United States, and its most visible exportfilm. The previously untold story of The Lodger's making in the London fogand attempted remaking in the Los Angeles sunis the story of how Hitchcock became Hitchcock.Trade Review'Henry K. Miller’s in-depth study of the production and impact of Alfred Hitchcock’s 1927 silent film The Lodger is an essential addition to the Hitch canon." * The Film Stage *"Miller reminds us that film history consistently requires an understanding of past worlds that no matter how ‘fixed’ have long since vanished." * Sight & Sound *"The First True Hitchcock is an invigoratingly deep dive into the movie that launched one of world cinema’s most endlessly intriguing careers." * Hitchcock Annual *Table of ContentsPreface Map of London, 1926–1927 1. The Embankment at Midnight 2. The Reputation and the Myth 3. No Old Masters 4. The Autocrat of the Studio 5. To Catch a Thief 6. The First True Hitchcock 7. Stories of the Days to Come 8. Wilshire Palms Notes Bibliography Index
£63.90
University of California Press Road Trip to Nowhere
Book SynopsisHow a new generation of counterculture talent changed the landscape of Hollywood, the film industry, and celebrity culture. By 1967, the commercial and political impact on Hollywood of the sixties counterculture had become impossible to ignore. The studios were in bad shape, still contending with a generation-long box office slump and struggling to get young people into the habit of going to the movies. Road Trip to Nowhere examines a ten-year span (from 1967 to 1976) rife with uneasy encounters between artists caught up in the counterculture and a corporate establishment still clinging to a studio system on the brink of collapse. Out of this tumultuous period many among the young and talented walked away from celebrity, turning down the best job Hollywoodand Americahad on offer: movie star. Road Trip to Nowhere elaborates a primary-sourced history of movie production culture, examining the lives of a number of talented actors who got wrapped up in the politics and lifestyles of the counterculture. Thoroughly put off by celebrity culture, actors like Dennis Hopper, Christopher Jones, Jean Seberg, and others rejected the aspirational backstory and inevitable material trappings of success, much to the chagrin of the studios and directors who backed them. In Road Trip to Nowhere, film historian Jon Lewis details dramatic encounters on movie sets and in corporate boardrooms, on the job and on the streets, and in doing so offers an entertaining and rigorous historical account of an out-of-touch Hollywood establishment and the counterculture workforce they would never come to understand.Trade Review"A spirited survey of the film industry’s responses to the culture shifts of the 1960s as major studios faltered and movie stars left the spotlight. . . . A study that’s as memorable as it is entertaining." * Publishers Weekly *"Road Trip to Nowhere differs from other popular histories of the period. . . in refusing to valorize the era. Instead, he shows it for what it was — the bad along with the good — while highlighting some of the stories lost in all the reefer smoke. . . . Road Trip to Nowhere tackles bumpy terrain and does not disappoint — though you may be disappointed by the behavior of some of its major characters." * Los Angeles Review of Books *"Road Trip to Nowhere is the smartest, most fascinating film book 2022 has brought." * Bookgasm *"A unique and seminal contribution to the history of American Cinema, Road Trip to Nowhere: Hollywood Encounters the Counterculture is an impressively researched and meticulous work of deftly crafted scholarship." * Midwest Book Review *“Beautiful writing, and an essential unpacking of a strange and troubling era.” * Film Stage *"An excellent starting point for both scholars and general readers interested in Hollywood and its associations with hippiedom." * Society for U.S. Intellectual History *"Provocative. . . . This meticulously researched, eminently readable book offers a fresh perspective on a critical period in Hollywood history." * CHOICE *Table of ContentsContents List of Illustrations Acknowledgments Introduction 1 Road Trips to a New Hollywood: Easy Rider and Zabriskie Point 2 Christopher Jones Does Not Want to Be a Movie Star 3 Four Women in Hollywood: Jean Seberg, Jane Fonda, Dolores Hart, and Barbara Loden 4 Charles Manson’s Hollywood Epilogue Notes Index
£18.90
University of California Press The Lure of the Image
Book SynopsisThe Lure of the Imageshows how a close study of camera movement challenges key assumptions underlying a wide range of debates within cinema and media studies. Highlighting the shifting intersection of point of view and camera position, Daniel Morgan draws on a range of theoretical arguments and detailed analyses across cinemas to reimagine the relation between spectator and cameraand between camera and film world.With sustained accounts of how the camera moves in films by Fritz Lang, Guru Dutt, Max Ophuls, and Terrence Malick and in contemporary digital technologies,The Lure of the Imageexposes the persistent fantasy that we move with the camera within the world of the film and examines the ways that filmmakers have exploited this fantasy. In so doing, Morgan provides a more flexible account of camera movement, one that enables a fuller understanding of the political and ethical stakes entailed by this key component of cinematic style.Trade Review"Morgan provides an admirably comprehensive and remarkably nuanced exploration of one of the most undeniably fascinating yet strangely neglected aspects of cinema, one that is sure to be the definitive work on the subject for years if not decades to come. . . . The Lure of the Image is exemplary." * Senses of Cinema *
£64.00
University of California Press The Lure of the Image
Book SynopsisThe Lure of the Imageshows how a close study of camera movement challenges key assumptions underlying a wide range of debates within cinema and media studies. Highlighting the shifting intersection of point of view and camera position, Daniel Morgan draws on a range of theoretical arguments and detailed analyses across cinemas to reimagine the relation between spectator and cameraand between camera and film world.With sustained accounts of how the camera moves in films by Fritz Lang, Guru Dutt, Max Ophuls, and Terrence Malick and in contemporary digital technologies,The Lure of the Imageexposes the persistent fantasy that we move with the camera within the world of the film and examines the ways that filmmakers have exploited this fantasy. In so doing, Morgan provides a more flexible account of camera movement, one that enables a fuller understanding of the political and ethical stakes entailed by this key component of cinematic style.Trade Review"Morgan provides an admirably comprehensive and remarkably nuanced exploration of one of the most undeniably fascinating yet strangely neglected aspects of cinema, one that is sure to be the definitive work on the subject for years if not decades to come. . . . The Lure of the Image is exemplary." * Senses of Cinema *
£22.50
University of California Press Dialectics without Synthesis
Book SynopsisDialectics without Synthesisexplores Japan's active but previously unrecognized participation in the global circulation of film theory during the first half of the twentieth century. Examining a variety of Japanese theorists working in the fields of film, literature, avant-garde art, Marxism, and philosophy, Naoki Yamamoto offers a new approach to cinematic realism as culturally conditioned articulations of the shifting relationship of film to the experience of modernity. In this study, long-held oppositions between realism and modernism, universalism and particularism, and most notably, the West and the non-West are challenged through a radical reconfiguration of the geopolitics of knowledge production and consumption.Trade Review"Dialectics without Synthesis is a valuable addition to film studies and should be of interest not only to Japanese film specialists but to film and media theorists more broadly." * The Journal of Japanese Studies *"Exceptionally meticulous archival research, humanity-driven methodologies, and special attention to historical context. . . .Dialectics without Synthesis is a step forward toward a future in which the chasm between Western and non-Western theory is significantly narrowed." * The Velvet Light Trap *"Well-researched and persuasively argued." * Screen *Table of ContentsList of Illustrations Acknowledgments Introduction: Realism, Film Theory, Japanese Cinema 1. Naturalism and the Modernization of Japanese Cinema 2. The Machine Aesthetic and Proletarian Realism 3. Literary Adaptation and Textual Realism 4. Documentary Film and Epistemological Realism 5. Neglected Traditions of Bergsonism and Phenomenology Epilogue: Hanada Kiyoteru and Postwar Debates Notes Selected Bibliography Index
£27.00
University of California Press The Public Life of Cinema
Book SynopsisIs culture a luxury? In this era of austerity, the value of the arts has been a topic of heated debate in Greece, where the country's economic troubles have led to drastic cuts in public funding and much contention over the significance of cultural institutions and government-funded arts initiatives. At issue in these debates are larger questions regarding the very notions of publicness, hierarchies of value, and functions of the state that structure collective life. Beginning with the Thessaloniki International Film Festival, The Public Life of Cinematracks this turbulence as it unfolded in the Greek film world in the early years of the crisis. Investigating the different forms of citizenship and collectivity being negotiated in cinema's social spaces, this book considers how the arts and cultural production may illuminate the changing conditions of, and possibilities for, public and collective life in the neoliberal era.Trade Review"The value of Lee’s book lies in her conceptualization of an agonistic public life in which the arts, including cinema, act as catalysts for a dissenting collectivity, and in the hope she offers for possibilities of resistance despite the ongoing expansion of economic logic into all aspects of life." * Journal of Modern Greek Studies *Table of ContentsList of Illustrations Acknowledgments Note on Translation and Transliteration Introduction: "Is Culture a Luxury?" 1. Locating the Festival 2. Forms of Publicness 3. Histories of Conflict and Collectivity 4. Dissensus and Its Limits 5. The Value of Mereness Notes Bibliography Index
£22.50
University of California Press Dreams of Flight
Book SynopsisThe first full-length study of the iconic 1960s film The Great Escape and its place in Hollywood and American history.Escaped POW Virgil Hilts (Steve McQueen) on a stolen motorcycle jumps an imposing barbed wire fencecaught on film, the act and its aftermath have become an unforgettable symbol of triumph as well as defeat for 1960s America. Combining production and reception history with close reading, Dreams of Flight offers the first full-length study of The Great Escape, the classic film based on a true story of Allied prisoners who hatched an audacious plan to divert and thwart the Wehrmacht and escape into the nearby countryside. Through breezy prose and pithy analysis, Dana Polan centersThe Great Escapewithin American cultural and intellectual history, drawing a vivid picture of the country in the 1960s. We see a nation grappling with its own military history, a society undergoing significant shifts in its culture and identity, and a film industry in transition from Old HollywTrade Review"Dana Polan’s rich assessment of the film’s making coupled with a superb analysis of the film itself, script, style, themes and directorial bravura is filled with informative nuggets. Eschewing the standard star bio approach, Polan goes much deeper. . . . Written with tremendous authority and great style." * Cinema Retro *“Dreams of Flight is an act of devotion, a work of extreme connoisseurship.” * Air Mail *"Far more than just a love letter to a foundational film from an author and devoted fan, Dreams of Flight is a rewarding work of scholarly reclamation, a volume that is always precise in its observation of the hidden dimensions of The Great Escape. . . . Through careful attention to formal choices and an impressively broad engagement with memory, history, and cinematic legacies, Dreams of Flight uncovers the many textures of its popular subject." * Velvet Light Trap *"This book expands in myriad and often surprising directions. . . . Dreams of Flight is remarkable for the extent and imaginative richness of the research materials it brings to bear." * California History *Table of ContentsAcknowledgments Introduction 1. Engineering The Great Escape From Book to Film (and In Between) 2. Tunneling In The Great Escape: Style, Theme, and Structure 3. Afterlives Coda Appendix: "It Really Happened" Notes Index
£64.00
University of California Press Incomplete
Book SynopsisThis field-defining collection establishes unfinished film projectsabandoned, interrupted, lost, or open-endedas rich and underappreciated resources for feminist film and media studies. In deeply researched and creatively conceived chapters, scholars join with film practitioners in approaching the unfinished film as an ideal site for revealing the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders.Incompleterecovers projects and practices marginalized in film industries and scholarship alike, while also showing how feminist filmmakers have cultivated incompletion as an aesthetic strategy.Objects of loss and of possibility, incomplete films raise profound historiographical and ethical questions about the always unfinished project of film history, film spectatorship, and film studies.Table of ContentsContents Editors’ Acknowledgments Pathways to the Feminist Incomplete: An Introduction, a Theory, a Manifesto Alix Beeston and Stefan Solomon PART ONE. UNFOUND OBJECTS 1. Never Jane M. Gaines 2. Catastrophic Optimism in the Name of Léontine Maggie Hennefeld 3. Body Parts: Feeling Labor in Early Film Color Katherine Groo PART TWO. REFUSALS AND INTERRUPTIONS 4. Creating the Archive for Incomplete Feminist Cinematic Narratives: The Andean-Amazonian Case Isabel Seguí 5. Women (Not) Making Movies under the Popular Unity in Chile (1970–1973) Elizabeth Ramírez-Soto 6. Writing with Jocelyne Saab: Infinite Metamorphoses and Sensitive Variations Mathilde Rouxel PART THREE. IN PROCESS 7. Ins and Outtakes: An Interview Peggy Ahwesh and Leo Goldsmith 8. “They keep moving”: Serialized Incompletion in the Work of Leslie Thornton and Lynn Hershman Leeson Stefan Solomon 9. One Long Electrical Cord: Dance, Editing, and the Creative Unfinished Karen Pearlman 10. Shirkers and Its Afterlives: Six Epitaphs for an Incomplete Film Sophia Siddique PART FOUR. POSTHUMOUS RETURNS 11. Kathleen Collins . . . Posthumously Alix Beeston 12. The Fierce, Unfinishable, Feminist Legacies of Helen Hill Karen Redrobe 13. Girls Who Can’t Say No: Celebrity Resurrections and the Consent of the Dead Katherine Fusco The Ruined Map, Relinked: A Postscript Giuliana Bruno About the Contributors Index
£64.00
University of California Press Incomplete
Book SynopsisThis field-defining collection establishes unfinished film projectsabandoned, interrupted, lost, or open-endedas rich and underappreciated resources for feminist film and media studies. In deeply researched and creatively conceived chapters, scholars join with film practitioners in approaching the unfinished film as an ideal site for revealing the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders.Incompleterecovers projects and practices marginalized in film industries and scholarship alike, while also showing how feminist filmmakers have cultivated incompletion as an aesthetic strategy.Objects of loss and of possibility, incomplete films raise profound historiographical and ethical questions about the always unfinished project of film history, film spectatorship, and film studies.Table of ContentsContents Editors’ Acknowledgments Pathways to the Feminist Incomplete: An Introduction, a Theory, a Manifesto Alix Beeston and Stefan Solomon PART ONE. UNFOUND OBJECTS 1. Never Jane M. Gaines 2. Catastrophic Optimism in the Name of Léontine Maggie Hennefeld 3. Body Parts: Feeling Labor in Early Film Color Katherine Groo PART TWO. REFUSALS AND INTERRUPTIONS 4. Creating the Archive for Incomplete Feminist Cinematic Narratives: The Andean-Amazonian Case Isabel Seguí 5. Women (Not) Making Movies under the Popular Unity in Chile (1970–1973) Elizabeth Ramírez-Soto 6. Writing with Jocelyne Saab: Infinite Metamorphoses and Sensitive Variations Mathilde Rouxel PART THREE. IN PROCESS 7. Ins and Outtakes: An Interview Peggy Ahwesh and Leo Goldsmith 8. “They keep moving”: Serialized Incompletion in the Work of Leslie Thornton and Lynn Hershman Leeson Stefan Solomon 9. One Long Electrical Cord: Dance, Editing, and the Creative Unfinished Karen Pearlman 10. Shirkers and Its Afterlives: Six Epitaphs for an Incomplete Film Sophia Siddique PART FOUR. POSTHUMOUS RETURNS 11. Kathleen Collins . . . Posthumously Alix Beeston 12. The Fierce, Unfinishable, Feminist Legacies of Helen Hill Karen Redrobe 13. Girls Who Can’t Say No: Celebrity Resurrections and the Consent of the Dead Katherine Fusco The Ruined Map, Relinked: A Postscript Giuliana Bruno About the Contributors Index
£27.00
University of California Press InkStained Hollywood
Book SynopsisTrade Review"Ink-Stained Hollywood’s robust backmatter enables the monograph to exist simultaneously as a model of historiographic rigour and a breezy read. . . .the story [it] tells is essential for today’s film historians to know." * Nineteenth Century Theatre and Film *
£27.00
University of California Press Cinematic Independence
Book SynopsisA free open access ebook is available upon publication. Learn more at www.luminosoa.org. Cinematic Independencetraces the emergence, demise, and rebirth of big-screen film exhibition in Nigeria. Film companies flocked to Nigeria in the years following independence, beginning a long history of interventions by Hollywood and corporate America.The 1980s and 1990s saw a shuttering of cinemas, which were almost entirely replaced by television and direct-to-video movies. However, after 1999, the exhibition sector was revitalized with the construction of multiplexes.Cinematic Independenceis about the periods that straddle this disappearing act: the immediate decades bracketing independence in 1960,and the years after 1999.At stake is the Nigerian postcolony's role in global debates about the future of the movie theater. That it was eventually resurrected in the flashy form of the multiplex is not simply an achievement of commercial real estate, but also a testament to cinema's persistenceit
£27.00
University of California Press What Film Is Good For
Book SynopsisFor well over a century, going to the movies has been a favorite pastime for billions across the globe. But is film actuallygoodfor anything? This volume brings together thirty-six scholars, critics, and filmmakers in search of an answer. Their responses range from the most personal to the most theoreticaland, together, recast current debates about film ethics. Movie watching here emerges as a wellspring of value, able to sustain countless visions of the good life. Films, these authors affirm, make us reflect, connect, adapt; they evoke wonder and beauty; they challenge and transform. In a word, its varieties of value make filminvaluable. Table of ContentsContents Acknowledgments Foreword by Mike Figgis Introduction: Film Ethics as Delivering the Goods Martin P. Rossouw and Julian Hanich PART ONE. ADAPTIVE GOODS 1. . . . A Portal to Another World: On Cinema, Climate Change, and a Good Apocalypse Jennifer Fay 2. . . . Scaling Down: On the Unsustainable Pleasure of Large-File Streaming Laura U. Marks 3. . . . It’s Invaluable: On Film Spectatorship in the Era of Covid-19 Sarah Cooper 4. . . . Stabilities and Mobilities: On the Generic Values of Emplacements, Displacements, and Outplacements Timothy Corrigan PART TWO. EMPATHETIC GOODS 5. . . . Lies, Loops, or Liberation: On the Dis/Obedience of Feeling More Michele Aaron 6. . . . Public Engagement: On Postcolonial African Cinema’s Critical Value Litheko Modisane 7. . . . Shedding Light on Abject Lives: On Global Cinema as Ethical Art Seung-hoon Jeong 8. . . . Empathy: On Its Limitations and Liabilities Malcolm Turvey 9. . . . Political Impact: On the Societal Vibrancy of Film Jens Eder PART THREE. SENSTITIVE GOODS 10. . . . Moral Reflection: On the Reflective Afterlife of Screen Stories Carl Plantinga and Garrett Strpko 11. . . . Challenge and Discomfort: On Situated Elitist Pleasures in Art and Indie Film Geoff King 12. . . . Heterocosmic Connections: On the Many Worlds and World Values of Cinema Daniel Yacavone 13. . . . Depth of Experience: On Early Phenomenology and the Value of Boredom in the Cinema Christian Ferencz-Flatz 14. . . . Striking Beauty: On Recuperating the Beautiful in Cinema Julian Hanich PART FOUR. REVIVING GOODS 15. . . . Wondering Offscreen: On Cinema’s Transformations of Our Relation to the Unseen Jaimie Baron 16. . . . Coming to Wonder: On Cinema’s Renewal of Vision Catherine Wheatley 17. . . . Moral Improvement: On How Watching Films Might Make Us Better People Thomas E. Wartenberg 18. . . . Cinematic Ethics: On Film as Transformative Experience Robert Sinnerbrink 19. . . . Spiritual Exercises Before a Screen: On “Film as Philosophy” and Its Transformational Ethics Martin P. Rossouw PART FIVE. COMMUNAL GOODS 20. . . . Remembrance and Reflection: On Social Justice Cinema in the #BlackLivesMatter Era Maryann Erigha Lawer 21. . . . Making Movie Generations: On the Cultural Work of Hollywood Remaking Kathleen Loock 22. . . . Reaching Unlettered Audiences: On Global Blockbuster Cinema and Its Oral Affinities Sheila J. Nayar 23. . . . Love of Community and Reality: On André Bazin and the Good of Cinema Dudley Andrew PART SIX. MEDIAL GOODS 24. . . . Projection and Protection: On Cinemagoing as Playing Hide-and-Seek with Reality Francesco Casetti 25. . . . An Animated and Animating Medium: On Hegel,Adorno, and the Good of Film Nicholas Baer 26. . . . The Bigger Picture: On Watching Films on a Cinema Screen Martine Beugnet 27. . . . Quality Time: On Resisting What’s Next, or Staying with the Credits Tiago de Luca PART SEVEN. UNSETTLED GOODS 28. . . . Wanton Destruction: On Cinema’s Antisocial Thrills Adrian Martin 29. . . . Alienating Interventions: On What the “Bad” in David Lynch’s Films Is “Good” For Annie van den Oever and Dominique Chateau 30. . . . Dangerous Situations: On Whether Cinema Is Poisonous Michel Chion 31. . . . Good for Nothing? On How Films Help Us through the Night Tom Gunning 32. . . . Medium-Sized Matters: On Whether Cinema Has Made Any Difference Mark Cousins Afterword by Radu Jude List of Contributors Index
£63.90
University of California Press Recollecting Lotte Eisner
Book SynopsisRecollecting Lotte Eisner provides the first in-depth examination of the remarkable transnational career of film journalist, archivist, and historian Lotte Eisner (18961983). From her early years as a film critic in interwar Berlin to her escape from prison in occupied France and from her role as chief curator at the Cinémathèque française to that as the mythic collective conscience of New German Cinema, Eisner was a prolific writer and lecturer and a pivotal voice in early film and media studies. Situated at the juncture of feminist media historiography and disciplinary intellectual history, this groundbreaking book is based on extensive multilingual archival research and the excavation of a rich corpus of previously overlooked materials. Introducing samples of Eisner's writing in translation, this volume makes some of the most important contributions of a foundational scholar in the field of film studies accessible for the first time to an English-language readership.Table of ContentsContents Acknowledgments Introduction 1 • Fräulein Doktor Eisner 2 • A Reluctant Bellwether: Dr. L. H. Eisner and Flapper at the Film-Kurier, 1927–1933 3 • “La seule historienne”: Exile, Salvage, and Community at the Cinémathèque Française 4 • “Lacunae Everywhere”: Iterative Historiography and the Midcentury Palimpsests Conclusion: The Woolly Mammoth of the Cinémathèque Appendix: Film-Kurier Bibliography, by the Numbers Notes References Index
£63.90
