Film history, theory or criticism Books
Bloomsbury Publishing Plc European Cinema and Continental Philosophy
Book SynopsisThis groundbreaking volume for the Thinking Cinema series focuses on the extent to which contemporary cinema contributes to political and philosophical thinking about the future of Europe''s core Enlightenment values. In light of the challenges of globalization, multi-cultural communities and post-nation state democracy, the book interrogates the borders of ethics and politics and roots itself in debates about post-secular, post-Enlightenment philosophy. By defining a cinema that knows that it is no longer a competitor to Hollywood (i.e. the classic self-other construction), Elsaesser also thinks past the kind of self-exoticism or auto-ethnography that is the perpetual temptation of such a co-produced, multi-platform ''national cinema as world cinema''. Discussing key filmmakers and philosophers, like: Claire Denis and Jean-Luc Nancy; Aki Kaurismäki, abjection and Julia Kristeva; Michael Haneke, the paradoxes of Christianity and Slavoj Zizek; Fatih Akin, Alain Badiou and JacquesTrade ReviewAccessible and rigorous, brimming with indispensable insights for students, scholars, and readers of film studies, continental philosophy, visual culture, and media theory ... It is a rare pleasure to read a work of film-philosophy that so carefully balances textual hermeneutics and political deconstructions. * Alphaville: Journal of Film and Screen Media *Constitutes an interdisciplinary epistemological and philosophical map, a challenging and precious tool to register, draw and address the complex socio-political dynamics of our time with a critical and experimental spirit ... [An] essential text (a must read for these dangerous times). * New Review of Film and Television Studies *Not only a rich exploration of the relationship between film and philosophy, European Cinema and Continental Philosophy makes a timely claim on the stakes of thinking Europe today. Elsaesser provides a new and urgently needed framework for grappling with the contemporary conditions of European politics and film culture. * Rosalind Galt, Professor of Film Studies, King’s College London, UK *Elsaesser argues for a contemporary European cinema of openness and multiplicity, for a cinema that foregrounds autonomy and liberation. These arguments are backed up by an impressive account of contemporary European philosophy and its influences on cinematic thought. Elsaesser develops the key notions of a ‘cinema of abjection’ and ‘post-heroic narratives’ and, as a result, he charts an impressive map of European cinema and a European politics to come. * Richard Rushton, Senior Lecturer in Film Studies, Lancaster University, UK *European Cinema and Continental Philosophy offers an important and deeply engaging reappraisal of the status of European cinema at a moment of apparent crisis. There is both defiance and brilliance in the way that Elsaesser, situating cinema in its wider philosophical, political, social, and cultural contexts, seizes upon its perceived marginality and irrelevance as the key to its strength, and presents the widespread “abjection” he identifies, as evidence of creative freedom and the embodiment of Europe’s core Enlightenment values. This volume combines daring originality with the impressive scholarship we have come to expect from Thomas Elsaesser. It is a work of major significance which will have a profound impact upon contemporary and future film studies. * Wendy Everett, Professor Emeritus, University of Bath, UK *Table of ContentsTable of Contents Chapter 1: European Cinema into the 21st Century: Enlarging the Context? Chapter 2: Film as Thought: The ‘Film and Philosophy’ Debate Chapter 3: Film as Thought Experiment Chapter 4: “Europe” – A Thought Experiment Chapter 5: A Cinema of Abjection? Chapter 6: Post-heroic Narratives and the Community-to-Come Chapter 7: Claire Denis, Jean-Luc Nancy and Beau Travail Chapter 8: Hitting Bottom: Aki Kaurismäki and the Abject Subject: The Man Without A Past Chapter 9: “Experimenting with Death in Life” Fatih Akin and the Ethical Turn Chapter 10: Black Suns and a Bright Planet: Lars von Trier’s Melancholia as Thought Experiment Chapter 11: Anatomy Lesson of A Vanished Country: Christian Petzold’s Barbara Chapter 12: Control, Creative Constraints and Self Contradiction: The Global Auteur Bibliography Filmography Index
£35.14
Bloomsbury Publishing PLC The Films That Made Me...
Book SynopsisPeter Bradshaw''s finest film reviews--the good, the bad, and the ugly. Peter Bradshaw is an excellent film reviewer for intelligent, curious filmgoers. He''s a true journalist who has served as The Guardian''s film critic for 20 years and who understands what his readers want to know. His reviews carry his deep experience, knowledge, and understanding of film lightly. Films That Made Me... allows Peter Bradshaw to share his knowledge and guidance directly with readers. His reviews are the substance of this book--from 20 years-worth of Guardian reviewing. Selections are themed, each with a personalized entry-point introduction. Sample contents include:Films that make me sad. Films that make me laugh. Films that make me think. Films that made me feel. Films that make me run for the hills. Films that I want to show to my son.Films that make me think about my parents. Films that make me squirm (in a good way). <Trade ReviewI can state without a shadow of a doubt - and there is not a jot of self interest here - that Peter Bradshaw is the greatest film critic of this or any other age... But seriously - agree or disagree - in this book there is wit, passion, articulacy, intelligence and above all utter belief in the overwhelming power of film. And it makes you laugh. I loved it -- Sam MendesThe Films That Made Me, as Bradshaw's many readers would expect, is knowledgeable, impassioned - and also very, very funny; as he would never write, we laughed out loud. * Esquire *Peter Bradshaw is the film reviewer for intelligent, curious cinemagoers … The Films That Made Me... collates his finest reviews from the last two decades, which carry with them his deep experience, knowledge and understanding of film … a must-read for all film fanatics. * Sight & Sound *Table of ContentsIntroduction The films that made me feel good The films that made me feel bad The films that made me laugh The films that made me cry The films that made me worry: 9/11, the War on Terror, Obama and the awful aftermath The films that made me scared The films that made me swoon: love stories and sexiness The films that made me freak: shocking movies The films that made me think about the real world: documentaries The films that made me reflect on childhood, mine and other people’s The films that made ponder my suitability for Lycra The films that made me take my protein pills and put my helmet on The films that made me consider Tilda Swinton’s maxim: “There is no such thing as an old film.” Index
£15.29
Bloomsbury Publishing PLC Cinema I
Book SynopsisGilles Deleuze was one of the most influential figures in twentieth-century philosophy, well known for his works on the philosophy of art and for his master-works, Difference and Repetition and - with Felix Guattari - A Thousand Plateaus and Anti-Oedipus.Cinema I is the first volume of Deleuze's revolutionary work on the theory of cinema (concluded in Cinema II, also available in the Bloomsbury Revelations series). Drawing on the philosophy of Henri Bergson, Deleuze identified his work as a logic of the cinema, setting out to isolate certain cinematographic concepts philosophically. To do this, he brings together diverse examples from a variety of major filmmakers, including Ingmar Bergman, Charlie Chaplin, Sergei Eisenstein and Alfred Hitchcock, among many others.Trade Review "Cinema I and Cinema II must be understood as works of philosophy, not of film criticism. They are Deleuze's reflection on the new ways the cinema enables us to think about time and movement, opening up insights into semiotics and our ideological construction of a world increasingly experienced through representational media.... The main purpose of these books is to identify and explore the implications of a vital shift from classical, pre-World War II cinema of the movement-image to post-World War II cinema of the time-imaging.... "Cinema 1 and Cinema 2 perhaps ultimately have more to teach us about philosophy, conceptions of subjectivity, and hermeneutics than to say something about any specific film. These books are challenging because they develop their own vocabulary in dialogue with the history of philosophy, and they assume a wide knowledge of films from the Soviet, European and Hollywood traditions. They reward the effort required to read them, however, for the original tools with which they provide us to understand cinema and semiotics more generally. Deleuze concludes that it is important to think of cinema not as a language, but as a way of bringing to light 'intelligible content' which is a condition through which language constructs its objects (Cinema 2, p.251). Thus, purely optical and sound images which do not extend into action might be one way in which aesthetics might help us break outside of the determining structure of linguistic systems, enabling us to imagine the world otherwise. Deleuze helps us to see cinema as more than just a collection of texts but as additionally 'a new practice of images and signs, whose theory philosophy must produce as conceptual practice' (Cinema 2, p. 269)."- Sherryl Vint, Film International, Issue 27v -- Film InternationalTable of ContentsPreface to the English edition \ Translators' Introduction \Preface to the French Edition \ 1. Theses on Movement: First Commentary onBergson \ 2. Frame and Short, Framing and Cutting \ 3. Montage \ 4. TheMovement-Image and its Three Varieties: Second Commentary on Bergson \ 5. ThePerception-Image \ 6. The Affection-Image Face and Close-Up \ 7. TheAffection-Image: Qualities, Powers, Any-Space-Whatevers \ 8. From Affect toAction: The Impulse Image \ 9. The Action-Image: The Large Form \ 10. The Action-Image:The Small Form \ 11. Figures, or the Transformation of Forms \ 12. The Crisisof the Action-Image \ Glossary \ Notes \ Index.
£21.84
Bloomsbury Publishing PLC Alfred Hitchcock
Book SynopsisHitchcock was a masterful director, popular with audiences of all ages and critically acclaimed both during and after his unusually long career. What may have been sensed by many viewers but not fully articulated until now is the extent to which his works subtly engage philosophical themes: What is evil, and how does it shield and reveal itself? Can we know what is inside the mind of another person? What is at stake when one knows the truth but cannot speak of it or cannot persuade others? How is Hitchcock's loving critique of humanity manifested in his films? Why are Hitchcock's works so often ambiguous? What is the hidden purpose and theory behind his use of humor?Hitchcock employs cinematic techniquesfrom camera angles and use of light to editing and soundpartly to convey suspense and drama but also to engage and advance philosophical issues, ranging from identity crises to moral ugliness. Roche unlocks Hitchcock's engagement with philosophical themes, and he does so in a way that aTrade ReviewWith characteristic precision, Mark Roche urges us to see through the thrills and entertainment value of Alfred Hitchcock’s films into their philosophical heart. He convincingly argues that timeless philosophical questions are central, not incidental, to Hitchcock’s work. We are better people for thoughtfully engaging them. * Joseph G. Kickasola, Professor of Film and Digital Media, Baylor University, USA *Alfred Hitchcock was an entertainer and an artist, not a philosopher. Mark Roche shows that his films, however, were profoundly and coherently philosophical. Roche brings his enthusiasm and erudition to the puzzle-master that was Hitchcock. He teases out the director’s underlying humanity and irreverent religious thinking. Moreover, he achieves the delightfully unexpected result of making us want to view these often-viewed films once again. * Donald Crafton, Professor Emeritus, University of Notre Dame, USA *Mark Roche's book is a very valuable contribution to Hitchcockian scholarship. His insightful reflections will be a welcome addition to the library of anyone interested in the study of film and philosophy. My admiration is so great that I include an interview with him in my course on Existentialism and Film.” * Sander Lee, Professor of Philosophy, Emeritus, Keene State College, USA *Written with depth, lucidity and precision, Mark Roche’s masterful analysis of Hitchcock’s cinematography demonstrates that, propelled by suspense and humor, fear and laughter, courage and love, his films open up the possibility of a reconciliation of tragedy and comedy in human existence. * Dmitri Nikulin, Professor of Philosophy, The New School for Social Research, USA *Table of ContentsPreface Acknowledgements 1. Hitchcock's Philosophical Universe 2. Hitchcock as Master of Form 3. Shadow of a Doubt as a Cinematic and Philosophical Masterpiece 4. Hitchcock and Beyond 5. Conclusion Bibliography Index
£20.89
Edinburgh University Press Velvet Curtains and Gilded Frames
Book SynopsisAnalyzes the visual and cultural context of Europe's first feature films from 19th century painting to pictorial photography
£76.50
Edinburgh University Press Indefinite Visions
Book SynopsisWith a range of approaches, from aesthetics to phenomenology to production studies, the authors in this volume investigate techniques, themes and concepts that emerge from this wilful excavation of the moving image s material base.
£25.64
Edinburgh University Press Expressionism in the Cinema
Book SynopsisAn innovative and wide-ranging collection, Expressionism in Cinema re-canonizes the classical Expressionist aesthetic, extending the critical and historical discussion beyond pre-existing scholarship into comparative and interdisciplinary areas of film research that reach across national boundaries.
£26.09
Edinburgh University Press Worldly Desires
Book SynopsisWith case studies of popular stars like Linda Lin Dai and Edison Chen, and spectacular genres like the Shaolin Temple cycle of martial arts films, the book explores what it meant to be both cosmopolitan and Chinese in the second half of the 20th century.
£20.89
Edinburgh University Press Impossible Puzzle Films
Book SynopsisBy blending film studies and cognitive sciences, Miklos Kiss and Steven Willemsen's study on 'Impossible Puzzle Films 'looks into the relation between complex storytelling and the mind.
£22.79
Edinburgh University Press Hong Kong NeoNoir
Book SynopsisThe first comprehensive collection on the subject of Hong Kong neo-noir cinema, this book examines the way Hong Kong has developed its own unique and culturally specific version of the neo-noir genre, while at the same time drawing on and adapting existing international noir cinemas.
£26.09
Edinburgh University Press Abbas Kiarostami and FilmPhilosophy
Book SynopsisMathew Abbott presents a powerful new film-philosophy through the cinema of Iranian director Abbas Kiarostami. Mathew Abbott argues that Kiarostami's films carry out cinematic thinking: they do not just illustrate pre-existing philosophical ideas, but do real philosophical work.
£22.79
Edinburgh University Press Refocus the Films of Budd Boetticher
Book SynopsisAn evaluation of one of the most important yet overlooked of Hollywood auteurs Budd Boetticher who was responsible for a number of classic films, including his famous 'Ranown' series of westerns starring Randolph Scott.
£27.54
Edinburgh University Press Habiba Djahnine
Book SynopsisExplores the work and legacy of feminist documentary filmmaker, Habiba Djahnine.
£17.50
Edinburgh University Press Reanimated
Book SynopsisExplores American horror remakes produced since 2000 within key cultural, industry and reception contexts
£81.00
Edinburgh University Press The Cinema of Ozu Yasujiro
Book SynopsisThis book offers a new interpretation of Ozu Yasujiro's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence.
£26.99
Edinburgh University Press Phases of the Moon
Book SynopsisProvides the first academic monograph dedicated to developing a cultural understanding of the werewolf film.
£20.89
Edinburgh University Press Refocus the Films of Pedro Costa
Book SynopsisThis is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and video installations.
£19.94
Edinburgh University Press Ai in the Movies
Book SynopsisAnalyses the representation of artificially intelligent entities in Hollywood film
£76.50
Edinburgh University Press Norwegian Nightmares
Book SynopsisOffers the first book-length study of Norwegian horror cinema
£18.99
Edinburgh University Press Vampires in Italian Cinema 19561975
Book SynopsisDemonstrates how and why the transnational figure of the vampire was appropriated by Italian genre filmmakers between 1956 and 1975
£19.94
Edinburgh University Press Ricardo Dar n and the Construction of Latin
Book SynopsisExamines the star persona of Argentine actor Ricardo Dar nTrade Review"In this brilliant book, Clara Garavelli presents an incisive and comprehensive analysis of Argentina's leading actor. Garavelli places Dar n within the national context of the Argentine cultural industries and traces his rise to transnational stardom. A must read for anyone interested in Argentine cinema and culture, star studies and Ricardo Dar n." -Deborah Shaw, University of Portsmouth
£76.50
Edinburgh University Press Refocus the Films of Joao Pedro Rodrigues and
Book SynopsisAn exploration of the films of Joao Pedro Rodrigues and Joao Rui Guerra da Mata.
£22.49
Edinburgh University Press A History of Danish Cinema
Book SynopsisThe first English-language book to cover Danish cinema from the 1890s to the present day.Trade Review"Danish cinema has had a worldwide impact at least twice, through the Nordisk company's spectacular success before the First World War, then when Dogme 95 revitalised independent filmmaking on the threshold of the digital era. But of course there's much more to discover and assess. This shrewdly planned new history sheds fresh light on many aspects of Denmark's rich screen heritage, and also offers an exemplary model for 'small country' media history." -Ian Christie, Birkbeck College, University of London
£23.74
Edinburgh University Press The Pulse in Cinema
Book SynopsisThe Pulse in Cinema acknowledges that the pulse is felt in the body, yet also argues that the pulse has a wider reaching effect in cinema than simply the physiological response of the spectator to the image it's the affective force in cinema.
£81.00
Edinburgh University Press Contemporary Cinema and the Philosophy of Iris
Book SynopsisBringing together Murdoch's moral philosophy and contemporary cinema to build a dialogue about vision, ethics and love, author Lucy Bolton encourages us to view cinema as a way of studying other worlds and moral journeys.
£20.89
Edinburgh University Press Killers Clients and Kindred Spirits
Book SynopsisBy giving shape to Imamura Shohei's career, this collection positions him as a stylistic innovator as well as an ethnographic investigator into Japanese culture and tradition; the preeminent examiner of the hidden, barely repressed underpinnings of Japanese society.
£26.59
Edinburgh University Press The Incomplete Project of Schizoanalysis
Book SynopsisIn these 20 essays written over a 20-year period, Buchanan shines a light on the experimental nature of the work of Deleuze and Guattari. He shows it to be constitutively incomplete as their project was an attempt to understand our contemporary situation which is constantly changing and can therefore never be understood in a complete way. Clustered around five main themes - Method, Film, Space, Analysis and Assemblages - Buchanan''s book will appeal to experts as well as those new to Deleuze and Guattari working across literary criticism, film studies, cultural studies, political theory and philosophy.
£24.69
Edinburgh University Press Hammer Goes to Hell
Book SynopsisExplores the production issues and cultural contexts of Hammer's unmade filmsTrade Review"Hammer Films is known the world over for its trailblazing, full colour, gothic horror films. Yet, despite its iconic status it failed to get many a project off the ground. In Hammer Goes to Hell, Kieran Foster explores a number of these projects. Drawing on new research, Foster offers a lively and engaging revisionist history bursting with new information and insight." -Johnny Walker, Author of Contemporary British Horror Cinema: Industry, Genre and Society and Editor of Hammer and Beyond: The British Horror Film.
£76.50
Orion Publishing Co The Castle on Sunset
Book SynopsisFor nearly ninety years, Hollywood''s brightest stars have favoured the Chateau Marmont as a home away from home. Filled with deep secrets but hidden in plain sight, its evolution parallels the growth of Hollywood itself. Perched above the Sunset Strip like a fairy-tale castle, the Chateau seems to come from another world entirely. An apartment-house-turned-hotel, it has been the backdrop for generations of gossip and folklore: 1930s bombshell Jean Harlow took lovers during her third honeymoon there; director Nicholas Ray slept with his sixteen-year-old Rebel Without a Cause star Natalie Wood; Anthony Perkins and Tab Hunter met poolside and began a secret affair; Jim Morrison swung from the balconies, once nearly falling to his death; John Belushi suffered a fatal overdose in a private bungalow; Lindsay Lohan got the boot after racking up nearly $50,000 in charges in less than two months. Much of what''s happened inside the Chateau''s walls has eluded the publTrade ReviewFascinating, dishy, and glimmering with insight, THE CASTLE ON SUNSET is a must-read for anyone interested in the rich and racy history of Tinseltown. Shawn Levy's entertaining and deeply researched biography of a building chronicles experiences both glamorous and sordid, historical and contemporary. This is the definitive book about Hollywood's most storied hotel -- Cheryl Strayed, author of WILD: A JOURNEY FROM LOST TO FOUNDChateau Marmont in West Hollywood is unquestionably one of the most dauntingly glamorous hotels in the world [and this book is] an exuberant record of its life and times . . . Levy's pages teem with extraordinary and extreme personalities -- Simon Callow * THE SUNDAY TIMES *I felt like I was sneaking around the hallways of the Chateau after midnight and peering through keyholes in history . . . Lovingly researched and wonderfully dishy -- Joe Hagan, author of STICKY FINGERS: THE LIFE AND TIMES OF JANN WENNER AND ROLLING STONE MAGAZINEI want to live inside this book! -- Taylor Jenkins Reid, author of DAISY JONES & THE SIXAs elegant and naughty as the hotel's guests . . . tells a secret history of American film, fame and decadence. It's a spellbinding read -- Peter Ames Carlin, author of HOMEWARD BOUND: THE LIFE OF PAUL SIMONA fabulously fizzy account * VANITY FAIR *A fascinating exposé of wild nights and celebrity scandals at Hollywood's iconic hotel * GRAZIA *An irresistible, deliciously dishy deep-dive . . . told in prose so witty and alive, you feel you're sitting at the bar with Dominick Dunne. This is a book worthy of its glamorous, alluring subject -- Wednesday Martin, author of PRIMATES OF PARK AVENUE: A MEMOIRHollywood and Beverly Hills were separated by two miles of unpaved road when the Chateau Marmont - modelled on a Loire Valley castle by its owner Fred Horowitz - was completed in 1929. Levy's witty, intimate account describes how the flowering of hotspots on the Sunset Strip beginning in the 1930s made the Marmont a show-business magnet -- Jane Ciabattari, BBC Culture
£9.49
Duke University Press Shimmering Images
Book SynopsisEliza Steinbock traces how cinema offers alternative ways to understand gender transitions through a specific aesthetics of change, thereby opening up new means to understand transgender ontologies and epistemologies.Trade Review"The greatest achievement of Shimmering Images is Steinbock’s contestation of the status of the 'visible,' and of the attendant concepts expressed in the hegemonic Enlightenment insistence that to see something is to know it: 'visuality,' 'recognition,' 'knowledge,' and 'objectivity.'. . . . Steinbock leaves the reader with new tools for examining trans embodiment with(in) cinema." -- Elizabeth Berman * Feral Feminisms *"Shimmering Images is often exquisitely poetic, evoking Roland Barthes's work as it describes the author's passionate investigation of media, mediation, and embodiment.… Steinbock's concept of shimmering images expresses how we thrill to certain mediated moments not in spite of, but because of, who we are and who we are becoming—in dialogue with the media that we encounter, that we seek out, and that shimmers in our lives." -- Nicole Morse * Critical Inquiry *"Whether you are a cinephile, transgender studies scholar, or simply curious, Shimmering Images comes highly recommended to readers from a wide array of backgrounds." -- Eva Theunissen * Tijdschrift voor Genderstudies *“Shimmering Images contains a rich and topical cultural analysis extending across time and across genres that is underpinned by a commitment to interdisciplinary research that will undoubtedly be of value for scholars and students in film studies, transgender studies, feminist theory, cultural studies, and queer theory.” -- Lieke Hettinga * Screen Bodies *"Offering insight into how systemic cruelty is mediated by culturally determined epistemes, Shimmering Images provides a practical framework for how we can interface with these systems, as trans people and trans-lovers, in potentially resistant or subversive ways." -- Isaac Preiss * TSQ *Table of ContentsPreface. Call Me They vii Acknowledgments xi Introduction. Disjunction and Conjunction: Thinking Trans through the Cinematic 1 1. Shimmering Phantasmagoria: Trans/Cinema/Aesthetics in an Age of Technological Reproducibility 26 2. Shimmering Sex: Docu-Porn's Trans-Sexualities, Confession Culture, and Suturing Practices 61 3. Shimmering Multiplicity: Trans*Forms in Dandy Dust and I.K.U. from Dada to Data to D@D@ 107 Conclusion. An Ensemble of Shimmers 145 Notes 157 Bibliography 199 Index 219
£999.99
Duke University Press City of Screens
Book SynopsisJasmine Nadua Trice examines the politics of cinema circulation in early-2000s Manila, showing how the rising independent Philippine cinema movement has been a site of contestation between filmmakers and the state, each constructing different notions of a prospective, national public film audience.Trade Review“From the pirate video stalls of the old city center to the shopping mall multiplexes of Manila, Jasmine Nadua Trice examines the fragmented and multifaceted assemblage of alternative Philippine cinema. Her passionate attention to detail and wide-ranging engagement with critical theory provide a compelling model for the study of cinema cultures in the global South.” -- Michael Curtin, Distinguished Professor of Film and Media Studies, University of California, Santa Barbara“Jasmine Nadua Trice persuasively argues that film circulation both envisions and occasionally actualizes the dream of a national film audience for counterdominant cinema in the Philippines. She confronts head-on one of the thorniest problems of politically or aesthetically progressive Philippine film: filmmakers’ attempts to reach the alienated domestic moviegoer. Her fresh, syncretic approach and elegant thinking make City of Screens a groundbreaking, must-read book not only for readers not only interested in Philippine cinema but also for those attuned to the dynamics of distribution, exhibition, and circulation beyond Hollywood. Representing a wholly original and highly generative departure from previous scholarship, City of Screens is a major intervention.” -- Bliss Cua Lim, author of * Translating Time: Cinema, the Fantastic, and Temporal Critique *"Overall, there are a number of themes to appreciate in City of Screens, especially if one is not familiar with local independent cinema and its circuits of distribution. The book’s contribution also lies in its use of interdisciplinarity, applying rhetoric, urban studies, geography, and anthropology to explain why alternative cinema remains limited in its circulation. . . . The book’s most poignant yet most grounded point may be Trice’s assertion that the formation of alternative film culture and speculative publics will remain an asymptotic process—never being fully finished but always within reach." -- Cherish Aileen A Brillon * Philippine Studies *"Trice displays a generosity to her marginalized objects of study by offering possible questions and connections instead of forcing predetermined approaches and interpretations. Her book is distinguished by its careful selection of less obvious examples, which are described and analyzed in rich language that yields compelling insights with every reading. . . . With its innovative methods and unexpected ideas, which distill the lost vibrancy of a transitional historical moment, this monograph will reverberate with readers yet to come." -- Elmo Gonzaga * Journal of Cinema and Media Studies *Table of ContentsAcknowledgments ix Introduction 1 1. Revanchist Cinemas and Bad Audiences, Multiplex Fiestas and Ideal Publics 39 2. The Quiapo Cinematheque and Urban-Cinematic Authenticity 79 3. Alternative Exhibition and the Rhythms of the City 113 4. "Not for Public Exhibition": Cinema Regulation, Alternative Cinema, and a Rational Body Politic 153 5. "Hollywood Is Not Us": National Circulation and the Speculative State 189 Epilogue 230 Notes 241 Bibliography 281 Index 299
£19.54
Duke University Press Queer African Cinemas
Book SynopsisIn Queer African Cinemas, Lindsey B. Green-Simms examines films produced by and about queer Africans in the first two decades of the twenty-first century in an environment of increasing antiqueer violence, efforts to criminalize homosexuality, and other state-sanctioned homophobia. Green-Simms argues that these films not only record the fear, anxiety, and vulnerability many queer Africans experience; they highlight how queer African cinematic practices contribute to imagining new hopes and possibilities. Examining globally circulating international art films as well as popular melodramas made for local audiences, Green-Simms emphasizes that in these films queer resistance—contrary to traditional narratives about resistance that center overt and heroic struggle—is often practiced from a position of vulnerability. By reading queer films alongside discussions about censorship and audiences, Green-Simms renders queer African cinema as a rich visual archive that documentsTrade Review“Conceptually rich and deeply pedagogical, Queer African Cinemas models how to think about African queer worldmaking. Lindsey B. Green-Simms wrenches resistance away from heteronormative duty and national obligation to track its wayward possibilities. Resistance is no longer an exhausted term that excludes African queers, but one that centers African queer practices and freedoms. Green-Simms listens for how African queer audiences navigate representation and find succor even in hostile places. A joy to read.” -- Keguro Macharia, author of * Frottage: Frictions of Intimacy across the Black Diaspora *“Lindsey B. Green-Simms’s compelling insights prod us to think about resistance as multilayered, incomplete, and even messy in ways that reveal how the vulnerabilities of queer life exist alongside multiple modes of survival, care, and aspirational imaginaries. Queer African Cinemas is engaging, generative, and remarkably persuasive.” -- Grace A. Musila, author of * A Death Retold in Truth and Rumour: Kenya, Britain and the Julie Ward Murder *“In Queer African Cinemas, Green-Simms offers an insightful and illuminating analysis. . . . Queer African Cinemas makes an important and necessary intervention in queer studies as it works to decenter queerness from the global north and to challenge common understandings of acceptable means of resistance, affect, and representation.” -- Bruno Guaraná * Film Quarterly *“[Green-Simms’s] musings on resistance, aspiration, and resilience, among other difficult-to-define and identity-specific terms, is cultural theory at its finest. Queer African Cinemas will be impactful far beyond its range of study. Highly recommended.” -- G. R. Butters Jr. * Choice *"Written in clear prose and brilliantly self-reflexive in method, this sophisticated reading of queer cinematic texts deserves attention. . . . [A] must-read for those interested in queerness and film studies in Africa and beyond." -- Naminata Diabate * GLQ *Table of ContentsAcknowledgments ix Introduction. Registering Resistance in Queer African Cinemas 1 1. Making Waves: Queer Eccentricity and West African Wayward Women 37 2. Touching Nollywood: From Negation to Negotiation in Queer Nigerian Cinema 73 3. Cutting Masculinities: Post-Apartheid South African Cinema 123 4. Holding Space, Saving Joy: Queer Love and Critical Resilience in East Africa 165 Coda. Queer African Cinema's Destiny 203 Notes 211 Filmography 227 References 231 Index 243
£63.75
Bloomsbury Publishing Plc A History of Italian Cinema
Book SynopsisA History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema - which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars.The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustratTrade ReviewBy reconfiguring and expanding upon Bondanella’s original work, both authors have ensured that A History of Italian Cinema remains relevant and necessary as Italy’s cinemascape continues to evolve. It is, therefore, a piece of scholarship akin to that which it describes, adapting to waves of the present while grasping to the roots of its past. * Historical Journal of Film, Radio and Television *Peter Bondanella's masterly A History of Italian Cinema was a monument to a lifetime of passionate scholarly engagement with the films and film-makers of the peninsula. This second edition, revised and expanded with Federico Pacchioni, integrates new themes and takes full account of the latest approaches to the history of Italian cinema. It will be an indispensable reference work for academics, students and general readers for years to come. * Stephen Gundle, Professor of Film and Television Studies, University of Warwick, UK *This new edition of History of Italian Cinema is the most comprehensive, insightful and appealing book on the subject. Ideal for teaching a variety of courses and levels, and well-suited for a general reader, "History of Italian Cinema" will remain the gold standard in a crowded field for years to come. * John P. Welle, Professor of Italian and Concurrent Professor of Film, Television, and Theatre, University of Notre Dame, USA *In this expanded, updated version, A History of Italian Cinema reclaims its status as the foremost English language work on the history of Italian film. Written in a clear and compelling style, balancing vast coverage with vivid sketches of individual films, this book provides an indispensable resource for scholars and film buffs eager to enrich their knowledge of this grand, and ever vital cinematic tradition. * Millicent Marcus, Professor and Chair, Department of Italian, Yale University, USA *This extensively revised edition of the classic English-language history of Italian cinema reads like a completely fresh work. Clearly written, it takes the reader from the beginnings of cinema to the most recent developments, covering everything from neorealism and art cinema to popular genres like the giallo, horror and comedy and combining a broad overview with detailed analyses of individual films. Lavishly illustrated and with an up-to-date bibliography, this book is the essential guide to the subject for students, specialists and general readers. * David Forgacs, Zerilli-Marimò Professor of Contemporary Italian Studies, New York University, USA *Table of ContentsPreface Acknowledgement 1. An Ancient Cradle for a Newborn Medium: The Rise of Silent Cinema in Italy 2. Industry and Ideology: The Talkies during the Fascist Era 3. Neorealism: A Revolutionary and Problematic ?New Film Aesthetic 4. Neorealism’s Many Faces: Widening the Range of the Camera’s Eye 5. The Cinema of the Reconstruction and the Return of Melodrama 6. Entertainment on an Epic Scale: The Italian Peplum 7. Commedia all’italiana: Social Criticism for Laughter’s Sake 8. The Italian Art Film: Auteurism in Visconti, Antonioni, Fellini, and De Sica 9. Neorealism’s Legacy to a New Generation, and the Italian Political film 10. Myth, Marx, and Freud in Pier Paolo Pasolini and Bernardo Bertolucci 11. The Spaghetti Nightmare: The Heyday of Italian Horror Films 12. A Fistful of Pasta: Sergio Leone and the Spaghetti Western 13. Mystery, Gore, and Mayhem: The Italian Giallo 14. The Poliziesco: Italian Crime Films from the 1970s to the Present 15. Italy’s Truly Popular Genre: Tragicomedy from the 1980s to the Present 16. A Fellinian Ascendant: The Auteur in Contemporary Italian Cinema 17. Weaving Present and Past: The Contemporary Italian Drama Notes Bibliography List of photo credits Index
£33.24
Bloomsbury Publishing Plc The Animation Studies Reader
Book SynopsisThe Animation Studies Reader brings together both key writings within animation studies and new material in emerging areas of the field. The collection provides readers with seminal texts that ground animation studies within the contexts of theory and aesthetics, form and genre, and issues of representation. The first section collates key readings on animation theory, on how we might conceptualise animation, and on some of the fundamental qualities of animation. New material is also introduced in this section specifically addressing questions raised by the nature, style and materiality of animation. The second section outlines some of the main forms that animation takes, which includes discussions of genre. Although this section cannot be exhaustive, the material chosen is particularly useful as it provides samples of analysis that can illuminate some of the issues the first section of the book raises. The third section focuses on issues of representation and how the medium of aTrade Review[A] very good resource for a comprehensive understanding of the field … The Animation Studies Reader’s editors certainly succeeded in demonstrating the richness and diversity of animation and animation studies. * H-SHERA *Featuring an impressive array of important topics by leading figures in the field of animation studies, this book provides an excellent resource for introductory or advance study. It is a much-needed resource for courses, reflecting the ubiquity of animated imagery in its wide ranging forms and contexts. * Maureen Furniss, Director, Experimental Animation, California Institute of the Arts, USA *The essays in this volume expose to scrutiny a wide range of questions essential to our comprehensive understanding of the phenomenon and process of animation, as well as its role not only in contemporary cinema but in the widest cultural and social contexts. Editors Nichola Dobson, Annabelle Honess Roe, Amy Ratelle and Caroline Ruddell, through twenty-two carefully selected texts, provide complex and exhaustive research of the field of animation. The carefully-structured Reader argues that animation is a far reaching and multi-layered phenomenon that both demands and deserves a carefully proposed and mapped out multiperspective approach. The theoretical platform and analytical optique are presented in a systematic, detailed and didactic way, making this collection of texts accessible for the widest reading audience. * Dr. Nevena Dakovic, Faculty of Dramatic Arts, University of Arts, Belgrade, Serbia *The Animation Studies Reader is a formidable compilation of outstanding contributions to the body of scholarship in modern animation studies. Well organized into three main thematic sections, it presents a veritable "who is who" of the most eminent scholars in the field. It covers a wide range of topics that reflect the main areas of academic significance and contemporary relevance. As such, the tome is an indispensable treasure trove for animation theorists, students and academically inclined practitioners alike. Highly recommended. * Hannes Rall, Associate Professor, Nanyang Technological University, Singapore *Table of ContentsList of Figures List of Contributors Acknowledgements Introduction Nichola Dobson, Annabelle Honess Roe, Amy Ratelle and Caroline Ruddell Section One: Theory, Philosophy, Concepts 1. Approaching Animation and Animation Studies Caroline Ruddell (Brunel University London, UK) and Lilly Husbands (University of Arts London, UK and Middlesex University, UK) 2. The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde Tom Gunning (University of Chicago, USA) 3. Re-Animating Space Aylish Wood (University of Kent, UK) 4. Realism and Animation Mihaela Mihailova (Michigan State University, USA) 5. The Uncanny Valley Lisa Bode (University of Queensland, Australia) 6. Animation and Performance Annabelle Honess Roe (University of Surrey, UK) 7. Animation and Memory Victoria Grace Walden (University of Sussex, UK) 8. Some Thoughts on Theory-Practice Relationships in Animation Studies Paul Ward (Arts University Bournemouth, UK) Section Two: Forms and Genres 9. Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary Annabelle Honess Roe (University of Surrey, UK) 10. Experimental Animation Paul Taberham (Arts University Bournemouth, UK) 11. Features and Shorts Christopher Holliday (King's College London, UK) 12. Advertising and Public Service Films Malcolm Cook (University of Southampton, UK) 13. Political Animation and Propaganda Eric Herhuth (Tulane University, USA) 14. TV Animation Nichola Dobson (Edinburgh College of Art, UK) 15. Animation and/as Children’s Entertainment Amy Ratelle (editor of Animation Studies) 16. Video Games and Animation Chris Pallant (Canterbury Christ Church University, UK) Section Three: Representation: Frames and Contexts 17. Race, Resistance and Violence in Cartoons Nicholas Sammond (University of Toronto, Canada) 18. We’re Asian. More Expected of Us: The Model Minority and Whiteness in King of the Hill Alison Reiko Loader (Concordia University, Canada) 19. Transformers Rescue Bots: Representation in Disguise Nichola Dobson (Edinburgh College of Art, UK) 20. Anime’s Bodies Rayna Denison (University of East Anglia, UK) 21. Disney Films 1989-2005: The “Eisner” Era Amy M. Davis (University of Hull, UK) 22. Taking an Appropriate Line: Exploring Representations of Disability within British Mainstream Animation Van Norris (University of Portsmouth, UK) Index
£27.54
Bloomsbury Publishing Plc The Language of Film
Book SynopsisAn effective filmmaker needs to have a good understanding of how film language works, and more importantly, how to actively influence an audience's thoughts and feelings and guide their gaze around the screen.Packed with examples from classic and contemporary cinema, The Language of Film reveals the essential building blocks of film and explains how the screen communicates meaning to its audience. You will learn about fundamental theories and concepts, including film semiotics, narrative structures, ideology, and genre, as well as how elements such as shot size, camera movement, editing technique, and color come together to create the cinematic image.With insightful case studies and discussion questions, dozens of practical tips and exercises, and a new chapter on film sound, this new edition of The Language of Film is a must-have guide for aspiring filmmakers.Trade ReviewThe Language of Film is both a passionate and instructive book that illuminates the reader with the pleasures associated with the discovery of film theory, history and aesthetics. The essence of the book will awaken the desire to transform an understanding of these primary film elements into practice. * Richard Litvin, Undergraduate Film & TV, Tisch School of the Arts, New York University, USA *This exploratory reading is notably succinct, informative and moreover, digestible from a beginner's perspective. * Adrian Beasley, London Metropolitan University, UK *I like the idea of having a text for this class that isn't just about the technical aspects of what a camera is and how to use it; and I really appreciate the easy to read layout and and small bites of information. * Christine Dehne , Manhattanville, USA *An excellent book - relevant and interesting. Written in a clear manner. The case studies make the reading more enjoyable. Great style, clear format - very well presented. * Donna Stephens, Plymouth College of Art, UK *An extremely enjoyable and engaging read ... For novice film-makers complex theory is made accessible in bite-sized pieces, supported by interesting case studies and 'asides' of film fact/history. * Elaine Drainville, University of Sunderland, UK *This book provides the perfect blend between linguistic theory and visual entertainment. With its multitude of examples this edition presents core aspects of film analysis in an engaging and fun way. * Sonja Molnar, University of Salzburg, Austria *A good basic text, covering simple theoretical aspects of film in relation to practice. Used in classes and on reading list for the first project in Year 1. Useful as introduction to the relationship between theory and practice. * Liam Wells, Norwich university College of the Arts, UK *Tastefully done, and well illustrated to highlight the points it makes ... a healthy guide to students looking for an introduction to the art of film. * Meraj Ahmed Mubarki, Maulana Azad National Urdu University, India *Very good text and one of the best I have read on this subject. * Mikael Sorknaes, Business Academy Southwest, Denmark *An excellent book, brilliant resource, perfect layout. * Neil Smith, York College, UK *An interesting and contemporary look at cinema with a clear break down of topics and themes. I structured my classes around many of the chapter headings. * Nicole Antebi, California State University-Monterey Bay, USA *Table of ContentsIntroduction Chapter 1: Semiotics: Images; The Visual Mind; Reading the Signs; Making Meaning; Codes and Filters; Case Study: Seven; Chapter Summary Chapter 2: Narrative: Theories of Storytelling; Structuralism; Theories of Structure; Genette’s Narrative; Discourse; Music; Short Film and Narrative; Case Study: The Secret Life of Walter Mitty; Chapter Summary Chapter 3: Intertextuality: Text; Quotation; Allusion; Cult Film; Genre; Case Study: Citizen Kane; Chapter Summary Chapter 4: Ideology: Ideological Analysis; Realism; Ideology and Genre; Case Study: Dead Man’s Shoes; Chapter Summary Chapter 5: Frames and Images: The Shot; Distance, Height and Framing; Shot Distances; Mise en Scène; The Mobile Camera Frame; Time and the Long Take; Case Study: Hero; Chapter Summary Chapter 6: Sound: Film: An Audiovisual Medium; Sound Properties; Diegetic and Non-diegetic Sound; Offscreen Space and Audio; The Voice; Music; Case Study: Berberian Sound Studio; Chapter Summary Chapter 7: Constructing Meaning: Continuity Editing; Discontinuity Editing; Montage; Pacing; Case Study: Psycho; Chapter Summary Conclusion Film Language Glossary Index Acknowledgements and Credits
£29.69
Bloomsbury Publishing Plc Third Cinema World Cinema and Marxism
Book SynopsisThird Cinema, World Cinema and Marxism offers an analysis of Third Cinema and World Cinema from the perspective of Marxism. Its starting point is an observation that of all cinematic phenomena none is as intimately related to Marxism as Third Cinema, which decries neoliberalism, the capitalist system, and the Hollywood model of cinema as mere entertainment to make money. This is largely to do with the fact that both Marxism and Third Cinema are preoccupied with inequalities resulting from capital accumulation, of which colonialism is the most extreme manifestation. Third Cinema also defines cinematic modes in terms of representing interest of different classes, with First Cinema expressing imperialist, capitalist, bourgeois ideas, Second Cinema the aspirations of the middle stratum, the petit bourgeoisie and Third Cinema is a democratic, popular cinema.Trade Review[T]his elucidating book ... [highlights] the continued relevance and crucial importance of politically engaged film practices and scholarship in all their diversity. * Film-Philosophy Journal *Mazierska and Kristensen have put together a collection of bold, provocative and at times incendiary essays that challenge the alleged progressiveness of concepts such as world cinema and transnationalism by inviting Marxism back into the debate. The book succeeds in rescuing and reinvigorating the concept of Third Cinema by expanding it into other, hitherto unexplored avenues, and by opening its canon to overlooked works, past and present. In so doing, Third Cinema becomes Third Cinemas and World Cinema undergoes a fierce Marxist critique that puts its very relevance and validity to the test. * Cecília Mello, Senior Lecturer in Film Studies and Film Editing, University of São Paulo, Brazil *Table of ContentsIntroduction: Ewa Mazierska and Lars Kristensen Part 1: Revisiting Films Chapter 1: Exporting Cinemarxism in the 1960s: The Case of Soy Cuba Andrei Rogatchevski Chapter 2: Brazil’s Open Cities: Mimicry, Sexuality, and Class Dynamics in the Urban Landscape of Cinema Novo Bruce Williams Chapter 3: “Unreal City”: The Aesthetics of Commitment in Pratidwandi and Interview Koel Banerjee Chapter 4: The Peruvian Kuntur Group: A Marxist- Indigenist Filmmaking Practice Isabel Seguí Part 2: Comparative Readings Chapter 5: Third Cinema in the 21st century: political utopia in the new documentary films of Fernando Solanas Mariano Paz Chapter 6: Third Cinema after the turn of the millennium: Reification of the sign and the possibility of transformation Paulina Aroch and André Dorcé Chapter 7: We Have Never Been Transnational: The Female Condition in Socialist Realism, Postsocialism, and Third Cinema Lucian Tion Part 3: Third Cinema versus World Cinema Chapter 8: Dialogical Encounters on the Cinema of Revolution: Save the Children Fund Film and Metalepsis in Black David Archibald and Finn Daniels-Yeomans Chapter 9: Newsreel Front: A Revived Vision of Third Cinema in Slovenia Andrej Šprah Chapter 10: Listening to the Future: The Film- Philosophy of Abderrahmane Sissako William Brown Chapter 11: Class, Gender and Ethnicity in Alfonso Cuarón’s Roma Ewa Mazierska Chapter 12: ‘After’ or Back to Third Cinema? Plebeian Film, the National Popular, Fingernails and the Resilient Behemoth Enrique Uribe-Jongbloed and Toby Miller Index
£114.00
Bloomsbury Publishing Plc Virtuoso
Book SynopsisElizabeth Taylor's electrifying performance in Who's Afraid of Virginia Woolf? The milkshake scene in There Will be Blood. Leonardo DiCaprio's turn as Arnie in What's Eating Gilbert Grape? What makes these performances so special? Eloquently written and engagingly laid out, Murray Pomerance answers the tough question as to what makes an exceptional, or virtuosic performance. Pomerance intensively explores virtuosic performance in film, ranging from classical works through to contemporary production, and gives serious consideration to structural problems of dramatization and production, actorial methods and tricks, and contingencies that befall performers giving stand-out moments.Looking at more than 40 aspects of the virtuosic act, and using an approach based in careful meditation and discursion, Virtuoso moves through such themes as showing off, effacement, self-consciousness, performative collapse, spontaneity, acting as dream, acting and femininity, virtuTrade ReviewIn 44 epigrammatic chapters, Pomerance examines the work of literally hundreds of screen actors, capturing the essence of their performances in isolated gestures, speech patterns, facial expressions, and other bits of cinematic legerdemain … The depth, range, and scope of this volume is stunning, as is the precision with which Pomerance unpacks these moments from more than a thousand films, shedding new light on the actor's craft. Summing Up: Highly recommended. * CHOICE *An interesting and compelling read throughout … the book is a joy to read from start to finish, whether one knows the performances being discussed or not, and makes a wonderful addition to the growing body of scholarly writings on performance and star studies. * Historical Journal of Film, Radio and Television *In this extraordinary volume, Murray Pomerance acts as something like a spirit guide to the mysteries of cinematic performance. The text conjures a pageant of gestures, voices, faces and moments that exemplify virtuosity, accompanied by critical reflection that is never less than compelling. Pomerance’s prose is itself virtuosic: lucid, penetrating, brilliant. It asks questions we didn’t know could be asked, and never resorts to easy answers. This makes the book essential reading, not just for scholars and students of film performance, but for anyone interested in the art and magic of the cinema. * Dr. Alex Clayton, Senior Lecturer in Film and Television, University of Bristol, UK *From detailed examinations of such singular talents like James Dean and Cary Grant, to the subtler, fleeting, performative moments by virtuosos as varied as John Barrymore and Kristen Stewart, Murray Pomerance offers a new way of approaching, as well as a language for addressing, the riddling qualities of great film acting. What magic the actors explored in this book do with gesture, expression and inflexion, Pomerance does here with incisive description, analysis, and an often delightful turn of phrase. * Dr. Daniel Varndell, Senior Lecturer in English Literature, University of Winchester, UK *Table of ContentsAcknowledgements Overture Chapter 1: A Brief History of the Virtuosic Moment Chapter 2: Showing Off Chapter 3: Effacement and Allure Chapter 4: Money Chapter 5: “I Am Acting” Chapter 6: “I Am On Show” Chapter 7: Charisma as Commodity Chapter 8: Outstanding Chapter 9: Virtuosity Superimposed Chapter 10: Spontaneity Chapter 11: In Dreams Awake Chapter 12: A Feminine Mystique Chapter 13: Tortures Chapter 14: Secret Virtuosity Chapter 15: (In)Credible Belief Chapter 16: Touched by the Camera Chapter 17: Improvise Chapter 18: Breathe Chapter 19: Director/Virtuoso Chapter 20: Heimlichkeit Chapter 21: Collapse Chapter 22: Bigger Than Life Chapter 23: The Spectacle of Things Falling Apart Chapter 24: Limping On Chapter 25: The Eternal Return Chapter 26: Borders Chapter 27: Facing Chapter 28: Louder Louder, Softer Softer Chapter 29: Virtuosity Classical Chapter 30: Near Misses Chapter 31: Discounts Chapter 32: Virtuosic Silence Chapter 33: Virtuosic Support Chapter 34: Control Chapter 35: Virtuosic Play-Within-Play Chapter 36: Upstairs Downstairs Chapter 37: Lost in the Stars Chapter 38: Virtuosity Pianissimo Virtuosity Forte Chapter 39: Virtuosity as Event Chapter 40: Indelibles Chapter 41: Virtuosity and “The Virtuoso” Chapter 42: Negative Virtuosity Chapter 43: Virtuosic Slippage Chapter 44: The End or “End” of Virtuosic Performance Coda: A Thought of Conclusion Bibliography Index
£21.74
Bloomsbury Publishing Plc Critical Race Theory and Jordan Peeles Get Out
Book SynopsisThis book provides a concise introduction to critical race theory and shows how this theory can be used to interpret Jordan Peele''s Get Out. It surveys recent developments in critical race studies and introduces key concepts that have helped shape the field such as Black masculinity, white privilege, the Black body, and miscegenation. The book''s analysis of Get Out situates it within the context of the American horror film, illustrating how contemporary debates in critical race theory and approaches to the analysis of mainstream Hollywood cinema can illuminate each other. In this way, the book provides both an accessible reference guide to key terminology in critical race studies and film studies, while contributing new scholarship to both fields.Trade ReviewGet Out. Candyman. The Sunken Place. The “Final Brother.” Wynter presents a pedagogical masterpiece that explores legacies of anti-Black violence at the intersections of horror films and critical race theory. Wynter’s brilliance is on full display in this exquisitely written book. In fastening the theoretical and artistic to each other, he centers Black articulations of oppression at a time when it is most politically urgent. * Robin R. Means Coleman, Professor of Communications Studies, Northwestern University, USA and author of Horror Noire: Blacks in American Horror Films from the 1890s to Present *Both a primer in critical race theory and an exemplary work of cinematic close reading, Wynter makes a convincing case for Get Out as a film that short-circuits everything we thought we knew about the horror genre. Jordan Peele’s film, Wynter contends, is neither speculative nor allegorical but is rather a rigorously realistic portrayal of Black experience in the "traumatic present." Critical Race Theory and Jordan Peele’s Get Out offers an indispensable elaboration of the intersection between critical race theory and film. * Scott Krzych, Associate Professor of Film and Media Studies, Colorado College, USA *Conceptually rich, lucid, as timely and as harrowing as Get Out itself, Kevin Wynter’s compelling text puts Critical Race Theory and Peele’s film in a mutually illuminating dialog that fully does justice to both. Wynter mines the tension between history and ontology with rigor and elegance, giving full weight to pessimism but also insisting on the fundamental challenge CRT and Get Out leave us with: to ask, impossibly, how could things be otherwise, in the wake of slavery and racist violence? * Brian Wall, Associate Professor of Cinema, Binghamton University, USA *Table of ContentsAcknowledgements Introduction Section 1: Critical Race Theory Section 2: Critical Race Theory and Jordan Peele's Get Out Conclusion Further Reading Suggested Films and Media Index
£15.99
Bloomsbury Publishing Plc Secular Magic and the Moving Image
Book SynopsisThe power of the moving image to conjure marvelous worlds has usually been to understand it in terms of move magic'. On film, a fascination for enchantment and wonder has transmuted older beliefs in the supernatural into secular attractions. But this study is not about the history of special effects or a history of magic. Rather, it attempts to determine the influence and status of secular magic on television within complex modes of delivery before discovering interstices with film. Historically, the overriding concern on television has been for secular magic that informs and empowers rather than a fairytale effect that deceives and mystifies. Yet, shifting notions of the real and the uncertainty associated with the contemporary world has led to television developing many different modes that have become capable of constant hybridization. The dynamic interplay between certainty and indeterminacy is the key to understanding secular magic on television and film and exploring the inTrade ReviewSexton’s incisive investigation into secular magic on television gives a valuable account of this often ignored popular entertainment. In doing so it provides a gateway to examine and re-evaluate key terms of television studies, including liveness and immediacy, quality, and realism. Going beyond televised magic as a genre, it raises crucial questions about the everyday and the role of mediation in our conception of truth, reality, and identity. Sexton revives neglected magicians like Chan Canasta and David Nixon, provides new insights into the famous work of David Copperfield, David Blaine and Derren Brown, and opens discussion of the next-generation magic of Criss Angel and Dynamo. A consideration of recent Hollywood magic films engages timely questions regarding computer graphics technology and illusion. The arguments made are supported by insightful close analyses of magic performances that reveal how changes in magic and its performance communicate developments film and television history. * Malcolm Cook, Lecturer in Film, University of Southampton, UK *Max Sexton’s book does more than analyse the representation of magic on television and film, it explores the essence of illusion and how this helps us understand the qualities of these media. This lucid work shows how the performance of magic in-front of the camera disrupts our understanding of the real, and guides us towards a new understanding of authenticity. A fascinating book that uses its focus on ‘secular magic’ to deliver a remarkable breadth of insight into major issues of television and film studies. * Dominic Lees, Senior Lecturer in Film, University for the Creative Arts, UK *Table of ContentsIntroduction 1. Magic, Mediation, and Television Form 2. Magic and Entertainment 3. Magic and Performance 4. Magic as a Game 5. The Magic Film Conclusion Filmography Bibliography Index
£32.29
Bloomsbury Publishing Plc Divergent Tracks
Book SynopsisBy examining three case studies of award-winning soundtracks from cult filmsBarton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)it becomes clear that major American film communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital. However, their cultural and structural labor differences governed different results.Vanessa Ament, author of The Foley Grail (2009), rather than defining the 1990s as an era of technological determinisma superficial readingit is best understood as one in which sound professionals became more viable as artists, collaborated in sound design authorship, and influenced this digital transition to better accommodate their needs and desires in their work.Trade ReviewDivergent Tracks reveals a first-hand account of the behind-the-scene world of postproduction film sound in the 1990s, a key moment when industry professionals grappled with the disruptive transition from analogue to digital technologies. In her masterful account, Dr. Ament rigorously details how three geographically distinct film communities each made critical contributions to the development of digital film sound and how their innovative practices changed the way we listen to the movies. I anticipate that Dr. Ament’s book will change how we also regard the role of sound designers and their post-production teams by helping us all better recognize their major contributions to the craft of moviemaking as creative professionals in their own right. * Richard Lawrence Edwards, Director for the Center for Teaching & Learning, University of California, Riverside, USA *Table of Contents1. Sound Design as Cultural Artifact 2. Geographical Cultures and Technological Tendencies 3. "Viscous was the Word of the Day": The Interiority of Barton Fink 4. "How Would you Like to Work on a Monster Movie?": The Expressionism of Bram Stoker's Dracula 5. "The Sound of the Desert is Tape Hiss": A Study in Contrasts in The English Patient 6. Conclusion: Reassessing Sound Design as a Collective Endeavor Bibliography Index
£76.50
Bloomsbury Publishing Plc The Reenactment in Contemporary Screen Culture
Book SynopsisDuring the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies. Engagement with the reenactment in film and media studies has come almost entirely from the field of documentary studies and has focused almost exclusively on non-fiction, even though reenactments are being employed across fiction and non-fiction film and television genres. Working with an eclectic collection of case studies from Milk, Monster, Boys Don't Cry, and The Battle of Orgreave to CSI and the video of police assaulting Rodney King, this book examines the relationship between the status of theatricality in the reenactment and the ways in which its relationships to reference are performed. Carrigy shows that while the practice of reenactment predates technically reproducible media, and continues to exist in both live and mediated forms, it has been Trade ReviewCarrigy offers a brilliant look at how reenactments work as “meta-historical” representations that re-embody the past but also comment on it in surprisingly complex ways. Her book is an invaluable addition to the literature. Replaying the past promises to illuminate its mysteries but it also reshapes our grasp of what has happened in a remarkably wide variety of ways as Carrigy vividly demonstrates in this wide-ranging, insightful work. * Bill Nichols, Professor Emeritus of Cinema, San Francisco State University, USA *Historical recreation, biographical film performance, television crime drama, and movie remakes – moving image reenactments are everywhere. And they befuddle us as they simultaneously seem to be accurate and inaccurate, authentic and inauthentic, and trustworthy and false documents of the past. Megan Carrigy takes us on an illuminating tour of such materials, showing how this indeterminacy operates to interrogate the aesthetic, evidentiary, and ontological status of the moving image. She powerfully demonstrates how the reanimated performance oscillates between theatricality, repetition, and documentation. As a result, The Reenactment in Contemporary Screen Culture, more than a study of a particular representation mode, is an insightful inquiry into the complexity of what we so easily push aside as fake. * Charles R. Acland, Distinguished University Research Professor, Concordia University, Canada *Table of ContentsList of Figures Acknowledgements Introduction 1. ‘To Do; To Perform’: In-Person Reenactment, Remediation and Documentary Performance 2. Between Document and Diegesis: Reenactment and Researched Detail in the Biopic 3. Dramatizing Forensic Crime Reconstruction: Investigation, Trace and Deixis in Police Procedural Television 4. Re-staging the Cinema: Reproducibility and the Shot-for-Shot Remake 5. Trial by Media: Fugitive Testimony, Demonstrative Evidence and Computer Animation in the Courtroom Conclusion References Index
£90.25
Bloomsbury Publishing Plc Japanese Horror Cinema and Deleuze
Book SynopsisUsing theories of national, transnational and world cinema, and genre theories and psychoanalysis as the basis of its argument, Japanese Horror Cinema and Deleuze argues that these understandings of Japanese horror films can be extended in new ways through the philosophy of Deleuze. In particular, the complexities and nuances of how films like Ju-On: The Grudge (2002), Audition (1999) and Kairo (2001) (and beyond) form dynamic, transformative global networks between industries, directors and audiences can be considered. Furthermore, understandings of how key horror tropes and motifs apply to these films (and others more broadly), such as the idea of the monstrous-feminine, can be transformed, allowing these models to become more flexible.Trade ReviewJapanese Horror Cinema and Deleuze challenges conventional film analysis by exploring the genre’s affective elements. Clear and engaging, this work is an important contribution to the discipline of cinema studies and is a must for students of film and philosophy. * Jay McRoy, Professor of English, University of Wisconsin - Parkside, USA *This book provides an important intervention into the scholarship on Japanese horror by avoiding a well-worn hermeneutic approach to cinematic analysis, examining, instead, the many interconnections that develop between the bodies of audience members, films, and nations as cinematic works are created and viewed worldwide. In so doing, this study brings a fresh perspective to some of the iconic works of the genre. * Marc Yamada, Associate Professor, Comparative Arts & Letters, Brigham Young University, USA *Table of ContentsList of figures Acknowledgements Preface Introduction Part One: Theory 1. Theoretical Intersections: The Japanese Horror Genre and National, Transnational and Global Flows 2. Theoretical Transformations: The Perspectives of Gilles Deleuze Part Two: Case-Studies 3. The “Any-Space-Whatever", “Becoming-Woman" and Ju-On: The Grudge (2002) 4. Auteurship, Adaptation and the Molecularity of Audition (1999) 5. Kairo (2001): Cosmicism and “Becoming-Machine" Conclusion Bibliography Index
£90.25
Bloomsbury Publishing Plc The Cinema of Yorgos Lanthimos
Book SynopsisFrom the critical and commercial fanfare his films generate, it is largely understood that Yorgos Lanthimos is one of the more interesting filmmakers to have emerged out of the new century. A markedly transnational filmmaker, between Dogtooth and The Favourite Lanthimos has managed to traverse the gap between the art-house and mainstream while not once sacrificing his unique style and worldview. His films, while often difficult, showcase his talents as a filmmaker, collaborator, and commentator on the human condition. Accompanied by a trademark acerbic wit, Lanthimos''s films take aim at humanity''s more contemptible and absurd designs as he explores a thematic preoccupation with, among other things, power, trauma, isolation, sex, and violence. This edited collection covers everything from an early career that was marked by experimentation with a range of different media to international festival hits including Dogtooth, The Lobster, The Killin
£28.99
Bloomsbury Publishing (UK) Network Theory and Nashville
a huge range and FREE tracked UK delivery on ALL orders.
£17.09
Bloomsbury Publishing Plc CostaGavras
Book SynopsisCosta-Gavras: Encounters with History explores the life and work of the director intertwined with historical and socio-political events, from the early stages of his career: emigrating to France from Greece in 1955 and first studying at the Sorbonne, then focusing on filmmaking at IDHEC, now La Fémis. He became an internationally respected director, first with his Oscar-award winning film Z (1969) and continued with a vast array of films, including his most recent work, Adults in the Room (2019). His films portray the complexities of human nature, relationships challenged by historical and contemporary socio-political issues. In this overview of the director's films, the authors shed light on his encounters with history from his youth in war-torn Greece to his later films on immigration, unemployment, global capitalistic greed, and the abuse of political and economic power in Europe.Costa-Gavras'' films have spanned several decades and several continents, to combatTrade ReviewThe authors of this book contribute significantly to a thorough understanding of the historical background of the entire work of Costa-Gavras. With an apt classification of films based on historical themes rather than chronology, they provide an in-depth insight into how the director highlights the effects of the past on the present and the collective memory. * Mado Spyropoulou, Associate Researcher, Paris University 3, Sorbonne Nouvelle, CERLIS, France *Long-time film history scholar John Michalczyk and his wife, film and literature professor Susan Michalczyk, both documentary filmmakers, collaborate once again to give us a much needed update of the political cinema of Costa-Gavras. Together, they do an admirable job of discussing 14 of his landmark films made over 50 years, from Z to Adults in the Room. Deeply researched, filled with anecdotes, and amply illustrated, their volume reveals the way that this pivotal director has tackled the crucial social and political issues of our times, from the terrors of fascism and Communism, to the ongoing abuses of capitalism and the crisis of migration. There is no better survey of the work of the legendary director. * Steve Kovacs, Professor Emeritus, School of Cinema, San Francisco State University, USA *Along with offering a detailed, informative history of Costa-Gavras's extraordinary political films, the Michalczyks also reveal how real-world politics, usually of oppression and corruption, affected this legendary director's humane view of social justice in modern global history. * Homer B. Pettey, Professor Emeritus, University of Arizona, USA, and author of The Films of Costa-Gavras *The Michalczyks' book provides an insightful retrospective of the director's filmography and makes a compelling case for Costa-Gravras as one of the defining filmmakers of the second half of the twentieth century. ... Ultimately, Costa-Gavras's future legacy will be well served by this invaluable volume, which offers fresh insights and perspectives on the director's body of work. * Cineaste Magazine *Costa-Gavras: Encounters with History is the best book in English on one of the world’s most consequential and influential filmmakers, a compelling and informative blend of biography, historical and political contextualization, production history, and critical response to the films. It offers a renewed appreciation of the early and controversial classics as well as the lesser-known works and encourage readers to seek them out for screening or rescreening. * Gary Crowdus, Editor-in-Chief, Cineaste Magazine, USA *Table of ContentsList of Figures Dedication Acknowledgements Introduction Part One: A Fresh Political Genre on the Scene 1. Z (1969): A Greek Tragedy 2. The Confession (L’Aveu, 1970): In the Shadow of Kafka Part Two: Latin America: Costa-Gavras—“I am Not Anti-American” 3. State of Siege (Etat de siège, 1973): The Long Arm of the US 4. Missing (1982): An American “Disappeared” Part Three: Terrorism: The Worst is Yet to Come 5. Betrayed (La Main droite du diable, 1989): Homegrown Terrorism: 6. Hanna K. (1983): Terrorism and the Victims of the Victims Part Four: World War II: Apocalypse Then 7. Shock Troops (Un Homme de trop, 1967): Resistance Dilemma 8. Special Section (Section spéciale, 1976): Vichy and the French Government Puppets 9. Music Box (1990): A Matter of Conscience 10. Amen. (2002): From Euthanasia to the Final Solution Part Five: Social Issues: A Finger on the Pulse of Society 11. The Ax (Le Couperet, 2005): A Process of Elimination 12. Eden is West (Eden est à l’ouest, 2009): A Picaresque Odyssey 13. Capital (Le Capital, 2012): A Modern Robin Hood 14. Adults in the Room (2019): Greek Debt and a David vs. Goliath Batttle Epilogue Notes Authors Bibliography Filmography Index
£90.25
Bloomsbury Publishing Plc Semiotics for Screenwriters
Book SynopsisYou''re trying to finish a screenplay, but there''s a voice in your ear whispering, You should know more about how cinema story works. Perhaps you''ve heard how many successful screenwriters deconstruct or break down films and study them. You''d like to try this method but ask yourself, How do I start? Semiotics for Screenwriters can help you with this daunting task by taking you on a unique journey through 3 classic films - It's a Wonderful Life, Lost in Translation, and Get Out - that shows you the hidden universal language of plot, character, and theme at work in them. This method will reveal the mechanics of cinema story, then show you how to apply this knowledge to your own screenwriting. Semiotics is a powerful system of analysis applied in many fields, including literature and psychology. In this book you''ll learn to deploy this method to break down classic films then apply it to writing, developing and correcting your own screenplays.
£23.74
Bloomsbury Publishing Plc The Works of Shonda Rhimes
Book SynopsisThe Works of Shonda Rhimes, the first book in Bloomsbury''s Screen Storytellers series, brings together a collection of essays that look critically at the works of this award-winning writer, producer, and CEO of the global media company, Shondaland. Shonda Rhimes's television series, and those created and produced through Shondaland, have left an important imprint on television history. Beginning with her groundbreaking series Grey's Anatomy, the series created under the umbrella of Rhimes's brand, including Private Practice, Scandal, How to Get Away with Murder, For the People, Station 19, Bridgerton, Inventing Anna, and Queen Charlotte: A Bridgerton Story, have delighted global audiences with their innovative storytelling, dynamic characters, and the inclusion of contemporary social issues woven throughout the storylines.In this collection of essays, screenwriting and television studies scholars explore the ways in which Rh
£17.99
Manchester University Press Algerian National Cinema
Book SynopsisThis topical and innovative study is the first book on Algerian cinema to be published in English since the 1970s. At a time when North African and Islamic cultures are of increasing political significance, Algerian National Cinema presents a dynamic, detailed and up to date analysis of how film has represented this often misunderstood nation. Algerian National Cinema explores key films from The Battle of Algiers (1966) to Mascarades (2007). Introductions to Algerian history and to the national film industry are followed by chapters on the essential genres and themes of filmmaking in Algeria, including films of anti-colonial struggle, representations of gender, Berber cinema, and filming the ‘black decade’ of the 1990s. This thoughtful and timely book will appeal to all interested in world cinemas, in North African and Islamic cultures, and in the role of cinema as a vehicle for the expression of contested identities. By the author of the critically-acclaimed Contemporary French Cinema.Table of Contents1. An introduction to modern Algerian history and politics2. A brief history of Algerian cinema 3. The war of liberation on screen: trauma, history, myth4. Representing gender: tradition and taboo5. Berber cinema, historical and ahistorical6. After 'Black October': mourning and melancholia7. Screening the 'invisible war'8. Memory and identity: from lost sites to reclaimed images9.Conclusion: Algerian national cinemasFilmographyIndex
£15.19
