Film history, theory or criticism Books

Book SynopsisPeter Hutchings’s Hammer and beyond remains a landmark work in British film criticism. This new, illustrated edition brings the book back into print for the first time in two decades. Featuring Hutchings’s socially charged analyses of genre classics from Dead of Night (1945) and The Curse of Frankenstein (1957) to The Sorcerers (1967) and beyond, it also includes several of Hutchings’s later essays on British horror, as well as a new critical introduction penned by film historian Johnny Walker and an afterword by Russ Hunter. Hammer and beyond deserves a spot on the bookshelf of anyone with a serious interest in the development of Britain’s contribution to the horror genre.Trade Review' A must read for horror film historians.'ChoiceReprinted with permission from Choice Reviews. All rights reserved. Copyright by the American Library Association.‘When Hammer and beyond first appeared, it immediately set new standards for the study of British horror and our understanding of genre through national cinema. This welcome new edition returns Peter Hutchings to the centre of these debates, where he will always belong. Johnny Walker’s new introduction and thoughtfully selected supplementary materials frame Hutchings’s contributions alongside contemporary developments in scholarship and film production, making this an essential volume for the past, present and future of British horror studies.’Adam Lowenstein, University of Pittsburgh, author of Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film‘Few academics understand the balance between industry and artistry, history and heritage, and few can articulate the impact each has had on the other as well as Peter Hutchings. When first published, Hammer and beyond was a turning point in the study of British horror and served as a liberation of ideas that began decades before. Hutchings’s entire career served the genre, the films and the filmmakers he deeply loved, but it all started here. This new expanded edition is cause for celebration and, as required reading, should be placed beside your collection of Hammer films for immediate reference, constant study and eternal enjoyment.’Constantine Nasr, filmmaker/writer‘This new edition of Hammer and beyond updates and extends Peter Hutchings’s trailblazing work and his determination to take British horror cinema seriously. Johnny Walker’s work on this volume is a testament to the great esteem in which Hutchings was held by the academic community: he is sorely missed as a critical voice in horror film studies and in the scholarship of British cinema. Walker’s introduction to this volume insightfully places the new edition, and Hutchings’s work in general, in its historical and intellectual context, mapping out the changes in British horror cinema since Hammer and beyond was first published. It will be an essential addition to any horror studies syllabus.’Helen Wheatley, University of Warwick, author of Spectacular Television: Exploring Televisual Pleasure -- .Table of ContentsA return to Hammer and Beyond: introduction to the new edition – Johnny Walker Part I: Hammer and Beyond: The British Horror FilmIntroduction to the first edition1 For sadists only? The problem of British horror2 1945–55: from Dead of Night to The Quatermass Experiment3 1956–64: Hammer and other horrors4 Frankenstein and Dracula5 1964–69: horror production6 Horror and the familyConclusionPart II: Selected writings on British horror film The Amicus House of HorrorAmerican Vampires in Britain: Richard Matheson’s I Am Legend and Hammer’s The Night CreaturesPutting the Brit into Eurohorror: exclusions and exchanges in the history of European horror Afterword – Russ HunterIndex

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Book SynopsisGround breaker. Game changer. The King of the World. Director James Cameron went from cult sci-fi rising star to box-office dominator at faster than light speed.As much a technical innovator as he is a visionary artist, Cameron has proven himself the master of his own cinematic destiny. His methods have often been controversial, but the results are undeniably impactful.Taking in his scrappy early days, his impressive breakthrough with The Terminator, his colossal triumph with Titanic, his real-life adventures in planet Earth''s most extreme environment, and his astonishing world-building success with Avatar, this is a truly essential guide to Cameron''s stellar filmography.

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Book SynopsisFinalist, 2021 Wall Award (Formerly the Theatre Library Association Award) The untold story behind one of America’s greatest dramas. In early 1957, a low-budget black-and-white movie opened across the United States. Consisting of little more than a dozen men arguing in a dingy room, it was a failure at the box office and soon faded from view. Today, 12 Angry Men is acclaimed as a movie classic, revered by the critics, beloved by the public, and widely performed as a stage play, touching audiences around the world. It is also a favorite of the legal profession for its portrayal of ordinary citizens reaching a just verdict and widely taught for its depiction of group dynamics and human relations. Few twentieth-century American dramatic works have had the acclaim and impact of 12 Angry Men. Rosenzweig’s 12 Angry Men tells two stories: the life of a great writer and the journey of his most famous work, one that ultimately outshined its author. More than any writer in the Golden Age of Television, Reginald Rose took up vital social issues of the day—from racial prejudice to juvenile delinquency to civil liberties—and made them accessible to a wide audience. His 1960s series, The Defenders, was the finest drama of its age and set the standard for legal dramas. This book brings Reginald Rose’s long and successful career, its origins and accomplishments, into view at long last. By placing 12 Angry Men in its historical and social context—the rise of television, the blacklist, and the struggle for civil rights—Rosenzweig traces the story of this brilliant courtroom drama, beginning with the chance experience that inspired Rose, to its performance on CBS’s Westinghouse Studio One in 1954, to the feature film with Henry Fonda. The book describes Sidney Lumet’s casting, the sudden death of one actor, and the contribution of cinematographer Boris Kaufman. It explores various drafts of the drama, with Rose settling on the shattering climax only days before filming began. Drawing on extensive research and brimming with insight, this book casts new light on one of America’s great dramas—and about its author, a man of immense talent and courage. Author royalties will be donated equally to the Feerick Center for Social Justice at Fordham Law School and the Justice John Paul Stevens Jury Center at Chicago-Kent College of Law.Table of ContentsIntroduction | 1 Part I: Origins 1. Dreams of a Writer | 11 2. Getting Started (1952 to Summer 1953) | 23 3. Two Programs, Two Movies (1952 to 1954) | 34 4. Original Dramas for Studio One (Summer 1953 to Spring 1954) | 46 Part II: The Television Program 5. A Visit to Foley Square (Spring 1954) | 57 6. “Twelve Angry Men” (Summer 1954) | 71 7. Gaining Momentum (Fall 1954 to Spring 1955) | 81 Part III: The Movie 8. Henry Fonda and the Deal for 12 Angry Men (Spring and Summer 1955) | 95 9. Developing the Screenplay (Fall 1955 to Spring 1956) | 103 10. Assembling the Team (Spring 1956) | 113 11. Six Weeks of Work (Summer 1956) | 122 12. Release and Reviews (Fall 1956 to Spring 1958) | 133 Part IV: The Defenders 13. New Directions (1957 to 1960) | 145 14. The Defenders (1960 to Spring 1962) | 155 15. The Defenders (Fall 1962 to 1965) | 166 16. After The Defenders | 179 Part V: The Journey of 12 Angry Men 17. A Life on Stage | 193 18. A Lesson in the Law | 208 19. A Masterclass in Human Behavior | 220 20. New Versions, New Meanings | 230 Epilogue | 239 Appendix: “Twelve Angry Men” (TV Featurette) | 245 Acknowledgments | 251 Notes | 257 Selected Bibliography | 291 Index | 297 Photographs follow pages 102 and 198

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Book SynopsisIn this exciting first-hand account of an unexpected cinematic discovery, Michael Gates delves into the history behind a hoard of silent films found buried beneath the permafrost of an Arctic gold rush town. In 1978, hundreds of reels of silent films were unearthed from beneath the demolished site of an old hockey arena in Dawson City, Yukon. Author Michael Gates witnessed the cinematic discovery of these once-lost films?and in this book excavates and illuminates the history of a gold rush town like no other.An event in the most unlikely of places and circumstances, the Klondike gold rush was unique in the history of Canada and the development of the North. Dawson City, the ?Paris of the North,? was the hub of the Klondike gold rush 125 years ago. There were more saloons, gambling halls and theatres than there were places serving food, and the live theatre was at the centre of it all. Discover the icons who went from the Klondike to Hollywood: Robert Service, Jack London, Charlie Chaplin, Alexander Pantages, Sid Grauman, Roscoe "Fatty" Arbuckle, Marjorie Rambeau and more.Join Gates on this cinematic journey as he ponders the question: Did the Klondike help make Hollywood, or did Hollywood make the Klondike? Crafted from Gates?s first-hand experience and extensive research, Hollywood in the Klondike casts a spotlight on an exciting piece of Canadian history.

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Book SynopsisAn informal yet informed journey through the classic works of Japanese cinema and their directors.This is a passionate, personal journey through one of the world’s greatest national cinemas, beginning with the classic directors who came to the fore in the postwar period and became legendary names on the art house circuit: Kurosawa, Mizoguchi, Ozu, Kobayashi, Naruse, and Oshima, among others. Japanese Cinema traces the common themes explored by these directors as well as the impact of important historical and cultural issues, including World War 2, the representation of women, and the revolutionary spirit of the 1960s. Finally, Peter Cowie surveys the state of contemporary Japanese film and its greatest living practitioners, Hirokazu Kore-eda among them, as well as the international face of Japanese animation, Hayao Miyazaki. Cowie brings a lifetime’s commitment to film to bear on the human relationships so well explored by these Japanese auteurs.Trade Review"Cowie's study orients these films and filmmakers around auteur and genre cinema, employing the kind of uncluttered, potted analysis that initially brought Japan to international light in studies by Donald Richie, Audie Brock, Joan Mellen, and Tadao Sato, among others." —Adam Bingham, Cinesate Magazine"An impressively well written and seminal study of Japanese film making ranging from the iconic to the obscure."—The Midwest Book Review"If you want to know why Kurosawa is the Beethoven, and Ozu the Chopin, of Japanese cinema--and much, much more—Peter Cowie’s Japanese Cinema is the book to read." —Walter Murch, three-time Academy Award winning editor and sound designer, and author of In the Blink of an Eye "Peter Cowie’s erudition is stupendous. His critical acumen is unequaled. But it’s his humanity that makes his writing as special as it is. These short accounts of great Japanese filmmakers, and of Cowie’s relationship to their work, create a portrait of Japanese cinema that is both enjoyable and indispensable." —Glenn Kenny, film critic and author of Made Men: The Story of ‘Goodfellas’ "Peter Cowie has introduced more people to the glories of foreign cinema than any living writer. Japanese Cinema: A Personal Journey is both a warm labor of love and an indispensable work of scholarship, suitable for novices and aficionados alike. It's the only book you need to read on the subject." —Mick LaSalle, author of The Beauty of the Real: What Hollywood Can Learn from Contemporary French Actresses "Peter Cowie invites us to travel along with him through decades of exceptional Japanese films. Along the way we meet many of Japan’s beloved directors and a host of others who have been influential in producing and promoting Japanese films (Madame Kawakita, Donald Richie, cinematographer Kazuo Miyagawa, to name a few). This “personal journey” extends from the frozen north of Hokkaidō to the warmer port cities of Hiroshima and Onomichi, and beyond. Along with Cowie, we explore Japan’s “alternating currents of violence and reflection” through his intimate, but also expansive, point of view." —Dr. Linda Ehrlich, author of Cinematic Reveries: Gestures, Stillness, Water Praise for Peter Cowie's Akira Kurosawa: Master of Cinema "This is the kind of book that elicits a "whoa", before reading a single word." —Oliver Ho, Pop Matters "Flipping through the pages of Peter Cowie's lavishly illustrated and large-sized tribute to Kurosawa, one is left wondering why it took so long" —Chris Gosling, Sense of Cinema "A book of value both to Kurosawa novices and to aficionados in search of deeper insight." —Mick LaSalle, SF Gate "A highly perceptive and elegant text by critic Peter Cowie" —John Patterson, Directors Guild of America Quartlerly "A veritable treasure for newcomers and longtime devotees alike, Akira Kurosawa: Master of Cinema is an ideal companion piece to any Kurosawa retrospective." —Marc Saint-Cyr, Row ThreeTable of ContentsCONTENTS Introduction 1. Akira Kurosawa and the Samurai World 2. Kenji Mizoguchi: The Need for Compassion 3. Women in the Floating World: Hiroshi Shimizu, Mikio Naruse, Keisuke Kinoshita 4. Harmony and Disharmony in Yasujiro Ozu 5. Kon Ichikawa: The Art of Appearances 6. The Shadow of War 7 Nagisa Oshima and the Shock of the 1960s 8. Period of Transition: Juzo Itami, Naomi Kawase, Hirokazu Kore-eda 9. Hayao Miyazaki: The Animator as Auteur Conclusion

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Book SynopsisRevitalizes Alexander Kluge's classic 1979 film, showing it to be not just great storytelling but also an exploration of the poetic force of Frankfurt School Critical Theory. Alexander Kluge achieved his breakthrough at the 1966 Venice Biennale with his first feature, Yesterday Girl (Abschied von gestern), but it is arguably his 1979 film The Patriot (Die Patriotin) that first embodied the great heights his storytelling could reach. Titled after its heroine, the history teacher Gabi Teichert, The Patriot is, however, much more than just a curious story about a headstrong pedagogue intent on teaching kids a version of German history that does not end in war and death: it is one of the finest examples of Kluge's exploration of the poetic force of Frankfurt School Critical Theory. This book pursues The Patriot's conception as a cinematic extension of the theoretical agenda that Kluge and social philosopher Oskar Negt began developing just as the Frankfurt School's first generation was ending. It will guide twenty-first-century English-language readers past superficial interpretations of the film's engagement with German history. By asking how and why The Patriot brings the twin concepts of history and obstinacy - the human propensity to resist capitalism's forces of expropriation and alienation - to the screen, this book revitalizes Kluge's film for the new millennium.Table of ContentsWhat's in a Title? Alexander Kluge and the Trouble with the Female Patriot Sequence 1: Gabi Teichert and Corporal Wieland's Wandering Knee Sequences 2-4: Worldly Modes of Knowledge Production-Archeology, Astrophysics, Politics, Folklore Sequences 5-8: Obstinacy and the Intrusions of Instrumental Reason Sequences 9-11: Natural History as a Constellation of Trees Sequence 12: Relationality between the Living and the Dead From Antigone to Orpheus Credits Notes

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Book SynopsisConsiders over sixty Hollywood films set in Austria, examining the film industry, the influence of domestic factors on images of a foreign country, and the persistence of clichés. Maria von Trapp, watching the final scene of The Sound of Music for the first time as "her" family escaped into Switzerland, exclaimed, "Don't they know geography in Hollywood? Salzburg does not border on Switzerland!" Hadshe thought about the beginning of the film, which transports viewers to "Salzburg, Austria in the last Golden Days of the Thirties," when the country was in fact suffering from extreme political and social unrest, she might haveasked, "Don't they know history either?" In The Sound of Music as well as in Hollywood's many other "Austria" films, the projections on the screen resemble reflections in a funhouse mirror. Elements of a "real" place with a"real" history inhabited by "real" people can be found in the fractured distortions, which have both drawn from and contributed to the general public's perceptions of the country and its citizens. Austria Made in Hollywood focuses on films set in an identifiable Austria, examining them through the lenses of the historical contexts on both sides of the Atlantic and the prism of the ever-changing domestic film industry. The study chronicles theprotean screen images of Austria and Austrians that set them apart both from European projections of Austria and from Hollywood incarnations of other European nations and nationals. It explores explicit and implicit cultural commentaries on domestic and foreign issues inserted in the Austrian stories while considering the many, sometimes conflicting forces that shaped the films.Trade ReviewVansant's study is essential reading for students and scholars of film history and criticism, Austrian studies, and intellectual history. . . . It will be an important enhancement to library collections and a key entry on syllabi . . . . -- Felix Tweraser * CONTEMPORARY AUSTRIAN STUDIES *[Shows how] filmmakers drew on the American fascination with the empire, the aristocracy, the baroque, and classical music to address concerns of the day. . . . Students, teachers, and scholars can all draw on Vansant's focused, concise, and clear narrative, a novel and insightful examination of cinematic treatments of national cultures in historical context. -- Alan Lareau * MONATSHEFTE *[W]ould be an excellent addition to a syllabus for a history course on Europe and the United States, or as a country case study for a film course. This is the definitive book on the image of Austria and Austrians in American film. . . . An extraordinary achievement . . . . -- Michael Burri * AUSTRIAN HISTORY YEARBOOK *An immensely readable study: it persuasively illustrates how American films about Austria, both during Hollywood's golden age and at the present time, were and will continue to be projections, which often reveal much more about the contemporary concerns and values of the United States than they do about the Austria they are reconstructing on screen. -- Katya Krylova * AUSTRIAN STUDIES *As a rich source of information on often forgotten celluloid depictions of Austria, this book will be of value to scholars of Austria, and its careful readings of shifting Hollywood depictions of a single subject will make it of interest to many film scholars as well. -- Ted Dawson * GERMAN STUDIES REVIEW *[F]ills a gap in the history of the great migration of Nazi refugees from Europe to California by concentrating on the image of Austria in commercial products coming out of Hollywood. [Vansant] is most illuminating in her discussion of the generation from Erich von Stroheim to Otto Preminger, including Ernst Lubitsch, Michael Curtiz, Billy Wilder, and Josef von Sternberg. * CHOICE *Vansant's monograph about Hollywood's selection of Austrian topics and themes projected through the lens of the American political and sociohistorical perspective is meticulously researched and thus can serve as an excellent source book for teachers and students of film and literary studies. -- Margarete Lamb-Faffelberger * GERMAN QUARTERLY *[C]oncise [and] enjoyable to read and may inspire readers to search out films that they are not yet familiar with. It should definitely be of interest to film scholars and could potentially be useful with undergraduates or graduate students. And perhaps it will inspire a contemporary American filmmaker to reexamine Austria. -- Laura A. Detre * JOURNAL OF AUSTRIAN STUDIES *For far too long in German research on exile and film, Austria and Austrian-influenced works have been all too liberally integrated into the "German." It is exactly for this reason that Jackie Vansant's study is so important. Embedded in historical context and historically stamped motifs, she not only develops Austrian themes in the film production of Hollywood, but also the reasons for them. -- Ursula Prutsch * ZWISCHENWELT *Jacqueline Vansant's book . . . offers a unique look at how Hollywood has imagined Austria in its film production. . . . [It] has many strengths [. . . and] will be a useful reference for scholars of European and Hollywood film. -- Jason Doerre * STUDIES IN 20TH AND 21ST CENTURY LITERATURE *Table of ContentsIntroduction Erich Stroheim, His Austria(ns). and Their US Contexts Cross-Cultural Encounters of the Intimate Kind: Hollywood's Americans in Love with Austria(ns), 1932-60 The Empire Strikes Back: Imperial Austria Fights Nazis, 1938-41 Reflections and Refractions of the Anschluss on the Hollywood Screen, 1941-42 Confronting and Escaping History: The Cardinal (1963) and The Sound of Music (1965) Conclusion: Hollywood's Austria - Its Past, Present, Future Appendix: Hollywood Films Set in Austria Bibliography Index

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Book SynopsisAn incisive analysis of contemporary crime film in Brazil, this book focuses on how movies in this genre represent masculinity and how their messages connect to twenty-first-century sociopolitical issues. Jeremy Lehnen argues that these films promote an agenda in support of the nation's recent swing toward authoritarianism that culminated in the 2018 election of far-right president Jair Bolsonaro.Lehnen examines the integral role of masculinity in several archetypal crime films, most of which foreground urban violence, including Cidade de Deus, Quase Dois Irmãos, Tropa de Elite, O Homem do Ano, and O Doutrinador. Within these films, Lehnen finds representations that criminalize the poor, marginalized male; emasculate the civilian middle-class male intellectual, casting him as unable to respond to crime; and portray state security as the only power able to stem increasing crime rates.Drawing on insights from masculinity studies, Lehnen contends that Brazilian crime films are ideologically charged mediums that assert and normalize the presence of the neo-authoritarian male within society. This book demonstrates how gendered scripts can become widely accepted by audiences and contribute to very real power structures beyond the sphere of cinema.

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Book SynopsisThis is a devilishly delightful collection of 1,814 questions and answers about the best and worst horror films ever made, from the silent movies of the 1920s to the scream queens of the 1990s.

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Book SynopsisJohn Ford’s The Quiet Man (1952) is the most popular cinematic representation of Ireland, and one of Hollywood's classic romantic comedies. For some viewers and critics the film is a powerful evocation of romantic Ireland and the search for home. This book contains new and original information and photographs about the film The Quiet Man. Des MacHale has found a range of unexpected new information about the film. The book opens with the letters of John Ford’s secretary, Meta Sterne, giving authentic information and commentary about what went on behind the scenes on location in Ireland. There were many rumours of a sequel to The Quiet Man but they never came off. However, a belated sequel Only the Lonely starring Maureen O’Hara was produced in 1991 and it is described and analysed. The emergence of the screenplay of The Quiet Man is a long and complicated saga. The book examines the initial rejected screenplay by the Welsh novelist Richard Llewellyn which contained much of the inspiration for the final cut of the movie. The memoirs of Maureen Coyne—Cashman, who lives in Brooklyn, New York, are published here for the first time. She is one of the few surviving bit players and she describes her experiences on set with Wayne, O’Hara, and Ford. The real-life incidents on which the ecumenical scenes in the film are based are discussed. The final part of the book covers more recent events including the Quiet Man conference held in Galway in 2004 and the opening of Pat Cohan’s bar in 2008 which featured in the film as a real bar. The book also contains dozens of previously unseen stills from the movie and many unseen photographs of locations and personalities.Trade ReviewDes MacHale’s book is a work of love and historical accuracy. A Quiet Man Miscellany is filled with provocative ideas about Ireland and our Irish cultural heritage -Irish American News

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Book SynopsisIn recent years, the museum and gallery have increasingly become self-reflexive spaces, in which the relationship between art, its display, its creators and its audience is subverted and democratised. One effect of this has been a growing place for artists as curators, and in The Artist as Curator Celina Jeffery brings together a group of scholars and artists to explore the many ways that artists have introduced new curatorial ways of thinking and talking about artistic culture. Taking a deliberately multidisciplinary and cross-cultural focus, The Artist as Curator will fill a gap in museum and curatorial studies, offering a thorough and diverse treatment of various approaches to the historical and changing role of the artist as curator that should appeal to scholars, curators and artists alike.Table of ContentsIntroduction - Celina Jeffery Chapter 1: Paolozzi's Lost Magic Kingdoms: The Metamorphosis of Ordinary Things - Nicola Levell Chapter 2: Re-Mastering MoMA: Kirk Varnedoe's ‘Artist’s Choice’ Series - Lewis Kachur Chapter 3: ‘Both Object and Subject’: MoMA’s Burton on Brancusi - Cher Krause Knight Chapter 4: Curating Between Worlds: How Digital Collaborations Become Curative Projects - Dew Harrison Chapter 5: Erasure: Curator as Artist - Bruce Checefsky Chapter 6: Say My Name - Brenda L. Croft Chapter 7: Performing the Curator, Curating the Performer: Abramović’s Seven Easy Pieces - Gregory Minissale Chapter 8: Curating the City: Collectioneering and the Affects of Display - Jim Drobnick and Jennifer Fisher Chapter 9: Artists Curating the Expedition - Celina Jeffery

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Book SynopsisThe actions, images and stories within films can impact upon the political consciousness of viewers, enabling their audience to imagine ways of resisting the status quo, politically, economically and culturally. But what does political theory have to say about film? Should we explore film theory through a political lens? Why might individuals respond to the political within films? This book connects the work of eight radical political theorists to eight world-renowned films and shows how the political impact of film on the aesthetic self can lead to the possibility of political resistance. Each chapter considers the work of a core thinker on film, shows its relevance in terms of a specific case study film, then highlights how these films probe political issues in a way that invites viewers to think critically about them, both within the internal logic of the film and in how that might impact externally on the way they live their lives. Examining this dialogue enables Ian Fraser to demonstrate the possibility of a political impact of films on our own consciousness and identity, and that of others.Trade ReviewIn eight stand-alone chapters, Fraser (Loughborough, UK) summarizes the political, social, economic, and moral-psychological positions of eight Continental philosophers, pairing each with a film that best exemplifies his or her theories. All are staunch opponents of neoliberal capitalism, seeking in film a means of transforming mass consciousness as a precondition for emancipatory resistance and revolution. Though some theorists conscript philosophers from the Western canon (Kant, Hume), most anchor their primary mode of analysis in poststructuralist or neo-Marxist psychoanalytic theory (e.g., Theodor Adorno, Ernst Bloch, Alain Badiou, Jacques Rancière, Slavoj Žižek). Given the philosphers' shared political orientations and focus on culture and consciousness, the conclusions Fraser reaches at the end of each chapter are somewhat repetitive. Properly instructed to see and feel what these political theorists see and feel, the art of cinema can transform an agency of mass consumption and escapist fantasy into personal and then revolutionary political emancipation. Culture underwrites politics; like poets before them, filmmakers can become the legislators for a just society. Summing Up: Recommended. Upper-division undergraduates through faculty. * CHOICE *Up to date and up to speed, Fraser’s book is an excellent introduction to the developing relationship between political theory and cinematic meaning-making. Using insights from Kant and Hume to Deleuze and Rancière, Fraser pairs major theorists with major films, working from Adorno to Žižek, from Chaplin to Chandor. Just as films make politics, so now they make political theory. -- Terrell Carver, Professor of Political Theory, University of BristolIan Fraser is one of our foremost political theorists exploring the relationships between aesthetics and politics, demonstrating how film has a powerful social significance in providing graphic and valuable exemplifications ideas and concepts developed in political philosophy. This book considers with remarkably wide-ranging agility and insight the provocative investigations of leading continental philosophers into the political imagery and radical social critique projected in such films as Chaplin's Monsiuer Verdoux, Loach's Land and Freedom and Chandor's Margin Call. -- David Boucher, Professor of Political Philosophy and International Relations, Cardiff UniversityIan Fraser is one of our foremost political theorists exploring the relationships between aesthetics and politics, demonstrating how film has a powerful social significance in providing graphic and valuable exemplifications ideas and concepts developed in political philosophy. This book considers with remarkably wide-ranging agility and insight the provocative investigations of leading continental philosophers into the political imagery and radical social critique projected in such films as Chaplin's Monsiuer Verdoux, Loach's Land and Freedom and Chandor's Margin Call. -- David Boucher, Professor of Political Philosophy and International Relations, Cardiff UniversityThrough a series of carefully chosen case studies Ian Fraser examines the relationship between cinema and political theory of (mostly left-wing) authors, such as Adorno, Benjamin, Bloch and Rancière. In a lucid way he demonstrates that films can visualise and explain ideas which are often difficult to grasp, while putting them into a test of concrete, even if fictional situations. -- Ewa Hanna Mazierska, Professor of Contemporary Cinema, University of Central LancashirePolitical theories have often been tied to the aesthetic weighting and visual rhetorics of the image, usefully bringing about tactics for political criticism in areas beyond the cinema. It is with this in mind that political theory has benefitted from film theory, and vice versa. Ian Fraser’s Political Theory and Film: From Adorno to Žižek seeks to add and contribute to contemporary efforts in this area.… At its best, this book introduces readers to a range of critical political theorists, who have in many cases written on or about film and shows the significance of their ideas for a critical interpretation of film; moreover, the book demonstrates how film criticism contributes to the exposition of core ideas in political theory. It is therefore quite accessible and helpful from a pedagogical standpoint. * Contemporary Political Theory, 2018 *Table of ContentsIntroduction / 1. Theodor Adorno: Charlie Chaplin’s Monsieur Verdoux / 2. Walter Benjamin: Ken Loach’s Land and Freedom / 3. Ernst Bloch: Woody Allen’s Midnight in Paris / 4. Gilles Deleuze: Kleber Mendonça Filho’s Neighbouring Sounds / 5. Alain Badiou: Jia Zhangke’s A Touch of Sin / 6. Jacques Rancière: Gavin Hood’s Rendition / 7. Julia Kristeva: David Fincher’s Fight Club / 8. Slavoj Žižek: JC Chandor's Margin Call / 9. Cinema and the Aesthetic Self

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Book SynopsisFew novelists have taken films as seriously, or been closely involved in so many aspects of the film business all their lives, as Graham Greene. Even at University he was touching on it. His long-term experience of the evolving art included producing, performing, script-writing and adaptation. Not to mention the libel case against him brought by Miss Shirley Temple for some disobliging words. Mornings in the Dark gathers some of Greene's best film criticism with a mass of related material: his film articles, interviews, lectures and radio talks, stories for film, letters and film proposals. With appendices on Greene's own films and unfulfilled film projects, and David Parkinson's introduction, this is an essential collection for readers of fiction and film enthusiasts alike.Trade Review'I well remember, when I was beginning as a film critic, reading with the most passionate envy the writings of Graham Greene in the Spectator... [I]t struck me that this was the kind of thing that film criticism should be.' - Dilys Powell, The Listener

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Book SynopsisWhether you're posting a clip on Facebook, making a presentation video, introducing yourself to others online, or just sending out a greeting to friends, today everyone is a filmmaker. This book cuts away the jargon to offer a highly accessible, no-fuss guide to getting the best results from the kit you already own. In just 39 steps, it offers essential instructions and tips to help amateur movie-makers – filming anything from family celebrations to no-budget horror movies – make their creations look and feel more cinematic. Drawing on its vast network of professional filmmakers as well as on its unique style, (with a compelling illustration language and direct, quotation-rich approach) Little White Lies presents the definitive, fun, and straightforward handbook for making films.

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Book SynopsisUpdated and expanded for a new edition, this is the perfect starter text for students of film studies. Packed full of visual examples from all periods of film history up to the present, Film:A Critical Introduction illustrates film concepts in context and in depth, addressing techniques and terminology used in film production and criticism, and emphasizing thinking and writing critically and effectively.With reference to 450 new and existing images, the authors discuss contemporary films and film studies scholarship, as well as recent developments in film production and exhibition, such as digital technologies and new modes of screen media.New features in the fourth edition:Expanded discussion of changing cultural and political contexts for film and media industries, including #MeToo, #TimesUp, and #OscarsSoWhiteUpdated examples drawing from both contemporary and classic films in every chapter highlight that film studies is a vibrant and growing field.New closing chapter expands the book''s theoretical framework, linking foundational concepts in cinema studies to innovative new scholarship in media and screen studies.Thoroughly revised and updated discussions of auteur theory, the long-take aesthetic, ideology in the superhero film and more.

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Book SynopsisBring some stardust to your card table with 54 of the most influential movie directors and stars, arranged into four suits.Hearts = Romance, Clubs = Drama, Diamonds = Crime, Spades = Sci-fi Includes illustrations of all the big names, from Alfred Hitchcock and Orson Welles to Sofia Coppola and Samuel L. Jackson - plus two jokers: Wes Anderson and Charlie Chaplin.

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Book SynopsisThe taste for horror is arguably as great today as it has ever been. Since the turn of the millennium, the horror genre has seen various developments emerging out of a range of contexts, from new industry paradigms and distribution practices to the advancement of subgenres that reflect new and evolving fears. New Blood builds upon preceding horror scholarship to offer a series of critical perspectives on the genre since the year 2000, presenting a collection of case studies on topics as diverse as the emergence of new critical categories (such as the contentiously named ‘prestige horror’), new subgenres (including ‘digital folk horror’ and ‘desktop horror’) and horror on-demand (‘Netflix horror’), and including analyses of key films such as The Witch and Raw and TV shows like Stranger Things and Channel Zero. Never losing sight of the horror genre’s ongoing political economy, New Blood is an exciting contribution to film and horror scholarship that will prove to be an essential addition to the shelves of researchers, students and fans alike.Table of ContentsAcknowledgements Figures and Tables Notes on Contributors Horror 2020: Introducing New Blood - Eddie Falvey, Joe Hickinbottom, Jonathan Wroot Part One: Framing Horror 1. Apprehension Engines: The New Independent ‘Prestige Horror’ - David Church 2. Hardcore Horror: Challenging the Discourses of ‘Extremity’ - Steve Jones 3. From Midnight Movies to Mainstream Excess: Cult Horror Festivals and the Academy - Xavier Mendik Part Two: Horror Reception 4. A Master of Horror? The Making and Marketing of Takashi Miike’s Horror Reputation - Joe Hickinbottom 5. Bloody Muscles on VHS: When Asia Extreme Met the Video Nasties - Jonathan Wroot 6. Streaming Netflix Original Horror: Black Mirror, Stranger Things and Datafied TV Horror - Matt Hills Part Three: Emerging Subgenres 7. The digital gothic and the Mainstream Horror Genre: Uncanny Vernacular Creativity and Adaptation - Jessica Balanzategui 8. Nazi Horror, Reanimated: Rethinking Subgenres and Cycles - Abigail Whittall 9. Digital Witness: Found Footage and Desktop Horror as Post-cinematic Experience - Lindsay Hallam Part Four: Horror in the World 10. Revisiting the Female Monster: Sex and Monstrosity in Contemporary Body Horror - Eddie Falvey 11. The Kids are Alt-right: Hardcore Punk, Subcultural Violence and Contemporary American Politics in Jeremy Saulnier’s Green Room - Thomas Joseph Watson 12. Twenty-first-century Euro-snuff: A Serbian Film for the Family - Neil Jackson Bibliography Index

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Book SynopsisVivre Ici invites the reader on a journey through the vast viewing landscape of contemporary French documentary film, a genre that has experienced a renaissance in the past twenty years. The films explored are connected not just by a general interest in engaging the “real,” but by a particular attention to French space and place. From farms and wild places to roads, schools, and urban edgelands, these films explore the spaces of the everyday and the human and non-human experiences that unfold within them. Through a critical approach that integrates phenomenology, film theory, eco-criticism and cultural history, Levine investigates the notion of documentary as experience. She asks how and why, in the contemporary media landscape, these films seek to avoid argumentation and instead, give the viewer a feeling of “being there.” As a diverse collection of filmmakers, both well-known and lesser-known, explore the limits and possibilities of these places, a collage-like, incomplete, and fragmented vision of France as seen and felt through documentary cameras comes into view. Venturing beyond film analysis to examine the production climate for these films and their circulation in contemporary France, Levine explores the social and political consequences of these “films that matter” for the viewers who come into contact with them.Trade Review'This is an excellent study of issues of space and place in recent French documentary, offering rich and evocative readings of individual films and detailed engagement with the material specificities of documentary production in France. It will be of major interest to researchers and students.'Laura McMahon, Cambridge'Vivre Ici marks a major advance in thinking about contemporary documentary in France and about documentary in general. It does this by mobilizing aesthetic, cultural, and institutional approaches.'Steven Ungar, University of Iowa'Vivre Ici represents a useful curation of French documentary and a worthy addition to an expanding subfield of Film Studies that will be of much interest to film scholars, researchers, and students of French documentary.'Matthew Gibson, Modern Language Review‘One of the impressive strengths of Levine’s study is the further comparative aesthetic and ethical questioning the analysis triggers. Her attention to the extra-textual context surrounding each film, with a focus on audience response, combined with her meticulous attention to the multisensory experience of film space, brilliantly underlines the impossibility of separating the social and political role (and responsibility) of documentary film, from its equally important status as an art form that affects and moves the spectator in more ways than one…Scholars and students of French history, cinema and cultural studies, and of documentary film studies more generally, will find the book an inspiring and informative pedagogical resource to draw on.'Albertine Fox, H-France Review‘Alison J. Murray Levine’s latest book Vivre Ici is a refreshing, accessible read that invites readers to appreciate the unique ability documentary, and more specifically French documentary, has to connect us to the world around us.’ Audrey Evrard, Modern & Contemporary France'The balance between theory and its application in Levine’s book makes for a very accessible and pleasing read [...] It will be of appeal to academics and students alike, particularly those working in French studies, and film and media studies.' Oliver Brett, French History'Levine’s book fills in an important gap in French film studies in that it moves away from the topic of a small set of films to focus on what matters the most—that documentaries can transmit a sensual experience to the audience. Levine examines films produced over the last twenty years in metropolitan France. However, her analysis can apply to general documentaries, past or future, French or not.' Martine Guyot-Bender, French ReviewReviews 'This monograph is pertinent for scholars of film or contemporary French history. Furthermore, its readability lends it to being a useful addition to bibliographies for film and culture studies courses as well as an enjoyable book for cinephiles or Francophiles outside of academia.' Tessa Ashlin Nunn, Studies in 20th & 21st Century Literature

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Book SynopsisIn The Future of the Image, Jacques Rancière develops a fascinating new concept of the image in contemporary art, showing how art and politics have always been intrinsically intertwined. He argues that there is a stark political choice in art: it can either reinforce a radical democracy or create a new reactionary mysticism. For Rancière there is never a pure art: the aesthetic revolution must always embrace egalitarian ideals.Trade ReviewLike all of Jacques Rancière's texts, The Future of the Image is vertiginously precise. * Les Cahiers du Cinema *Ranciere's writings offer one of the few conceptualizations of how we are to continue to resist. -- Slavoj ZizekWhat we see here is Ranciere developing a unique voice as a political theorist. * Bookforum *French philosopher Jacques Ranciere is a refreshing read for anyone concerned with what art has to do with politics and society. * Art Review *It's clear that Jacques Ranciere is relighting the flame that was extinguished for many--that is why he serves as such a signal reference today. -- Thomas HirschhornA series of gratifyingly knotty and close discussions of nineteenth and twentieth century literature, film and painting. * Guardian *"Much of the value of Rancière's writings on art and aesthetics arises from his initial refusal of terms that are self-evident to the point of invisibility. " -- Frieze"It is too simplistic to say that Jacques Rancière is the anti-Bourdieu. But it is not inaccurate. Robustly conceptual where Bourdieu is empirical, abstractly philosophical where Bourdieu was sociologically precise, he offers a recasting of aesthetic questions that attempts implicitly to rescue the category of the aesthetic from the learned helplessness, or cynical reason, in which Bourdieu left it." -- Nicholas Dames * n+1 *

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Book SynopsisChristopher Nolan occupies a rare realm within the Hollywood mainstream, creating complex, original films that achieve both critical acclaim and commercial success. In The Traumatic Screen, Stuart Joy builds on contemporary applications of psychoanalytic film theory to consider the function and presentation of trauma across Nolan’s work, arguing that the complexity, thematic consistency and fragmentary nature of his films mimic the structural operation of trauma. From 1997’s Doodlebug to 2017’s Dunkirk, Nolan’s films highlight cinema’s ability to probe the nature of human consciousness while commenting on the relationship between spectator and screen. Joy examines Nolan’s treatment of trauma – both individual and collective – through the formal construction, mise en scène and repeated themes of his films. The argument presented is based on close textual analysis and a methodological framework that incorporates the works of Sigmund Freud and Jacques Lacan. The first in-depth, overtly psychoanalytic understanding of trauma in the context of the director’s filmography, this book builds on and challenges existing scholarship in a bold new interpretation of the Nolan canon.Trade Review'Nolan's films have been explored in a number of critical works, but this is the first study to examine his work—from Doodlebug (1997) to Dunkirk (2017)—from a psychoanalytic perspective. The characters in Nolan’s films typically have undergone a traumatic experience and must reconcile past memories in order to move forward. [Joy's] synthesized approach to trauma [...] looks at themes of time, memory, identity, and narrative, motifs that are recurring elements in Nolan's films. For example, he takes a Freudian approach to exploring how the murder of the parents of the young Bruce Wayne (Batman) affected Wayne's development. A solid addition to the literature on Nolan.' -- CHOICE'Stuart Joy’s The Traumatic Screen provides a careful and accurate analysis of the films of one of the most important contemporary directors: Christopher Nolan. Nolan’s films are not without criticism, and the final analysis might reveal that only a few of the (justly) lauded works of Christopher Nolan are truly worthy of the appellation “great.” Nonetheless, the best of Christopher Nolan’s films are delightful intellectual puzzles that help provide a deeper understanding of human nature, and Stuart Joy’s The Traumatic Screen is a helpful guide to Nolan’s labyrinthian films.' -- Jesse Russell, Voegelinview'Overall, a good arc is drawn across the structure of the entire book, which repeatedly takes up the central themes of trauma, desire, time and melancholy and substantiates them using film examples. The analysis sections, each of which deals with the respective film in great detail, are written in a particularly comprehensible and clear manner. Even for readers who have not seen the films, Joy has been able to close gaps in the content with concise summaries and provides a very informative overall picture. [...] The author goes into great theoretical depth, which is why this work is definitely useful for further professional work.' -- David Brosch, MEDIENwissenschaft: Rezensionen | Reviews [translated]Table of ContentsIntroduction 1. The Traumatic Screen: Trauma, Psychoanalysis and Cinema 2. Revisiting the Scene of the Crime: Repressing the Past in Insomnia 3. Batman Begins, Again: The Temporality of Trauma in The Dark Knight Trilogy 4. Looking for the Secret: The Intersection between Trauma and Desire in The Prestige 5. The Dream has Become Their Reality: Acting-Out and Working-Through Trauma in Inception 6. Beyond the Void: Interstellar and the Possibilities of Post-Traumatic Growth 7. Keep Calm and Carry On: Combating Collective Trauma in Dunkirk 8. Conclusion – Ending at the Beginning with Doodlebug, Following and Memento

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Book SynopsisSet to generate and influence discussions in the field for years to come, this is an encyclopaedic work on the ever-evolving genre of poetry film. It will set the benchmark for all subsequent works on the subject, being the first book of its kind. Poetry films are a genre of short film, usually combining the three main elements: the poem as verbal message; the moving film image and diegetic sounds; and additional non-diegetic sounds or music, which create a soundscape. This book examines the formal characteristics of the poetic in poetry film, film poetry and video poetry, particularly in relation to lyric voice and time. Provides an introduction to the emergence and history of poetry film in a global context, defining and debating terms both philosophically and materially. Examines the formal characteristics of the poetic in poetry film, particularly in relation to lyric voice and time. Includes interviews, analysis and a rigorous and thorough investigation of the poetry film from its origins to the present. This is a very important, groundbreaking work on film poetry. The ideas discussed here are of great importance, and the diversity and breadth of the volume is especially impressive and very useful. This book brings together in one place crucial ideas and information for practitioners, students and academics, and is clearly and accessibly written. Including over 40 contributors and showcasing the work of an international array of practitioners, this will be an industry bible for anyone interested in poetry, digital media, filmmaking, art and creative writing, as well as poetry filmmakers. It explores working practices, processes of collaboration and the mechanisms which make these possible. It also reveals the network of festivals disseminating and theorizing poetry film and presents a compelling bibliography. This is the most incisive and complete analysis of filmic poetry to date. It is poised to become a major text in the field. Essential reading for academics teaching poetry filmmaking, moving image, film, media and media poetry, writing and art. Undergraduate and postgraduate students in those fields. Great potential for textbook adoption. Also relevant to poets, filmmakers, visual artists, graphic artists and theorists, filmmakers, screenwriters, art historians, philosophers, cultural commentators, arts journalists.Trade Review'Sarah Tremlett’s The Poetics of Poetry Film is a unique and extraordinary contribution to this vibrant field of expression. Her landmark volume elegantly articulates the conceptual foundations, language, grammar, and vocabulary of poetry film and its cognate forms; delivers a concise and incisive history of the genre, and introduces students, practitioners and scholars to the field’s contemporary pioneers, methods of making, and varied narrative forms. Laden with rich and provocative illustration and example, The Poetics of Poetry Film functions as Bible, Guide to the Perplexed, and indispensable reference, fluidly integrating interviews with and notes by forty contributors into a coherent and beautifully structured progression. This book—a wonder in its variety, complexity, and ambition—is a superb read.' -- Marc Zegans, poet, poetry film and immersive theatre artist'The sentence on the cover says it all for me. Hard to believe it’s been more than 50 years since Sympathies of War, my first videopoem. I’m thankful that a book like this, the first of its kind, of its sheer scope, finally exists and humbled that I had a part to play in the flowering of a new genre of poetry. No one better than the indefatigable doyenne of videopoems, my good friend Sarah Tremlett to make it come true.' -- Tom Konyves, videopoet and theorist'This is an encyclopaedic, groundbreaking manuscript on an area of film production that definitely needs more attention, and stands to be the book to surpass for quite some time; the author knows her territory intimately ... It is the most incisive and complete analysis of filmic poetry to date; it’s very diverse, includes women, minorities and transgender filmmakers, and Tremlett's descriptions of the films, and the intent of the filmmaker poets, and is both accessible and clearly written. This is a sharp, up to the minute manuscript on the bleeding edge of film criticism. ... A book exploding with dazzling, evocative images and trenchant analysis.' -- Gwendolyn Audrey Foster, Willa Cather Professor of English & Film Studies, University of Nebraska–Lincoln'This is a gem of a book. It brings together in one place crucial ideas and information for practitioner and academic. I wish very much that it had been available when I found my way into videopoetry ... Considering the scope of the subject matter, what has been achieved here in terms of clarifying and anatomizing is remarkable.' -- Dr Meriel Lland, writer, photographer and film-artist‘I loved reading this book. The Poetics of Poetry Film is an amazing resource for scholars and everyone interested in contemporary poetry.’ -- Dr Rebecca Kosick, Senior Lecturer in Translation and co-director of the Bristol Poetry Institute in the School of Modern Languages, University of Bristol'An exhaustive study of Video Poetry by the remarkable Sarah Tremlett and over 40 contributors! I was fortunate enough to have read with Sarah at the Bury Text Festival and found her work to be amazing. She also appears in an issue of Ekleksographia edited by Judith Skillman. I recognize some names among the pioneers of the movement, including the Polypoet Enzo Minarelli. Congrats on this fantastic book! This is really wonderful!' -- Jesse Glass, American poet, artist, folklorist and Professor of American Literature at Meikai University, Japan.'Sarah Tremlett’s The Poetics of Poetry Film: Film Poetry, Videopoetry, Lyric Voice, Reflection offers a breathtaking range of glimpses at the historical flashpoints, formal anatomy, and major and minor contemporary makers and trends in what Tremlett alternately calls film poems and poetry film (and their sister, video poetry). [...] The book is impressively comprehensive in its representation and acknowledgment of the wide diversity of formal experiments and elements that constitute the history and present of “poetry film,”. [...] The Poetics of Poetry Film should serve as an important resource for scholars and filmmakers interested in contemporary aesthetic trends in this interdisciplinary field. It also offers an important archive of festivals and conferences on poetry film through its inclusion of interviews with festival organizers and writings by contemporary filmmakers working at the intersection of poetry and film.' -- Rebecca A. Sheehan, Projections: The Journal for Movies and MindTable of ContentsIllustrations Foreword Valerie LeBlanc Preface xix Introduction: Poetry, Song, Philosophy – The Combined Lyric Aesthetic PART ONE: FORM AND STRUCTURE 1. Terminology across Time 2. Realization and Structure 3. Voice and Narrative 4. Time and Mind 5. Constructing Dynamic Spatio- Temporality 6. Tonality, Light and Colour 7. Sound Design 8. Poet on Screen: Persona and Subjectivity PART TWO: ARTISTS’ VOICES 9. Contemporary Pioneers George Aguilar Enzo Minarelli Enzo Minarelli Tom Konyves Javier Robledo Peter Todd Valerie LeBlanc and Daniel H. Dugas Stuart Pound and Rosemary Norman Rosemary Norman Stuart Pound Heather Haley Thomas Zandegiacomo del Bel Zata Banks Gabrielė Labanauskaitė Dave Bonta Alastair Cook Marc Neys 10. Making Chaucer Cameron Marie Craven Lucy English Ian Gibbins Jane Glennie Suzie Hanna Kate Jessop Adeena Karasick Martha McCollough Matt Mullins Adele Myers Charles Olsen Caleb Parkin and Helmie Stil Helmie Stil Caleb Parkin Maciej Piatek Dave Richardson Othniel Smith Howard Vause Susanne Wiegner 11. Poetry Film and Videopoetry in Portugal and Spain: Alive and Thriving Charles Olsen Alexandre Braga Manuel Vilarinho Eduardo Yagüe Tarha Erena Alejandro Céspedes Celia Parra Jordan T. Caylor Belén Gache Santiago Parres Lola López- Cózar Agustín Fernández Mallo David Argüelles Redondo Ángel Guinda and Sándor M. Salas 12. Experimental Poetry in Argentina from the 1960s to the 1990s: Political Voice and Prefiguring the Turn to Digital Literature and Video Poetry Marisol Bellusci 13. Liberated Words: Developing a Poetry Film Festival and Workshops Butterflies Haven Workshop Helen Moore Howard Vause PART THREE: SELECTED NARRATIVE FORMS 14. Collections John D. Scott 15. Text- on- Screen 16. Video Haiku and Video Haiga Katia Viscogliosi and Francis Magnenot Judy Kendall 17. A Documentary Approach to Poetry Film 18. Dance and Movement Helen Mort 19. The Ecopoetry Film Meriel Lland Janet Lees Janet Lees Helen Moore and Howard Vause Helen Moore Overview Examples of Leading Poetry Film Festivals References Artists and Authors Index

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Book SynopsisKinoSputniks closely analyse some key films from the history of Russian and Soviet cinema. Written by international experts in the field, they are intended for film enthusiasts and students, combining scholarship with an accessible style of writing. Ira Österberg's KinoSputnik on Aleksei Balabanov's cult film Brother (1997) examines the production history, context and reception of the film, and offers a detailed reading of its key themes. Balabanov’s Brother made a mark on the new Russia’s film history as its hero Danila Bagrov quickly gained cult status and the nostalgic rock soundtrack hit the nerve of the young post-Soviet generation. This study unravels the film’s effective and ingenious mixture of genre elements, art narration and almost documentary-style realism, which would become trademarks for Balabanov’s oeuvre. Primary readership will be among film studies students and film enthusiasts, but will also be of interest to anyone researching or studying film soundtracking. A list of all books in the series is here on the Intellect website on the series page KinoSputnikTable of ContentsList of Illustrations vii Note on Transliteration ix Acknowledgements xi Production Information xiii Plot Summary xv Introduction 1 1. Cinematic Context and Production History 7 2. Film Analysis 33 3. Reception 137 Conclusion: Brother over Twenty Years Later 159 Notes 163 References 171

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Book SynopsisThe book offers an introduction to adaptations between stage and screen, examining stage and screen works as texts but also as performances and cultural events. Case studies of distinct periods in British film and theatre history are used to illustrate the principle that adaptations can't be divorced from the historical and cultural moment in which they are produced and to look at issues around theatrical naturalism and cinematic realism. Written in a refreshingly accessible style, it offers an original analysis with emphasis on performance and event. It opens up new avenues of exploration to include non-literary issues such as the treatment of space and place, mise en scène, acting styles and star personas. The recent growth of digital theatre is examined to foreground the 'events' of theatre and cinema, with phenomena such as NT Live analysed for the different ways that 'liveness' is adapted. Adapting Performance Between Stage and Screen explores how cultural values can be articulated in the act of translating between mediums. The book takes as its subject the interaction between film and theatre and argues that, rather than emphasising differences between the two mediums, the emphasis should be placed on elements that they share, in particular the emphasis on performance and the participation in an event. It uses a number of case studies to show how this relationship is affected by changes in technology – the coming of film sound, the invention of live-casting – and in the nature of the event being offered to particular audiences. These examples, ranging from the well-known to the obscure, are all treated with relevant and knowledgeable analysis and a strong and appropriate sense of context. The book offers a welcome overview of previous work in this area and demonstrates the importance of basing analysis on historical context, as well as giving new insights into some familiar examples. Discussion ranges from Steven Spielberg and Alfred Hitchcock to Robert Lepage and Ivo van Hove. There are detailed analyses of Alfie, Gone Too Far and Festen as well as authoritative analyses of NT Live performances and British New Wave cinema. The book will be of primary interest to academics, researchers, teachers and students working in adaptation studies, film studies and theatre studies. Written in an accessible style it will appeal to teachers and students on A-level, undergraduate and postgraduate film, theatre, media and cultural studies courses. The chapter on digital theatres will add to the growing body of literature in this area and appeal to students and academics working on digital cultures and new media. Live screenings of theatre events are becoming more widely available and increasingly popular, including some of the productions discussed. There is potential interest for a general audience interested in British films, theatre and actors.Trade Review'Building productively on previous scholarship while also taking adaptation studies in fruitful new directions, Adapting Performance between Stage and Screen offers an accessible and incisive consideration of its topic. Lowe confidently navigates the many permutations of the relationship between cinema and theatre and meticulously explores how this has played out in the particularly intertwined British variation on the theme. Very worthwhile reading for anyone interested in British film, British theatre and their deep interconnectivity, this is a performance that definitely deserves its own round of applause.' -- Melanie Williams, Journal of British Cinema and Television'As an introduction to this new approach, Lowe leaves us with a number of potential avenues for future exploration and academic research. Although there are a few suggestions listed in the book, such as a re-examination of the films of Basil Dean, further analysis of the theatre-to-cinema live broadcast and the investigation of stage productions of British film, this method will provide the inspiration for further academic analysis in both theatre and film studies. Lowe’s accessible writing style makes this not only an informative but also a pleasurable read for everyone with an interest in performances on either stage or screen.' -- Georgia Brown, Historical Journal of Film, Radio and TelevisionThe author offers very good readings and analysis of a wide range of texts from well-known classics to more obscure works, spanning the popular, the populist and the avant-garde. It is thrilling to read a book that can discuss Steven Spielberg or Alfred Hitchcock in one place and Robert Lepage or Ivo van Hove in another ... It is an exciting volume that plugs an important gap in current cross-media scholarship. -- Richard Hand, Professor of Media Practice at the University of East Anglia and Editor of the Journal of Adaptation in Film & PerformanceThis book offers an original analysis which emphasizes performance and event (rather than literary texts) as the basis for analyzing different examples of adaptation. In terms of case studies, it offers interesting and worthwhile insights into some quite familiar material but also takes on relatively new examples of the exchange between theatre and film in its discussion of live-casting and the recent dominance of staged films in British theatre … an excellent account of an important topic. -- Christine Geraghty, Professor of Film and Television, University of Glasgow,Table of ContentsIntroduction Part One: Practices Chapter 1: Stage to Screen Adaptation and Performance/Production: Space, Design, Acting, Sound Chapter 2: Screen to Stage Adaptation: Theatre as Medium/Hyper-Medium Chapter 3: Stage to Screen Adaptation and the Performance Event: Live Broadcast as Adaptation Part Two: Histories Chapter 4: The Introduction of Sound and ‘Canned’ Theatre Chapter 5: The British New Wave on Stage and Screen Chapter 6: Staging ‘British Cinema’ Conclusion

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Book SynopsisThis book focuses on the neoliberal self,which, far from being a stable marker ofurban, liberal, millennial Indian identity,has a schizophrenic quality, replete withcontradictions and oppositions, that beliesthe narrative of progress and prosperitythat has marked mainstream culturaldiscourse in India. 15 b&w illus.

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Book SynopsisUsing the cultural medium of film to show how very differently social trauma is negotiated and narrated in different societies. A varied group of international experts offer a careful analysis of the psycho-historical roots of differently motivated losses of trust in social instances in connection with the concept of social trauma.

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Book SynopsisThe Godfather is a classic. Not just of Hollywood or America, but in worldwide cinema. Its legacy not only lives on in the 21st century, but it has also transcended its origins, today meaning more to so many than just a movie: it's a religion. Its cast of future Hollywood heartthrobs and acting icons – Brando! Pacino! De Niro! Caan! Duvall! Keaton! – was perfect. Its script, a masterpiece. Its score too. It became 1972's highest grossing movie and would remain the world's top grossing film for decades. And it received unprecedented critical acclaim.The Little Book of The Godfather is a celebration of this classic slice of cinema on its 50th birthday. It has everything a Godfather fanatic could want, and certainly could not refuse: from to killer stats to stunning facts, production notes to classic quotes, stories and tales from the set and the ongoing impact of the film's now legendary status. It's all here. Come and get it.'Leave the gun. Take the cannoli.' Peter Clemenza'You found paradise in America. You had a good trade, you made a good living. The police protected you and there were courts of law. So you didn't need a friend like me. Now you come and say "Don Corleone, give me justice." But you don't ask with respect. You don't offer friendship. You don't even think to call me "Godfather". You come into my house on the day my daughter is to be married and you ask me to do murder – for money.' Don CorleoneTable of ContentsAmerican Crime Story: The origins and history of the movie, from script to screen to success • 1945: Facts, stats and quotes about the plot, characters and filming • Don Vito Corleone: Everything you need to know about The Godfather, and Brando's portrayal of the character • Once Upon A Time In America: Actors, filmmakers and crew reflect on making the film • Long Live the King: The impact, success and legacy of the film over the past half-century • The Offer: All the best lines, quotes and production notes from the film.

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Book SynopsisStanley Kubrick was up to something. But neither his fiercest admirers nor his harshest critics ever suspected what it was. His movies were the means. So what was the end? In this experimental analysis of the work of Stanley Kubrick, Jasun Horsley unpicks the cult of Kubrick, taking a unique approach as he delves into the deeper - and often darker - reasons as to why the director has achieved such admiration over the years. The Kubrickon maps an unholy merger of computer and behavioral sciences that has shaped not just politics but all of modern society over the past decade (e.g. Cambridge Analytica). It explores Stanley Kubrick’s intensive, secret, insider involvement in the building of an architecture of algorithm-directed technology that has steadily encroached into our inner realms, cementing a symbiotic relationship between human consciousness and technology, with culture as the binding medium of an attention economy. Throughout The Kubrickon Horsley uses Kubrick’s critically acclaimed films such as Eyes Wide Shut and 2001: Space Odyssey to provide a fascinating and revelatory overview of the cultural obsession with Stanley Kubrick, as well as on a wider scale providing illuminating criticisms of society’s consumption of culture and media. For those who dislike Kubrick movies, The Kubrickon will finally absolve you of all uncertainty and guilt. For those who adore Kubrick movies, The Kubrickon will challenge you to the core, and may just set you free. For those who are indifferent to Kubrick movies, The Kubrickon will reward you by making you care about, and nurture, your indifference.
Table of ContentsCONTENTS INTRODUCTION Confessions of a sick mind (Stanley Kubrick's Atrocity Exhibition) His hands were tied (the Kubrick vacuum) Secret pedophile elites Culturally co-opted cognitive counterfeits King culture PART I - THE ARCHITECTURE OF IMMERSION CHAPTER 1 - Children of Kubrick The man Deny all knowledge Immersion criticism Extraordinary facts and ridiculous flights of hermeneutic fantasy CHAPTER 2 - Full metal emperor Needful guesswork Cultural warfare The very idea of greatness, or: Stanley is as Stanley does The works of Satan CHAPTER 3 - Crossing the Kubrickon Under the seat The Overlook, again The “final” answer? A two-way mirror PART II - AGENT STANLEY CHAPTER 4 - How the solar system was won The anomaly of Kubrick's optimistic vision of the future of man Theft as art Arthur C. Clarke's goldfish bowl KUBARK: sinister associations CHAPTER 5 - Clockwork conspiracy theories Some facts about Stanley Learning from The Master Agent Orange A clean-minded pornographer CHAPTER 6 - The lost language of the body Kubrick, DARPA, Simulmatics A computational theocracy Enter the dragon The apple of knowledge PART III - KING VS KING CHAPTER 7 - The silver key The wasp's nest An I for an I The writer's block The golden Bowman CHAPTER 8 - White man's burden, or: the Grand Unified Theory of The Shining (GUTS) The axe blow Historic trauma transmission (Sons of Saturn) Adult boy The secret ally CHAPTER 9 - Hive mind Word vs image Games of thrones Behold the para-self DID Meets DOD: the AI breakthrough BIBLIOGRAPHY END NOTES INDEX

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Book SynopsisThis companion gives an exhaustive overview of how screen censorship touches our lives, from historical studies to today's intrusions into how screen content is controlled, made available, or taken away. The cases studies range from the forbidden over politically subversive' materials, to plain mainstream fareall within censorship's reach.

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Book SynopsisLights. Camera. Reaction!How do real world discoveries affect what we see on screen? What impact does the world of film have on how we view chemistry? Are chemists the villains or the heroes?From Transylvania and Chernobyl to generic geniuses and meth makers, explore the fascinating world of the big and small screen through a chemist?s eye as cinema and television are passed under the microscope. From the earliest silent films through to modern, multi-episode television, discover the real-life chemistry that inspired your favourite shows.Learn how depictions of chemists have changed through the years. Are chemists always pictured as relentless in their quest, are the dangers and risks accurately represented and did the image of chemistry teachers change after the portrayal of a teacher turned illicit drug supplier?Uncover the facts and fiction around these questions and many more with Onscreen Chemistry.

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Book SynopsisQueer for Fear analyses the relationship queer people have to horror film, building upon decades of theory that previously emphasised horror’s queerness as being subtextual, allegorical and figurative. This groundbreaking interdisciplinary empirical study of the LGBTQ+ community not only offers the first inclusive understanding of the horror-loving queer spectator’s opinions, habits and tastes, but also evidences how and why queers have a distinctive relationship to horror. Leveraging original survey data, in-depth oral histories and theory, Petrocelli evidences that queer people have ontological connections to the horror genre, and concludes that horror is queer to the queer spectator. This study also establishes that queer spectators actively engage with horror to work through their trauma, knowingly have a camp relationship to horror, and joyously commune through horror screenings featuring drag performance. Queer for Fear is an overdue contribution to the fields of queer, film, horror, trauma, camp and live cinema studies.

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Book SynopsisThe French New Wave is an essential anthology of writings by and about the critics and filmmakers of this revolutionary cinematic movement, which has had a radical impact on film practice and the way we think and write about film. The volume includes foundational writings such as Francois Truffaut's A Certain Tendency in French Cinema and Andre Bazin's La Politique des auteurs, as well writings by Jean-Luc Godard, Claude Chabrol and Alexandre Astruc. This new edition now represents writings by and about women critics and film-makers, including important articles by the critics Evelyne Sullerot, Michele Firk and Françoise Aude, addressing issues of gender and representation, as well as considering New Wave films in the context of contemporary political events, notably France's colonialist war on the Algerian independence movement. To accompany the case study of Godard's À bout de souffle, the new edition includes a case study of the critical reception of two films by Agnès Varda: La Pointe Courte and Cléo de 5 à 7 . The articles have been specially translated for the volume by Peter Graham, and some are published for the first time in English. These classic writings are accompanied by contextualising introductions by Ginette Vincendeau, updated for this new edition, to form a unique resource on this key cinematic movement and its practitioners.Trade ReviewThis is an indispensable point of reference for anyone interested in the movement. The book's resurrection in this slightly expanded new version is very welcome, and it remains faithful to one of the series' hallmarks: the imaginative arrangement of the many carefully selected stills. * Sight & Sound (of the 2009 edition) *...the re-printed essays in The French New Wave: Critical Landmarks encapsulate an exciting time of cultural change with their fierce opinions and alternative approach towards reading film. * Scope (of the 2009 edition) *Table of ContentsPreface to the 2022 edition Preface to the 2009 Edition Preface to the 1968 Edition Introduction (updated): Sixty Years of the French New Wave 1. The politique des auteurs: foundational texts The Birth of a New Avant-Garde: La Caméra-Stylo ALEXANDRE ASTRUC A Certain Tendency in French Cinema FRANÇOIS TRUFFAUT The Evolution of Film Language ANDRÉ BAZIN La Politique des auteurs ANDRÉ BAZIN 2. Critical debates: authorship and mise-en-scène The Delights of Ambiguity: In Praise of André Bazin GÉRARD GOZLAN Little Themes CLAUDE CHABROL. Review of Alexandre Astruc’s Une vie JEAN-LUC GODARD. The Emperor Has No Clothes ROBERT BENAYOUN. Interview with François Truffaut CAHIERS DU CINÉMA. 3. Authorship-mise-en-scène Case Study: the reception of A bout de souffle Contrasting Views of A bout de souffle: Jean-Luc Godard LUC MOULLET . A bout de souffle RAYMONDE BORDE . Le Quai des brumes 1960: A bout de souffle by Jean-Luc Godard GEORGES SADOUL. 4. Critical debates: The Missing Perspective, gender and politics Identikit of the ‘New Wave’ heroine EVELYNE SULLEROT Goodnight, Doctor Kinsey PIERRE KAST Three texts by MICHÈLE FIRK Hiroshima mon amour, the heart and the mind FRANÇOISE AUDÉ 5. Gender Case study: the reception of Agnès Varda MONOD: La Pointe courte; SADOUL: Cleo de 5 a 7; BORY: Cleo de 5 a 7 Bibliography (updated) Index (updated)

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Book SynopsisRichard Dyer is a foundational figure for the critical study of cinema and popular culture. Across a career spanning five decades, he has made path breaking contributions to our understanding of stardom and celebrity, gay and queer politics and cultural history, film music, race and whiteness and the pleasures of popular entertainment. The Richard Dyer Reader brings together for the first time key writings by this vital and influential figure, many of which are not otherwise available. The anthology guides readers through Dyer’s prolific and rich output through six thematic selections of essays and extracts, each centred on a key theme in Dyer's work: stardom and the image; entertainment and ideology; gay politics and representation; whiteness; the pleasures of popular entertainment, and textual analysis. A seventh section comprises a selection of interviews conducted across the span of his career, as well as a new interview with editors Glyn Davis and Jaap Kooijman. The book will provide an introduction for those new to Dyer’s writings, as well as offering a fresh perspective for readers with a more comprehensive knowledge of his work. The collection includes archival and recent pieces of writing never previously anthologised, newly commissioned essays, a substantial introduction to Dyer’s life and work and framing introduction to each section.Trade ReviewRichard Dyer is one of the most important film scholars in the world – establishing the fields of star and sexuality studies while exercising a huge influence on the analysis of race and gender in popular culture. It is remarkable that his work has not yet been collected in this kind of volume – perhaps because he is rightly careful about how to do it. In Glyn Davis and Jaap Kooijman, he has the perfect anthologists. -- Mandy Merck, Royal Holloway, University of London, UKFor half a century, Dyer has been one of the most important, impassioned and insightful observers in film/media and cultural studies. The Richard Dyer Reader’s selections – on action film, musicals, politics, gay pornography, whiteness, television, disco, stardom and much more – showcase Dyer at his blissfully jargon-free best. -- Chris Holmlund, University of Tennessee-Knoxville, USATable of ContentsAcknowledgements Introduction - Glyn Davis and Jaap Kooijman I: A STAR IS BORN and other essays on stardom and image 1. A Star is Born and the construction of authenticity (1981) 2. The meaning of Tom Jones (1971) 3. Gene Kelly (1972) 4. Jane Fonda (1979) 5. The way she is (1981) 6. Diana Ross (1982) 7. Never too thin (1993) 8. Charles Hawtrey (1994) 9. Between parturition and manufacture (2018) II: IN DEFENCE OF DISCO and other essays on entertainment and ideology 10. In defence of disco (1979) 11. Views of Nationwide go wide (1980) 12. Coronation Street (1981) 13. Tea and cocoa tele (1982) 14. Bad for a laugh (1982) 15. Taking popular television seriously (1985) 16. The colour of entertainment (1995) 17. Jurassic World and procreation anxiety (2015) III: GETTING OVER THE RAINBOW and other essays on gay liberation 18. Getting over the rainbow: identity and pleasure in gay cultural politics (1981) 19. Notes on gays and class (1976) 20. Pasolini and homosexuality (1977) 21. Taxi zum Klo (1982) 22. Vito Russo, The Celluloid Closet: Homosexuality in the Movies (1983) 23. Rock: the last guy you’d have figured? (1985) 24. Nice young men who sell antiques: gay men in heritage cinema (2001) 25. The idea of a gay icon (2009) IV: WHITE and other essays on representation and visibility 26. White (1988) 27. Jean-Jacques Rousseau and the right to love oneself (1968) 28. The role of stereotypes (1979) 29. Of rage and despair (1981) 30. Don’t look now: the instabilities of the male pin-up (1982) 31. Heterosexuality (1997) 32. Is the camera racist? (1997) 33. White enough (2013) 34. The president’s hair (2018) V: COMING TO TERMS and other essays on bodies and affect 35. Male gay porn: coming to terms (1985) 36. Scorpio Rising (1981) 37. Why dance? (1981) 38. Old briefs for new (1989) 39. Dracula and desire (1993) 40. Idol thoughts: orgasm and self-reflexivity in gay pornography (1994) 41. ACTION! (1994) 42. The same over and over (2015) 43. Fond of little tunes: the sissiness of music in Rope and Tea and Sympathy (2023) VI: THE PERSISTENCE OF TEXTUAL ANALYSIS and other essays on form and meaning 44. The persistence of textual analysis (2023) 45. The television situation (1973) 46. The Towering Inferno (1975) 47. Notes on textual analysis (1981) 48. The space of happiness in the musical (1998) 49. Sound in Seven (1999) 50. The talented Mr Rota (2004) 51. Far from Heaven (2007) 52. Going Italian (2011) 53. Eisenstein’s penis (2023) VII: MASCULINITY IS SO BORING and other conversations with Richard Dyer 54. Masculinity is so boring (1985) (with Joe McElhaney) 55. To be reel (1997) (with Matthew Rettenmund) 56. Pleasure | obvious | queer (2016) (with Catherine Grant and Jaap Kooijman) 57. Writing out of love or politics (2023) (with Glyn Davis and Jaap Kooijman) Index

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisTwo screenwriters once walked into a Hollywood producer's office and said three words 'Jaws in space.' Those three words won them the contract for the blockbuster movie Alien. The ability to pitch well is essential for all writers, directors and producers in cinema and TV. Strong pitching skills will accelerate your career - not only helping you sell your projects, but also developing them in the first place, focusing on what makes a story work, clarifying character and plot, and working more successfully with industry collaborators. This book takes you from the essentials of what makes a good pitch to advanced skills that will help you in all kinds of pitching situations. Charles Harris gives a clear-sighted view of how pitching works in the industry and a series of very practical techniques for developing a gripping and convincing pitch. Drawing on his experience, he examines the problems that can arise with both mainstream and unconventional projects - from a range of different cultures - and explains how to solve them. He also analyses the process of taking a pitch meeting and shows you how to ensure you perform at your best.Trade ReviewEverything you need to know about pitching and a whole lot more -- Nicola QuilterCharles Harris has created the perfect handbook for anyone who is a bit uncertain or scared about pitching their work * www.writesofluid.com *Charles makes the whole process of pitching seem so enjoyable -- Elinor * Lock and Load, Brides of Christ *

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Book SynopsisTakes you behind-the-scenes of the making of the fourth Terminator movie, Terminator Salvation. This title contains interviews with the cast and crew, including Christian Bale and McG, as well as an abundance of photos.

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Book SynopsisIn this vivid and accessible new account of the dawn of film in Britain, internationally respected film historian and curator Bryony Dixon introduces us to Britain's first cinematic pioneers – an eclectic mix of chemists, engineers, photography enthusiasts, fairground showmen and magicians – who in a few short years built a vibrant new industry. As she chronicles the emergence of the first embryonic film forms and genres, she reveals often surprising innovations, from cutting-edge science to ingeniously witty tricks and comedies, with filmmakers reflecting existing entertainment forms as well as advancing editing and cinematography in ways that shaped the art of film for many decades after. Dixon offers fresh insights by focusing on the films themselves – many of them only recently available to view – while building on the work of generations of scholars. In the process, Dixon makes a compelling case for the British filmmakers of the era as inventive and creative figures, every bit as influential as their more celebrated contemporaries in France and the US.Trade Review9781911239611 * Sight and Sound *Bryony Dixon has been instrumental in bringing the BFI Archive’s unique collection of Victorian films to the widest possible audience. In this beautifully illustrated book, she provides these potent and often undervalued historical documents with a thoughtful and informative commentary. -- Barry Anthony, co-author of A Victorian Film Enterprise (1999)Bryony Dixon brings to life the marvels of Victorian cinema in this book. Providing a field-guide to the different genres of the period, this is the perfect accompaniment to the newly digitized treasures from the BFI National Archive. -- Malcolm Cook, University of Southampton, UKBursting with great stories and enterprising characters, this book makes a convincing, and very entertaining, case for pausing to savour cinema’s first decade. In this page-turning survey of innovations, ingenuity and vital sparks of imagination, we see the seeds of all cinematic life to come. -- Pamela Hutchinson, author of The Red Shoes and Pandora’s Box (BFI Film Classics)With verve and intelligence, Bryony Dixon provides a comprehensive introduction to Victorian cinema, setting these films in historical context while proving that the past is much closer, and more familiar, than we think. Her intimate knowledge of these gems makes her the ideal guide. -- Jay Weissberg, director, The Pordenone Silent Film FestivalTable of ContentsForeword Part One: The Victorian World Actualities and Topicals Close Ups: The Launch of HMS Albion (1898) The Arrest of Goudie (1901) Actualities and News Close Ups: Biograph's Grand National Mar 24th 1900 (lost film) Street Life Close Ups: Children Dancing to a Barrel Organ (1898) Launch of the Worthing Lifeboat (1898) Artistic/Aesthetic Close Ups: Sea Cave in Lisbon Natural History and Science Close Ups: Spider on a Web (1900) Panoramas and Phantom Rides Close Ups: Panorama of the Paris Exhibition (1900) Travel and industry Close-ups Feeding the Pigeons in St Mark's Square, Venice (1898) Local filmp Close-ups The factory gate films of M&K War and military Close-ups Battle of Spion Kop: Ambulance Corps Crossing the Tugela River (1900) Part 2: The Victorian Mind Comic sketches and facials Close-ups The Big Swallow (1901) Variety acts and novelties Close-ups Kitty Mahone (1900) Promotional films Close-ups Mr Moon (1900) Erotic films Close-ups Undressing Extraordinary (1901) Trick and children's film Close-ups Santa Claus (1898) Drama and Adaptation Close-ups The Death of Poor Joe (1900) Epilogue: A Victorian Crystal Ball

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Book SynopsisFrom Joseph Vogelsang and his mysterious peep-box to Hollywood blockbusters and Netflix, R.A. Savoldelli’s survey of cinema and film is based on practical experience – he was once the enfant terrible of Swiss cinema – and years of contemplation and study. He examines the difference between film as the ‘hypnotic monster’ referred to by the Italian director Pier Paolo Pasolini, and the art of film that Rudolf Steiner aspired to. The author depicts the historical development of cinema from its origins, paying particular attention to science fiction – from Star Wars to The Matrix – and influential filmmakers such as Eric Rohmer, Andrei Tarkovsky and Pasolini. As a scholar of anthroposophy, Savoldelli gives a comprehensive assessment of Rudolf Steiner’s attitude to film. In addition to frequenting the silent cinema of his time, Steiner made several statements about the new artform in his lectures, letters and private discussions. The author examines and interprets these and complements them with commentary on Steiner’s attempt to produce a film on the theme of reincarnation and karma as well as his explorations with Jan Stuten of ‘light-show art’. Other topics in this penetrating study include: ‘Basic philosophical stances in the pioneer period of media studies’; ‘Steiner’s prophetic warnings about a technocratic form of civilization that will destroy humanity’; ‘Nostalgia for the art-house cinema that emerged in the 60s’; and ‘The project discussed by Alexander Kluge and Andrei Tarkovsky for a film based on Rudolf Steiner’s From the Akashic Records’. Anyone interested in the cinematic arts will find a treasure of stimulating ideas and new thought in this unique book.

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Book Synopsis‘The foreigner is within me, hence we’re all foreigners. If we’re all foreigners, there are no foreigners.’ – Julia KristevaStrangers Within is an anthology exploring the idea of documentary as encounter through essays, stories, interviews and other creative responses by filmmakers, artists, and writers. The texts engage with the risks of encounter, unsettling assumptions about the distinctions between host and guest; stranger and friend; self and other; documentarian and protagonist. Opening up a series of questions about the mystery of another person, whose difference and unknowability is already a part of one’s self, the anthology offers a multidisciplinary approach to understanding the convergences between encounter, hospitality and autobiography.With contributions by Khalik Allah, Ruth Beckermann, Jon Bang Carlsen, Adam Christensen, Annie Ernaux, Gareth Evans, Jane Fawcett, Xiaolu Guo, Umama Hamido, Therese Henningsen, Marc Isaacs, Mary Jiménez Freeman-Morris, Juliette Joffé, Andrew and Eden Kötting, David MacDougall, Trinh T. Minh-ha, Toni Morrison, Bruno de Wachter and Andrea Luka Zimmerman.

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Book Synopsis'The ultimate guide to every apocalypse movie ever made' - David Quantick The 1980s. A time of fear: fear of the unknown, fear of your neighbours, fear of drugs, fear of sex, fear of strangers, fear of videos, and the very real fear that the world would end at any moment in an awful, and very sudden, nuclear attack. However, in those times of turmoil and worry, there was a comfort that soothed the mind, and acted as a quiet balm: action movies. Video shops were bursting at the seams with rampant gunfire, sex, drugs, rock, roll, cars on fire, people on fire, guns, bombs, and people dressed in army fatigues (and that was just the staff). Heroes were born shrouded in fire and violent revenge, they were not only armed with guns, but also red-hot quips, that served as a muscly arm around the shoulder, and a wink that everything was going to be okay. So thank you Arnold, Sylvester, Sigourney, Bruce, Eddie, Charles, Patrick, Mel, Chuck and everyone else that made it happen. You saved the world, in your own inimitable way. Join John Rain, the author of the critically-acclaimed Thunderbook: The World of Bond According to Smersh Pod, as he examines a choice selection of the greatest action movies from the decade when the explosion was king.Trade Review'Weapons. Wounds. Warlords. Watford! Explodobook is a hilarious, gripping and muscular flex through every bulge and bruise of 80s action cinema, and a truly heartfelt paean to the lost joys of VHS culture. I LOVE this book' -- Séamas O'Reilly'Funny, hilarious, comic and very well-informed, Explodobook is the ultimate guide to every apocalypse movie ever made' -- David Quantick'John Rain’s hilarious new book is a laugh-out-loud, impeccably detailed nostalgia trip through the golden era of action movies. It’s like watching these films again with an old friend. I loved it' -- Jim Howick'In shades and a bloodied vest, bogies everywhere, John Rain kicks down the doors and gloriously celebrates the great action movies of the 1980s. Pulse-pumping, hilarious and deeply affectionate, I fell in love with those films all over again. Yippee-ki-yay, motherf*****' -- Alistair Petrie

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Book SynopsisThe story of an immortal Scottish warrior battling evil down through the centuries, Highlander fused a high-concept idea with the kinetic energy of a pop promo pioneer and Queen’s explosive soundtrack to become a cult classic. When two American producers took a chance on a college student’s script, they set in motion a chain of events involving an imploding British film studio, an experimental music video director still finding his filmmaking feet, a former James Bond with a spiralling salary, and the unexpected arrival of low-budget production company, Cannon Films. Author Jonathan Melville looks back at the creation of Highlander with the help of more than 60 cast and crew, as they talk candidly about the gruelling shoot that took them from the back alleys of London, to the far reaches of the Scottish Highlands, and onto the mean streets of 1980s New York City. With insights from Queen’s Brian May and Roger Taylor on the film’s iconic music, exclusive screenwriter commentary on unmade scripts, never-before-seen photos from private collections, and a glimpse into the promotional campaign that never was. If there can be only one book on Highlander then this is it!Trade Review'An engrossing read with plenty of on-set anecdotes' 4 out of 5 stars * Total Film *'A definitive history ... which every fan should read' * Starburst *'As well as being the story of the Highlander film itself, it’s a fascinating look at the film-making process ... Jonathan Melville's A Kind of Magic - Making the Original Highlander is an absolute joy to read and an absolutely essential purchase for any Highlander fan' * We Are Cult *'There really can only be one Highlander… and you’re highly unlikely to find a better account of it.' 9/10 * Sci-Fi Bulletin *'Jonathan Melville rounds up an impressive number of the key players… and mixes new interviews with plenty of material from the archives' * SFX *'At over 300 pages, this is literally Everything You Wanted To Know About Highlander But Were Afraid To Ask. An epic with a cast of thousands' * The Dobermann Always Rings Twice *'A Kind of Magic: Making the Original Highlander tracks down an astonishing number of the film's cast and crew to give an unparalleled account of its creation... if you’re one of the film’s many fans this is the perfect companion' * The Courier, Book of the Week, 9/10 *

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Book SynopsisWriter, producer, and director Wes Craven has successfully tapped into the horror vein for over forty years, serving up scary, funny, cutting-edge thrillers that have become classics in the genre. His films have been both critical and commercial successes, most notably Nightmare on Elm Street, which spawned a series of sequels and made Craven (and his creation, Freddy Kruger) an international sensation. He then created a second indelible series in the horror movie trope with Scream. In Screams & Nightmares, Brian J. Robb examines Craven's entire career, from his low-budget beginnings to his most recent box office hits, from the banned thriller The Last House on the Left and the cult classic The Hills Have Eyes to the outrageous Shocker and The People Under the Stairs. Through exclusive interviews with Craven, Robb provides in-depth accounts of the making of each of the films – including the final instalments of the Scream series – Craven's foray into writing novels, and his numerous television projects.Trade Review'Brian J Robb focuses on the films, including the obscure ones. He writes engagingly and with detail . . . As Craven once said, “I’m a person who understands how people are afraid.” And Robb understands how he transferred that fear to the screen' -- Ed Potton * The Times *'definitive . . . info-packed and exceptionally well written . . . there is no writer better qualified to chronicle the life and work of a remarkable talent' -- Barry Forshaw * The Dark Side *'a remarkably addictive and easy-to-read guide to Craven’s work, piling in juicy snippets and lesser-known background . . . a comprehensive picture of Craven and his output' -- Nick Joy * Si-Fi Bulletin *

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Book SynopsisThe first-ever complete study of the Aldwych farce films (1924-1954) and the plays they were based on. The thirteen Aldwych farces were phenomenally successful in the West End between 1922 and 1933. The stars - Ralph Lynn, Tom Walls and Robertson Hare transferred their work to the screen equally successfully in the early 1930s. With humour that relied more on characterisation and clever wordplay than slapstick, they became top stars of the new sound films, 'talkies'. Also covered in the book are the screen originals written for the team by Ben Travers, the 1930s solo vehicles for both Lynn and Walls, and the later plays and films in which Hare appeared with Alfred Drayton. Each of the forty-eight films featured in the book is described in full, with its cast, credits, plot, history, availability and reviews. Ninety short profiles of the personnel involved (stars, leading ladies, supporting actors, playwrights, screenwriters, producers and directors) are included, as well as 200 rare illustrations.

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Book SynopsisAs featured in Fangoria, Movieweb, ComingSoon, Queerty, Rue Morgue, Yahoo News, Bloody Disgusting, and more!In 1983, Robert Hiltzik’s Sleepaway Camp was quickly disregarded by film reviewers. Variety called it a “tired version of teen oriented horror film formulas," The Philadelphia Enquirer "had more thrills untangling paper clips," and The Cincinnati Post branded it "more horrible than horrifying."But fans saw something different. Very different. 40 years since its release, the film’s unique blend of horror, tongue-in-cheek comedy, sexuality, and gender roles—along with an ending to end all endings, was seemingly ahead of its time. Sleepaway Camp is now discussed and debated more than when it was initially released.Longtime official Sleepaway Camp webmaster, writer, and filmmaker Jeff Hayes goes behind the scenes like never before, revealing the development and making of the film, its immediate aftermath, and the more than four decades of fandom since its release. This definitive Sleepaway Camp compendium includes interviews with much of the cast and crew (with many new exclusives), more than 75 production and memorabilia images (including previously unreleased on-set stills), and takes you backstage to the reunions, retro screenings, and convention events that have united fans and reignited interest in this beloved horror tale.Two sequels later, plus Hiltzik's retcon film Return to Sleepaway Camp, Sleepaway Camp continues to resonate in a big way with ’80s film buffs, global horror fans, and the LGBT community, all of whom enjoy their horror films…with a twist.Welcome to Sleepaway Camp. Meet you at the waterfront, after the social.Trade ReviewHoliday 2023 Gift Guide Mention: /Film."Jeff Hayes might be the absolute best person to write a book on this cult classic and the franchise it spawned...If you call yourself a Sleepaway Camp fan, you can’t live without this." — Rue MorgueTable of ContentsIntroduction1. Pre-Production2. Casting3. Production4. A Campy Environment5. Murder, Mayhem, Two Eds, and a Bill6. Revelations from the Big Climax7. Post-Production8. Frankie Vinci Interview9. Distribution/Release10. Cast and Crew Reactions11. Critics’ Reviews12. So Bad It’s Good, or Misunderstood?13. VHS Release and Cablecast14. Sleepaway Camp II and III15. The Website16. The First Big Break17. Searching for Felissa Rose18. Coming Soon: Sleepaway Camp on DVD19. Felissa’s Apartment and Interview20. Last-Minute DVD Arrangements and Commentary21. The Comeback Trail: The Sleepaway Camp Reunion22. Alamo Drafthouse / 200123. Flashback Weekend / 200224. Red Cross Box Set25. Return to Sleepaway Camp26. Sleepaway Camp Reunion 2 / 200927. Judy28. Later Releases29. Desiree Gould (Aunt Martha) / 1945-202130. A Critical Reevaluation31. Return to (the Actual) Camp Arawak / 202232. Gender and HomoeroticismFinal ThoughtsAcknowledgmentsImage CreditsAbout the Author

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Book Synopsis

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