Film history, theory or criticism Books
Amsterdam University Press Women Filmmakers and the Visual Politics of
Book SynopsisManoeuvring around mainland China’s censors and pushing back against threats of lawsuits, online harassment, and physical violence, #MeToo activists shed a particularly harsh light on the treatment of women in the cinema and entertainment industries. Focusing on films from the People’s Republic of China, Hong Kong, Taiwan, and the Chinese diaspora, this book considers how female directors shape Chinese visual politics through the depiction of the look, the stare, the leer, the glare, the glimpse, the glance, the queer and the oppositional gaze in fiction and documentary filmmaking. In the years leading up to and following in the wake of #MeToo, these cosmopolitan women filmmakers offer innovative angles on body image, reproduction, romance, family relations, gender identity, generational differences, female sexuality, sexual violence, sex work, labor migration, career options, minority experiences, media access, feminist activism and political rights within the rapidly changing Chinese cultural orbit.Table of ContentsAcknowledgements Note on Romanization 1. Introduction: #MeToo and the Visual Politics of Transnational Chinese Cinema 2. The Look and the Stare: Looked Over and Overlooked in The Truth About Beauty (2014), My Way (2012), and Unfinished (2013) 3. The Leer and the Glare: Voyeurism and State Surveillance in Hooligan Sparrow (2016) and Angels Wear White (2017) 4. A Glimpse of the Glance: Women Scrutinize Men in Female Directors (2012) and Girls Always Happy (2018) 5. The Queer Gaze Across the Gay-Straight Generational Divide: Small Talk (2017) and A Dog Barking at the Moon (2019) 6. The Alienated Gaze and the Activist Eye: Gender, Class, and Politics in Lotus (2012) and Outcry and Whisper (2020) 7. Oppositional Optics: The View from Hong Kong 8. From Activism to Exile: Our Youth in Taiwan (2018) and To Singapore, with Love (2013) 9. Viral Visions: The Pandemic Archive in Miasma, Plants, Export Paintings (2017) and Many Undulating Things (2019) 10. Conclusion: The View from the Chinese Diaspora in The Farewell (2019) Filmography Bibliography Index
£121.60
Amsterdam University Press Beyond the Essay Film: Subjectivity, Textuality
Book SynopsisIn the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the ‘long durée’ of the 20th century and into the 21st. By raising the issue of ‘beyond the essay film’, this collection seeks not only to acknowledge the influential predecessors of this — in the view of many critics, the most interesting type of contemporary filmmaking — but also to speculate about its possible transformation as we move forward into the uncharted waters of the 21st — digital — century. Beyond the Essay Film focusses on three specific axes that underpin and shape the articulation of the essay film as a specific cultural form — subjectivity, textuality, and technology — to explore how changes along and across these dimensions affect historical shifts within the essay-film practice and its relation to other types of cinema and neighbouring art forms.Table of ContentsContents Acknowledgements Introduction: A Tradition of Desiring Julia Vassilieva and Deane Williams 35 Years On: Is the 'Text', Once Again, Unattainable? Raymond Bellour (translated by Adrian Martin) To Attain the Text. But Which Text? Cristina ‰lvarez López & Adrian Martin Compounding the Lyric Essay Film: Towards a Theory of Poetic Counter-Narrative Laura Rascaroli "Every Love Story is a Ghost story": The Spectral Network of Laurie Anderson's Heart of Dog (2015). Deane Williams The Non-Linear Treatment of Disquisition - Multiscreen Installation as Essay. Ross Gibson Deborah Stratman's The Illinois Parables (2016): Intellectual Vagabond and Vagabond Matter Katrin Pesch Rethinking the Human, Rethinking the Essay Film: The Ecocritical Work of The Pearl (2016) Belinda Smaill Montage Reloaded: from the Russian Avant-Garde to the Audio-Visual Essay Julia Vassilieva 'All I Have to Offer is Myself": the Filmmaker as Narrator Richard Misek The Shudder of a Cinephiliac Idea? Videographic Film Studies Practice as Material Thinking. Catherine Grant On Making Memory Posthumously: The Home Movie as Essay Film Thomas Elsaesser Index
£101.65
Amsterdam University Press Korean Cinema in Global Contexts: Post-Colonial
Book SynopsisOffering the most comprehensive analysis of Korean cinema from its early history to the present, and including the films of Park Chan-wook, Bong Joon-ho and Kim Ki-young, Korean Cinema in Global Contexts: Postcolonial Phantom, Blockbuster and Trans-Cinema situates itself in the local, Inter-Asian, and transnational contexts by mobilizing the critical frameworks of feminism, postcolonial critique and comparative film studies. It is attentive to an enmeshment of the cinematic, aesthetics, politics and cultural history.Table of ContentsIntroduction Part 1. From Pre-Cinematic Culture to Trans-Cinema 1.Cartography of Catastrophe: Pre-Colonial Surveys, Post-Colonial Vampires, and the Plight of Korean Modernity 2.The State of Fantasy in Emergency: Fantasmatic Others in South Korean Films 3.Modernity in Suspense: The Logic of Fetishism in Korean Cinema 4.Do Not Include Me in Your “Us”’: Peppermint Candy and the Politics of Difference 5. Cine-Mania or Cinephilia: Film Festival and Identity Question 6.The Birth of the Local Feminist Sphere in the Global Era: Yeoseongjang and ‘Trans-cinema' Part 2. Korean Cinema in Trans-Asia Framework 1. Inter-Asia Comparative Framework: Postcolonial Film Historiography in Taiwan and South Korea 2.Post-colonial Genre as Contact Zone: Hwalgeuk and Action Cinema 3. Geopolitical Fantasy: Continental (Manchurian) Action Movies during the Cold War Era 4. Anagram of Inter-Asian Korean Film : The Case of My Sassy Girl 5. Comparative Film Studies: Detour, Demon of Comparison and Dislocative Fantasy Index
£101.65
Amsterdam University Press Women and Temporality in Literature and Cinema:
Book SynopsisWomen and Temporality in Literature and Cinema delves into the subject of literary and cinematic women characters entrapped in temporal spaces and their peculiar communication with visibility, enclosure, space, and time in the context of sexual and temporal discord. It explores subjects such as youth, ageing, remembering, forgetting, and repeating within the larger realm of gendered temporalities that are essentially nuanced and affective experiences. Throughout, this book seeks to locate and spell out the damaging as well as the healing effects of temporality upon women’s consciousness.Table of ContentsAcknowledgement Introduction: Remembering to Forget Chapter 1: The Sibyl and the Hanging Jar Chapter 2: Sibyl and the Crazed Painting Chapter 3: Molloy and his Mother in the Room Chapter 4: Dreaming in Loops in the Westworld Chapter 5: Locating the Beginning and the End in the Triangle Conclusion: Losing it all in the Head Bibliography Index
£88.35
Onomatopee Snowblindness: Let's Talk about Storytelling,
Book SynopsisChallenging the colonial narratives surrounding the Netflix film Against the Ice, this personal, editorial project by a present-day descendant opens-up to cultural and historical inclusion by broadening the storytelling. The new Netflix film Against the Ice is based on the adventures of a Danish polar explorer, captain, and coloniser in Kalaallit Nunaat (Greenland), who marked his agenda and achievements in books and maps that contributed to the production of collective memory' and the dominant history of Nordic colonialism. This book is designed and edited by Gudrun Havsteen-Mikkelsen, the great-granddaughter of this same explorer, in collaboration with designer Anna Bierler. Combining visual and textual contributions, archival material, dialogues, and controversies, Snowblindness Let's talk about storytelling, colonialism, Netflix and my great grandfather presents new grounds for engagement with the polar explorer's stories, whether these are visually, orally, or textually transferred. The result is a generous and vulnerable reader, which weaves information from a multiplicity of sources, and places particular emphasis on collaboration, trust, and questioning. Our lives resonate through storytelling. The writing and rewriting of history, family stories handed down through generations, the inclusion of plural perspectives and subsequent broadening of conversations; our identities are made by narratives colliding and shifting. In Snowblindness, colonial narratives are challenged through such storytelling, encouraging a questioning of history, ethics, and aesthetics.
£24.30
Slovenska kinoteka Lubitsch Can′t Wait – A Collection of Ten
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£21.25
Hong Kong University Press Wong Kar–wai′s Ashes of Time
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£25.43
Hong Kong University Press Wong Kar–wai′s Happy Together
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£25.17
Hong Kong University Press John Woo′s A Better Tomorrow
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£25.23
The American University in Cairo Press Classic Egyptian Movies: 101 Must-See Films
Book SynopsisA prolific film industry has flourished on the banks of the Nile since the earliest days of cinema, producing movies that have been hugely popular and immensely influential not only in Egypt but across the Arab world. Concentrating on productions written and produced entirely in Egypt, Sameh Fathy—a film critic with an encyclopedic knowledge of the history of Egyptian cinema—here selects the 101 most important movies to come out of Cairo’s famous studios over the last eighty years. From classic comedies like Salam Is Fine to social dramas like The Second Wife, and from literary adaptations like Call of the Curlew to masterpieces of the cinematic art like The Night of Counting the Years, the author introduces us to each film’s writers, producers, directors, and stars, and explains the movie’s particular historical, cultural, or artistic significance. Illustrated throughout with posters and stills from all the movies covered.Trade Review"“Beautifully conceived and long overdue—well written with an authoritative voice . . . . There is nothing else like this available for an English-reading audience.”—Joel Gordon, University of Arkansas, ""Film institutions and the vast cinema audience can do no less than to reward the author of this work by acquiring a copy of this beautiful and important book.""—Mohamed Salmawy, al-Ahram"Table of Contents1. Salama fi kheir (Salama Is Fine) (1937) 2. al-`Azima (Determination) (1939) 3. Safir Guhannam (Ambassador to Hell) (1945) 4. Fatima (Fatima) (1947) 5. Ghazl al-Banat (The Flirtation of Girls) (1949) 6. Usta Hassan (Hassan the Master Craftsman) (1952) 7. Raya wa Sakina (Raya and Sakina) (1953) 8. Hamidu (Hamidu) (1953) 9. Sira’ fil Wadi (Struggle in the Valley) (1954) 10. al-Wahsh (The Beast) (1954) 11. Ga’alouny Mugriman (They Made Me A Criminal) (1954) 12. Hayat Aw Mawt (Life or Death) (1954) 13. Darb al-Mahabil (Alley of Fools) (1955) 14. Shabab Imra’a (Youth of A Woman) (1956) 15. Sira’ fil Mina (Struggle on the Pier) (1956) 16. Ayna `Omry (Where Did My Life Go?) (1956) 17. Raseef Nemra Khamsa (Platform No. 5) (1956) 18. al-Futuwwa (The Bully) (1957) 19. Inta Habibi (You Are My Love) (1957) 20. Tamr Henna (Tamr Henna) (1957) 21. Port Sa`id (Port Said) (1957) 22. al-Wisada al-Khaliya (The Empty Pillow) (1957) 23. La Anam (I Don’t Sleep) (1957) 24. Toggar al-Mawt (Merchants of Death) (1957) 25. Rudda Qalbi (Return My Heart) (1957) 26. Bab al-Hadid (Cairo Station) (1958) 27. al-Tareeq al-Masdood (The Closed Path) (1958) 28. Saher al-Nisaa’ (The Ladies’ Man) (1958) 29. Sultan (Sultan) (1958) 30. Shari` al-Hob (Love Street) (1958) 31. al-Akh al-Kabir (The Elder Brother) (1958) 32. Djamilah Bu-Hreid (Djamilahataba) (1958) 33. Imra’a fil-Tariq (Woman on the Road) (1958) 34. Ana Horra (A Free Woman) (1959) 35. al-`Ataba al-Khadra (Ataba Sqaure) (1959) 36. `Ashat lil-Hob (She Lived for Love) (1959) 37. Ihna al-Talamza (We, the Students) (1959) 38. Du’a’ al-Karawan (The Nightingale’s Prayer) (1959) 39. al-Radjul al-Thani (The Second Man) (1959) 40. Sira` fil Nil (Struggle on the Nile) (1959) 41. Law’at al-Hob (Agony of Love) (1960) 42. Souq al-Silah (Arms Market) (1960) 43. Bidaya wa Nihaya (Beginning and End) (1960) 44. Fi Baytina Radjul (A Man in Our House) (1961) 45. Dimaa’ `ala al-Nil (Blood on the Nile) (1961) 46. Tariq al-Domou` (Path of Tears) (1961) 47. La Tutfi’ Al Shams (Don’t Turn Out The Sun) (1961) 48. al-Khataya (Sins) (1962) 49. al-Zaudja Raqam 13 (Wife No. 13) (1962) 50. al-Liss wa-l-Kilab (The Thief and the Dogs) (1962) 51. al-Nasir Salah al-Din (Saladin the Victorious) (1963) 52. al-Naddara al-Sawdaa’ (Dark Glasses) (1963) 53. Om al-`Arusa (Mother of the Bride) (1963) 54. al-Aydi al-Na’emah (Soft Hands) (1963) 55. Bayn al-Qasrayn (Palace Walk) (1964) 56. al-Tariq (The Road) (1964) 57. al-Haram (Sin) (1965) 58. al-Mustahil (The Impossible) (1965) 59. Hareb min al-Ayyam (Fugitive from the Days) (1965) 60. Mirati Mudir `Am (My Wife, the Director General) (1969) 61. al-Qahirah 30 (Cairo 30) (1966) 62. al-Simman wal-Kharif (Quail in Autumn) (1967) 63. al-Zaudja al-Thaniya (The Second Wife) (1967) 64. al-Bustagi (The Postman) (1968) 65. al-Radjul allathi Faqada Zilluh (The Man Who Lost His Shadow) (1968) 66. Shay’ min al-Khof (A Touch of Fear) (1969) 67. Miramar (Miramar) (1969) 68. Bi’r al-Hirman (The Well of Privation) (1969) 69. al-Ard (The Land) (1970) 70. Ghurub wa Shuruq (A Sunset and a Sunrise) (1970) 71. al-Sarab (The Mirage) (1970) 72. Imra’ah wa Radjul (A Woman and a Man) (1971) 73. Tharthara Fauq al-Nil (Adrift on the Nile) (1971) 74. Zaudjati wa-l-Kalb (My Wife and the Dog) (1971) 75. Kelmet Sharaf (Word of Honor) (1972) 76. Qa’ al-Madina (Dregs of the City) (1974) 77. al-Mumya’ (The Mummy) (1975) 78. Uridu Hallan (I Want a Solution) (1975) 79. al-Karnak (The Karnak) (1976) 80. al-Mudhnibun (The Guilty) (1976) 81. al-Saqqa Mat (The Water Carrier is Dead) (1977) 82. Wa La Yazal al-Tahqiq Mustamirran (Investigation Still in Progress) (1980) 83. Ahl al-Qimma (People at the Top) (1980) 84. Maw’id `Ala al-`Ashaa’ (A Dinner Date) (1981) 85. al-`Ar (Shame) (1982) 86. Sawaq al-Utubis (The Bus Driver) (1982) 87. al-Harif (Street Player) (1983) 88. al-Bari’ (The Innocent Man) (1986) 89. al-Gou’ (Hunger) (1986) 90. al-Tawq wa-l-Iswirah (The Collar and the Bracelet) (1986) 91. Gary al-Wuhoosh (Wild Beasts) (1987) 92. Darbat Ma’allim (Masterstroke) (1987) 93. Zaudjat Radjul Mohem (The Wife of an Important Man) (1987) 94. Asdiqaa’ al-Shaytan (Friends with the Devil) (1988) 95. Qalb al-Layl (The Heart of the Night) (1989) 96. Ayyam al-Ghadab (Days of Rage) (1989) 97. al-KitKat (KitKat) (1991) 98. Inzaar bal-Ta’a (Obedience Law) (1993) 99. Tuyur al-Zalam (Birds of Darkness) (1995) 100. Afareet al-Asfalt (Demons of the Asphalt) (1980) 101. `Imarat Ya’qubyan (The Yacoubian Building) (2006)
£28.49
The American University in Cairo Press Making Film in Egypt: How Labor, Technology, and
Book SynopsisAn ethnographic study of the Egyptian film industry The enormous influence of the Egyptian film industry on popular culture and collective imagination across the Arab world is widely acknowledged, but little is known about its concrete workings behind the scenes. Making Film in Egypt provides a fascinating glimpse into the lived reality of commercial film production in today’s Cairo, with an emphasis on labor hierarchies, production practices, and the recent transition to digital technologies. Drawing on in-depth interviews and participant observation among production workers, on-set technicians, and artistic crew members, Chihab El Khachab sets out to answer a simple question: how do filmmakers deal with the unpredictable future of their films? The answer unfolds through a journey across the industry’s political economy, its labor processes, its technological infrastructure, its logistical and artistic work, and its imagined audiences. The result is a complex and nuanced portrait of the Arab world’s largest film industry, rich in ethnographic detail and theoretical innovations in media anthropology, media studies, and Middle East anthropology.Trade Review"Scholarly, lucid, informative, and well written. . . Recommended."—CHOICE"Making Film in Egypt is an incredible tool in the way that El Khachab conceives of the relationship between human and nonhuman actors as they mediate the imponderable, socio-technical process of making a film."—Media Industries Journal“New and exciting. . . an important contribution to Middle East film and media studies and media anthropology.”—BORDERLINES"[A] vividly textured study . . . . Khachab's research is an exercise in retracing the concrete labor that production teams work so hard to keep hidden."—Mada Masr"A production-side ethnography is a sort of Holy Grail for media studies scholars working in Egypt and the region. A few scholars have done it to a degree, but Making Film in Egypt is in a different class. El Khachab’s work will revolutionize how we think of Arab media production."—Walter Armbrust, University of Oxford"El Khachab has given us a highly original analysis of the deep connections among labor, technological devices, and temporality in the famed Egyptian film industry. With exciting interdisciplinary insights and rich ethnography, Making Film in Egypt brilliantly reveals hidden yet critical aspects of the creative process."—Jessica R Winegar, Northwestern University"Making Film in Egypt takes us beyond the glitz and glam of the Arab world’s most influential film industry to examine what everyday practices of production reveal about the intersections of technology, labor, and human inventiveness. Chihab El Khachab reconceives cinema’s enchanting mediation through the mundane and routine anticipations of its creators and their technological devices. From script to screening, he urges us to reconsider filmmaking as the crafting of unpredictable yet inevitable futures."—Yasmin Moll, University of Michigan
£35.99
American University in Cairo Press Dream Factory on the Nile Pierre Sioufi
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£21.25
Hong Kong University Press No Man an Island: The Cinema of Hou Hsiao-hsien,
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£25.20
Hong Kong University Press Postcolonialism, Diaspora, and Alternative
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£53.28
Hong Kong University Press Indonesian Cinema after the New Order: Going
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£52.80
Hong Kong University Press The Authorship of Place: A Cultural Geography of
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£51.12
Hong Kong University Press Malaysian Cinema in the New Millennium: Transcendence beyond Multiculturalism
£59.40
Hong Kong University Press Han Heroes and Yamato Warriors: Competing Masculinities in Chinese and Japanese War Cinema
£37.80
Hong Kong University Press Working the System: Motion Picture, Filmmakers, and Subjectivities in Mao-Era China, 1949-1966
£54.90
Bloomsbury Publishing USA The Revolution of Indian Parallel Cinema in the
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£85.50
Bloomsbury Publishing USA Attention Spans
Book SynopsisAttention Spans' chronological review of Garrett Stewart's critical approach tracks and maps the evolution of intersecting disciplines from late New Criticism through structuralism, deconstruction, narrative theory (by way of narratography), poetics, and media studies, in which Stewart's has been so persistent and so eloquent a voice. Excerpts from his twenty books are framed by editorial retrospect, then linked by Stewart's own commentary on the variety and underlying vectors of his interpretive career across aesthetic forms, from Victorian narrative to recent American fiction, classic celluloid cinema to postfilmic digital effects, inert book sculpture and literary wordplay to the soundscape of singing on screen. Accompanied by a glossary of his many influential coinages, this cornucopia of analyses is also a chronicle of evolving paradigms in the work of intensive reading.
£21.99
Bloomsbury Publishing USA The Bloomsbury Handbook of North Korean Cinema
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£135.00
Bloomsbury Publishing USA David Lynchs American Dreamscape
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£85.50
Bloomsbury Publishing USA Black Boys: The Social Aesthetics of British
Book SynopsisClive Chijioke Nwonka is Associate Professor in Film, Culture and Society at University College London, UK.
£23.74
Bloomsbury Publishing USA Sex Education
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£90.00
Bloomsbury Publishing USA Beyond the Monoplot
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£85.50
Bloomsbury Publishing (UK) Film Adaptation and the Real
Book SynopsisHee-seung Irene Lee is Lecturer in School of Cultures, Languages, and Linguistics at University of Auckland, New Zealand. Her teaching and research areas include adaptation studies, art-house cinema, critical theory, psychoanalysis, and contemporary Korean popular culture.
£19.99
Bloomsbury Publishing (UK) The Great Depression on Film
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£21.99
State University of New York Press The Cinema of the Real
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£25.65
State University of New York Press Expanding Cinemas
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£65.04
State University of New York Press Expanding Cinemas
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£32.03
State University of New York Press The Celluloid Atlantic
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£90.16
State University of New York Press Overhearing Film Music
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£35.09
State University of New York Press Cavell on Film Second Edition
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£93.08
State University of New York Press Unscripting the Present
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£78.84
State University of New York Press Animation in Mexico 2006 to 2022
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£78.84
State University of New York Press Remnants of Refusal
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£83.22
State University of New York Press Remnants of Refusal
£24.70
State University of New York Press Celluloid Babel
£74.38
Rowman & Littlefield Publishers Best Pick
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£17.09
Thorndike Press Large Print Charlie Chaplin vs. America
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£35.38
Weldon Owen The Greatest Star
£29.99
Academic Studies Press Singing a Different Tune : The Slavic Film
Book SynopsisA beneficiary of the pioneering incorporation of sound and synchronicity into cinema, the Hollywood musical became the most popular film genre in America’s thirties and forties. Its eastward migration resulted in a barrage of Polish screen musicals that relied on the country’s famous cabaret stars, while in the Soviet Union it inspired the audience-pleasing kolkhoz musicals of Ivan Pyr’ev and their urban counterpart, directed by Grigorii Aleksandrov. Like Stalin, Slavic moviegoers delectated tuneful melodies, mobile bodies in choreographed dance numbers, colorful costumes, and the notion that “all’s well that ends well.” Yet Slavic versions of the musical elaborated scenarios that differed from the Hollywood model. This volume examines the vagaries of this genre in both countries, from its early instantiations to its contemporary variations almost a century after its dramatic birth.Trade Review"This volume will excite scholars looking for novel scholarly work on the history, aesthetics, and culture of the film musical in general and Polish-Russian-Soviet film in particular." — A. J. DeBlasio, Dickinson College, CHOICE“In Singing a Different Tune: The Slavic Film Musical in a Transnational Context, Goscilo as editor works the magic that only the best directors can achieve: all her contributors give outstanding performances, covering material from two different countries and multiple time periods while never missing a step. The essays in this volume confirm what Busby Berkeley showed his audiences in Gold Diggers of 1933: tough times can make for great musicals.” — Eliot Borenstein, Professor & Chair, Russian & Slavic Studies, New York University “Singing a Different Tune brings Polish and Soviet film musicals into conversation with each other and with their well-known American counterparts. The result is an engaging, interesting, and uniformly excellent collection of essays. Written by leading film scholars, the chapters explore the popular Polish film musicals of the interwar era, reinterpret the Stalinist kolkhoz musicals of Ivan Py'rev and the carnivalesque Thaw-era films that followed, analyze the seminal 1967 Polish musical A Marriage of Convenience, and situate the rise of pop divas such as Alla Pugacheva within late Soviet celebrity culture. Three chapters take the story up to the present day in order to understand the continued popularity of the genre in contemporary Poland and Russia. Singing a Different Tune succeeds in showing how Slavic filmmakers have adapted the film musical in creative ways.”— Stephen M. Norris, Miami University (OH)“Rich with historical detail and cinematic examples, this collection traces unusual biographies of Polish and Russian musicals over the last hundred years. While being inspired by Hollywood classics, Slavic musicals managed to retain their own specifics by rooting their narratives and performances in the local traditions of cabaret, operetta, vaudeville, circus, and even balagan. Prominently focusing on the relationships between genre and gender, Singing a Different Tune is a welcome addition to the critical studies of entertainment and popular culture.”— Serguei Alex. Oushakine, Princeton UniversityTable of ContentsAcknowledgementsIntroductionPart One—Polish Musical Films1. Early Polish Language Musicals: The Tug of War between Genre Film and CabaretBeth Holmgren2. Between the Market and the Mirror: Stanisław Bareja’s Marriage of ConvenienceHelena Goscilo3. Paweł Pawlikowski’s Cold War: Music, Space, and IdentityElżbieta Ostrowska4. The Allure of Agnieszka Smoczyńska’s Lure (2015) as an Intrepid Feminist HybridHelena GosciloPart Two—Russian Musical Films5. Perplexing Popularity: Ivan Pyr′ev’s Kolkhoz Musical Comedy FilmsRimgaila Salys 6. The Thaw as Carnival: Soviet Musical Comedy after StalinLilya Kaganovsky7. Constructing the Pop Diva: Alla Pugacheva, Sofia Rotaru, and the Celebrity Musical of the 1970s–1980sAlexander Prokhorov and Elena Prokhorov8. Postmodernity, Freedom, and Authenticity in Kirill Serebrennikov’s Leto (2018)Justin WilmesFilmography
£89.09
Academic Studies Press Revisiting Women's Cinema: Feminism, Socialism,
Book SynopsisIn Revisiting Women’s Cinema, Lingzhen Wang ponders the roots of contemporary feminist stagnation and the limits of both commercial mainstream and elite minor cultures by turning to socialist women filmmakers in modern China. She foregrounds their sociopolitical engagements, critical interventions, and popular artistic experiments, offering a new conception of socialist and postsocialist feminisms, mainstream culture, and women’s cinema. Wang highlights the films of Wang Ping and Dong Kena in the 1950s and 1960s and Zhang Nuanxin and Huang Shuqin in the 1980s and 1990s to unveil how they have been profoundly misread through extant research paradigms entrenched in Western Cold War ideology, post-second-wave cultural feminism, and post-Mao intellectual discourses. Challenging received interpretations, she elucidates how socialist feminism and culture were conceptualized and practiced in relation to China’s search not only for national independence and economic development but also for social emancipation, proletarian culture, and socialist internationalism. Wang calls for a critical reevaluation of historical materialism, socialist feminism, and popular culture to forge an integrated emancipatory vision for future transnational feminist and cultural practices.
£28.30
Academic Studies Press The Cinema of the Soviet Thaw: Space,
Book SynopsisFollowing Joseph Stalin's death in 1953, the Soviet Union experienced a dramatic resurgence in cinematic production. The period of the Soviet Thaw became known for its relative political and cultural liberalization; its films, formally innovative and socially engaged, were swept to the center of international cinematic discourse. In The Cinema of the Soviet Thaw, Lida Oukaderova provides an in-depth analysis of several Soviet films made between 1958 and 1967 to argue for the centrality of space-as both filmic trope and social concern-to Thaw-era cinema. Opening with a discussion of the USSR's little-examined late-fifties embrace of panoramic cinema, the book pursues close readings of films by Mikhail Kalatozov, Georgii Danelia, Larisa Shepitko and Kira Muratova, among others. It demonstrates that these directors' works were motivated by an urge to interrogate and reanimate spatial experience, and through this project to probe critical issues of ideology, social progress, and subjectivity within post-Stalinist culture.
£27.54
Academic Studies Press Fictions Nationales
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£30.39
Academic Studies Press Screening Enlightenment
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£25.95
