Film history, theory or criticism Books

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Book SynopsisAfrican Video Movies and Global Desires is the first full-length scholarly study of Ghana’s commercial video industry, an industry that has produced thousands of movies over the last twenty years and has grown into an influential source of cultural production.Trade Review“Rarely does a book come along that opens up an entirely new world in cinema studies. This sophisticated volume, a groundbreaking book for a number of reasons, does just that…. Summing Up: Highly recommended.” * Choice *“An extremely important contribution to the field of African media studies. Garritano’s work is not only the first monograph to focus on Ghanaian video movies, it also adds to ongoing conversations about postcolonial visual cultures, globalization, consumerism, and African gender dynamics…. Garritano has written what might easily be the first feminist monograph on popular African screen media.” * Black Camera *“A satisfying and authoritative account…. Garritano situates Ghana’s video industries within complex global flows of capital, neo- liberal economies, and their effects on desire and subjectivity…. The book’s scope and conceptual framing will be familiar and useful to readers in other areas of film and media studies.” * African Arts *“In this impressive work, it is clear that the close analyses of the various visual texts and their respective subject matter are informed by both solid ethnographic fieldwork insights and the supple application of theoretical perspectives from film and literary studies…. When Ghanaian popular culture studies does become an established subfield in African studies, this book should definitely be required reading.” * Cinema Journal *“This book is a forerunner in the excavation and understanding of the Ghanaian video movie industry's emergence out of neoliberal economic policies over the past two decades. It highlights the struggles and tensions between Ghana’s dynamic local, national, and regional video movie industries. Garritano brings to light the contemporary paradoxical struggle of Ghanaian video movies’ attempts to creatively re-frame and confront ‘the grand narratives of modernity and globalization’ while simultaneously often being complicit to such forces.” * African Studies Quarterly *“With African Video Movies and Global Desires, Carmela Garritano has established her place among the major interpreters of contemporary African video films…whose groundbreaking work has served to establish a new field of cinema studies and a new approach to African Cinema.” * African Studies Review *“This is an excellent book: admirably sophisticated, solid, cogent, purposeful, and fine-grained. It is built on an enormous amount of careful research … and fieldwork of a depth that only a very few other researchers on African film can match.”“[This book] makes an extremely important contribution to African film, media, and cultural studies more generally with the way in which it focuses its close film analyses through the lens of gender.”

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Book SynopsisJapanese film director Seijun Suzuki began his career making increasingly outrageous B movies for Nikkatsu Studios in the 1950s and 1960s (he was eventually fired for his stylistic excesses). More than ten years later, he reinvented himself as an independent filmmaker with a uniquely eccentric vision. He remains a cult figure outside of Japan and his influence can be seen in the work of directors as diverse as Jim Jarmusch, Baz Luhrmann, and Quentin Tarantino. Time and Place Are Nonsense, the first book-length study of his work in English, aims to enhance the appreciation of his films by analyzing them in light of the cultural and political turmoil of post-World War II Japan and the aesthetic traditions that inform them.

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Book SynopsisTable of ContentsPreface to the Third Edition xi Acknowledgments xiv How to Use This Book xvi About the Companion Website xviii Part I Culture and American Film 1 1 Introduction to the Study of Film Form and Representation 3 Film Form 3 American Ideologies: Discrimination and Resistance 6 Culture and Cultural Studies 12 Case Study: Two Lion Kings (1994 and 2019) 17 Questions for Discussion 21 Further Reading 21 2 The Structure and History of Hollywood Filmmaking 22 Hollywood vs. Independent Film 22 The Style of Hollywood Cinema 24 The Business of Hollywood 29 The History of Hollywood: The Movies Begin 31 The Classical Hollywood Cinema 35 World War II and Postwar Film 37 “New” Hollywood and the Blockbuster Mentality 40 Box: A Brief History of Television in the United States 42 21st‐Century Convergence Culture 44 Questions for Discussion 47 Further Reading 47 Further Screening 48 Part II Race and Ethnicity and American Film 49 Introduction to Part II: What is Race? 3 The Concept of Whiteness and American Film 55 Seeing White 56 Bleaching the Green: The Irish in American Cinema 60 Looking for Respect: Italians in American Cinema 64 A Special Case: Jews and Hollywood 69 Case Study: The Jazz Singer (1927) 74 Veiled and Reviled: Arabs on Film in America 74 Conclusion: Whiteness and American Film Today 80 Questions for Discussion 81 Further Reading 81 Further Screening 82 4 African Americans and American Film 83 African Americans in Early Film 83 Blacks in Classical Hollywood Cinema 87 World War II and the Postwar Social Problem Film 89 The Rise and Fall of Blaxploitation Filmmaking 92 Box: Blacks on TV 94 Hollywood in the 1980s and the Arrival of Spike Lee 96 Black Independent vs. “Neo‐Blaxploitation” Filmmaking in the 1990s 98 African Americans and the Oscars 100 Case Study: BlacKkKlansman (2018) 103 The Twenty‐first Century: Smaller Films, Bigger Profits? 106 Conclusion 108 Questions for Discussion 109 Further Reading 109 Further Screening 110 5 Native Americans and American Film 111 The American “Indian” Before Film 112 Ethnographic Films and the Rise of the Hollywood Western 114 The Evolving Western 118 A Kinder, Gentler America? 121 Case Study: Smoke Signals (1998) 124 Conclusion: Twenty‐first Century Indians? 125 Questions for Discussion 129 Further Reading 129 Further Screening 129 6 Asian Americans and American Film 130 Silent Film and Asian Images 131 Asians in Classical Hollywood Cinema 133 World War II and After: War Films, Miscegenation Melodramas, Kung Fu, and the Start of Asian American Independent Filmmaking 136 Towards a Global Hollywood: Asian American Actors and Filmmakers of the Last Thirty Years 141 Case Study: Crazy Rich Asians (2018) 146 Conclusion 148 Questions for Discussion 148 Further Reading 148 Further Screening 149 7 Latinos and American Film 150 The Greaser and the Latin Lover: Alternating Stereotypes 152 World War II and After: The Good Neighbor Policy 155 The 1950s to the 1970s: Back to Business as Usual? 159 Expanding Opportunities in the 1980s and 1990s 161 Case Study: My Family/Mi Familia (1995) 164 Latino Film in the 21st Century 166 Conclusion: Which Way Forward? 169 Questions for Discussion 171 Further Reading 172 Further Screening 172 Part III Class and American Film 173 Introduction to Part III: What is Class? 8 Classical Hollywood Cinema and Class 179 Setting the Stage: The Industrial Revolution 179 Early Cinema: The Rise of the Horatio Alger Myth 181 Hollywood and Unionization 185 Class in the Classical Hollywood Cinema 188 Case Study: The Grapes of Wrath (1940) 190 Conclusion: Recloaking Class Consciousness 192 Questions for Discussion 192 Further Reading 193 Further Screening 193 9 Cinematic Class Struggle After the Depression 194 From World War II to the Red Scare 194 From Opulence to Counterculture 197 Box: Class on Television 202 New Hollywood and the Resurrection of the Horatio Alger Myth 202 Corporate Hollywood and Labor in the 21st Century 208 Case Study: The Florida Project (2017) 213 Questions for Discussion 215 Further Reading 215 Further Screening 215 Part IV Gender and American Film 217 Introduction to Part IV: What is Gender? 10 Women in Classical Hollywood Filmmaking 223 Images of Women in Early Cinema 224 Early Female Filmmakers 228 Images of Women in 1930s Classical Hollywood 231 World War II and After 235 Case Study: All that Heaven Allows (1955) 238 Questions for Discussion 240 Further Reading 240 Further Screening 241 11 Exploring the Visual Parameters of Women in Film 242 Ways of Seeing 242 “Visual Pleasure and Narrative Cinema” 245 Case Study: Gilda (1946) 254 Conclusion: Complicating Mulvey’s Arguments 255 Questions for Discussion 258 Further Reading 258 Further Screening 258 12 Masculinity in Classical Hollywood Filmmaking 259 Masculinity and Early Cinema 262 Masculinity and the Male Movie Star 263 World War II and Film Noir 268 Case Study: Dead Reckoning (1947) 273 Masculinity in 1950s American Film 274 Questions for Discussion 277 Further Reading 277 Further Screening 277 13 Gender in American Film Since the 1960s 278 Second Wave Feminism and Hollywood 278 Box: Women and American Television 282 Into the 1980s: A Backlash against Women? 285 A New Generation of Female Filmmakers 288 Gender at the Turn of the Century 292 Gender Politics after 9/11 294 Case Study: Wonder Woman (2017) 297 Questions for Discussion 299 Further Reading 300 Further Screening 300 Part V Sexuality and American Film 301 Introduction to Part V: What is Sexuality? 14 Heterosexuality, Homosexuality, and Classical Hollywood 307 (Hetero)Sexuality on Screen 307 (Homo)Sexuality in Early Film 309 Censoring Sexuality during the Classical Hollywood Era 311 Postwar Sexualities and the Weakening of the Production Code 316 Camp and the Underground Cinema 320 Case Study: The Celluloid Closet (1995) 322 Questions for Discussion 323 Further Reading 324 Further Screening 324 15 Sexualities on Film Since the Sexual Revolution 325 Hollywood and the Sexual Revolution 325 Film and Gay Culture from Stonewall to AIDS 327 The AIDS Crisis 332 Queer Theory and New Queer Cinema 334 Box: Queer TV 338 Hollywood Responds to New Queer Cinema 340 Case Study: Love, Simon (2018) 344 (Hetero)Sexualities in Contemporary American Cinema 346 Conclusion: The Power Dynamics of Sexuality 349 Questions for Discussion 351 Further Reading 351 Further Screening 352 Part VI Ability and American Film 353 Introduction to Part VI: What is Ability? 16 Cinematic Images of (Dis)Ability 359 Disabled People in Early American Film: Curiosities and Freaks 360 Romanticizing Disability in Classical Hollywood Melodramas 364 Disability in War Movies and Social Problem Films 366 Disability and the Counterculture 369 Case Study: Children of a Lesser God (1986) 373 After the 1980s: A More Enlightened Hollywood? 374 Far From Hollywood: Documentary, Activism, and New Modes of Television 377 Questions for Discussion 380 Further Reading 380 Further Screening 381 Glossary 382 Index 404

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Book SynopsisGo beyond Kurosawa and discover an up-to-date and rigorous examination of historical and modern Japanese cinema InA Companion to Japanese Cinema, distinguished cinematic researcher David Desser deliversinsightfulnew material ona fascinating subject, ranging from the introduction and exploration of under-appreciated directors, like Uchida Tomu and Yoshimura Kozaburo, to an appreciation of the Golden Age of Japanese cinema from the point of view of little-known stars and genres of the 1950s. ThisCompanionincludes new resources that deal in-depthwith the issue of gender in Japanese cinema, including a sustained analysis of Kawase Naomi, arguably the most important female director in Japanese film history. Readers will appreciate the astute material on the connections and relationships that tie together Japanese television and cinema, with implications for understanding the modern state of Japanese film.TheCompanionconcludes with a discussion of the Japanese media's response to the 3/11earTable of ContentsNotes on Contributors viii Acknowledgements xv Introduction 1David Desser Section 1 History, Ideology, Aesthetics 25 1 Kyoto – The “Hollywood of Japan” 27Diane Wei Lewis 2 The Pure Film Movement and Modern Japanese Film Style 49Laura Lee 3 Shiraito Redux: Text, Body, Desire from Kyoka to Mizoguchi 67Ayako Saito 4 The Adventures of Uchida Tomu 90Daisuke Miyao 5 Yoshimura Kozaburo and the Working Woman in the Old Capital 106Alexander Jacoby 6 Calico-World in Rainbow Colors: The Aesthetics of Gender in 1950s Toei Jidaigeki 130Junko Yamazaki Copyrighted Material 7 Silverscreen Dreamboats and the Polyvocal Address 149Earl Jackson 8 Mad, Bad, and Beautiful: Revisiting Kurosawa’s Women 174Dolores P. Martinez 9 Biographies of Loss: The Cinematic Melancholy of Kawase Naomi 193Erin Schoneveld 10 Shaping the Anime Industry: Second Generation Pioneers and the Emergence of the Studio System 215Laura Montero-Plata and Marie Pruvost-Delaspre 11 Shapeshifting in Anime: Form and Meaning 247Richard J. Leskosky Section 2 The Old and the New 269 12 Ainu in Documentary Films: Promiscuous Iconography and the Absent Image 271Marcos P. Centeno-Martín 13 Modernity in Film Exhibition: The Rise of Modern Movie Theaters in Tokyo, 1920s–1930s 294Chie Niita 14 Female Stardom and National Identity in Postwar Japan 316Jennifer Coates 15 Wild, Sexy, and Funny: Toei Does “Pink” 334Laura Treglia 16 Behind the Voice that Brought Peace: The Emperor as Hero in The Emperor in August 352Griseldis Kirsch 17 Queer Time in Summer Vacation 1999 369Nina Cornyetz 18 Horror Old and New: Nakata Hideo’s Ringu (1998) between J-Horror and Hibakusha Cinema 382Olga V. Solovieva 19 Youth, Trauma, and Contemporary Japanese Cinema 401Jay McRoy 20 “Female Director”: Discourses and Practices in Contemporary Japan 421Alejandra Armendáriz-Hernández and Irene González-López 21 The Dying Art of Japanese Cinema 446Kirsten Cather Section 3 Intermediality 469 22 Before Media Mix: The Electric Ecology 471Alexander Zahlten 23 Gosho and the Gagman: Scriptwriting at the Time of the Talkie Crisis 493Lauri Kitsnik 24 Inventing Television through Film: Japanese Cinema and TV, 1953–1963 510Aaron Gerow 25 ’Scope and the City: Reframing a Modern Metropolis 529Jasper Sharp 26 Bodies in Motion: Japanese Film of the 1964 Tokyo Olympics Era between Mass Culture, Media, and Memory 547Ryan Cook 27 Adaptation as Cinematic Translation: Murakami Haruki and Ichikawa Jun’s Tony Takitani 568Mika Ko 28 Blockbusters in Japan: Hit Film Culture and the Rise of Fuji Television as Commercial Film Studio 591Rayna Denison 29 Hani Susumu, Nouvelle Vague in Japan and Processive Cinema 612Takuya Tsunoda 30 The Cultural Turn in Post-3.11 Documentary: Kamanaka Hitomi’s Accented Documentary 639Mitsuyo Wada-Marciano Index 658

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Book SynopsisAn authoritative guide to the action-packed film genre With 24 incisive, cutting-edge contributions from esteemed scholars and critics, A Companion to the Action Filmprovides an authoritative and in-depth guide to this internationally popular and wide-ranging genre. As the first major anthology on the action film in more than a decade, the volume offers insights into the genre's historical development, explores its production techniques and visual poetics, and provides reflections on the numerous social, cultural, and political issues it has and continues to embody. A Companion to the Action Film offers original research and critical analysis that examines the iconic characteristics of the genre, its visual aesthetics, and its narrative traits; considers the impact of major directors and stars on the genre's evolution; puts the action film in dialogue with various technologies and other forms of media such as graphic novels and television; and maps out new avenues of critical study Table of ContentsAbout the Editor viii Notes on Contributors ix Acknowledgments xiii Introduction: The Action Film: “Over Familiar and Understudied” 1James Kendrick Part I History 9 1 Origins of the Action Film: Types, Tropes, and Techniques in Early Film History 11Kyle Barrowman 2 A Genre of Its Own: From Westerns, to Vigilantes, to Pure Action 35James Kendrick 3 The New Dominance: Action‐Fantasy Hybrids and the New Superhero in 2000s Action Cinema 55Lisa Purse 4 Around the World in Action 74Mark Gallagher Part II Form and Aesthetics 97 5 The Perpetual Motion Aesthetic of Action Cinema 99Nick Jones 6 Asian Action Cinema and Its Influence on Hollywood 118Barna William Donovan 7 Comedy in Action 140Cynthia M. King 8 The Composite Body: Action Stars and Embodiment in the Digital Age 165Drew Ayers 9 Translating the Panel: Remediating a Comics Aesthetic in Contemporary Action Cinema 187Joshua Wucher Part III Auteurs: Directors, Stars, Choreographers 207 10 Akira Kurosawa, Sam Peckinpah, and the Action Concept of Eastern Westerns 209Stephen Teo 11 The Martial Arts Supremacy: Action Film and Fight Choreography 227Paul Bowman 12 All Guts and No Glory: Stuntwork and Stunt Performers in Hollywood History 241Lauren Steimer 13 Hollywood’s Hard Bodies: The Stars Who Made the Action Films Famous 256Susan Jeffords 14 The Strange Case of Carlos Ray Norris: Reactionary Masculinity and Its Imaginary Discontents 270Tony Williams 15 New Action Realism: Claustrophobia, Immediacy, and Mediation in the Films of Kathryn Bigelow, Paul Greengrass, and Michael Mann 289Vincent M. Gaine Part IV Social and Cultural Issues 307 16 Postmodernism in Action Movies 309Micheal McAlexander 17 The 1980s Action Film and the Politics of Urban Expulsions 325Jon Kraszewski 18 Infinite Crisis: Intertextuality and Watchmen 345Matt Yockey 19 Blowing Up the War Film: Powerlessness and the Crisis of the Action‐Image in The Hurt Locker and Inglourious Basterds 364Paul Gormley 20 X‐Men/Action Men: Performing Masculinities in Superhero and Science‐Fiction Cinema 381Yvonne Tasker 21 Unlikely Action Heroine: Melissa McCarthy Challenges Bodily Ideals in Modern Action Film 398Jeffrey A. Brown 22 “I Am Become Death”: Managing Massacres and Constructing the Female Teen Leader in The 100 417Rikke Schubart 23 A Digital Nature: Lucy Takes Technology for a Ride 439Lorrie Palmer 24 “I Feel the Need, the Need for Speed”: Prosthetics, Agency Panic, and the High‐Tech Action Film 456Steffen Hantke Index 473

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Book SynopsisThis lively and accessible textbook, written by an expert in film studies, provides a fascinating introduction to the process and art of literature-to-film adaptations. Provides a lively, rigorous, and clearly written account of key moments in the history of the novel from Don Quixote and Robinson Crusoe up to Lolita and One Hundred Years of Solitude Includes diversity of topics and titles, such as Fielding, Nabokov, and Cervantes in adaptations by Welles, Kubrick, and the French New Wave Emphasizes both the literary texts themselves and their varied transtextual film adaptations Examines numerous literary trends from the self-conscious novel to magic realism before exploring the cinematic impact of the movement Reinvigorates the field of adaptation studies by examining it through the grid of contemporary theory Brings novels and film aTrade Review“Robert Stam helps us better understand two of the most important art forms of our time – film and the novel. In so doing, he brings to light new sources for the distinctiveness of each. The general method guiding his particular analyses of movement from one medium to the other is itself a major contribution to translation theory.” Michael Holquist, Yale University Table of ContentsList of Illustations. Preface. Acknowledgments. Introduction. 1. A Cervantic Prelude: From Don Quixote to Postmodernism. 2. Colonial and Postcolonial Classics: From Robinson Crusoe to Survivor. 3. The Self-Conscious Novel: From Henry Fielding to David Eggers. 4. The Proto-cinematic Novel: Metamorphoses of Madame Bovary. 5. Underground Man and Neurotic Narrators: From Dostoevsky to Nabakov. 6. Modernism, Adaptation, and the French New Wave. 7. Full Circle: From Cervantes to Magic Realism. Index

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Book SynopsisThis lively and accessible textbook, written by an expert in film studies, provides a fascinating introduction to the process and art of literature-to-film adaptations. Provides a lively, rigorous, and clearly written account of key moments in the history of the novel from Don Quixote and Robinson Crusoe up to Lolita and One Hundred Years of Solitude Includes diversity of topics and titles, such as Fielding, Nabokov, and Cervantes in adaptations by Welles, Kubrick, and the French New Wave Emphasizes both the literary texts themselves and their varied transtextual film adaptations Examines numerous literary trends from the self-conscious novel to magic realism before exploring the cinematic impact of the movement Reinvigorates the field of adaptation studies by examining it through the grid of contemporary theory Brings novels and film aTrade Review“Robert Stam helps us better understand two of the most important art forms of our time – film and the novel. In so doing, he brings to light new sources for the distinctiveness of each. The general method guiding his particular analyses of movement from one medium to the other is itself a major contribution to translation theory.” Michael Holquist, Yale University Table of ContentsList of Illustations. Preface. Acknowledgments. Introduction. 1. A Cervantic Prelude: From Don Quixote to Postmodernism. 2. Colonial and Postcolonial Classics: From Robinson Crusoe to Survivor. 3. The Self-Conscious Novel: From Henry Fielding to David Eggers. 4. The Proto-cinematic Novel: Metamorphoses of Madame Bovary. 5. Underground Man and Neurotic Narrators: From Dostoevsky to Nabakov. 6. Modernism, Adaptation, and the French New Wave. 7. Full Circle: From Cervantes to Magic Realism. Index

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Book SynopsisThis is the first book to analyze Ridley Scott's film Gladiator from historical, cultural, and cinematic perspectives. The first systematic analysis of Ridley Scott's film, Gladiator. Examines the film's presentation of Roman history and culture. Considers its cinematic origins and traditions. Draws out the film's modern social and political overtones. Includes relevant ancient sources in translation. Trade Review"Invaluable." Times Literary Supplement "A most welcome addition to this rapidly expanding discourse. It succeeds in collecting an insightful and diverse set of reflections 'inspired by' Gladiator (as filmmakers might say) and will hopefully encourage similar explorations of more recent and forthcoming films set in antiquity." Bryn Mawr Classical Review "This book provides a very useful resource that will enhance the analytical sophistication of students of Scott's film and one that will deepen their appreciation of the complexity of Roman society in the reign of Commodus as well as the problem of imperialism then and today. I have no doubt that it will be a great success and a distinct credit to its editor and his contributors." Scholia "Martin Winkler is one of the pioneers in the use of film as applied to classical antiquity." New England Classical Journal Winkler has created an unlikely meeting of brains and brawn in this collection of papers from classicists who contemplate the popularity of Ridley Scott's film Gladiator." Reference and Research Book News "Martin Winkler has brought together classicists who understand and respect the power of modern film. This volume will set the standard for the serious study of the reflections and influence of the classical world on contemporary popular culture." Gregory N. Daugherty, Randolph-Macon College "Boasting its own triumphant array of stimulating double takes on the film Gladiator, this book successfully recaptures the excitement and immediacy of the turn of the 21st century cinematic epic." Paula James, The Open University "A promising model of the multiple approaches that may be taken to a single cinematic text ... Its demonstration that even highly commercial products of popular culture can still yield serious insights and analysis can only benefit the study of classics and cinema." Journal of Roman StudiesTable of ContentsList of Illustrations. Notes on Contributors. Editor’s Preface. 1. Gladiator from Screenplay to Screen: Jon Solomon (University of Arizona). 2. Gladiator and the Traditions of Historical Cinema: Martin M. Winkler (George Mason University). 3. Gladiator in Historical Perspective: Allen M. Ward (University of Connecticut-Storrs). 4. The Pedant Goes to Hollywood: The Role of the Academic Consultant: Kathleen M. Coleman (Harvard University). 5. Commodus and the Limits of the Roman Empire: Arthur M. Eckstein (University of Maryland). 6. Gladiators and Blood Sport: David S. Potter (University of Michigan). 7. Gladiator and the Colosseum: Ambiguities of Spectacle: Martin M. Winkler (George Mason University). 8. The Vision of a Fascist Rome in Gladiator: Arthur J. Pomeroy (Victoria University of Wellington). 9. Gladiator and Contemporary American Society: Monica S. Cyrino (University of New Mexico). 10. The Politics of Gladiator: Peter W. Rose (Miami University of Ohio). 11. The Major Ancient Sources:. Cassius Dio on Commodus. The Augustan History: Commodus. Herodian on the Death of Commodus. Aurelius Victor on Commodus. Chronology: The Roman Empire at the Time of Commodus. Further Reading. Index to Chapters 1-10

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Book SynopsisOrganized around a series of philosophic questions about film, The Philosophy of Film: Introductory Text and Readings offers an accessible and engaging overview of the discipline. Provides thorough selection of readings drawn from philosophy, film studies, and film criticism Multiple points of view highlighted in discussion of film theory, narration, authorship, film and emotion, and the social values of cinema Presents thought-provoking reading questions as well as clear and helpful introductions for each section More information about this text along with further resources are available from the accompanying website at: http://www.mtholyoke.edu/omc/phil-film/index.htmlTrade Review“Congratulations to Wartenberg and Curran for their terrific anthology. Uniting key works in film theory, criticism, and philosophy, this much-needed text has excellent sections on core topics.” Deborah Knight, Queen’s University at Kingston “The Philosophy of Film presents a judicious selection of influential writings on the philosophy of film from across the spectrum of current opinion, though weighted toward the increasingly dominant cognitivist paradigm of film experience. The introductory and pedagogic material provided by the editors is uniformly helpful.” Jerrold Levinson, University of Maryland, and Past President, American Society for Aesthetics “Bringing together important writings by prominent philosophers and film theorists, this volume of readings with useful editorial commentary will prove a valuable resource for students of the philosophy of film.” Berys Gaut, University of St AndrewsTable of ContentsAcknowledgments. General Introduction.. Part I: Do We Need Film Theory?. Introduction. Study Questions. 1. Prospects for Film Theory (Noël Carroll). 2. Can Scientific Models of Theorizing Help Film Theory (Malcolm Turvey). 3. Philosophy of Film as the Creation of Concepts (Gilles Deleuze). Part II: What Is the Nature of Film?. Introduction. Study Questions. 4. Defining the Photoplay (Hugo Munsterberg). 5. The Artistry of Silent Film (Rudolph Arnheim). 6. Cinematic Realism (Andre Bazin). 7. Film, Photography, and Transparency (Kendall L. Walton). 8. Non-fictional Cinematic Artworks and Knowledge (Trevor Ponech). Part III: Do Films Have Authors?. Introduction. Study Questions. 9. La Politique des Auteurs (François Truffaut). 10. Auteur Theory and Film Evaluation (Andrew Sarris). 11. The Idea of Film Criticism (Pauline Kael). 12. Against Authorship (Stephen Heath). 13. DVD’s and the Director’s Intentions (Deborah Parker and Mark Parker). Part IV: How Do Films Engage Our Emotions?. Introduction. Study Questions. 14. Narrative Desire (Gregory Currie). 15. Spectator Emotion and Ideological Film Criticismm (Carl Plantinga). 16. Engaging Characters (Murray Smith). 17. The Paradox of Horror (Noël Carroll). Part V: Must Films Have Narrators?. Introduction. Study Questions. 18. Principles of Film Narration (David Bordwell). 19. The Cinematic Narrator (Seymour Chatman). 20. Narration as Showing (George M. Wilson). Part VI: Can Films Be Socially Critical?. Introduction. Study Questions. 21. The Politics of Representation (Michael Ryan and Douglas Kellner). 22. But Would You Want Your Daughter To Marry One? Politics and Race in Guess Who’s Coming To Dinner (Thomas E. Wartenberg). 23. Stella at the Movies: Critical Spectatorship and Melodrama in Stella Dallas (Angela Curren). Part VII: What Can We Learn From Films?. Introduction. Study Questions. 24. Knowledge as Transgression: It Happened One Night (Stanley Cavell). 25. Realist Horror (Cynthia A. Freeland). 26. Philosophy Screened: Viewing The Matrix (Thomas E. Wartenberg). 27. Virtue and Happiness in Groundhog Day (Joseph Kupfer). Suggestions for Further Reading. Index.

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Book SynopsisOrganized around a series of philosophic questions about film, this title offers an accessible overview of the discipline. It provides a selection of readings drawn from philosophy, film studies, and film criticism. It has multiple points of view highlighted in discussion of film theory, narration, film and emotion, and social values of cinema.Trade Review“Congratulations to Wartenberg and Curran for their terrific anthology. Uniting key works in film theory, criticism, and philosophy, this much-needed text has excellent sections on core topics.” Deborah Knight, Queen’s University at Kingston “The Philosophy of Film presents a judicious selection of influential writings on the philosophy of film from across the spectrum of current opinion, though weighted toward the increasingly dominant cognitivist paradigm of film experience. The introductory and pedagogic material provided by the editors is uniformly helpful.” Jerrold Levinson, University of Maryland, and Past President, American Society for Aesthetics “Bringing together important writings by prominent philosophers and film theorists, this volume of readings with useful editorial commentary will prove a valuable resource for students of the philosophy of film.” Berys Gaut, University of St AndrewsTable of ContentsAcknowledgments viii General Introduction 1 Part I: Do We Need Film Theory? 5 Introduction 5 Study Questions 8 1 Prospects for Film Theory: A Personal Assessment 11 Noël Carroll 2 Can Scientific Models of Theorizing Help Film Theory? 21 Malcolm Turvey 3 Philosophy of Film as the Creation of Concepts 33 Gilles Deleuze Part II: What Is the Nature of Film? 39 Introduction 39 Study Questions 41 4 Defining the Photoplay 43 Hugo Münsterberg 5 The Artistry of Silent Film 50 Rudolf Arnheim 6 Cinematic Realism 59 André Bazin 7 Film, Photography, and Transparency 70 Kendall L. Walton 8 Non-fictional Cinematic Artworks and Knowledge 77 Trevor Ponech Part III: Do Films Have Authors? 91 Introduction 91 Study Questions 94 9 La Politique des Auteurs 95 François Truffaut 10 Auteur Theory and Film Evaluation 99 Andrew Sarris 11 The Idea of Film Criticism 108 Pauline Kael 12 Against Authorship 118 Stephen Heath 13 DVDs and the Director’s Intentions 123 Deborah Parker and Mark Parker Part IV: How Do Films Engage Our Emotions? 133 Introduction 133 Study Questions 136 14 Narrative Desire 139 Gregory Currie 15 Spectator Emotion and Ideological Film Criticism 148 Carl Plantinga 16 Engaging Characters 160 Murray Smith 17 The Paradox of Horror 170 Noël Carroll Part V: Must Films Have Narrators? 179 Introduction 179 Study Questions 181 18 Principles of Film Narration 183 David Bordwell 19 The Cinematic Narrator 190 Seymour Chatman 20 Narration as Showing 198 George M. Wilson Part VI: Can Films Be Socially Critical? 209 Introduction 209 Study Questions 212 21 The Politics of Representation 213 Michael Ryan and Douglas Kellner 22 But Would You Want Your Daughter To Marry One? Politics and Race in Guess Who’s Coming to Dinner 225 Thomas E. Wartenberg 23 Stella at the Movies: Class, Critical Spectatorship, and Melodrama in Stella Dallas 235 Angela Curran Part VII: What Can We Learn From Films? 247 Introduction 247 Study Questions 250 24 Knowledge as Transgression: It Happened One Night 253 Stanley Cavell 25 Realist Horror 260 Cynthia A. Freeland 26 Philosophy Screened: Experiencing The Matrix 270 Thomas E. Wartenberg 27 Virtue and Happiness in Groundhog Day 284 Joseph H. Kupfer Suggestions for Further Reading 295 Index 298

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Book SynopsisBig Screen Rome is the first systematic survey of the most important and popular films from the past half century that reconstruct the image of Roman antiquity. * The first systematic survey of the most important and popular recent films about Roman antiquity.Trade Review"No other book on film and the classical world gives us what Big Screen Rome does: a complete format for an undergraduate course on ancient Rome in the cinema. In each well-organized and highly-readable chapter, Cyrino provides abundant information about the plots, characters, themes, actors, directors, production and reception of nine important films (from Quo Vadis to Gladiator). Each film is set against its ancient sources and background, with an interpretation and questions exploring the interplay between the ancient and modern worlds in regard to sex, religion, and politics. I look forward to using this entertaining and well-researched book in my university classroom." Margaret Toscano, University of Utah "Monica Cyrino's Big Screen Rome is a very welcome addition to the few texts available for courses that use film in the teaching of ancient Roman culture and civilization. Her scholarly, highly readable, and well-structured treatment of nine key films on ancient Rome brings together all the information necessary for the understanding of these films and the historical period they cover." Art L. Spisak, Southwest Missouri State University Big Screen Rome provides students and teachers alike with the cinema studies details, the historical and cultural backstories and the critical interpretations which they both need to see and feel, through films, the connections between the ancient and the modern worlds. Professor Cyrino brings to this very personal selection of nine films the sensitivities of a devoted teacher, scholar and fan of the lavish historical epic. Gregory N. Daugherty, Randolph-Macon College “An enjoyable and informative book of interest and accessible to a wide readership … This book is indeed a data-rich resource for those of us engaged in using film to identify key and historically determined features in the post classical representation of Rome … Cyrino has a real sense of and sensitivity towards the many factors that combine to make these films significant in the portrayal of Rome on screen ... A stimulating companion on a number of counts to a traditionally structured pedagogical approach to Roman history.” Bryn Mawr Classical Review "In Big Screen Rome, classical historian Monica Silveira Cyrino combines her passions for Rome, cinema and the ancient world in a user-friendly and enjoyable manual focusing on nine well known films that use the site of ancient Rome to explore contemporary issues ... It differs from previous volumes on the ancient world and cinema in its textbook-like layout, making it easily accessible to students, teachers and general readers with an interest in history ... The book does a good job in demonstration how the values, rhetoric and politics of ancient Rome have persisted as Universally important models which offer useful analogies for the exploration of the nature of power and ideology in 20th century America." Screening the Past "A welcome and timely addition" Scholia Reviews "Big Screen Rome is written in a pleasant, jargon-free style and is immensely readable. This book should be required reading in any course dealing with images of Rome in modern film." Robert J. Rabel, University of Kentucky, Classical OutlookTable of ContentsList of Illustrations. Acknowledgements. Introduction. Quo Vadis (1951). The Robe (1953). Ben-Hur (1959). Spartacus (1960). Cleopatra (1963). A Funny Thing Happened on the Way to the Forum (1966). Monty Python’s Life of Brian (1979). History of the World, Part I: Roman Empire sequence (1981). Gladiator (2000). Bibliography. Index.

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Book SynopsisBig Screen Rome is the first systematic survey of the most important and popular films from the past half century that reconstruct the image of Roman antiquity. * The first systematic survey of the most important and popular recent films about Roman antiquity.Trade Review"No other book on film and the classical world gives us what Big Screen Rome does: a complete format for an undergraduate course on ancient Rome in the cinema. In each well-organized and highly-readable chapter, Cyrino provides abundant information about the plots, characters, themes, actors, directors, production and reception of nine important films (from Quo Vadis to Gladiator). Each film is set against its ancient sources and background, with an interpretation and questions exploring the interplay between the ancient and modern worlds in regard to sex, religion, and politics. I look forward to using this entertaining and well-researched book in my university classroom." Margaret Toscano, University of Utah "Monica Cyrino's Big Screen Rome is a very welcome addition to the few texts available for courses that use film in the teaching of ancient Roman culture and civilization. Her scholarly, highly readable, and well-structured treatment of nine key films on ancient Rome brings together all the information necessary for the understanding of these films and the historical period they cover." Art L. Spisak, Southwest Missouri State University Big Screen Rome provides students and teachers alike with the cinema studies details, the historical and cultural backstories and the critical interpretations which they both need to see and feel, through films, the connections between the ancient and the modern worlds. Professor Cyrino brings to this very personal selection of nine films the sensitivities of a devoted teacher, scholar and fan of the lavish historical epic. Gregory N. Daugherty, Randolph-Macon College “An enjoyable and informative book of interest and accessible to a wide readership … This book is indeed a data-rich resource for those of us engaged in using film to identify key and historically determined features in the post classical representation of Rome … Cyrino has a real sense of and sensitivity towards the many factors that combine to make these films significant in the portrayal of Rome on screen ... A stimulating companion on a number of counts to a traditionally structured pedagogical approach to Roman history.” Bryn Mawr Classical Review "In Big Screen Rome, classical historian Monica Silveira Cyrino combines her passions for Rome, cinema and the ancient world in a user-friendly and enjoyable manual focusing on nine well known films that use the site of ancient Rome to explore contemporary issues ... It differs from previous volumes on the ancient world and cinema in its textbook-like layout, making it easily accessible to students, teachers and general readers with an interest in history ... The book does a good job in demonstration how the values, rhetoric and politics of ancient Rome have persisted as Universally important models which offer useful analogies for the exploration of the nature of power and ideology in 20th century America." Screening the Past "A welcome and timely addition" Scholia Reviews "Big Screen Rome is written in a pleasant, jargon-free style and is immensely readable. This book should be required reading in any course dealing with images of Rome in modern film." Robert J. Rabel, University of Kentucky, Classical OutlookTable of ContentsList of Illustrations. Acknowledgements. Introduction. Quo Vadis (1951). The Robe (1953). Ben-Hur (1959). Spartacus (1960). Cleopatra (1963). A Funny Thing Happened on the Way to the Forum (1966). Monty Python’s Life of Brian (1979). History of the World, Part I: Roman Empire sequence (1981). Gladiator (2000). Bibliography. Index.

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Book SynopsisThe philosophy of motion pictures has typically been explored in a top-down fashion. The essence of motion pictures is identified - usually understood in terms of photographic film - and every other feature of the film is weighed in relation to that essence.Trade Review"As the very first introduction to philosophy of film… The Philosophy of Motion Pictures is ideal for generating new and wider philosophical interest in film as a technologically evolving art form. …[The book] does beautifully what any good introduction should: It leaves us with a sense of deeper understanding but also an eagerness to continue the conversation." (Katherine Thomson-Jones, Journal of Aesthetics and Art Criticism (vol. 66, issue 4)) "Carroll is arguably the foremost philosopher of film writing today. With the assistance of a handful of other philosophers, he has created a vital and lively philosophical specialty out of a field that was mostly moribund prior to the 1980s. The Philosophy of Motion Pictures deserves study by anyone seriously interested in the philosophy of film. The clarity with which it is written and the broad scope of its concerns make it a book that deserves serious attention and discussion." (British Journal of Aesthetics) "One of the more insightful scholarly approaches to cinema in recent years. The book explores film…with several interesting and intellectually stimulating and satisfying chapters." (RogueCinema.com) "Scholarly, detailed and thoroughly-argued … .It is a fine book. Persuasive and informative and will undoubtedly become a key text in cinematic studies." (Metapsychology) "Carroll provides a useful compendium of the central problems and ruling concepts in contemporary film aesthetics. Recommended." (Choice)Table of ContentsAcknowledgments. Introduction: From Film Theory to the Philosophy of the Moving Image. 1. Film as Art. 2. Medium Specificity. 3. What Is Cinema?. 4. The Moving Picture – the Shot. 5. Moving Images – Cinematic Sequencing and Narration. 6. Affect and the Moving Image. 7. Evaluation. Select Bibliography. Index

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Book SynopsisDesigned for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. .Trade Review“While theoretically inclined film scholars continue to recycle the theories of Lacan and Deleuze, analytical philosophers have quietly assumed the leading edge of film theory. This judicious collection of essays, framed by thoughtful commentaries, provides an ideal introduction to the field of analytic film theory for students of philosophy and film alike.” Richard Allen, New York University “The philosophy of film and motion pictures has flourished in the last forty years or so, and Carroll and Choi’s anthology offers a marvelous overview of the chief issues. This volume assembles many of the best contributions by contemporary philosophers, and will serve as an excellent textbook in relevant courses. I expect it will also be an important stimulus to further research.” George Wilson, University of Southern CaliforniaTable of ContentsAcknowledgments viii General Introduction 1 Part I Film as Art 5 Introduction 7 1 Photography and Representation 19Roger Scruton 2 The Aesthetics of Photographic Transparency 35Dominic McIver Lopes 3 Everybody Gets a Cut: DVDs Give Viewers Dozens of Choices -- and that's the Problem 44Terrence Rafferty Part II What Is Film? 49 Introduction 51 4 The World Viewed 67Stanley Cavell 5 A Note on the Film 79Susanne K. Langer 6 Vision and Dream in the Cinema 82F. E. Sparshott 7 The Long Goodbye: The Imaginary Language of Film 91Gregory Currie 8 Moving Pictures 100Arthur C. Danto 9 Defining the Moving Image 113Noël Carroll Part III Documentary 135 Introduction 137 10 Visible Traces: Documentary and the Contents of Photographs 141Gregory Currie 11 Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis 154Noël Carroll Part IV Film Narrative/Narration 173 Introduction 175 12 Le Grand Imagier Steps Out: The Primitive Basis of Film Narration 185George M. Wilson 13 Unreliability Refigured: Narrative in Literature and Film 200Gregory Currie Part V Film and Emotion 211 Introduction 213 14 Film, Emotion, and Genre 217Noël Carroll 15 Fearing Fictions 234Kendall Walton 16 Empathy and (Film) Fiction 247Alex Neill 17 Identification and Emotion in Narrative Film 260Berys Gaut 18 In Fictional Shoes: Mental Simulation and Fiction 271Deborah Knight Part VI Topics in Film Criticism 281 Introduction 283 19 Morals for Method 287George M. Wilson 20 Cinematic Authorship 299Paisley Livingston 21 National Cinema, the Very Idea 310Jinhee Choi Part VII Film and Ethics 321 Introduction 323 22 Film Criticism and Virtue Theory 335Joseph H. Kupfer 23 Beauty and Evil: The Case of Leni Riefenstahl's Triumph of the Will 347Mary Devereaux 24 A First Look at the Pornography/Civil Rights Ordinance: Could Pornography Be the Subordination of Women? 362Melinda Vadas Part VIII Film and Knowledge 379 Introduction 381 25 The Philosophical Limits of Film 387Bruce Russell 26 Minerva in the Movies: Relations Between Philosophy and Film 391Karen Hanson 27 Motion Pictures as a Philosophical Resource 397Lester H. Hunt Select Bibliography by Jinhee Choi 407 Index 415

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Book SynopsisDesigned for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. .Trade Review“While theoretically inclined film scholars continue to recycle the theories of Lacan and Deleuze, analytical philosophers have quietly assumed the leading edge of film theory. This judicious collection of essays, framed by thoughtful commentaries, provides an ideal introduction to the field of analytic film theory for students of philosophy and film alike.” Richard Allen, New York University “The philosophy of film and motion pictures has flourished in the last forty years or so, and Carroll and Choi’s anthology offers a marvelous overview of the chief issues. This volume assembles many of the best contributions by contemporary philosophers, and will serve as an excellent textbook in relevant courses. I expect it will also be an important stimulus to further research.” George Wilson, University of Southern CaliforniaTable of ContentsAcknowledgments viii General Introduction 1 Part I Film as Art 5 Introduction 7 1 Photography and Representation 19Roger Scruton 2 The Aesthetics of Photographic Transparency 35Dominic McIver Lopes 3 Everybody Gets a Cut: DVDs Give Viewers Dozens of Choices -- and that's the Problem 44Terrence Rafferty Part II What Is Film? 49 Introduction 51 4 The World Viewed 67Stanley Cavell 5 A Note on the Film 79Susanne K. Langer 6 Vision and Dream in the Cinema 82F. E. Sparshott 7 The Long Goodbye: The Imaginary Language of Film 91Gregory Currie 8 Moving Pictures 100Arthur C. Danto 9 Defining the Moving Image 113Noël Carroll Part III Documentary 135 Introduction 137 10 Visible Traces: Documentary and the Contents of Photographs 141Gregory Currie 11 Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis 154Noël Carroll Part IV Film Narrative/Narration 173 Introduction 175 12 Le Grand Imagier Steps Out: The Primitive Basis of Film Narration 185George M. Wilson 13 Unreliability Refigured: Narrative in Literature and Film 200Gregory Currie Part V Film and Emotion 211 Introduction 213 14 Film, Emotion, and Genre 217Noël Carroll 15 Fearing Fictions 234Kendall Walton 16 Empathy and (Film) Fiction 247Alex Neill 17 Identification and Emotion in Narrative Film 260Berys Gaut 18 In Fictional Shoes: Mental Simulation and Fiction 271Deborah Knight Part VI Topics in Film Criticism 281 Introduction 283 19 Morals for Method 287George M. Wilson 20 Cinematic Authorship 299Paisley Livingston 21 National Cinema, the Very Idea 310Jinhee Choi Part VII Film and Ethics 321 Introduction 323 22 Film Criticism and Virtue Theory 335Joseph H. Kupfer 23 Beauty and Evil: The Case of Leni Riefenstahl's Triumph of the Will 347Mary Devereaux 24 A First Look at the Pornography/Civil Rights Ordinance: Could Pornography Be the Subordination of Women? 362Melinda Vadas Part VIII Film and Knowledge 379 Introduction 381 25 The Philosophical Limits of Film 387Bruce Russell 26 Minerva in the Movies: Relations Between Philosophy and Film 391Karen Hanson 27 Motion Pictures as a Philosophical Resource 397Lester H. Hunt Select Bibliography by Jinhee Choi 407 Index 415

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Book SynopsisThis is the first book systematically to examine Wolfgang Petersen's epic film Troy from different archaeological, literary, cultural, and cinematic perspectives. The first book systematically to examine Wolfgang Petersen's epic film Troy from different archaeological, literary, cultural, and cinematic perspectives. Examines the film's use of Homer's Iliad and the myth of the Trojan War, its presentation of Bronze-Age archaeology, and its place in film history. Identifies the modern political overtones of the Trojan War myth as expressed in the film and explains why it found world-wide audiences. Editor and contributors are archaeologists or classical scholars, several of whom incorporate films into their teaching and research. Includes an annotated list of films and television films and series episodes on the Trojan War. Contains archaeological illustratiTrade Review"These essays—all clearly written and accessible to wide audiences—will thus provide invaluable supporting material for teachers of 'classics and film'. The breadth of the contributions and their willingness to provide a good level of background information are ... indications of this volume's usefulness to students." (The Classical Review, 2008) "Winkler’s attractive collection of thirteen essays explores a little of the current state of research on the non-cinematic Troy, but focuses primarily on the film’s various achievements.... Winkler’s engaging essay on ‘The Iliad and the Cinema’ turns reception-study on its head and reads several scenes from Homer through the lens of film studies; Winkler’s annotated filmography of the Trojan war, along with his wide-ranging and passionate introduction, will be essential research material for scholars exploring Troy – or just the original Windy City." (Journal of Hellenic Studies, February 2009) "Classics and film is a staple of university curricula; it has become respectable, in large part thanks to Winkler's own persistent dedication ... Certainly [the book's] roster of contributors is aptly chosen for philological and ... archaeological strength-in-depth ... All of us working in the subject area will need to familiarize ourselves with the volume's contents ... We will be seeing a lot of this material in student essays and dissertations from here on in ... A strong and appealingly diverse field of essays ... adventurous in scope and very well informed. It will inspire students and professionals alike to fresh explorations." (Arion) "Any reader interested in understanding the relationship between the Homeric texts and this film will profit greatly from this collection… I would even highly recommend this collection to readers of Homer with little interest in contemporary film. [Such] insights should encourage the reader to look at the Homeric texts with a new perspective." (New England Classical Journal) Table of ContentsList of Plates. Notes on Contributors. Editor's Introduction. 1 Was There a Trojan War? Troy Between Fiction and Archaeological Evidence. (Manfred O. Korfmann). 2 From Homer’s Troy to Petersen’s Troy. (Joachim Latacz). 3 The Iliad and the Cinema. (Martin M. Winkler). 4 The Story of Troy Through the Centuries. (Georg Danek). 5 Viewing Troy: Authenticity, Criticism, Interpretation. (Jon Solomon). 6 Troy and the Role of the Historical Advisor. (J. Lesley Fitton). 7 From Greek Myth to Hollywood Story: Explanatory. (Kim Shahabudin). 8 The Fate of Troy. (Stephen Scully). 9 Helen of Troy. (Monica S. Cyrino). 10 Briseis in Homer, Ovid, and Troy. (Alena Allen). 11 Troy and Memorials of War. (Frederick Ahl). 12 The Realist Politics of Troy. (Robert J. Rabel). 13 The Trojan War on the Screen: An Annotated. (Martin M. Winkler). Bibliography.

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Book SynopsisThis is the first book systematically to examine Wolfgang Petersen's epic film Troy from different archaeological, literary, cultural, and cinematic perspectives. The first book systematically to examine Wolfgang Petersen's epic film Troy from different archaeological, literary, cultural, and cinematic perspectives. Examines the film's use of Homer's Iliad and the myth of the Trojan War, its presentation of Bronze-Age archaeology, and its place in film history. Identifies the modern political overtones of the Trojan War myth as expressed in the film and explains why it found world-wide audiences. Editor and contributors are archaeologists or classical scholars, several of whom incorporate films into their teaching and research. Includes an annotated list of films and television films and series episodes on the Trojan War. Contains archaeological illustratiTrade Review“This is an excellent collection of essays. Editor Martin Winkler and the twelve authors are to be commended for getting it together and out so quickly while Troy is still relatively fresh in viewers’ minds. The articles could be read by anyone interested in the movie; they should be read by any classicist who has seen it. Each piece – and each is pleasantly concise – offers good insight into Petersen’s movie, and when taken all together, they can make the reader believe he/she really liked the movie and would be willing to see Troy again.” (International Journal of the Classical Tradition, Fall 2007) “This is an excellent collection of essays….a very useful, informative, and readable book, a book which itself, perhaps, takes its place in the way we understand the stories of the Trojan War.” (International Journal of the Classical Tradition) "Classics and film is a staple of university curricula; it has become respectable, in large part thanks to Winkler's own persistent dedication ... Certainly [the book's] roster of contributors is aptly chosen for philological and ... archaeological strength-in-depth ... All of us working in the subject area will need to familiarize ourselves with the volume's contents ... We will be seeing a lot of this material in student essays and dissertations from here on in ... A strong and appealingly diverse field of essays ... adventurous in scope and very well informed. It will inspire students and professionals alike to fresh explorations." (Arion) "Any reader interested in understanding the relationship between the Homeric texts and this film will profit greatly from this collection… I would even highly recommend this collection to readers of Homer with little interest in contemporary film. [Such] insights should encourage the reader to look at the Homeric texts with a new perspective." (New England Classical Journal) Table of ContentsList of Plates. Notes on Contributors. Editor's Introduction. 1 Was There a Trojan War? Troy Between Fiction and Archaeological Evidence. (Manfred O. Korfmann). 2 From Homer’s Troy to Petersen’s Troy. (Joachim Latacz). 3 The Iliad and the Cinema. (Martin M. Winkler). 4 The Story of Troy Through the Centuries. (Georg Danek). 5 Viewing Troy: Authenticity, Criticism, Interpretation. (Jon Solomon). 6 Troy and the Role of the Historical Advisor. (J. Lesley Fitton). 7 From Greek Myth to Hollywood Story: Explanatory. (Kim Shahabudin). 8 The Fate of Troy. (Stephen Scully). 9 Helen of Troy. (Monica S. Cyrino). 10 Briseis in Homer, Ovid, and Troy. (Alena Allen). 11 Troy and Memorials of War. (Frederick Ahl). 12 The Realist Politics of Troy. (Robert J. Rabel). 13 The Trojan War on the Screen: An Annotated. (Martin M. Winkler). Bibliography.

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Book SynopsisGenre, Gender, Race, and World Cinema is an innovative anthology that introduces the study of film theory using the four topics of genre, gender, race, and world cinema, to encourage critical discussion. A major anthology geared towards course use, which covers key concepts in film studies through analysis of important films from American, Asian, European and African cinema Combines formal, historical, cultural, and theoretical approaches to study Analyzes how film represents and influences individual and societal constructs of identity Uses selected readings to introduce inter-textual relations between the readings and the films they discuss Contains section introductions that map the themes and histories of each topic, and raise theoretical issues specific to each Trade Review"An invaluable resource that should (and will) be used by anyone interested in studying, or otherwise thinking about cinema." M/C Reviews “Julie Codell’s anthology does not so much as carve out a niche in film studies as dive in and out of several pre-existing niches, helping itself en route to anything that looks bright and attractive. The result is a collection that overlaps the territory of various recent publications… while forging links and mapping interconnections between its prime concerns… Altogether, this collection should encourage students to explore areas of cinema beyond the conventional English-language mainstream, enriching their viewing experience and offering insights and wider cultural contexts for the films they watch.” The Times Higher Education Supplement “This is a volume whose time has come: a new kind of film text to suit an era when globalization challenges the authority of local cultures, and diasporic mobility is the order of the day.” E. Ann Kaplan, State University of New York at Stony Brook "A superb collection that insightfully demonstrates that race and gender shape global cinema. Ideal for film courses and for anyone interested in world cinema, this is a well-balanced, rigorous, and accessible group of essays sure to provoke deep reflection and passionate discussion." Daniel Bernardi, Arizona State UniversityTable of ContentsPreface. General Introduction: Film and Identities. Part I: Genres: Ever-Changing Hybrids:. Introduction and Further Readings. 1. Conclusion: A semantic/syntactic/pragmatic approach to genre: Rick Altman. 2. Film Bodies: Gender, Genre, and Excess: Linda Williams. 3. The Body and Spain: Pedro Almodovar’s All About My Mother: Ernesto R. Acevedo-Muñoz. 4. Enjoy Your Fight!--Fight Club as a Symptom of the Network Society: Bülent Diken and Carsten Bagge Laustsen. 5. Film and Changing Technologies: Laura Kipnis. 6. Postmodern Cinema and Hollywood Culture in an Age of Corporate Colonization: C. Boggs and T. Pollard. Part II: Genders – More Than Two:. Introduction and Further Readings. 7. Mobile Identities, Digital Stars, and Post Cinematic Selves: Mary Flanagan. 8. “Nothing Is As It Seems”: Re-viewing The Crying Game: Lola Young. 9. Crying over the Melodramatic Penis: Melodrama and Male Nudity in Films of the 90s: Peter Lehman. 10. Travels with Sally Potter’s Orlando: Gender, Narrative, Movement: Julianne Pidduck. 11. Body Matters: the Politics of Provocation in Mira Nair’s Films: Alpana Sharma. 12. Cowgirl Tales: Yvonne Tasker. Part III: Race Stereotypes and Multiple Realisms:. Introduction and Further Readings. 13. The Family Changes Color: Interracial Families in Contemporary Hollywood Cinema: Nicola Evans. 14. Black on White: Film Noir and the Epistemology of Race in Recent African American Cinema: Dan Flory. 15. Being Chinese American, Becoming Asian American: Chan is Missing: Peter X Feng. 16. The Wedding Banquet: Global Chinese Cinema and the Asian American Experience: Gina Marchetti. 17. Another Fine Example of the Oral Tradition? Identification and Subversion in Sherman Alexie’s Smoke Signals: Jhon Warren Gilroy. 18. Playing Indian in the Nineties: Pocahontas and The Indian in the Cupboard: Pauline Turner Strong. 19. “You Are Alright, But…”: Individual and Collective Representations of Mexicans, Latinos, Anglo-Americans and African-Americans in Steven Soderbergh's Traffic: Deborah Shaw. Part IV: World Cinema, Joining Local and Global:. Introduction and Further Readings. 20. Theorizing ‘Third-World’ Film Spectatorship: Hamid Naficy. 21. The Open Image: Poetic Realism and the New Iranian Cinema: Shohini Chaudhuri and Howard Finn. 22. The Seductions of Homecoming; Place, Authenticity, and Chen Kaige’s Temptress Moon: Rey Chow. 23. Cultural Identity and Diaspora in Contemporary Hong Kong Cinema: Julian Stringer. 24. “And Yet My Heart Is Still Indian”: The Bombay Film Industry and the (H)Indianization of Hollywood: Tejaswini Ganti. 25. Future Past: Integrating Orality into Francophone West African Film: Melissa Thackway. Acknowledgments

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Book Synopsis* A major anthology geared towards course use, which covers key concepts in film studies through analysis of important films from American, Asian, European and African cinema. * Features innovative use of four topics - genre, gender, race, and world cinema - to introduce concepts and encourage critical discussion.Trade Review"An invaluable resource that should (and will) be used by anyone interested in studying, or otherwise thinking about cinema." M/C Reviews “Julie Codell’s anthology does not so much as carve out a niche in film studies as dive in and out of several pre-existing niches, helping itself en route to anything that looks bright and attractive. The result is a collection that overlaps the territory of various recent publications… while forging links and mapping interconnections between its prime concerns… Altogether, this collection should encourage students to explore areas of cinema beyond the conventional English-language mainstream, enriching their viewing experience and offering insights and wider cultural contexts for the films they watch.” The Times Higher Education Supplement “This is a volume whose time has come: a new kind of film text to suit an era when globalization challenges the authority of local cultures, and diasporic mobility is the order of the day.” E. Ann Kaplan, State University of New York at Stony Brook "A superb collection that insightfully demonstrates that race and gender shape global cinema. Ideal for film courses and for anyone interested in world cinema, this is a well-balanced, rigorous, and accessible group of essays sure to provoke deep reflection and passionate discussion." Daniel Bernardi, Arizona State UniversityTable of ContentsPreface viii General Introduction: Film and Identities 1 Part I Genres: Ever-Changing Hybrids 5 Part II Genders – More Than Two 117 Part III Race: Stereotypes and Multiple Realisms 213 Part IV World Cinema: Joining Local and Global 359 Acknowledgments 471

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Book SynopsisCombining historical narrative with close readings of several significant horror films, this brief volume offers a broad and lively introduction to cinematic horror. In doing so, it outlines and investigates important issues in the production, consumption, and cultural interpretation of the genre. An ideal text for perennially popular courses on the horror film genre. Examines the ways in which horror movies have been produced, received, and interpreted by filmmakers, audiences, and critics, from the 1920s to the present. Provides a short historical introduction of the horror film as an orientation to the field. Analyses a wide variety of major works in the genre, including Frankenstein, Cat People, Invasion of the Body Snatchers, The Texas Chain Saw Massacre, Halloween and Bram Stoker's Dracula. Trade Review"Worland writes in a scholarly but not overly pedantic style, and he is concise and insightful" ChoiceTable of ContentsList of illustrations. Acknowledgments. 1. Introduction: Undying Monsters. 2 A Short History of the Horror Film:Beginnings to 1945. 3. A Short History of the Horror Film: 1945 to the Present. 4. Monsters Among Us: Cases of Social Reception. 5. Edges of the Horror Film: Lon Chaney, Tod Browning, and The Unknown (1927). 6. Frankenstein (1931) and Hollywood Expressionism. 7. Cat People (1942): Lewton, Freud, and Suggestive Horror. 8. Horror in “The Age of Anxiety”: Invasion of the Body Snatchers (1956). 9. Slaughtering Genre Tradition: The Texas Chain Saw Massacre (1974). 10. Halloween (1978): The Shape of the Slasher Film. 11. Re-Animator (1985) and Slapstick Horror. 12. Demon Lover: Bram Stoker's Dracula (1992). 13. Afterword: Our Haunted Houses. Appendix: Horror Auteurs. Notes. Index

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Book SynopsisFrom Shane to Kill Bill: Rethinking the Western is an original and compelling critical history of the American Western film. Provides an insightful overview of the American Western genre Covers the entire history of the Western, from 1939 to the present Analyses Westerns as products of a genre, as well as expressions of political and social desires Deepens an audience''s understanding of the genre''s most important works, including Shane, Stagecoach, The Searchers, Unforgiven, and Kill Bill Contains numerous illustrations of the films and issues discussed. Trade Review"Each chapter has a thesis explored at length, with analysis of selected films. The selection of film analyzed is well chosen with celebrated classics as well as the offbeat." (Journal of Film and Video, Fall 2009) "McGee has written a rich, ambitious book. ... McGee's readings are richly informed by the work of his predecessors, and they are invariably thoughtful, bold, and challenging. Probably every reader who has seen the films discussed will find things to quarrel with, but almost certainly every reader will also find McGee's arguments a powerful inducement to give these films another careful look. Summing Up: Highly recommended." -- CHOICE, September 2007 "McGee is an astute observer of United States culture who offers trenchant discussion of the Western genre. He chooses his films strategically and reveals their textual strategies and historical meanings." Stan Corkin, University of CincinnatiTable of ContentsList of Illustrations. Preface. 1. Why Shane Never Comes Back. Alan Ladd’s Face. What Shane Wants. Why Shane Wears a Blue Collar. Why Shane’s Gun Sounds Like an Atom Bomb. 2. The Political Origin of the Western. Owen Wister Went West. The West Went to Hollywood. Marx Goes West. 3. Crossing the Border. Jefferson’s Double-Cross (Stagecoach and Destry Rides Again). The Virginian Crossed Out (The Westerner). 4. Revolutionary Hysteria. The Hysterical Fascist Killer (Duel in the Sun). Notorious Ladies (Johnny Guitar and The Quick and. the Dead). 5. Bad Fathers Make Good Sons. Shoot the Father (My Darling Clementine). Don’t Shoot the Father (Red River). Forget the Father (The Searchers). 6. Men on the Verge of a Nervous Breakdown. The Gunfighter and the Proletariat. The Man Who Did Not Corrupt Hadleyville (High Noon). The Men Who Save John Wayne (Rio Bravo). The Man Who Shot John Wayne (The Man Who Shot Liberty. Valance). 7. Magnificent Corpses. Redemption through Destruction. The Winners Are the Losers (The Magnificent Seven). Only Death Will Do (The Wild Bunch). 8. Death’s Landscape. The Uses of the Dead. Two Kinds of Men (The Dollars Trilogy). Get Out of the Way (Once Upon a Time in the West and. A Fistful of Dynamite). Transcendence on a Pale Horse (The Eastwood Westerns). 9. Western Armageddon. All Men Are Poets (McCabe and Mrs. Miller). The Multitude at Heaven’s Gate (Heaven’s Gate). Conclusion: Kill Bill, or Why Shane Always Comes Back. References. Index

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Book SynopsisDying to Belong offers a unique look at the complex and fascinating genre of the gangster movie. Across the world, gangster films are often mistakenly viewed as an inferior and immoral - even dangerous - type of entertainment.Trade Review?There is much to admire about this book, particularly in its formal and thematic film analyses.? (Film Criticism , Winter 2008) "The cultural crossings, borrowings, and thefts between Hollywood and the Asian film industries have been much commented upon in recent years; Martha P. Nochimson's book is therefore timely and necessary. Offering new perspectives on the debate, this original work brings fresh insights to the cultural meanings of the 'rise and fall' gangster narrative and updates a generic form which continues to address the concerns of contemporary audiences. Dying to Belong will provide an admirable lead in the field of which all subsequent work will have to take into account." Esther Sonnet and Peter Stanfield, editors of Mob Culture: Hidden Histories of the American Gangster Film "An original and much-needed intersectional study of American and Hong Kong gangster films, Dying to Belong challenges our most basic truisms about this genre. Nochimson compels us to rethink the best known and most popular gangster texts, from Scarface and The Public Enemy through The Godfather and The Sopranos. But she also introduces and provides cultural contexts for the Hong Kong films, making the latter more accessible and more likely to appear on syllabi and in cultural studies of modernism and violence." Linda Mizejewski, Ohio State University ?Successfully adds to the scholarship of cinema with critical insights and historical perspectives?Nochimson should be commended for what is perhaps her finest book to date.? RogueCinema.com ?Presents an interesting take on the subject ? offers a unique look at the complex genre ? an absorbing study into the history and movement of the genre. Recommended.? Digg.com Table of ContentsAcknowledgments. List of Illustrations. 1. Immigrant Movie Gangsters: The Outside Story. 2. A Frankensteinian Frenzy: Gangster Identity, Hollywood. 3. Gangster Identity, Hong Kong: A Taoist Code Warrior. 4. Hollywood: The Void of Material Success. 5. Dark Laughter at The Materialist Illusion: Hong Kong. 6. East Meets West: The Sopranos, Gangs of New York, Infernal Affairs. Afterword. The Lesson: From Here to Modernity. Appendix. Interview with David Chase (Excerpts From the Transcript). Notes. Bibliography. Filmography. Index

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Book SynopsisIntroducing Philosophy through Film Introducing Philosophy Through Film is a truly wonderful introduction to the core problems of philosophy. Its combination of great films, classic articles from both historical and contemporary philosophers, wonderfully clear introductions to each section, and provocative questions for discussion make for an introduction that is as compelling as it is rigorous. Richard Foley, New York University Fumerton and Jeske have compiled an excellent anthology, filled with dozens of classic texts on the central problems of philosophy most often addressed in introductory philosophy courses. And the films they suggest will help introduce students to philosophy in the most enjoyable way possible. Michael Huemer, University of Colorado From Monty Python and The Matrix to Casablanca and A Clockwork Orange, popular films offer surprisingly perceptive insights into complex philosophical concepts. IntroduTable of ContentsPreface Source Acknowledgments Part I: Introduction: Philosophical Analysis, Argument, and the Relevance of Thought Experiments Films: Monty Python, "The Argument Skit"; Pulp Fiction; Seinfeld episode: The Soup Part II: The Problem of Perception Films: Total Recall; The Matrix; Star Trek TV episode: The Menagerie Introduction 1. First Meditation and excerpt from Sixth Meditation: René Descartes 2. Some Further Considerations Concerning Our Simple Ideas of Sensation: John Locke 3. Three Dialogues Between Hylas and Philonous: George Berkeley 4. Of the Sceptical and Other Systems of Philosophy: David Hume 5. The Self and the Common World: A. J. Ayer 6. Brains in a Vat: Hilary Putnam 7. The Structure of Skeptical Arguments and its Metaepistemological Implications: Richard Fumerton 8. The Experience Machine: Robert Nozick Part III: Philosophy of Mind Films: What Dreams May Come; Bicentennial Man; Heaven Can Wait; The Sixth Day; The Prestige; Multiplicity; Star Trek TV episode: Turn About Intruder Introduction 9. Second Meditation: René Descartes 10. Descartes’ Myth: Gilbert Ryle 11. Sensations and Brain Processes: J. J. C. Smart 12. What Is It Like to Be a Bat?: Thomas Nagel 13. What Mary Didn’t Know: Frank Jackson 14. Minds, Brains, and Programs: John R. Searle 15. Mad Pain and Martian Pain: David Lewis 16. Eliminative Materialism: Paul Churchland 17. Of Identity and Diversity: John Locke 18. The Self and the Future: Bernard Williams 19. From Reasons and Persons: Derek Parfit 20. A Dialogue on Personal Identity and Immortality: John Perry 21. On the Immortality of the Soul: David Hume Part IV: Ethics A. Act Consequentialism and its Critics Films: Abandon Ship!; Fail Safe; Dirty Harry; Sophie’s Choice; Saving Private Ryan; Judgment at Nuremberg; Minority Report: 24 (Season 3: 6.00–7.00 a.m.); Titanic; Vertical Limit Introduction 22. Utilitarianism: John Stuart Mill 23. Groundwork for the Metaphysics of Morals: Immanuel Kant 24. What Makes Right Acts Right?: W. D. Ross 25. A Critique of Utilitarianism: Bernard Williams 26. An Outline of a System of Utilitarian Ethics: J. J. C. Smart 27. Intending Harm: Shelly Kagan 28. United States v. Holmes (1842) 29. The Queen v Dudley and Stephens 30. War and Massacre: Thomas Nagel B. Obligations to Intimates Films: The English Patient; Casablanca; The Third Man; The Music Box; High Noon; Nick of Time; 24 (Season 1: 7.00–8.00 a.m.) Introduction 31. From Nicomachean Ethics: Aristotle 32. Self and Others: C. D. Broad 33. Filial Morality: Christina Hoff Sommers 34. Alienation, Consequentialism, and the Demands of Morality: Peter Railton 35. Relatives and Relativism: Diane Jeske and Richard Fumerton 36. Families, Friends, and Special Obligations: Diane Jeske 37. An Ethic of Caring: Nel Noddings Part V: Philosophy of Time Films: Somewhere in Time; Back to the Future; Planet of the Apes; Frequency; A Sound of Thunder Introduction 38. Making Things to 39. Space and Time: Richard Taylor 40. The Paradoxes of Time Travel: David Lewis Part VI: Free Will, Foreknowledge, and Determinism Films: Minority Report: The Boys From Brazil: A Clockwork Orange: The Omen: Compulsion: Law and Order ("black rage" defense), Season 5, Episode 69414, Rage (2/01/95) Introduction 41. From De Interpretatione: Aristotle 42. Of Liberty and Necessity: David Hume 43. Meaning and Free Will: John Hospers 44. Determinism: J. R. Lucas 45. Freedom of the Will and the Concept of a Person: Harry G. Frankfurt 46. The M’Naghten Rules (1843): House of Lords 47. The Insanity Defense (1956): The American Law Institute 48. What Is So Special About Mental Illness?: Joel Feinberg Part VII: Philosophy of Religion Films: Jason and the Argonauts; Star Trek V: The Final Frontier; Dogma; YouTube: Mr Deity and the Evil Introduction 49. The Wager: Blaise Pascal 50. The Ontological Argument: Anselm 51. The Cosmological and Design Arguments: William L. Rowe 52. Evil and Omnipotence: J. L. Mackie 53. Why I Am Not a Christian: Bertrand Russell

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Book SynopsisThe perfection of Leonard's volume as a teaching text made itself manifest to me not only in its wonderfully detailed analyses, but in the many moments that I found myself seamlessly entering into a discussion with them.Trade Review?The book is well written and well organized. It makes some compelling points.? (PsycCRITIQUES, 2009)Table of ContentsList of Illustrations. Acknowledgments. Introduction. 1. “I’m Not Going to be Ignored, Dan”: Narrative Cues for Suspense and Intimidation. 2. American Genres in Fatal Attraction. 3. Career Women of the 1980s: Feminism and the Reception History of Fatal Attraction. 4. Erotic Sexuality, AIDS, and the Case for Staying Faithful. 5. Female Identities and Postfeminist Paradigms. Notes. Works Cited. Index.

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Book SynopsisA Companion to Literature in Film provides state-of-the-art research on world literature, film, and the complex theoretical relationship between them. 25 essays by international experts cover the most important topics in the study of literature and film adaptations.Trade Review“This volume stands as a model for consolidating studies of film and literature. It demonstrates that this field of intellectual inquiry, as it has developed over the last 15 years, encompasses the highbrow and the low; first and third world subject matter; issues of audience as well as authorship; and a commitment to interdisciplinarity. This collection will be useful for all kinds of readers: scholars, undergraduates, and all those who take seriously the pleasures provided by movies and novels.” Eric Smoodin, University of California at Davis “To anyone believing the discussion of novel-into-film had been exhausted a generation ago, A Companion to Literature and Film will come as a welcome surprise. Each of the twenty-five brilliantly argued case studies shows a level of conceptual clarity and interdisciplinary range that is astonishing. Scholars will find that this book bristles with ideas, while newcomers to the debates have an indispensable and expert guide.” Thomas Elsaesser, University of AmsterdamTable of ContentsList of Illustrations viii Notes on Contributors ix Preface xiv Acknowledgments xvi 1 Novels, Films, and the Word/Image Wars 1 Kamilla Elliott 2 Sacred Word, Profane Image: Theologies of Adaptation 23 Ella Shohat 3 Gospel Truth? From Cecil B. DeMille to Nicholas Ray 46 Pamela Grace 4 Transécriture and Narrative Mediatics: The Stakes of Intermediality 58 André Gaudreault and Philippe Marion 5 The Look: From Film to Novel. An Essay in Comparative Narratology 71 François Jost 6 Adaptation and Mis-adaptations: Film, Literature, and Social Discourses 81 Francesco Casetti 7 The Invisible Novelty: Film Adaptations in the 1910s 92 Yuri Tsivian 8 Italy and America: Pinocchio’s First Cinematic Trip 112 Raffaele De Berti 9 The Intertextuality of Early Cinema: A Prologue to Fantômas 127 Tom Gunning 10 Cosmopolitan Projections: World Literature on Chinese Screens 144 Zhang Zhen 11 The Rhetoric of Interruption 164 Allen S. Weiss 12 Visualizing the Voice: Joyce, Cinema, and the Politics of Vision 171 Luke Gibbons 13 Adapting Cinema to History: A Revolution in the Making 189 Dudley Andrew 14 Photographic Verismo, Cinematic Adaptation, and the Staging of a Neorealist Landscape 205 Noa Steimatsky 15 The Devil’s Parody: Horace McCoy’s Appropriation and Refiguration of Two Hollywood Musicals 229 Charles Musser 16 The Sociological Turn of Adaptation Studies: The Example of Film Noir 258 R. Barton Palmer 17 Adapting Farewell, My Lovely 278 William Luhr 18 Daphne du Maurier and Alfred Hitchcock 298 Richard Allen 19 Running Time: The Chronotope of The Loneliness of the Long Distance Runner 326 Peter Hitchcock 20 From Libertinage to Eric Rohmer: Transcending “Adaptation” 343 Maria Tortajada 21 The Moment of Portraiture: Scorsese Reads Wharton 358 Brigitte Peucker 22 The Talented Poststructuralist: Hetero-masculinity, Gay Artifice, and Class Passing 368 Chris Straayer 23 From Bram Stoker’s Dracula to Bram Stoker’s “Dracula” 385 Margaret Montalbano 24 The Bible as Cultural Object(s) in Cinema 399 Gavriel Moses 25 All’s Wells that Ends Wells: Apocalypse and Empire in The War of the Worlds 423 Julian Cornell Index 448

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Book SynopsisPeter Evans' immensely readable volume uses this classic film to explore questions not only of integration across the Hollywood musical in general, but the ambiguities of (gendered) national identity, romance, subjectivity and the notion of the couple.Trade Review"Its considerable claims to Art and its resonant magic are the dual focus of this insightful and highly readable study by Peter William Evans . . . Evans approaches this most celebratory of musical comedies in celebratory mode but also with a deserved seriousness devoid of solemnity." (Times Literary Supplement , 24 June 2011) Table of ContentsList of Figures vi Synopsis vii Acknowledgments ix Introduction 1 1. The Making of Top Hat 6 2. Fred Astaire: "Outlaw" Stylist of the Dance 19 3. Ginger Rogers: Confirming and Defying Convention 26 4. Introduction to Narrative and Number: The Bumpy Road to Love 35 5. The Numbers 43 6. Querying National and Sexual Identity 85 Conclusion: A Perfectly Swell Romance 101 Notes 104 Bibliography 106 Index 114

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Book SynopsisNoted film expert and cultural scholar Dana Heller utilizes elements of Hairspray -- including original interview material with John Waters -- to engage readers in thought-provoking discussions about topics ranging from camp and queer theory to gender performance and the body; from debates over postmodern style vs.Table of ContentsList of Figures. Acknowledgments. Introducing Hairspray. 1 The Roots. 2 Tangled Genres: The Teenpic Gets a Makeover. 3 Hair with Body: Corpulence, Unruliness, and Cultural Subversion. 4 Highlighting History: Hairspray's Uses of Popular Memory. 5 More Than 20 Years and Still Holding: The Many Lives of Hairspray. Notes. Bibliography. Index.

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Book SynopsisTHINKING THROUGH FILM Thinking Through Film provides the best introduction available to the diverse relationships between film and philosophy. Clearly written and persuasively argued, it will benefit students of both film and philosophy.Thomas E. Wartenberg, Mount Holyoke College, author of Thinking on Screen: Film as Philosophy Cox and Levine's admirable Thinking Through Film picks up where Philosophy Goes to the Movies left off, arguing that films not only do philosophy but, in some cases, do it better than philosophers! The result is a rich and rewarding examination of films from metaphysical thought experiments, personal identity puzzles, to reflections on the meaning of life that shows, in bracing, no-nonsense fashion, how popular cinema can do serious philosophy. Robert Sinnerbrink, Macquarie University Thinking Through Film: Doing Philosophy, Watching Movies examines a broad range of philosopTrade ReviewThinking Through Film provides the best introduction available to the diverse relationships between film and philosophy. Clearly written and persuasively argued, it will benefit students of both film and philosophy. —Thomas E. Wartenberg, Mount Holyoke College Cox and Levine's admirable Thinking Through Film picks up where Philosophy Goes to the Movies left off, arguing that films not only do philosophy but, in some cases, do it better than philosophers! The result is a rich and rewarding examination of films-from metaphysical thought experiments, personal identity puzzles, to reflections on the meaning of life-that shows, in bracing, no-nonsense fashion, how popular cinema can do serious philosophy. —Roger Sinnerbrink, Macquarie UniversityTable of ContentsPreface vii Acknowledgments x Part I Philosophy and Film 1 1 Why Film and Philosophy? 3 2 Philosophy and Film Spectatorship 23 Part II Epistemology and Metaphysics 47 3 Knowing What's What in Total Recall 49 4 Ontology and The Matrix 65 5 It's All in the Mind: AI Artifi cial Intelligence and Robot Love 79 6 La Jetée and the Promise of Time Travel 98 Part III The Human Condition 113 7 Fate and Choice: The Philosophy of Minority Report 115 8 Personal Identity: The Case of Memento 132 9 The Spectacle of Horror: Funny Games 147 10 Looking for Meaning in All the Wrong Places: Ikiru ("To Live") 170 Part IV Ethics and Values 189 11 Crimes and Misdemeanors and the Fragility of Moral Motivation 191 12 The Lives of Others: Moral Luck and Regret 209 13 The Dark Knight: Batman on Deontology and Consequentialism 228 14 Dangerous Childhood: La Promesse and the Possibility of Virtue 245 Index 265

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Book SynopsisMinerva's Night Out presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture. Presents a wide-ranging series of essays that reflect on philosophical issues relating to modern film and popular culture Authored by one of the best known philosophers dealing with film and popular culture Written in an accessible manner to appeal to students and scholars Coverage ranges from the philosophy of Halloween to Vertigo and the pathologies of romantic love Trade Review“The combination of his well-deserved reputation with the subject matter will ensure that the volume has a widespread appeal, from academic philosophers to students of popular culture and the consumers of mass art.” (British Journal of Aesthetics, 1 September 2015) Table of ContentsAcknowledgments ix Introduction: Philosophy and the Popular Arts 1 Section I The Philosophy of Mass Art 7 1 The Ontology of Mass Art 9 2 Modernity and the Plasticity of Perception 29 3 The Ties that Bind: Characters, the Emotions, and Popular Fictions 40 4 Character, Social Information, and the Challenge of Psychology 64 Section II The Philosophy of Motion Pictures 83 5 Movies, the Moral Emotions, and Sympathy 85 6 The Problem with Movie Stars 106 7 Cinematic Narrative 122 8 Cinematic Narration 133 9 Psychoanalysis and the Horror Film 145 Section III Philosophy and Popular Film 159 10 Philosophical Insight, Emotion, and Popular Fiction: The Case of Sunset Boulevard 161 11 Vertigo and the Pathologies of Romantic Love 183 12 What Mr Creosote Knows about Laughter 194 13 Memento and the Phenomenology of Comprehending Motion Picture Narration 203 Section IV Philosophy and Popular TV 221 14 Tales of Dread in The Twilight Zone: A Contribution to Narratology 223 15 Sympathy for Soprano 234 16 Consuming Passion: Sex and the City 247 Section V Philosophy on Broadway 267 17 Art and Friendship 269 18 Martin McDonagh’s The Pillowman, or The Justification of Literature 276 Section VI Philosophy across Popular Culture 289 19 The Fear of Fear Itself: The Philosophy of Halloween 291 20 The Grotesque Today: Preliminary Notes toward a Taxonomy 302 21 Andy Kaufman and the Philosophy of Interpretation 324 Index 348

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Book SynopsisWith a firm grasp on the latest developments in adaptation theory, Della Coletta invites scholars of media studies, cultural history, comparative literature, and adaptation studies to deepen their understanding of this critical encounter between texts, writers, readers, and cultural movements.Trade ReviewDella Coletta presents an interesting examination of cross-cultural adaptations of fiction to film... this study is an excellent resource for those interested in adaptation studies. ChoiceTable of ContentsAcknowledgmentsNote to the ReaderIntroduction1. "Fear Death by Water": The Postman Always Rings Twice and the Frauds of Memory2. Myth in the Mirror of History: The Rules of Fate andthe Responsibilities of Choice in Visconti's Ossessione3. Grotesque Doublings and the Dangers of the Sublime: Poe's "Never Bet the Devil Your Head"4. Fellini's "Unoriginal" Scripts: The Creative Power of the Grotesque5. India through the Looking Glass: The Narrative Heritage of the West and Antonio Tabucchi's Notturno indiano6. "A Cinema of Quotations": Nocturne indien; or, How Alain Corneau Filmed Antonio Tabucchi's "Night"7. The Writer in the Looking Glass: Jorge Luis Borges's "Tema del traidor y del héroe" and the Ambivalences of the Uncanny8. From Icon to Simulacrum: Bertolucci's La strategia del ragno and the Urban Labyrinths of the UncannyAfterwordNotesBibliographyIndex

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Book SynopsisBrings Italian film studies into dialogue with fields outside its usual purview by showing how films can contribute to our understanding of aesthetic questions that stretch back to Homer.Trade ReviewA thought-provoking and well-written investigation of the role of history and realism in Italian cinema and the role played by the centuries-long tradition of poetry (or more precisely, poesis) in this quest. -- Emiliano Perra H-Italy Ambitious, inventive, learned, and largely successful, A Cinema of Poetry ... brilliantly analyzes the art in the art film by showing how Italian cinema uses a chorus or expresses itself through allegory... This impressively intelligent re-description of the tradition surely takes its place alongside other necessary histories of Italian cinema. Choice Luzzi's inter-art encounters between literary and visual forms reanimate the cinematic texts he discusses. The book is not a reductive reincarnation of national identity or a nostalgic reanimation of the art film. It is a brave undertaking to think toward the future through poetic tropes gleaned from the past 'as the source for a cinematic rebirth. Journal of Modern Italian Studies What makes this particular publication stand out is its focus on inter-art within the discussion of cinema of poetry along with its ability to capture and keep the attention of both specialists and people with a general interest in the subject. Luzzi's writing style is comfortable to read and the many examples and references, both textual and visual, give a clear demonstration of the ideas and theories which are discussed in the various sections of the book. These positive characterizations of Luzzi's work will benefit and motivate future research surrounding the combination of inter-art and cinema of poetry, as well as Italian cinema history in general. ItalicaTable of ContentsPrefaceIntroductionPart One Neorealist Rhetoric and National Identity1. The Chorus of Neorealism2. Beyond BeautyPart Two Cinemas of Poetry3. Rossellini's Cinema of Poetry4. Poesis in PasoliniPart Three Aesthetic Corsi and Ricorsi5. Threat of the Real6. Chiasmus, Italian Style7. Verbal Montage and Visual ApostropheEpilogue: Art Film ReduxNotesWorks CitedIndex

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Book SynopsisTrade ReviewA thought-provoking and well-written investigation of the role of history and realism in Italian cinema and the role played by the centuries-long tradition of poetry (or more precisely, poesis) in this quest. -- Emiliano Perra H-Italy Ambitious, inventive, learned, and largely successful, A Cinema of Poetry ... brilliantly analyzes the art in the art film by showing how Italian cinema uses a chorus or expresses itself through allegory... This impressively intelligent re-description of the tradition surely takes its place alongside other necessary histories of Italian cinema. Choice Luzzi's inter-art encounters between literary and visual forms reanimate the cinematic texts he discusses. The book is not a reductive reincarnation of national identity or a nostalgic reanimation of the art film. It is a brave undertaking to think toward the future through poetic tropes gleaned from the past 'as the source for a cinematic rebirth. Journal of Modern Italian Studies What makes this particular publication stand out is its focus on inter-art within the discussion of cinema of poetry along with its ability to capture and keep the attention of both specialists and people with a general interest in the subject. Luzzi's writing style is comfortable to read and the many examples and references, both textual and visual, give a clear demonstration of the ideas and theories which are discussed in the various sections of the book. These positive characterizations of Luzzi's work will benefit and motivate future research surrounding the combination of inter-art and cinema of poetry, as well as Italian cinema history in general. ItalicaTable of ContentsPrefaceIntroductionPart One Neorealist Rhetoric and National Identity1. The Chorus of Neorealism2. Beyond BeautyPart Two Cinemas of Poetry3. Rossellini's Cinema of Poetry4. Poesis in PasoliniPart Three Aesthetic Corsi and Ricorsi5. Threat of the Real6. Chiasmus, Italian Style7. Verbal Montage and Visual ApostropheEpilogue: Art Film ReduxNotesWorks CitedIndex

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Book SynopsisHighlighting the emotional resonance of film and the loyalty of Baltimoreans to their neighborhoods, Flickering Treasures is a profound story of change, loss, and rebirth.Trade ReviewJuxtaposing current conditions with historical photos, Davis shows how much time has altered the face of our city. Her book is a comment on this transition, and a reminder that change is the only constant.—Baltimore MagazineFlickering Treasures is not only a collection of beautiful and evocative photos, but a sociological journey through twentieth-century America. Having Baltimore-bred filmmaker Barry Levinson contribute a foreword is icing on the cake.—Leonard Maltin, film critic, author of Leonard Maltin’s Movie GuideThis is the finest coffee table book about a local subject that I've seen . . . This is amazing.—Marty Bass, WJZ-TV. . . [Flickering Treasures] would make a nice gift for anyone who loves movies, architecture, or the city of Baltimore.—Saving PlacesAmy Davis, a photojournalist for the Baltimore Sun, combines vintage with modern color image contrasts to document these urban wonders, considering the social, economic, technological, and political influences on their rise and fall as she crafts a beautiful, iconic collection that will appear to readers far beyond Baltimore City's borders.—Donovan's Literary ServicesThis book belongs in the library of every Baltimorean that loves movies and their city’s history. I’m giving “Flickering Treasures” Five Stars and the highest recommendation.—Media Mentors NetworkFlickering Treasures is not only a collection of beautiful and evocative photos, but a sociological journey through 20th century America—Leonard MaltinJuxtaposing current conditions with historical photos, Davis shows how much time has altered the face of our city. Her book is a comment on this transition, and a reminder that change is the only constant.—Baltimore MagazineThe book is an engaging, often fun and frequently nostalgically joyful combination of historical images and theater "biographies" that are tied to conversational memories as expressed by those with the greatest familiarity with the theaters.—New York-Pennsylvania CollectorThe strength of Flickering Treasures lies in the numerous photographs that take center stage in this book in which [Davis] juxtaposes numerous vintage with her own artful photographs in order to procure a "dialogue with the past, not its replication". Consequently, her book does not merely document how numerous movie theaters became stores, office buildings, churches or were taken over by nature. Instead, the photographs create a compelling story that highlights that the history of Baltimore's forgotten movie theaters is also about transformations, opportunity, loss and lack of (architectural) preservation or neglect.—Susana Rocha Teixeira, Universität Bielefeld, SehepunkteBetween the pages of this book lies a deep dive into the colourful and rich moviegoing history of Baltimore (US). Davis' meticulously researched, beautifully photographed, and professionally presented title is a proverbial treasure trove.—Marc Zimmerman, Cinema Heritage GroupTable of ContentsForeward, by Barry LevinsonPreface1. 1896–19092. 1910–19143. 1915–19194. 1920–19245. 1925–19296. 1930–19397. 1940–19498. 1950–2017AfterwordAcknowledgmentsMap and TimelineNotes on ResearchCreditsIndex of ContributorsIndex of Theaters

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Book SynopsisHow did the American western feature film genre rebrand itself in the late seventies and respond to the fury of global and domestic political affairs?In Hold It Real Still, Lawrence Jackson examines Clint Eastwood's influence on the western film while also exploring how that genre continues to operate into the twenty-first century as an ideological channel for ideas about race and imperialism. Jackson argues that the western genre pivoted from an initial doctrine of racial liberalism, albeit a clumsy one, during the John Wayne years to a motile agenda of substitution, exclusion, and false equivalency during the Clint Eastwood period. The book traces how Eastwood, an actor first associated with the avant-garde, anti-colonialist discourse of spaghetti western cinema, reversed himself in the second half of the 1970s with The Outlaw Josey Walesa film that had at its heart the fantasy of Black erasure from American life. Jackson situates Eastwood's work as a response to massive social and pTable of ContentsIntroductionChapter One. Black Representations in the WesternChapter Two. The Good, the Bad and the Ugly and Critique of the Colonial AftermathChapter Three. "That Damn War": The Outlaw Josey Wales and Reframing the Civil WarChapter Four. "Hold It Real Still": Black Containment and Structures of Inequality in The Outlaw Josey WalesChapter Five. "Their Slaves, If Any They Have, Are Hereby Declared Free Men": Ride with the Devil and the Contraband as Decorative AdjunctChapter Six. "I Am That One in Ten Thousand": Django Unchained and the Black Exceptional StateChapter Seven. "Why Don't They Kill Us?" Django Unchained and the Politics of Deadly ForceConclusion. The Return of the NativeAcknowledgmentsNotesIndex

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Book Synopsis Coinciding with the fiftieth anniversary of the worldwide mass protest movements of 1968—against war, imperialism, racism, poverty, misogyny, and homophobia—the exciting anthology Architectures of Revolt explores the degree to which the real events of political revolt in the urban landscape in 1968 drove change in the attitudes and practices of filmmakers and architects alike. In and around 1968, as activists and filmmakers took to the streets, commandeering public space, buildings, and media attention, they sought to re-make the urban landscape as an expression of utopian longing or as a dystopian critique of the established order. In Architectures of Revolt, the editor and contributors chronicle city-specific case studies from Paris, Berlin, Milan, and Chicago to New York, Los Angeles, Mexico City, and Tokyo. The films discussed range from avant-garde and agitprop shorts to mainstream narrative feature films. All of them share a focus on the ciTrade Review"Although studies of art and politics and their many intersections in the late 1960s abound, editor Mark Shiel’s collection, Architectures of Revolt, is unique in its geographical scope. The variety of cities examined in the eight essays are a testament to 1968’s ongoing importance on a global scale.... [T]his collection is a persuasive and illuminating addition to studies of the interconnections among the social, political, cinematic and architectural movements of that tumultuous, ever-prescient year.... [W]ell-written and often provocative."-- Film International

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Book Synopsis Coinciding with the fiftieth anniversary of the worldwide mass protest movements of 1968—against war, imperialism, racism, poverty, misogyny, and homophobia—the exciting anthology Architectures of Revolt explores the degree to which the real events of political revolt in the urban landscape in 1968 drove change in the attitudes and practices of filmmakers and architects alike. In and around 1968, as activists and filmmakers took to the streets, commandeering public space, buildings, and media attention, they sought to re-make the urban landscape as an expression of utopian longing or as a dystopian critique of the established order. In Architectures of Revolt, the editor and contributors chronicle city-specific case studies from Paris, Berlin, Milan, and Chicago to New York, Los Angeles, Mexico City, and Tokyo. The films discussed range from avant-garde and agitprop shorts to mainstream narrative feature films. All of them share a focus on the ciTrade Review"Although studies of art and politics and their many intersections in the late 1960s abound, editor Mark Shiel’s collection, Architectures of Revolt, is unique in its geographical scope. The variety of cities examined in the eight essays are a testament to 1968’s ongoing importance on a global scale.... [T]his collection is a persuasive and illuminating addition to studies of the interconnections among the social, political, cinematic and architectural movements of that tumultuous, ever-prescient year.... [W]ell-written and often provocative."-- Film International

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Book SynopsisThe evil mastermind—and master of disguise—Fu Manchu has long threatened to take over the world. In the past century, his dastardly plans have driven serialized novels, comic books, films, and TV. Yet this sinister Oriental character represents more than an invincible criminal in pop culture; Fu Manchu became the embodiment of the Yellow Peril. Serial Fu Manchu provides a savvy cultural, historical, and media-based analysis that shows how Fu Manchu’s irrepressibility gives shape to—and reinforces—the persistent Yellow Peril myth. Ruth Mayer argues that seriality is not merely a commercial strategy but essential to the spread of European and American fears of Asian expansion.Tracing Fu Manchu through transnational serials in varied media from 1913 to the 1970s, Mayer shows how the icon evolved. She pays particular attention to the figure’s literary foundations, the impact of media changes on his dTrade Review"Mayer's book is fascinating look at not only the concept of seriality but a reminder that when the character Fu Manchu debuted in 1912 in a story and began his life as a serial the following year, China was regarded by the West as a backward, troubled mess. Thus, this book is worth reading for those interested in popular culture and the intersection in fictional form of East and West... This is a solid contribution to cultural studies." - Critical MarginsTable of ContentsAcknowledgments1 Going Serial: Fu Manchu, the Yellow Peril, and the Machinic Momentum of Ideology2 Enter Fu Manchu: The Transatlantic Periodical Press and the Circulation of Stories and Things3 Image Power: Seriality, Iconicity, and the Filmic Fu Manchus of the 1930s4 Machinic Fu Manchu: Popular Seriality and the Logic of Spread 5 Evil Chinamen: Yellow Peril Comics and the Ideological Work of Popular Seriality6 The End of the Assembly Line: Seriality, Ideology, and Popular CultureReferencesIndex

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Book SynopsisPopular Hindi films offer varied cinematic representations ranging from realistic portraits of patriotic heroes to complex fantasies that go beyond escapism. In Dream Machine, Samir Dayal provides a history of Hindi cinema starting with films made after India's independence in 1947. He constructs a decade-by-decade consideration of Hindi cinema's role as a site for the construction of Indianness.Dayal suggests that Hindi cinema functions as both mirror and lamp, reflecting and illuminating new and possible representations of national and personal identity, beginning with early postcolonial films including Awaara and Mother India, a classic of the Golden Age. More recent films address critical social issues, such as My Name is Khan and Fire, which concern terrorism and sexuality, respectively. Dayalalso chronicles changes in the industry and in audience reception, and the influence of globalization, considering such films as Slumdog Millionaire. Dream Machine analyzes the social and aesTrade Review“Dayal does an excellent job of bringing together diverse films, theorists, and critics on such issues as cosmopolitanism, secularism, terrorism, gender, and sexuality, often linking his analyses with contemporaneous historical events to provide fuller context. The most exciting aspect of Dream Machine is its new engagement of psychoanalytic theories of fantasy and the production of ‘Indianness’ in transnational Bollywood cinema. This is a fascinating book.”—Kavita Daiya, Associate Professor of English at George Washington University “Dayal’s writing is bright and supple, and his reading of films is consistently interesting and entertaining. The meshing of realism and fantasy in prominent Bollywood films and genres argues that the fantasy elements are integral to imagining ‘Indianness’ over a range of interruptions that trouble a coherent national identity. Dayal avers that fantastic imagination is far more than mere escapism. A very engaging, rewarding project and a solid scholarly book, Dream Machine is also an interesting read for the non-expert cinephile.”— Henry Schwarz, Professor of English at Georgetown UniversityTable of ContentsAcknowledgments Introduction • Mirror and LampI Postcolonial Hindi Cinema: Bad Subjects and Good Citizens1 The Wish to Belong, the Desire to Desire: The Emergent Citizen and the Hindi “Social” in Raj Kapoor’s Awaara2 A Bad Son and a Good Enough Mother? The Paradoxical Maternal Romance in Mehboob Khan’s Mother India3 Sexploitation or Consciousness Raising? The Angry Man, the Avenging Woman, and the LawII Reimagining the Secular State4 Terrorism or Seduction5 Patriot Games, Unpatriotic FantasiesIII Diasporic Cinema and Fantasy Space: Nonresident Indian Aliens and Alienated Signifiers of Indianness6 The Powers of the False: Fantasy Spaces for Same-Sex Love?7 The New Cosmopolitanism and Diasporic Dilemmas: Rehabilitating the “NRI”8 Poverty Porn and Mediated Fantasy in Danny Boyle’s Slumdog Millionaire Conclusion • Transnational Translations: Mobile Indianness Notes Bibliography Index

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Book SynopsisIs there a link between the colonization of Palestinian lands and the enclosing of Palestinian minds? The Palestinian Idea argues that it is precisely through film and media that hope can occasionally emerge amidst hopelessness, emancipation amidst oppression, freedom amidst apartheid. Greg Burris employs the work of Edward W. Said, Jacques Rancière, and Cedric J. Robinson in order to locate Palestinian utopia in the heart of the Zionist present. He analyzes the films of prominent directors Annemarie Jacir (Salt of This Sea, When I Saw You) and Hany Abu-Assad (Paradise Now)to investigate the emergence and formation of Palestinian identity. Looking at Mais Darwazah's documentary My Love Awaits Me By the Sea, Burris considers the counterhistories that make up the Palestinian experiencestories and memories that have otherwise been obscured or denied. He also examines Palestinian (in)visibility in the global media landscape, and how issues of Black-Palestinian transnational solidarity ar

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Book SynopsisIs there a link between the colonization of Palestinian lands and the enclosing of Palestinian minds? The Palestinian Idea argues that it is precisely through film and media that hope can occasionally emerge amidst hopelessness, emancipation amidst oppression, freedom amidst apartheid. Greg Burris employs the work of Edward W. Said, Jacques Rancière, and Cedric J. Robinson in order to locate Palestinian utopia in the heart of the Zionist present. He analyzes the films of prominent directors Annemarie Jacir (Salt of This Sea, When I Saw You) and Hany Abu-Assad (Paradise Now)to investigate the emergence and formation of Palestinian identity. Looking at Mais Darwazah's documentary My Love Awaits Me By the Sea, Burris considers the counterhistories that make up the Palestinian experiencestories and memories that have otherwise been obscured or denied. He also examines Palestinian (in)visibility in the global media landscape, and how issues of Black-Palestinian transnational solidarity ar

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Book SynopsisEthical Encounters is an exploration of the intersection of feminism, human rights, and memory to illuminate how visual practices of recollecting violent legacies in Bangladeshi cinema can conjure a global cinematic imagination for the advancement of humanity.By examining contemporary, women-centered Muktijuddho cinemafeatures and documentaries that focus on the Bangladesh Liberation War of 1971Elora Chowdhury shows how these films imagine, disrupt, and reinscribe a gendered nationalist landscape of trauma, freedom, and agency. Chowdhury analyzes Bangladeshi feminist films including Meherjaan, and Itihaash Konna (Daughters of History), as well as socially-engaged films by activist-filmmakers including Jonmo Shathi (Born Together), and Shadhinota (A Certain Liberation), to show how war films of Bangladesh can generate possibilities for gender justice.Chowdhury argues that justice-driven films are critical to understanding and negotiating the layered meanings and consequences of catastroTrade Review“Inspired by critical Black and transnational feminist traditions, Ethical Encounters offers a compelling and comprehensive analysis of how women-centered films about the Bangladesh Liberation War navigate patriarchal nationalisms and dehumanizing racial and gender ideologies. Ethical Encounters is a must-read for anyone interested in visual modalities of spectacle and surveillance and the power of human rights cinema to narrativize colonial violence and transgress statist histories.”—Wendy S. Hesford, Ohio Eminent Scholar and Professor of English at The Ohio State University, and author of Violent Exceptions: Children’s Human Rights and Humanitarian Rhetorics“Ethical Encounters lucidly highlights the fraught registers feminist filmmakers have to straddle when engaging with the narratives of human rights, genocide, and nationalism in trying to highlight the various unacknowledged injustices of the Bangladesh War of 1971. Chowdhury brings out the tightrope of filmmaking in Bangladesh and shows the various ethical negotiations filmmakers make in relation to the production, circulation, and consumption of the accounts of death, injury, and sexual violence during Muktijuddho and the various moral choices generated. This book enables a timely understanding of contemporary Bangladesh through the cinematic lens of 1971.”—Nayanika Mookherjee, Professor of Political Anthropology at Durham University, UK, and author of The SpectralWound: Sexual Violence, Public Memories, and the Bangladesh War of 1971"Ethical Encounters is a brilliant exploration of the complex relationship among transnational feminism, human rights, and visual practices. Chowdhury skillfully engages the violent legacies in Bangladeshi cinema to incisively explore gender, vulnerability, victimhood, spectatorship, and witnessing. Offering film as a potentially disruptive archive for redress, conjuring, and transformation, this book challenges readers to imagine new possibilities for and figurations of gender justice. Ultimately, this book compellingly asserts the importance of critically examining visual language to uncover dynamic and understudied sites of feminist knowledge production."—Treva B. Lindsey, Professor of Women's, Gender, and Sexuality Studies at The Ohio State University, and author of America, Goddam: Violence, Black Women, and the Struggle for Justice"[A] provocative feminist analysis of cinema about the 1971 Bangladesh independence war.... With this important book, Chowdhury places the independence struggle of Bangladesh in world historiography and leaves us with new ways of understanding national cinema, healing, identity, and justice, through such powerful concepts as friendship in feminist theory, women’s agency and subjectivity, the separation of woman from nation, memory and eyewitness in cinema, and narrative strategies that can disrupt dominant national narratives."—Pacific Affairs"[A] compelling book that deals with women-centric Bangladeshi films, challenging dominant narratives and putting forward women’s agency in the 1971 Liberation War of Bangladesh.... Ethical Encounters is a welcome, theoretically dense contribution to South Asian film studies, feminist film history, and the historiography of war."—BioScope"Ethical Encounters complicates the simplistic distinctions between victim and perpetrator, and loss and victory, thereby conceptualizing a new imaginary of gender justice and political reconciliation in the context of twenty-first-century South Asia.... Chowdhury’s work is an invitation to scholars of South Asian studies to pay attention to not just shared histories and futures but also shared traumas and ways of healing."—South Asian Review

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Book SynopsisFrom reality television to film, performance, and video art, autobiography is everywhere in today’s image-obsessed age. With contributions by both artists and scholars, Embodied Politics in Visual Autobiography is a unique examination of visual autobiography’s involvement in the global cultural politics of health, disability, and the body. This provocative collection looks at images of selfhood and embodiment in a variety of media and with a particular focus on bodily identities and practices that challenge the norm: a pregnant man in cyberspace, a fat activist performance troupe, indigenous artists intervening in museums, transnational selves who connect disability to war, and many more.The chapters in Embodied Politics in Visual Autobiography reflect several different theoretical approaches but share a common concern with the ways in which visual culture can generate resistance, critique, and creative interventions. With contributions that inveTrade Review'This is an important book for those who wish to answer the summons of an uneasy relationship with one's gaze and what is looked at so that we might reencounter the narratives, the biographies, that have enabled us to see what we do and perhaps come to perceive our stories differently. Such double vision is indispensable.' -- Tanya Titchkosky Imaginations Journal of Cross-Cultural Image Studies, Issue 5-2, June, 2015Table of Contents1. Introduction. Visual Autobiography in the Frame: Critical Embodiment and Cultural Pedagogy (Sarah Brophy and Janice Hladki) I: Proliferating Monstrosity 2. Quickening Paternity: Cyberspace, Surveillance, and the Performance of Male Pregnancy (Sayantani DasGupta) 3. "Virtual" Autobiography? Anorexia, Obsession, and Calvin Klein (Mebbie Bell) 4. Big Judy: Fatness, Shame, and the Hybrid Autobiography (Allyson Mitchell) II: Rupture and Recognition: Body Re-Formations 5. Sex Traitors: Autoethnography by Straight Men (Richard Fung) 6. Looks Can Be Deceiving: Exploring Transsexual Body Alchemy through a Neoliberal Lens (Dan Irving) 7. Visceral (Auto)biographies: Plastic Surgery and Gender in Reality TV (Simon Strick) III: Interior Lives: Conditions of Persistence and Survival 8. My Life as a Museum, or, Performing Indigenous Epistemologies (Peter Morin) 9. Gut Reactions: Mona Hatoum's Corps etranger (Kim Sawchuk) 10. "Please Don't Let Me Be Like This!": Un-wounding Photographic Representations by Persons with Intellectual Disability (Ann Fudge Schormans and Adrienne Chambon) 11. "Why should our bodies end at the skin?" Cancer Pathography, Comics, and Embodiment (Laura McGavin) IV: Spectatorship and Historical Memory: The Ethics of Critical Embodiment 12. Witnessing Genocide and the Challenges of Ethical Spectatorship (Wendy Kozol) 13. Digital Melancholia: Archived Bodies in Carmin Karasic's With Liberty and Justice for All (Sheila Petty) 14. Connective Tissue: Summoning the Spectator to Visual Autobiography (Sarah Brophy and Janice Hladki) References Notes on Contributors

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Book SynopsisThe Mirage of America in Contemporary Italian Literature and Film explores the use of images associated with the United States in Italian novels and films released between the 1980s and the 2000s. In this study, Barbara Alfano looks at the ways in which the individuals portrayed in these works – and the intellectuals who created them – confront the cultural construct of the American myth. As Alfano demonstrates, this myth is an integral part of Italians’ discourse to define themselves culturally – in essence, Italian intellectuals talk about America often for the purpose of talking about Italy.The book draws attention to the importance of Italian literature and film as explorations of an individual’s ethics, and to how these productions allow for functioning across cultures. It thus differentiates itself from other studies on the subject that aim at establishing the relevance and influence of American culture on Italian twentieth-centuryTrade Review'The Mirage of America is not only a valuable reading for academics but also an enriching experience for non-academics.' -- Serena Formica Journal of Italian Cinema and Media Studies - vol 4:1:2016Table of Contents*Acknowledgments*Introduction* The Vantage of the I: Prospecting in Perspective* The Ethics of the Subject* The Self and Italian Narrative* Matters of Space: "l'America sta qua." The Place of the New World in Italian literature* Scholarship and the History of the American Myth* Italian Modernism and America* The Left "I": A Close-up on the Italian Leftist Intellectual* Mapping the Journey *1 Wandering Subjects* The "I" at Wonder in Caro diario and Sogni mancini* The Moralizing "I" of Nanni Moretti*Caro diario: The Glue of Irony between Stupor and Stupidity* Identities in absentia in Sogni mancini*2 America Ubiqua* Displacing the Continent* The Site of City: A Global Explosion* The Ethical Space of City's Subjects*Non ci resta che piangere: The Counter-Enterprise*Lamerica*3 On a Trip to America: The "I" Travels* Setting Out for the Self*Treno di panna, A Train That Goes Nowhere* Baudrillard's Amerique and Giovanni's America: The Desert Explained and Exposed* Staging the Insignificant *4 American Arcadia* An "I" on Intellectual and Civil Engagement* Alter Ego: The Narrator* Et in Arcadia Ego* Love and Endings in Arcadia* Arcadia Responds *5 Historicizing the Dream: A Documented Eye on America* A New Perspective*Vita* The Dream of the Fathers*Nuovomondo* The American Dream and Globalization*Conclusion*Notes*Works Cited*Index of Names and Titles

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Book SynopsisFrom reality television to film, performance, and video art, autobiography is everywhere in today’s image-obsessed age. With contributions by both artists and scholars, Embodied Politics in Visual Autobiography is a unique examination of visual autobiography’s involvement in the global cultural politics of health, disability, and the body. This provocative collection looks at images of selfhood and embodiment in a variety of media and with a particular focus on bodily identities and practices that challenge the norm: a pregnant man in cyberspace, a fat activist performance troupe, indigenous artists intervening in museums, transnational selves who connect disability to war, and many more.The chapters in Embodied Politics in Visual Autobiography reflect several different theoretical approaches but share a common concern with the ways in which visual culture can generate resistance, critique, and creative interventions. With contributions that inveTrade Review'This is an important book for those who wish to answer the summons of an uneasy relationship with one's gaze and what is looked at so that we might reencounter the narratives, the biographies, that have enabled us to see what we do and perhaps come to perceive our stories differently. Such double vision is indispensable.' -- Tanya Titchkosky Imaginations Journal of Cross-Cultural Image Studies, Issue 5-2, June, 2015Table of Contents1. Introduction. Visual Autobiography in the Frame: Critical Embodiment and Cultural Pedagogy (Sarah Brophy and Janice Hladki) I: Proliferating Monstrosity 2. Quickening Paternity: Cyberspace, Surveillance, and the Performance of Male Pregnancy (Sayantani DasGupta) 3. "Virtual" Autobiography? Anorexia, Obsession, and Calvin Klein (Mebbie Bell) 4. Big Judy: Fatness, Shame, and the Hybrid Autobiography (Allyson Mitchell) II: Rupture and Recognition: Body Re-Formations 5. Sex Traitors: Autoethnography by Straight Men (Richard Fung) 6. Looks Can Be Deceiving: Exploring Transsexual Body Alchemy through a Neoliberal Lens (Dan Irving) 7. Visceral (Auto)biographies: Plastic Surgery and Gender in Reality TV (Simon Strick) III: Interior Lives: Conditions of Persistence and Survival 8. My Life as a Museum, or, Performing Indigenous Epistemologies (Peter Morin) 9. Gut Reactions: Mona Hatoum's Corps etranger (Kim Sawchuk) 10. "Please Don't Let Me Be Like This!": Un-wounding Photographic Representations by Persons with Intellectual Disability (Ann Fudge Schormans and Adrienne Chambon) 11. "Why should our bodies end at the skin?" Cancer Pathography, Comics, and Embodiment (Laura McGavin) IV: Spectatorship and Historical Memory: The Ethics of Critical Embodiment 12. Witnessing Genocide and the Challenges of Ethical Spectatorship (Wendy Kozol) 13. Digital Melancholia: Archived Bodies in Carmin Karasic's With Liberty and Justice for All (Sheila Petty) 14. Connective Tissue: Summoning the Spectator to Visual Autobiography (Sarah Brophy and Janice Hladki) References Notes on Contributors

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Book SynopsisPoet, novelist, dramatist, polemicist, and filmmaker Pier Paolo Pasolini continues to be one of the most influential intellectuals of post-war Italy. In Pasolini: The Sacred Flesh, Stefania Benini examines his corporeal vision of the sacred, focusing on his immanent interpretation of the Christian doctrine of the Incarnation and the “sacred flesh” of Christ in both Passion and Death as the subproletarian flesh of the outcast at the margins of capitalism.By investigating the many crucifixions within Pasolini’s poems, novels, films, cinematic scripts and treatments, as well as his subversive hagiographies of criminal or crazed saints, Benini illuminates the radical politics embedded within Pasolini’s adoption of Christian themes. Drawing on the work of theorists such as Ernesto De Martino, Mircea Eliade, Jean-Luc Nancy, Alain Badiou, Giorgio Agamben, and Slavoj Žižek, she shows how Pasolini’s meditation on the disappearance of the sacred iTrade Review'This is a thorough study of the true intellectual Pasolini.' Choice Magazine vol 53:09:2016 'Benini's book is a tour de force to be lauded and a must read for any Pasolini scholar.' -- Daniela Bini Annali D'Italianistica vol 35:2016 'Benini succeeds in carving out an innovative space for interpretation, so that her work is an interesting addition to the huge bulk of Pasolini criticism. Furthermore, her work can benefit those who are interested in "meeting" the "organic intellectual" Pasolini, an agent of Italian cultural history for over fifty years.' -- Carla Locatelli Forum Italicum vol 5:01:2017 'Benini's book is a tour de force to be lauded and a must read for any Pasolini scholar.' -- Daniela Bini Annali D'Italianistica vol 35:2016Table of ContentsIntroduction 1. The Sense of the Sacred 2. The Passion and the Incarnation: Ricotta and The Gospel According to Matthew 3. The Words of the Flesh: Blasphemy 4. The Mad Saint and the Anchorite: Theorem 5. The Franciscan Model 6. The Pauline Model Conclusion

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Book SynopsisSince its economic boom in the late 1950s, Italy has grappled with the environmental legacy of rapid industrial growth and haphazard urban planning. One notable effect is a preponderance of interstitial landscapes such as abandoned fields, polluted riverbanks, and makeshift urban gardens. Landscapes in Between analyses authors and filmmakers – Italo Calvino, Pier Paolo Pasolini, Gianni Celati, Simona Vinci, and the duo Daniele Ciprì and Franco Maresco – who turn to these spaces as productive models for coming to terms with the modified natural environment.Considering the ways in which sixty years’ worth of Italian literary and cinematic representations engage in the ongoing dialogue between nature and culture, Monica Seger contributes to the transnational expansion of environmental humanities. Her book also introduces an ecocritical framework to Italian studies in English. Rejecting a stark dichotomy between human construction and unspoilt naTrade Review'This is an important contribution to the growing internationalization of ecocriticism.' -- Patrick Barron Interdisciplinary Studies in Literature & Environment - online 12 August 2015 'This book shows a solid theoretical and analytical structure, thus enriching the ever expanding panorama of ecocritical studies concerning the Italian context... Seger's book becomes a solid brick to add to an edifice that is still in the process of being built.' -- Massimiliano Circulli Annali d'Italianistica Vol 33:2015Table of Contents1. Introduction: Exploring the Interstice 2. Economic Expansion, Environmental Awareness in the Early Works of Italo Calvino 3. Pier Paolo Pasolini: Boundaries and Mergers in (Ex)Urban Film 4. Observation and Acknowledgment in Gianni Celati's Verso la foce 5. Simona Vinci's Provincial Dwellings, Natural Beings 6. Daniele Cipri and Franco Maresco: On Horizons and the Human

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Book SynopsisCombining work from established film critics and the very freshest of voices, this collection brings to bear a wide range of cultural and disciplinary backgrounds on one of the most intriguing films of the twentieth century. Features contributions from a wide range of cultural and disciplinary backgrounds Essays are brought together to form the basis of a new analysis of one of the most intriguing films of the twentieth century Incorporates essays from students studying in the London Consortium, a partnership of five institutions including the Architectural Association, Birkbeck, University of London, the Institute of Contemporary Arts, the Science Museum, and the Tate Contains an introduction and post-script from the editors Table of ContentsPreface (Laura Mulvey and Colin MacCabe) Introduction: Essays from the London Consortium (Colin MacCabe) 1. Le Mépris (Jean-Luc Godard 1963) and its story of cinema: a ‘fabric of quotations’ (Laura Mulvey) 2. Foreground, Background, Drama: The Cinematic Space of Le Mépris (Ross Exo Adams) 3. Godard’s Apart-ment Architectures: The Reality of Abandonment in Le Mépris (Alice Gavin) 4. ‘O gods . . .’ Hidden Homeric Deities in Godard’s Le Mépris (James Wilkes) 5. Godard’s Women (Nicky Falkof) 6. The Signature of the French New Wave (Godard’s Le Mépris) (Jake Reeder) 7. Le Mépris and the Hollywood musical (John Shanks) 8. The written and the writing Or how Godard’s film functions textually (Elia Ntaousani) 9. Pure Cinema? Blanchot, Godard, Le Mépris (Oliver H. Harris) 10. Stasis and statuary in Bazinian cinema (Jonathan Law) 11. ‘FAUX RACCORD’: Mismatch, Noise and Transformation in the Work of Jean-Luc Godard (Rob Gallagher) 12. Anti-theatricality and gesture as antidotes to the commodification of cinema: Godard’s Le Mépris and Pasolini’s La Ricotta (Elena Crippa) 13. ‘Not necessarily in that order’: Contempt, Adaptation and the Metacinematic (William Viney) 14. ‘So What Am I Supposed To Do?’ Thoughts of Action and Actions of Thought in Godard’s Contempt (Richard Martin) 15. In Translation: re-conceptualising ‘‘home’’ through Le Mépris and its source texts (Jonathan Gross) 16. Producing Prokosch: Godard, Levine, Palance, Minnelli and a lament to lost Hollywood (Walter Stabb) 17. Experimenting with Cinema in Godard’s Le Me´pris: The Past and the Present Between Possibility and Impossibility (Raphaelle J Burns) 18. Cinema at the Intervals of Cinema (Burhanuddin Baki) 19. Godard’s Lingering Camera From Le Mépris to Passion and Back (Anna Manubens) Index

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