Film history, theory or criticism Books
Rutgers University Press Infected Empires: Decolonizing Zombies
Book SynopsisGiven the current moment—polarized populations, increasing climate fears, and decline of supranational institutions in favor of a rising tide of nationalisms—it is easy to understand the proliferation of apocalyptic and dystopian elements in popular culture. Infected Empires examines one of the most popular figures in contemporary apocalyptic film: the zombie. This harbinger of apocalypse reveals bloody truths about the human condition, the wounds of history, and methods of contending with them. Infected Empires considers parallels in the zombie genre to historical and current events on different political, theological and philosophical levels, and proposes that the zombie can be read as a figure of decolonization and an allegory of resistance to oppressive structures that racialize, marginalize, disable, and dispose of bodies. Studying films from around the world, including Latin America, Asia, Africa, the US, and Europe, Infected Empires presents a vision of a global zombie that points toward a posthuman and feminist future. Trade Review"A brilliant cartography of the zombie film, elegantly crafted, theoretically informed and ambitious in its transnational sweep and decolonial focus."— Cynthia Steele, author of Politics, Gender, and the Mexican Novel, 1968-1988 "A fascinating and rigorous study that invites us to analyze our dreams and fears, the contemporary effects of global power and coloniality, necropolitics, today’s structures of oppression, and certainly the very essence of our own humanity. Patricia Saldarriaga and Emy Manini have written a book on zombies that will stand the test of time; their reading decolonizes and queers identity, the present, the future, horror fiction, and most definitely: our understanding of history."— Oswaldo Estrada, author of Troubled Memories: Iconic Mexican Women and the Traps of Representation The Page 99 Test: ?Patricia Saldarriaga and Emy Manini's "Infected Empires"— The Page 99 Test "A fascinating and rigorous study that invites us to analyze our dreams and fears, the contemporary effects of global power and coloniality, necropolitics, today’s structures of oppression, and certainly the very essence of our own humanity. Patricia Saldarriaga and Emy Manini have written a book on zombies that will stand the test of time; their reading decolonizes and queers identity, the present, the future, horror fiction, and most definitely: our understanding of history."— Oswaldo Estrada, author of Troubled Memories: Iconic Mexican Women and the Traps of Representation The Page 99 Test: Patricia Saldarriaga and Emy Manini's "Infected Empires"— The Page 99 Test "A brilliant cartography of the zombie film, elegantly crafted, theoretically informed and ambitious in its transnational sweep and decolonial focus."— Cynthia Steele, author of Politics, Gender, and the Mexican Novel, 1968-1988Table of ContentsIntroduction Chapter 1: What is a Zombie? Chapter 2: Mutilate the State! Nation Race, Power Chapter 3: Devouring Capitalism Chapter 4: Bodies that Splatter. Queering and Cripping Zombies Chapter 5: Of Matter, Dust, and Earth: Zombies and the Environment Conclusions
£55.25
Rutgers University Press Staging a Comeback: Broadway, Hollywood, and the
Book SynopsisIn the early 1980s, Walt Disney Productions was struggling, largely bolstered by the success of its theme parks. Within fifteen years, however, it had become one of the most powerful entertainment conglomerates in the world. Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance argues that far from an executive feat, this impressive turnaround was accomplished in no small part by the storytellers recruited during this period. Drawing from archival research, interviews, and textual analysis, Peter C. Kunze examines how the hiring of theatrically trained talent into managerial and production positions reorganized the lagging animation division and revitalized its output. By Aladdin, it was clear that animation—not live action—was the center of a veritable “renaissance” at Disney, and the animated musicals driving this revival laid the groundwork for the company’s growth into Broadway theatrical production. The Disney Renaissance not only reinvigorated the Walt Disney Company but both reflects and influenced changes in Broadway and Hollywood more broadly.Trade Review"Peter Kunze’s Staging a Comeback brings a fresh perspective to the Disney 'renaissance' of the 1980s and '90s. He examines these films’ historical connection to the theatricality, anthropomorphic performance, and mediated liveness of classic animation. The book is also noteworthy for the author’s innovative research methods, in light of the studio’s reluctance to open up to independent scholarship. Kunze shows that if you can’t enter the castle over the moat, you can storm it by way of the ramparts."— Donald Crafton, author of Shadow of a Mouse: Performance, Belief, and World-Making in Animation "Staging a Comeback tells a fascinating, complex story of corporate ambition, artistic vision, and theatrical collaboration. Kunze brilliantly reveals how the interdependence of theater and animation, New York City and theme parks, Hollywood producers and Broadway musical theater artists enabled Disney’s breathtaking success."— Stacy Wolf, author of Beyond Broadway: The Pleasure and Promise of Musical Theatre across AmericaTable of ContentsIntroduction 1 “Just Waiting for the Prince to Arrive”: Broadway and Hollywood before the Disney Renaissance, 1982 2 “Sort of Like the Sopranos Took Over the Studio”: Regime Change at Disney, 1983–1986 3 “Make the Audience Fall in Love with Her”: Howard Ashman and Alan Menken, The Little Mermaid, and Disney, 1987–1989 4 “A Celebration of Certain Sensibilities”: Howard Ashman and Alan Menken, Beauty and the Beast, and Disney, 1990–1991 5 “Like the Old-Fashioned Musicals Did”: Robert Jess Roth, Beauty and the Beast, and Disney, 1992–1994 6 “I Don’t Do Cute”: Julie Taymor, The Lion King, and Disney, 1994–1998 Conclusion Acknowledgments Notes Index
£25.19
Rutgers University Press Staging a Comeback: Broadway, Hollywood, and the
Book SynopsisIn the early 1980s, Walt Disney Productions was struggling, largely bolstered by the success of its theme parks. Within fifteen years, however, it had become one of the most powerful entertainment conglomerates in the world. Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance argues that far from an executive feat, this impressive turnaround was accomplished in no small part by the storytellers recruited during this period. Drawing from archival research, interviews, and textual analysis, Peter C. Kunze examines how the hiring of theatrically trained talent into managerial and production positions reorganized the lagging animation division and revitalized its output. By Aladdin, it was clear that animation—not live action—was the center of a veritable “renaissance” at Disney, and the animated musicals driving this revival laid the groundwork for the company’s growth into Broadway theatrical production. The Disney Renaissance not only reinvigorated the Walt Disney Company but both reflects and influenced changes in Broadway and Hollywood more broadly.Trade Review"Peter Kunze’s Staging a Comeback brings a fresh perspective to the Disney 'renaissance' of the 1980s and '90s. He examines these films’ historical connection to the theatricality, anthropomorphic performance, and mediated liveness of classic animation. The book is also noteworthy for the author’s innovative research methods, in light of the studio’s reluctance to open up to independent scholarship. Kunze shows that if you can’t enter the castle over the moat, you can storm it by way of the ramparts."— Donald Crafton, author of Shadow of a Mouse: Performance, Belief, and World-Making in Animation "Staging a Comeback tells a fascinating, complex story of corporate ambition, artistic vision, and theatrical collaboration. Kunze brilliantly reveals how the interdependence of theater and animation, New York City and theme parks, Hollywood producers and Broadway musical theater artists enabled Disney’s breathtaking success."— Stacy Wolf, author of Beyond Broadway: The Pleasure and Promise of Musical Theatre across AmericaTable of ContentsIntroduction 1 “Just Waiting for the Prince to Arrive”: Broadway and Hollywood before the Disney Renaissance, 1982 2 “Sort of Like the Sopranos Took Over the Studio”: Regime Change at Disney, 1983–1986 3 “Make the Audience Fall in Love with Her”: Howard Ashman and Alan Menken, The Little Mermaid, and Disney, 1987–1989 4 “A Celebration of Certain Sensibilities”: Howard Ashman and Alan Menken, Beauty and the Beast, and Disney, 1990–1991 5 “Like the Old-Fashioned Musicals Did”: Robert Jess Roth, Beauty and the Beast, and Disney, 1992–1994 6 “I Don’t Do Cute”: Julie Taymor, The Lion King, and Disney, 1994–1998 Conclusion Acknowledgments Notes Index
£107.20
Rutgers University Press The LiveAction Animated Film
£46.80
Rutgers University Press German Ways of War: The Affective Geographies and
Book SynopsisGerman Ways of War deploys theories of space, mobility, and affect to investigate how war films realize their political projects. Analyzing films across the decades, from the 1910s to 2000s, German Ways of War addresses an important lacuna in media studies: while scholars have tended to focus on the similarities between cinematic looking and weaponized targeting -- between shooting a camera and discharging a gun – this book argues that war films negotiate spaces throughout that frame their violence in ways more revealing than their battle scenes. Beyond that well-known intersection of visuality and violence, German Ways of War explores how the genre frames violence within spatio-affective operations. The production of novel spaces and evocation of new affects transform war films, including the genre’s manipulation of mobility, landscape, territory, scales, and topological networks. Such effects amount to what author Jaimey Fisher terms the films’ “affective geographies” that interweave narrative-generated affects, spatial depictions, and political processes. Trade Review"German Ways of War is an engaging text that charts out a captivating genre history that extends far beyond its immediate scope of German War films. The book is written as a fascinating account to how warfare changed in the twentieth century. . . The project is meticulously researched and provides invaluable political, historical, and legal documentation regarding war and peace policies in Germany." -- Nora M. Alter * author of Projecting History: German Nonfiction Cinema 1967-2000 *"This original study of exemplary German features probes essential dimensions of war cinema that have received little scholarly attention, its geopolitical determinations, spatial imaginaries, and affective geographies. A major contribution to film history and media studies, German Ways of War offers a comprehensive analysis of the numerous countenances and different functions this generic possibility has assumed in exemplary German productions from World War I to the postmillennial era.” -- Eric Rentschler * author of The Use and Abuse of Cinema: German Legacies from the Weimar Era to the Present *"German Ways of War is an engaging text that charts out a captivating genre history that extends far beyond its immediate scope of German War films. The book is written as a fascinating account to how warfare changed in the twentieth century. . . The project is meticulously researched and provides invaluable political, historical, and legal documentation regarding war and peace policies in Germany." -- Nora M. Alter * author of Projecting History: German Nonfiction Cinema 1967-2000 *"This original study of exemplary German features probes essential dimensions of war cinema that have received little scholarly attention, its geopolitical determinations, spatial imaginaries, and affective geographies. A major contribution to film history and media studies, German Ways of War offers a comprehensive analysis of the numerous countenances and different functions this generic possibility has assumed in exemplary German productions from World War I to the postmillennial era.” -- Eric Rentschler * author of The Use and Abuse of Cinema: German Legacies from the Weimar Era to the Present *Table of ContentsAcknowledgements1. Introduction: The Affective Geographies and Generic Transformations of German War Films, 1910s-2000s2. Land into Landscape, Landscape into Territory: Transformations of Space in German War Cinema, 1914-1918 (The Diary of Dr. Hart, Sword and Hearth, Inexpiable)3. “Landscapes of Death” and Memories of the Human: Distance, Scale, and the Double Map in the First “War-Sound-Film” (Westfront 1918, Kameradschaft)4. Combat Films and their Aerial Spaces under the Nazi Regime (Medal of Honor, Squadron Lützow, Above Everything in the World)5. Out of the War Mode: Demobilizing the War Genre in the Postwar Rubble-Film (Request Concert [1940], The Great Love, Ways into Twilight, The Sons of Mr. Gaspary, Birds of Migration)6. War in the Reconstructive 1950s: Genre, Espionage, and Cold-War Subjectivities in the 1950s War Film (Canaris, Fox of Paris, Rommel Calls Cairo)7. Conclusion: Affective Geographies of the Fading Genre (Das Boot, Downfall)NotesBibliography Index
£107.20
Rutgers University Press Uncanny Histories in Film and Media
Book SynopsisUncanny Histories in Film and Media brings together a stellar lineup of established and emergent scholars who explore the uncanny twists and turns that are often occluded in larger accounts of film and media. Prompted by fresh archival research and new conceptual approaches, the works included here probe the uncanny as a mode of historical analysis that reveals surprising connections and unsettling continuities. The uncanny stands for what often eludes us, for what remains unfamiliar or mysterious or strange. Whether writing about film movements, individual works, or the legacies of major or forgotten critics and theorists, the contributors remind us that at the heart of the uncanny, and indeed the writing of history, is a troubling of definitions, a challenge to our inherited narratives, and a disturbance of what was once familiar in the uncanny histories of our field. Trade Review"The exciting array of 'uncanny' histories gathered in this collection trouble familiar narratives in film and media studies. Centering marginalized spaces, figures, and texts, these essays show us how much of media history remains to be written." -- Shelley Stamp * author of Lois Weber in Early Hollywood and Movie Struck Girls: Women and Motion Picture Culture after the Nickelodeon *“With consummate mastery, Petro has collected provocative and inspirational contributions to a range of subfields in media studies—colonialism and its aftermath, game studies, race and representation, transnationalism, global markets, and the trajectory of feminism.” -- Mary Ann Doane * author of The Emergence of Cinematic Time: Modernity, Contingency, the Archive *"The exciting array of 'uncanny' histories gathered in this collection trouble familiar narratives in film and media studies. Centering marginalized spaces, figures, and texts, these essays show us how much of media history remains to be written." -- Shelley Stamp * author of Lois Weber in Early Hollywood and Movie Struck Girls: Women and Motion Picture Culture aft *“With consummate mastery, Petro has collected provocative and inspirational contributions to a range of subfields in media studies—colonialism and its aftermath, game studies, race and representation, transnationalism, global markets, and the trajectory of feminism.” -- Mary Ann Doane * author of The Emergence of Cinematic Time: Modernity, Contingency, the Archive *Table of ContentsAcknowledgments Introduction: Uncanny Histories Part I: The Disciplinary Uncanny Chapter 1: Film and Media in the Double Take of History Chapter 2: Haunted by the Body: Cleanliness in Colonial Manila’s Film Culture Chapter 3: Reimagining the History of Media Studies through Games, Play, and the Uncanny Valley Part II: Uncanny Films Chapter 4: Flickering Lights and Mischievous Stars: The Uncanny Feminism of My Twentieth Century Chapter 5: The Sublime Body under the Sign of Developmentalism: The Wolf of Wall Street (2013), Malaysian Politics and Global Markets Chapter 6: Uncanny Histories of Transnational Cinematic Receptions: Eisenstein in Cuba Part III: Uncanny Figures Chapter 7: Julio García Espinosa and the Fight for a Critical Culture in Cuba Chapter 8: The Case for (Re)collecting Lotte Eisner’s Work Chapter 9: A Widow’s Work: Archives and the Construction of Russian Film History Chapter 10: Fiendish Devices: The Uncanny History of Almena Davis Notes on contributors Index
£107.20
Rutgers University Press All for Beauty: Makeup and Hairdressing in
Book SynopsisEver wonder why so many stars and featured players, male or female, in movies of Hollywood’s “Golden Age” look like they just stepped out of a beauty parlor even if the story places them in a jungle, a hospital bed, or the ancient past? All for Beauty examines how and why makeup and hairdressing evolved as crafts designed partly to maintain the white flawlessness of men and women as a value in the studio era. The book pays particular attention to the labor force, exploring the power and influence of cosmetics inventor and manufacturer Max Factor and the Westmore dynasty of makeup artists but also the contributions of others, many of them women, whose names are far less known. At the end of the complex, exciting, and at times dismaying chronicle, it is likely that readers will never again watch Hollywood films without thinking about the roles of makeup and hairdressing in creating both fictional characters and stars as emblems of an idealized and undeniably mesmerizing visual perfection.Trade Review"Adrienne McLean’s engaging All for Beauty gives us a peek under the powder, lipstick, beard, and toupee, to examine the craft and labor politics of makeup and hairdressing in the studio era. This impeccably researched and argued book is a must read for anyone interested in the Hollywood studio system, film acting, stardom, or beauty culture!" -- Mary Desjardins * author of Recycled Stars: Female Film Stardom in the Age of Television and Video *“McLean combines extensive research, keen insight, detailed analysis of stars and films, and an enjoyable way with words to give readers an important overview of the history, politics, and aesthetics of 'beauty makeup' during the glory days of Hollywood cinema. I devoured it, and so will you.” -- Sean Griffin * editor of What Dreams Were Made Of: Movie Stars of the 1940s *"All for Beauty reveals a treasure trove of research in this absorbing history of how beauty makeup and hairdressing became essential to Hollywood filmmaking and its construction of stardom. Adrienne McLean's tangible passion for her project makes this a gift to Hollywood historians." -- Karen McNally * author of The Stardom Film: Creating the Hollywood Fairy Tale *"Adrienne McLean’s engaging All for Beauty gives us a peek under the powder, lipstick, beard, and toupee, to examine the craft and labor politics of makeup and hairdressing in the studio era. This impeccably researched and argued book is a must read for anyone interested in the Hollywood studio system, film acting, stardom, or beauty culture!" -- Mary Desjardins * author of Recycled Stars: Female Film Stardom in the Age of Television and Video *“McLean combines extensive research, keen insight, detailed analysis of stars and films, and an enjoyable way with words to give readers an important overview of the history, politics, and aesthetics of 'beauty makeup' during the glory days of Hollywood cinema. I devoured it, and so will you.” -- Sean Griffin * editor of What Dreams Were Made Of: Movie Stars of the 1940s *"All for Beauty reveals a treasure trove of research in this absorbing history of how beauty makeup and hairdressing became essential to Hollywood filmmaking and its construction of stardom. Adrienne McLean's tangible passion for her project makes this a gift to Hollywood historians." -- Karen McNally * author of The Stardom Film: Creating the Hollywood Fairy Tale *Table of ContentsIntroduction: Art and Science in the Service of Loveliness 1. Makeup and Hairdressing as Studio Crafts: The Silent Period 2. The Classical Period: Craft Identity and the Labor Force 3. The Classical Period: Department Practices and the Commerce of Expertise 4. Cosmetics, Coiffures, and Characterization Epilogue: Trophy Faces Appendix Acknowledgments Notes Index
£107.20
Rutgers University Press A History of Horror, 2nd Edition
Book SynopsisEver since horror leapt from popular fiction to the silver screen in the late 1890s, viewers have experienced fear and pleasure in exquisite combination. Wheeler Winston Dixon's fully revised and updated A History of Horror is still the only book to offer a comprehensive survey of this ever-popular film genre.Arranged by decades, with outliers and franchise films overlapping some years, this one-stop sourcebook unearths the historical origins of characters such as Dracula, Frankenstein, and the Wolfman and their various incarnations in film from the silent era to comedic sequels. In covering the last decade, this new edition includes coverage of the resurgence of the genre, covering the swath of new groundbreaking horror films directed by women, Black and queer horror films, and a new international wave in body horror films.A History of Horror explores how the horror film fits into the Hollywood studio system, how the distribution and exhibition of horror films have changed in a post-COVID world, and how its enormous success in American and European culture expanded globally over time.Dixon examines key periods in the horror film-in which the basic precepts of the genre were established, then banished into conveniently reliable and malleable forms, and then, after collapsing into parody, rose again and again to create new levels of intensity and menace. A History of Horror, supported by rare stills from classic films, brings over sixty timeless horror films into frightfully clear focus, zooms in on today's top horror Web sites, and champions the stars, directors, and subgenres that make the horror film so exciting and popular with contemporary audiences. Trade Review"Dixon is recognized as an eminent film scholar and the current title is an impressive addition to his oeuvre. This book certainly has solid scholarship, but it is also a book that once picked up is hard to put down. Essential." * Choice *"Dixon is a deft and knowledgeable guide, leading us from silent ghouls to Universal's monsters. Interspersed throughout this catalogue are nuggets of surprising information." * Times Literary Supplement *"This is an excellent survey of horror movies. The author, a veteran film historian, takes the reader back to the beginning, when, in the first three decades of the twentieth century, such directors as Georges Melies, F. W. Murnau, and Paul Wegener were defining not only the look of a genre but also cinema itself. The period between 1930 and the late 1940s saw the rise of the classic Universal Studios characters—Frankenstein's monster, Dracula, the Wolf Man, the Mummy—and the actors who played them: Karloff, Lugosi, Chaney Jr. By the end of the 1940s, horror was dying, 'killed by a plethora of poorly made sequels.' But never fear: the period between the late 1940s and 1970 saw a massive resurgence, due in part to gimmicks (such as 3-D); low-budget quickies from the likes of Roger Corman, the wizard of the B movie; and the stylish resurrection of the classic Universal monsters by Britain's Hammer Film Productions. This survey, which takes the reader right up to the present, is full of fascinating information and is delivered in an accessible manner. Required reading for horror fans." -- David Pitt * Booklist *"Dixon surveys the development of the horror genre from the earliest Frankenstein and Dracula films through the decades of classics by Hammer studios, William Castle, Roger Corman, and Val Lewton. Dixon covers movies seldom found in other histories and more modern, international titles such as Wolf Creek, Black Water, and Grudge. The endurance of horror, trends like remakes and sequels, and such popular franchises as Child's Play and Halloween are also discussed. In the final chapter, Dixon analyzes the decline of modern horror owing to desensitized audiences, graphic gore, violence, and lack of solid plot lines or character development. Lists of the best horror websites as well as the 50 movies covered round out this volume. This concise overview is an informative and entertaining read. Recommended." * Library Journal *"In less than 250 pages, Wheeler Winston Dixon manages to cover the trends and sub-genres of film horror from 1896 to 2009. Bonuses include a list of top horror sites, a list of fifty classic films, and a pretty wonderful bibliography. Well written and well researched and offering an enjoyable overview of more than one hundred years of cinema, A History of Horror is a quick, delightful read." * Seattle Post-Intelligencer *"No mere catalogue of titles, Dixon's account explores all aspects of the genre: literary underpinnings, themes, and transformations, including much on actors and directors. Dixon's mind-priming volume will enhance spine-tingling late-night viewings." * ForeWord Reviews *"A breathtaking panorama, written with wit and candor, showing how the horror film has shaped cinema from the origins of the genre until now." -- Tom Conley, Harvard University"Rich with excellent illustrations and clever anecdotes, this book will appeal to fans of horror as well as film students and scholars interested in a readable overview of the history of the genre." -- Rebecca Bell-Metereau, author of Hollywood Androgyny "There’s No Dark Universe Anymore, Just One Monster After Another," by Robert Ito https://www.nytimes.com/2020/02/27/movies/the-invisible-man-universal.html * New York Times *"New from Rutgers U. Press: A History of Horror" by Dan Aubrey https://www.communitynews.org/princetoninfo/artsandentertainment/new-from-rutgers-u-press-a-history-of-horror/article_3fae29f2-a6fb-11ed-9ef2-ff473369899e.html * U.S. 1, Princeton *Table of ContentsAcknowledgements 1 Origins: 1896-1929 2 Classics: 1930-1948 3 Rebirth: 1949-1970 4 New Blood: 1970-1990 5 The Next Wave: 1990-2010 6 The Future: 2010-Present Top Horror Websites 50 Classic Horror Films Bibliography Index
£47.60
Rutgers University Press George's Run: A Writer's Journey through the
Book SynopsisGeorge Clayton Johnson was an up-and-coming short story writer who broke into Hollywood in a big way when he co-wrote the screenplay for Ocean’s Eleven. More legendary works followed, including Logan’s Run and classic scripts for shows like The Twilight Zone and Star Trek. In the meantime, he forged friendships with some of the era’s most visionary science fiction writers, including Ray Bradbury, Theodore Sturgeon, Richard Matheson, and Rod Serling. Later in life, Johnson befriended comics journalist and artist Henry Chamberlain, and the two had long chats about his amazing life and career. Now Chamberlain pays tribute to his late friend in the graphic novel George’s Run, which brings Johnson’s creative milieu to life in vividly illustrated color panels. The result feels less like reading a conventional biography and more like sitting in on an intimate conversation between friends as they recollect key moments in pop culture history, as well as the colorful band of writers known as the “Rat Pack of Science Fiction.” Trade Review"George Clayton Johnson was one of the most brilliant and important writers of the twentieth century, creating classic episodes of The Twilight Zone and Star Trek, as well as coauthoring Logan's Run and Ocean's Eleven. George's Run spectacularly and charmingly invites you on the amazing journey of his life and legacy, from 1929 through the fifties and sixties to 2015 and beyond. It's a trip down Memory Lane via time machine and rocket ship — and it will definitely blow your mind!"— Marc Scott Zicree, author of The Twilight Zone Companion “Telling the story of postwar popular culture through the eyes of a pivotal writer, George’s Run offers fresh insights into pop culture history from a deeply personal perspective. Capturing the voice of a writer who helped shape our collective imagination, Chamberlain’s graphic novel highlights how a generation of creatives aspired to reshape our collective vision. This story calls attention to the creative community that shaped American culture. Whether you are a fan of television or intrigued by the creative communities that define a pivotal moment in U.S. entertainment history, this story of a writer’s journey will engage and inform.”— Julian C. Chambliss, Professor of English, Michigan State University "George Clayton Johnson’s limitless imagination fueled the foundations of sci-fi that made me the genre geek I am today. Filtered through Henry Chamberlain’s whimsical art, George’s Run is an intimate look at a personable writer’s journey and inspirations behind his iconic tales."— David Weiner, director of In Search of Darkness and editor in chief of Famous Monsters of Filmland “In this surprising and inventive graphic book, Henry Chamberlain looks deeply into the life and writing of George Clayton Johnson. What he finds is a truly American story that blends fact and fiction to describe the life of an underappreciated voice in 1960s Hollywood.”— Bart Beaty, author of Twelve-Cent Archie and Comics Versus ArtTable of ContentsForeword A Touch of Strange A Historical Portal A Remembrance Afterword Interview with George Clayton Johnson
£39.95
Rutgers University Press There She Goes Again: Gender, Power, and
Book SynopsisThere She Goes Again interrogates the representation of ostensibly powerful women in transmedia franchises, examining how presumed feminine traits—love, empathy, altruism, diplomacy—are alternately lauded and repudiated as possibilities for effecting long-lasting social change. By questioning how these franchises reimagine their protagonists over time, the book reflects on the role that gendered exceptionalism plays in social and political action, as well as what forms of knowledge and power are presumed distinctly feminine. The franchises explored in this book illustrate the ambivalent (post)feminist representation of women protagonists as uniquely gifted in ways both gendered and seemingly ungendered, and yet inherently bound to expressions of their femininity. At heart,There She Goes Again asks under what terms and in what contexts women protagonists are imagined, envisioned, embodied, and replicated in media. Especially now, in a period of gradually increasing representation, women protagonists demonstrate the importance of considering how we should define—and whether we need—feminine forms of knowledge and power.Trade Review"In an analysis both invigorating and theoretically rigorous, Aviva Dove-Viebahn skillfully deconstructs the age-old dichotomy of feminism versus femininity to produce a nuanced reading of popular culture's mediation of gendered empowerment. This is essential reading for readers interested in gender, media and power, and a valuable contribution to ongoing cultural debates.”— Miriam Kent, author of Women in Marvel Films "For all of us who love our pop-culture wonder women and have wondered about their feminist implications, There She Goes Again asks fearless questions about these characters and offers brilliant insights about their appeal. Aviva Dove-Viebahn explores what female exceptionalism means for super-powered heroines, and as the title suggests, advances timely insights about how we imagine and picture extraordinary women in the postfeminist era." — Linda Mizejewski, author of Hardboiled & High Heeled: The Woman Detective in Popular Culture “Relying on close readings that in turn recognize nuances of media texts, Dove-Viebahn accurately and persuasively enumerates the potentialities and pitfalls of gendered understandings. She brings together media analysis with a serious sense of what is at stake, which is, in short, the contemporary state of feminist thought.” — Suzanne Leonard, co-editor of Imagining "We" in the Age of "I": Romance and Social Bonding in Contemporary CultureTable of ContentsIntroduction 1. Why Feminine Intuition?: The Gendering of Knowledge and Power 2. Seriality and ‘Strong Female Characters’: The Double Bind of Women’s Empowerment 3. From Girl Power to Intersectional Sisterhood: Exceptionalism and the Imperatives of Belonging 4. Motherhood and Myth: Inside and Outside the Family Circle 5. At the End of the World: Apocalyptic Bodies and the Feminine Sublime Acknowledgments Bibliography Index
£25.19
Rutgers University Press New Israeli Horror: Local Cinema, Global Genre
Book SynopsisBefore 2010, there were no Israeli horror films. Then distinctly Israeli serial killers, zombies, vampires, and ghosts invaded local screens. The next decade saw a blossoming of the genre by young Israeli filmmakers. New Israeli Horror is the first book to tell their story. Through in-depth analysis, engaging storytelling, and interviews with the filmmakers, Olga Gershenson explores their films from inception to reception. She shows how these films challenge traditional representations of Israel and its people, while also appealing to audiences around the world. Gershenson introduces an innovative conceptual framework of adaptation, which explains how filmmakers adapt global genre tropes to local reality. It illuminates the ways in which Israeli horror borrows and diverges from its international models. New Israeli Horror offers an exciting and original contribution to our understanding of both Israeli cinema and the horror genre. A companion website to this book is available at https://blogs.umass.edu/newisraelihorror/ (https://blogs.umass.edu/newisraelihorror/) Book trailer: https://youtu.be/oVJsD0QCORw (https://youtu.be/oVJsD0QCORw) Trade Review“This is a fantastic book that looks at the intellectual, industrial, funding, and reception contexts of Israeli horror but without bouncing between them like demented pinball. Instead, what we get is an extraordinarily integrated interdisciplinary account that should operate as an exemplar for horror scholarship for decades to come!” — Mark Jancovich, author of Horror and editor of Horror, The Film Reader “New Israeli Horror perceptively chronicles the origins and evolution of Israeli horror films. It brilliantly analyzes how this corpus of films replicated or subverted the familiar tropes of the horror genre and demonstrates that they possess implicit and eventually explicit relevance to the political and social conflicts within Israel.” — Lawrence Baron, author of Projecting The Holocaust Into The Present and editor of The Modern Jewish Experience in Wo "New Israeli Horror is the definitive study of Israeli cinema’s most unorthodox genre from its inception among a small group of students at Tel Aviv University to its success on the international film festival circuit and in online piracy in the Arab world. Through an examination of technology, financing, transnational adaptation, local and international reception, and interviews with filmmakers it deciphers the meanings behind the throng of serial killers in uniform, Palestinian ghosts, zombies, cannibals, and monsters from Jewish folklore that have invaded Israeli screens in this millennium." — Boaz Hagin, co-editor of Deeper Than Oblivion: Trauma and Memory in Israeli Cinema “This significant work charts the ways in which New Israeli Horror films offer a critique of the violence that lies at the heart of Israeli society, the damaging masculinity of the military machine, and the suppression of Palestinian trauma. The result is a hugely readable and subtly nuanced work that makes a substantive contribution to our understanding of both modern Israel and the horror genre’s ability to articulate national trauma. It’s essential reading for all with an interest in the genre and in national cinema more broadly.” — Linnie Blake, Manchester Metropolitan University and author of The Wounds of Nations: Horror Cinema, Historical TrTable of ContentsAcknowledgments Introduction 1 The Precursors: From The Angel Was a Devil to Frozen Days Part I Subversion 2 The First Hebrew Horror: Rabies 3 A Korean Revenge Thriller in the Israeli Countryside: Big Bad Wolves Part II Conversion 4 Horror in the IDF Zombies in the Fatigues: Poisoned and Cannon Fodder Freak Out: “The Final Boy” on the Base The Specters of Violence in The Damned 5 The Jewish Supernatural: JeruZalem 6 Slasher on the Kibbutz: Children of the Fall Part III Aversion 7 Escaping Israel: Another World, Madam Yankelova’s Fine Literature Club, and The Golem Coda: Is There I-Horror? Notes Index
£28.90
Rutgers University Press New Israeli Horror: Local Cinema, Global Genre
Book SynopsisBefore 2010, there were no Israeli horror films. Then distinctly Israeli serial killers, zombies, vampires, and ghosts invaded local screens. The next decade saw a blossoming of the genre by young Israeli filmmakers. New Israeli Horror is the first book to tell their story. Through in-depth analysis, engaging storytelling, and interviews with the filmmakers, Olga Gershenson explores their films from inception to reception. She shows how these films challenge traditional representations of Israel and its people, while also appealing to audiences around the world. Gershenson introduces an innovative conceptual framework of adaptation, which explains how filmmakers adapt global genre tropes to local reality. It illuminates the ways in which Israeli horror borrows and diverges from its international models. New Israeli Horror offers an exciting and original contribution to our understanding of both Israeli cinema and the horror genre. A companion website to this book is available at https://blogs.umass.edu/newisraelihorror/ (https://blogs.umass.edu/newisraelihorror/) Book trailer: https://youtu.be/oVJsD0QCORw (https://youtu.be/oVJsD0QCORw) Trade Review“This is a fantastic book that looks at the intellectual, industrial, funding, and reception contexts of Israeli horror but without bouncing between them like demented pinball. Instead, what we get is an extraordinarily integrated interdisciplinary account that should operate as an exemplar for horror scholarship for decades to come!” — Mark Jancovich, author of Horror and editor of Horror, The Film Reader “New Israeli Horror perceptively chronicles the origins and evolution of Israeli horror films. It brilliantly analyzes how this corpus of films replicated or subverted the familiar tropes of the horror genre and demonstrates that they possess implicit and eventually explicit relevance to the political and social conflicts within Israel.” — Lawrence Baron, author of Projecting The Holocaust Into The Present and editor of The Modern Jewish Experience in Wo "New Israeli Horror is the definitive study of Israeli cinema’s most unorthodox genre from its inception among a small group of students at Tel Aviv University to its success on the international film festival circuit and in online piracy in the Arab world. Through an examination of technology, financing, transnational adaptation, local and international reception, and interviews with filmmakers it deciphers the meanings behind the throng of serial killers in uniform, Palestinian ghosts, zombies, cannibals, and monsters from Jewish folklore that have invaded Israeli screens in this millennium." — Boaz Hagin, co-editor of Deeper Than Oblivion: Trauma and Memory in Israeli Cinema “This significant work charts the ways in which New Israeli Horror films offer a critique of the violence that lies at the heart of Israeli society, the damaging masculinity of the military machine, and the suppression of Palestinian trauma. The result is a hugely readable and subtly nuanced work that makes a substantive contribution to our understanding of both modern Israel and the horror genre’s ability to articulate national trauma. It’s essential reading for all with an interest in the genre and in national cinema more broadly.” — Linnie Blake, Manchester Metropolitan University and author of The Wounds of Nations: Horror Cinema, Historical TrTable of ContentsAcknowledgments Introduction 1 The Precursors: From The Angel Was a Devil to Frozen Days Part I Subversion 2 The First Hebrew Horror: Rabies 3 A Korean Revenge Thriller in the Israeli Countryside: Big Bad Wolves Part II Conversion 4 Horror in the IDF Zombies in the Fatigues: Poisoned and Cannon Fodder Freak Out: “The Final Boy” on the Base The Specters of Violence in The Damned 5 The Jewish Supernatural: JeruZalem 6 Slasher on the Kibbutz: Children of the Fall Part III Aversion 7 Escaping Israel: Another World, Madam Yankelova’s Fine Literature Club, and The Golem Coda: Is There I-Horror? Notes Index
£107.20
Rutgers University Press Cinema '62: The Greatest Year at the Movies
Book SynopsisLawrence of Arabia, The Miracle Worker, To Kill a Mockingbird, The Manchurian Candidate, Gypsy, Sweet Bird of Youth, The Longest Day, The Music Man, What Ever Happened to Baby Jane, and more.Most conventional film histories dismiss the early 1960s as a pallid era, a downtime between the heights of the classic studio system and the rise of New Hollywood directors like Scorsese and Altman in the 1970s. It seemed to be a moment when the movie industry was floundering as the popularity of television caused a downturn in cinema attendance. Cinema ’62 challenges these assumptions by making the bold claim that 1962 was a peak year for film, with a high standard of quality that has not been equaled since. Stephen Farber and Michael McClellan show how 1962 saw great late-period work by classic Hollywood directors like John Ford, Howard Hawks, and John Huston, as well as stars like Bette Davis, James Stewart, Katharine Hepburn, and Barbara Stanwyck. Yet it was also a seminal year for talented young directors like Sidney Lumet, Sam Peckinpah, and Stanley Kubrick, not to mention rising stars like Warren Beatty, Jane Fonda, Robert Redford, Peter O’Toole, and Omar Sharif. Above all, 1962—the year of To Kill a Mockingbird and The Manchurian Candidate—gave cinema attendees the kinds of adult, artistic, and uncompromising visions they would never see on television, including classics from Fellini, Bergman, and Kurosawa. Culminating in an analysis of the year’s Best Picture winner and top-grossing film, Lawrence of Arabia, and the factors that made that magnificent epic possible, Cinema ’62 makes a strong case that the movies peaked in the Kennedy era.Trade Review"I wouldn’t have pointed to 1962 as a landmark year for movies, but Stephen Farber and Michael McClellan have proven me wrong. Their knowledgeable and persuasive book spotlights diverse films from the U.S. and abroad that put today’s mainstream releases to shame. Can you imagine a menu of superior movies like Lolita, The Manchurian Candidate, Ride the High Country, Days of Wine and Roses and The Music Man all coming out in one twelve-month period? The authors provide valuable context for this lineup, a treasure trove well worth celebrating." -- Leonard Maltin * film critic and historian *"1962 was the greatest AND most important year in movie history! 1939, its closest competitor, was the apex of Hollywood’s Golden Age when dream factories entranced and riveted audiences into their seats. But in 1962 new waves washed into theaters, and the spell was broken: the Golden Age gave way to the Emboldened Age. Filmmakers began to feel they could create their own dreams. Art houses and film schools proliferated. Audiences jumped out of their seats and argued about what they loved… and hated. Friendships were tested. Film mattered! It was the New Frontier. You shoulda been there! Wait! You can be there! Farber and McClellan have provided you with the best way to re-live those thrilling days. They’ve unearthed gems, told great tales, and provided plenty of juicy gossip. Cinema ’62 will arouse you to once again have arguments, go for the jugular, test your friendships…and care about film!” -- Philip Kaufman * award-winning director of The Right Stuff and Invasion of the Body Snatchers *"1962 was a magical year for all of us who love the movies. Filmmaking and art merged in ways that were under-appreciated until now. This fine work by Farber and McClellan makes me realize how fortunate we are to have these momentous and enduring movies. It also made me remember why I wanted to become a director." -- Penelope Spheeris * Director of The Decline of Western Civilization and Wayne’s World *"Stephen Farber and Michael McClellan, with first-rate scholarship and an accessible, entertaining style, make a superb case that 1962 was perhaps the most fascinating, influential, and yes, greatest year in world cinema. They examine a year when the major studios were still committed to making films for adults, the stifling production code was at last loosening up, foreign films were gaining in popularity, and a woman in the central role wasn't a brave and rare event. Cinema '62: The Greatest Year at the Movies is as great as its subject." -- Charles Busch * playwright, actor and screenwriter *"What an amazing year 1962 was in the history of cinema, and what an amazing book Stephen Farber and Michael McClellan have written about it. Cinema '62 is at once deft scholarship and sublime storytelling, a tough balance to maintain, but Farber and McClellan pull it off seamlessly. And the authors make an absolutely convincing case for 1962 as the greatest year in the history of world cinema." -- W.K. Stratton * author of The Wild Bunch *"The case for 1962 can certainly be made with socially provocative films such as Lawrence of Arabia, To Kill a Mockingbird, Lolita, and The Manchurian Candidate, yet the authors bolster their argument with dozens of other entries, including David and Lisa and a Taste of Honey, largely overlooked by the general public." * Library Journal *"There’s plenty of interesting history in Cinema ’62. Farber and McClellan bop from film to film with details about each one’s development, making, release, and influence." * Psychobabble *"Authors Farber and McClellan serve film fans a briskly written, meticulously researched history that gives an often-overlooked and underrated era in cinema its due." * Associated Press *"1962 Was The Year" http://hollywood-elsewhere.com/2020/03/1962-was-the-year/ * Hollywood Elsewhere *"BETTE DAVIS VS. JOAN CRAWFORD: HOLLYWOOD'S GREATEST FEUD: On the set of Whatever Happened to Baby Jane?, 1962" https://crimereads.com/bette-davis-vs-joan-crawford-hollywoods-greatest-feud/ * CrimeReads *"With fresh interviews from participants in many of the key projects and with the authors’ vast, personal knowledge of the films and the context in which they were made, Cinema ’62 is as sharp and lively as that modernist-slanted title implies. Best of all, its approach never feels as if it’s looking back. One feels that the authors just watched all the movies last week and they’re just dying to tell you about some life-changing piece of art that you’ve just got to see." * Variety *"The authors argue their case convincingly by systematically trotting out one exciting foreign film after another, reminding you that, especially thanks to France and Italy, the early 1960s represented a true golden age for arthouse cinema, as it was widely called at the time." * The Hollywood Reporter *Classic Movie Musts podcast interview with Michael McClellan https://podcasts.apple.com/us/podcast/classic-movie-musts/id1375263468#episodeGuid=classicmoviemusts.podbean.com/786a74f0-976d-5578-95f4-2dcfa7cf39d5 * Classic Movie Musts podcast *"From ‘Lawrence Of Arabia’ And ‘To Kill A Mockingbird’ To The Debut Of James Bond, Was 1962 The Greatest Movie Year EVER? A New Book Says Yes" by Pete Hammond * Deadline *"A potent reminder that the early 1960s were indeed a turning point in global cinema." * Classic Film & TV Cafe *A New and Notable Film Book for March 2020: "I never would have chosen 1962 as a watershed year for filmmaking but authors McClellan and Farber have proven me wrong. Their essays provide historical context and a well-informed look at the ingredients that meshed to make this an exceptional period for filmmakers and filmgoers alike." * LeonardMaltin.com *"DigiGods Episode 198: Hey Macorona!" interview with Stephen Farber http://digigods.ign.libsynpro.com/digigods-episode-198-hey-macorona * DigiGods podcast *Battleship Pretension podcast: Episode 681: Cinema '62 with Stephen Farber http://battleshippretension.com/episode-681-cinema-62-with-stephen-farber/ * Battleship Pretension *"The Greatest Year at the Movies: Experts Share Behind-the-Scenes Stories about the Unforgettable Classics We Know and Love" by Katie Bruno * Closer Weekly *"This is a solid work of film study and appreciation that makes its case for a new ‘Golden Year’ quite well." * CineSavant Column *"Was 1962 the best year for film? Grab your popcorn, we have time to discuss it," by Ben Hoyt * The Times of London *"Cinema '62 is a compelling and entertaining assessment of the films released in 1962 and will help budding film buffs assemble a list of must-see movies. Forget 1939, Cinema '62 looks at the acclaimed and neglected films of 1962, and persuasively and entertainingly argues it was the peak year for motion pictures." * Shelf Awareness for Readers *"Interview: Author Michael McClellan Talks New Book" https://journeysinclassicfilm.com/2020/04/23/interview-author-michael-mcclellan-talks-new-book/ * Journeys in Classic Film *"The Gold Standard: Is 1962 secretly the greatest year ever for movies?" by Ben Hoyle * Air Mail *"What’s the best movie year ever? People have claimed for years it was 1939; recently, there have been dissenters. Farber, a veteran Los Angeles film critic, and McClellan, a longtime film buyer, make their case for 1962, the year that produced such classics as 'Lawrence of Arabia,' 'To Kill a Mockingbird' and 'The Manchurian Candidate.'" * Milwaukee Journal Sentinel *"[Farber and McClellan] succeed in crafting a credible, critical narrative of an art form in transition, with chapters covering the foreign-film revolution, the loosening of sexual morals onscreen, the increasing influence of psychoanalysis and, naturally, the move from black and white to glorious Technicolor." * Flick Attack *"A terrific recapitulation of the year in film...It’s superb at probing the political, social, critical, and economic impact of the major and not-so major movies of the year with insight and meticulous research." * Mount Laurel Library, "Irv on Film" *"The authors knowledgeably examine some two-dozen films from 1962, offering cogent insights on what makes them great. Highly recommended." * Choice *CineSavant column mention of Cinema '62 https://cinesavant.com/cinesavant-column-254/ * CineSavant *"Wisely organized thematically....The result is a good survey of critical and box office receptions and makes for easy reading." * CineMontage *"[Farber and McClellan] do an excellent job of moving the needle for American/UK cinema in favor of their claim. They remind us, and provide short, but pithy discussions, of some truly great films of the year." * Quarterly Review of Film and Video *"Film historians/authors Stephen Farber and Michael McClellan make the argument for cinema in 1962, culminating with David Lean's extraordinary 'Lawrence of Arabia."' * Los Angeles Times Gift Guide *"29 Best New Cinema Books To Read In 2021" * Book Authority *"Cinema ’62: The Greatest Year at the Movies by Stephen Farber and Michael McClellan deserve[s] film lovers’ attention." * Boston Globe *"The authors not only rave about excellent films and the correspondingly high number of viewers, they also work out a trend that is already emerging—the end of the Hollywood studio system and the growing influence of so-called filmmakers. The authors deal with an equally important aspect by discussing the move away from black and white to color film." * Country Mag *Table of ContentsForeword by Bill Condon Preface and Acknowledgments Introduction 1 Overseas Explosion 2 New American Auteurs 3 Survivors: Con Men and Hollywood Honchos 4 Grande Dames and a Box-Office Queen 5 Calling Dr. Freud 6 Adapted for the Screen: Prestige and Provocation 7 Black and White to Technicolor 8 The New Frontier 9 Sexual and Social Outlaws 10 Crowning Achievement Epilogue Appendix A: Other Films of 1962 Appendix B: Accolades and Box Office for 1962 Notes Bibliography Index
£19.79
Rutgers University Press The Reflective Age
£22.49
Rutgers University Press The Reflective Age
£81.60
Liverpool University Press 12 Monkeys
Book SynopsisTerry Gilliam’s 12 Monkeys (1995) was a commercial and critical success, but it is Gilliam’s least understood film, even on the basic plot level. Aside from recognizable debts to specific films such as La Jetée (1962) and Dr. Strangelove (1964), 12 Monkeys plays with a number of genres: apocalypse and postapocalypse movies, sci-fi, nuclear noir, and what is becoming known as “geek dystopia.” This volume in the Constellations series examines Gilliam’s film—and briefly the TV series based on it—in the context of post-apocalypse movies and with an eye to the film’s major themes, including mental illness, conspiracy theories, the impossibility of human closeness, and the nature of reality. It is the first to read 12 Monkeys’s portrayal of time travel in light of Einstein’s ideas about time and to ask what answers these ideas suggest to the film’s most basic philosophical predicament: the problem of free will versus determinism.Trade Review'One of the most admirable aspects of this book is Kord’s clear, engaging writing. This book is not only insightful but also a pleasure simply to read for the vividness and elegance of its prose. Kord is adept at communicating complex scholarly ideas in understandable language... This book makes an important contribution to Gilliam scholarship and should be read by anyone interested in the study of his films, but it is also eminently readable by a general audience.'Dominick Grace, SFRA Review
£16.49
Liverpool University Press Jurassic Park
Book SynopsisJurassic Park (1993) is one of Steven Spielberg’s most beloved films. Over twenty-five years on from its original release, it has accrued four sequels, a legion of worldwide fans, and a wide range of merchandise covering everything from action figures and board games to comic books and video games. As such, the film is widely acknowledged as one of the most significant blockbusters of the 1990s, a position underlined by its pioneering use of CGI to resurrect the dinosaurs with more realism than ever before. However, there's much more to Jurassic Park than a simple special effects extravaganza. Spielberg’s career was in flux at the time of the film's release, and this contribution to the Constellations series explores this shift by analyzing the film in a number of ways. First, it considers how Spielberg blends science fiction and horror, and how the mix of those two genres affects the film and its message. Then it looks at what the film has to say about humanity's relationship with nature, its commentary on the bond between an audience and the fantasy of cinema, and, finally, its thoughts on the manifestation of violence and control in men. It does this through close analysis of key characters, story points, and scenes, and the film's place within the context of Spielberg's career as a whole.
£20.89
Liverpool University Press Stalker
Book SynopsisFew filmmakers could even attempt the fearlessness of Andrei Tarkovsky’s cinema and his most ambitious work, Stalker (1977), is arguably the most thoughtful science-fiction film ever made. Stalker parallels its speculative elements with a harrowing narrative of human fragility and philosophy. It is as much a movie about the complexity of its characters as it is the mysteriousness of its labyrinthine landscape, the ambiguous Zone and its heart, the Room of Desire. It is at once a darkly nihilistic film, ominous and threatening, and yet also profoundly hopeful and at its core a story of true faith. This book attempts to unravel the film’s complexities, from its difficult production and through its many cinematic elements: its composition and cinematography, the many philosophies it engages with, its poetic and literary influences, along with the cultural and historical landscapes that cultivated it, and the enormity of its influence across the following generations. Stalker challenges us to engage with film in a different way: a poetic cinema that asks much more of you as a viewer than most. Most of all, to explore why this film—even forty years since its original release—still affects us as an audience as profoundly as ever.
£21.84
Springer International Publishing AG Pulp Virilities and Post-War American Culture
Book SynopsisThis book interrogates the repertoire of masculine performance in popular crime fiction and cinema from the 1940s, 50s, and 60s. This critical survey of the back alleys of pulp culture reveals American masculinities to be unsettled, contentious, crisis-ridden, racially fraught, and sexually anxious. Libertarian in their sensibilities, self-aggrandizing in their sentiments, resistant to the lures of upper mobility, scornful of white collar and corporate culture, the protagonists of these popular and populist works viewed themselves as working-class heroes cast adrift. Pulp Virilities explores the enduring traditions of hard-boiled and noir literature, casting a critical eye on its depictions of urban life and representations of gender, crime, labor, and race. Demonstrating how anxieties and possibilities of American masculinity are hammered out in works of popular culture, Pulp Virilities provides a rich cultural genealogy of contemporary American social life.Table of Contents1. What Would Robert Mitchum Do? The Cultural Production of Pulp Virilities.2. The Eisenhower Blues: Returning GIs and Racial Masquerade.3. Pulp Sexualities: Gender and American Popular Crime Fiction at Midcentury.4. Run Man Run: Black Urban Crime Fiction in the 1960s and 1970s.5. Nightmare Alleys: The Afterlives of Pulp Virility.
£85.49
De Gruyter The Politics and Sociology of Silent Comedy Films
Book Synopsis
£84.08
Springer Fachmedien Wiesbaden Topografie des Laiendarsteller-Diskurses: Zur
Book SynopsisDie Besetzung von Laien im Kinospielfilm hat eine lange Geschichte und ist bis heute verbreitet. Anna Luise Kiss analysiert Laiendarstellerinnen und Laiendarsteller erstmals als diskursive Phänomene, die auf der Basis filmischer und paratextueller Informationen durch Rezipientinnen und Rezipienten hervorgebracht werden. Mittels einer Kombination von Film- und Paratextanalysen werden die Mechanismen, die zur diskursiven Herausbildung der Laien als Darsteller ihrer selbst, Performer und Naturtalente beitragen, anschaulich gemacht und im Sinne einer kartografischen Erkundung die Topografie des Laiendarsteller-Diskurses herausgearbeitet. Table of ContentsLaien als filmspezifisches Gesetz.- Kreative Laien als Gegenstand der Forschung.- Laiendarstellerinnen und Laiendarsteller in der Filmtheorie.- Analysemodell zur Erschließung des Laiendarsteller-Diskurses.- Film- und Paratextanalysen.
£44.99
Springer Fachmedien Wiesbaden Mysterium Twin Peaks: Zeichen – Welten –
Book SynopsisDer Sammelband bringt verschiedene Zugänge und Kontexte zu Twin Peaks zusammen und greift dabei auch die besonderen produktions- und rezeptionsästhetischen Spezifika der Serie auf. Das Spektrum der Beiträge umfasst ganz unterschiedliche Themenbereiche: Genremix, Transaktualität, komplexe narrative Strukturen, Traum und Traumhaftigkeit, Geschlechts- und Identitätskonzepte, extremer Fankult, visuelle Ästhetik, akustische Dimensionen, postmoderne Verweiskultur und nicht zuletzt die Frage danach, welche anderen Quality TV-Serien durch Twin Peaks erst möglich wurden.Table of ContentsEinleitung(en).- Zeichen.- Welten.- Referenzen.- Anhang.
£42.74
Synema Gesellschaft Fur Film u. Medien Dziga Vertov – The Vertov Collection at the
Book SynopsisFor the Russian filmmaker and film theorist Dziga Vertov (1896-1954), cinema was both a bold aesthetic experiment and a document of contemporary life. This English/German bilingual catalogue includes films, photographs, posters, letters and a large number of previously unpublished sketches, drawings, and writings.Trade Review"An extraordinary collection of writings by and about Dziga Vertov." -- Graham Roberts, Russian Review
£19.80
Synema Gesellschaft Fur Film u. Medien Gustav Deutsch
Book SynopsisSince the 1990s, "found footage film" has flourished internationally. Among the filmmakers that gained prominence in this context of "applied media archaeology" is Gustav Deutsch, an outstanding case. His work& mdash;including the series Film Is or Welt Spiegel Kino& mdash;has been shown widely at film festivals and in the contemporary art world. The first monograph to follow his entire thrity-year career, Gustav Deutsch explore the artist as he works in film, video, and installation, featuring essay contributions by Linda Williams, Tom Gunning, Scott MacDonald, Nico de Klerk, and Alexander Horwath.
£19.80
Synema Gesellschaft Fur Film u. Medien Abenteuer Alltag – Zur Archäologie des
Book SynopsisDuring the past decade, the international study of non-theatrical cinematic forms has seen a strong expansion – with amateur film as a central area of research. Changing collection policies in film archives and museums and new forms of digital access are not the only reasons for this interest. However, the major impulse to current debates comes from contributions based on an analysis of archival holdings. Abenteuer Alltag. Zur Archäologie des Amateurfilms is the first German-language publication to give an overview of amateur film research in Europe, presenting essays on topics such as the politics and history, the technology and aesthetics, as well as the bodies and spaces of amateur film. In addition, several European and American film archives provide information about their collection strategies.
£25.20
Synema Gesellschaft Fur Film u. Medien Die Strahlkraft der Stadt – Schrifen zu Film und
Book Synopsis?Films, in their generic, stylistic, and rhetorical variety, are modes of experience that provide a sense for the unexpected dynamics of urban life and historical reality. This understanding of cinema, as loving as it is theoretical, inspired the writings on film which form a central part of the wide-ranging work of Austrian historian Siegfried Mattl. From the political imaginary of well-known "historical films" by Stanley Kubrick, Ridley Scott, John Woo, and Todd Haynes, to inter-war comedies and post-war educational films highlighting the changing socio-economic textures of Vienna, and on to amateur films that offer surprising views of how Austrians adapted themselves to Nazism or consumer culture, Mattl´s investigations are rich in historical context and re-evaluated material. Written with humor and a critical view of power relations, his essays and studies – some published for the first time – also enter into dialogues with Siegfried Kracauer's and Jacques Rancière's concepts of cinema's historicity. Exploring imagescapes of Red Vienna, of Haneke's white, or of Dylan's blues, Mattl invites us to look back at, and look out for, the ephemera that make up history.
£22.50
Tulika Nagarik – The Screenplays, Volume 1
Book Synopsis
£12.34
Slovenska kinoteka Lubitsch Can′t Wait – A Collection of Ten
Book Synopsis
£22.50
Almuzara Historia del Cine Chino
Book Synopsis
£22.92
Oxford University Press Shots in the Mirror Crime Films and Society
Trade ReviewIt's hard to imagine a more entertaining, well researched, and insightful encyclopedia of English-language crime films. Anyone who wants to know the history and place of crime cinema in the US should start here. Criminologist Rafter combines formidable analytic skills with a genuine love of the movies. Her well supported arguments help us to see many of them in new ways. Each chapter made me want to run out and look at films she discusses; but I didn't want to set the book down until I had finished it. * Neil King, Virginia Polytechnic Institute and State University *Shots in the Mirror is a book for scholars as well as for buffs by one who is clearly both. It is also a necessary book for students of crime and society as well as for students of film. In this new edition Rafter goes even more pointedly to the question of how crime movies `mirror' our world, reflecting the blank, the ambiguous and the unfinished, as well as the heroic and the villainous. I expect to use this book in my teaching, but mainly to devour it for my own pleasure and education. * Richard Sparks, The University of Edinburgh *Praise for the previous edition: "No serious studies have been conducted of how on-screen crime influences our perception of real-world crime. It is an ambitious topic, and [Rafter] handles it well in a very brief volume.... [She] concludes with a very interesting exploration of future social problems and how they may be played out on screen.... Food for thought on a very clever topic. * Library Journal *Brims with variety * this may be the only film book that cites the protagonist of Falling Down, The Last Seduction, and The Godfather in one sentence.Kirkus Reviews *Provides a brief survey that manages to range wider than other literature in the canon.... [Rafter's] strategy works well to fill a gap in the literature of 'criminological issues raised by movies.' * Choice *This book can help sociologists who want to know more about crime stories... A terrific resource book for crime movies as documents... The brief comparative accounts of scenarios and character portrayals provide a kind of cultural map about the language of justice, discourses of fear, and the significance of the criminal-as-other. Let us find ways to use such a fine resource to enliven our courses and research, to find ways to tell the right stories. * Contemporary Sociology *One of my favorite chapters (chapter 2) is the examination of the way in which criminologists drop discredited theories over time, but movies "recycle them" because they resonate with audience expectations that are measured by box office receipts. * Contemporary Sociology *
£32.99
Oxford University Press, USA The Social Science of Cinema
Book SynopsisEver since motion pictures first landed on screen, there have been many key questions that the studios and movie watchers have tried to answer. What makes a movie an Oscar winner? How does one movie become a hit and another movie flop? Why do some films earn critical acclaim while other films become critical turkeys or bombs? How do audiences perceive film? What makes a movie resonate with a viewer? Are we unduly influenced by negative behaviors on screen? These questions have spurred debates, discussions, and many theories. Until the last two decades, however, it was quite rare to have the issues approached from a scientific viewpoint.The Social Science of Cinema compiles research from such varied disciplines as psychology, economics, sociology, business, and communications to find the best empirical research being done on the movies, based on perspectives that many filmgoers have never considered. Essays explore such topics as the specific factors that influence whether movies make mTable of ContentsAcknowledgements ; Dedication ; List of Contributors ; Introduction: Social Science of the Cinema: Fade In ; James C. Kaufman and Dean Keith Simonton ; Section One: The Creation ; 1. Writing for success: Screenplays and cinematic impact ; Dean Keith Simonton ; 2. Sell by date? Examining the shelf life and effects of female actors in popular films ; Stacy L. Smith, Amy Granados, Marc Choueiti and Katherine M. Pieper ; 3. Resolving the paradox of film music through a cognitive narrative approach to film comprehension ; Annabel Cohen ; Section Two: The Audience ; 4. What type of movie person are you? Understanding individual differences in film preferences and uses: A psychographic approach ; Tomas Chamorro-Premuzic, Andrea Kallias, and Anne Hsu ; 5. Film through the human visual system: Finding patterns and limits ; Jordan E. DeLong, Kaitlin L. Brunick, and James E. Cutting ; 6. Self and the cinematic experience in the age of electronic transmission ; Gerald C. Cupchik and Michelle C. Hilscher ; Section Three: The Production ; 7. The producer-director dyad: Managing the faultline between art and commerce ; Joris J. Ebbers, Nachoem M. Wijnberg, and Pawan V. Bhansing ; 8. Networks and rewards among Hollywood artists: Evidence for a social structural ordering of creativity ; Gino Cattani and Simone Ferriani ; 9. Strategic assets and performance across institutional environments ; Allegre L. Hadida ; Section Four: The Reception ; 10. Analyzing the Academy Awards: Factors associated with winning and when surprises occur ; Iain Pardoe and Dean Keith Simonton ; 11. Responses to and judgments of acting on film ; Thalia R. Goldstein ; 12. As good as it gets? Blockbusters and the inequality of box office results since 1950 ; Victor Fernandez-Blanco, Victor Ginsburgh, Juan Prieto-Rodriguez, and Sheila Weyers ; End Section ; 13. Social Science of the Cinema: Fade Out ; Joshua Butler and James C. Kaufman
£83.60
Taylor & Francis Ltd Representations of Sports Coaches in Film
Book SynopsisThis ground-breaking interdisciplinary collection brings together leading international scholars working across the humanities and social sciences to examine ways in which representations of sports coaching in narrative and documentary cinema can shape and inform sporting instruction. The central premise of the volume is that films featuring sports coaches potentially reflect, reinforce or contest how their audiences comprehend the world of coaching. Despite the growing interest in theories of coaching and in the study of the sports film as a genre, specific analyses of filmic depictions of sports coaches are still rare despite coaches often having a central role as figures shaping the values, social situation and cultural expectations of the athletes they train. By way of a series of enlightening and original studies, this volume redresses the relative neglect afforded to sports coaching in film and simultaneously highlights the immense value that research in this emerging field haTable of Contents1. Introduction: Sports coaching on film Katharina Bonzel and Nicholas Chare 2. Configuring Irishness through coaching films: Peil (1962) and Christy Ring (1964) Seán Crosson 3. "I love you guys": Hoosiers as a model for transformational and limited transactional coaching Bryan Mead and Jason Mead 4. The traditional, the ideal and the unexplored: sport coaches’ social identity constructs in film Sue Jolly and John Lyle 5. Mind the gap: female coaches in Hollywood sports films Katharina Bonzel 6. Sound coaching: tending to the heard in American football films Nicholas Chare 7. Film depictions of emotionally abusive coach–athlete interactions Gretchen Kerr, Ashley Stirling and Ahad Bandealy 8. Too hot to handle? A social semiotic analysis of touching in "Bend it like Beckham" Dean Garratt and Heather Piper 9. ‘We’re In This Together:’ neoliberalism and the disruption of the coach/athlete hierarchy in CrossFit Leslie Heywood
£43.99
Taylor & Francis Ltd Moonlight
a huge range and FREE tracked UK delivery on ALL orders.
£47.49
Taylor & Francis Ltd Salaam Bollywood
a huge range and FREE tracked UK delivery on ALL orders.
£39.99
Taylor & Francis I Am Not Your Negro A Docalogue
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£52.24
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