Film: styles and genres Books

Book SynopsisWith strict guidelines on methodology and time frame -- films produced after September 2001, and a socio-semiotic theoretical framework -- Betty Kaklamanidou unpacks the problematic terms and ideas that go along with defining a new genre. Kaklamanidou considers a different sub-genre per chapter, placing each group of films in their socio-historical context to reach conclusions about the production of political films in millennial Hollywood. In shifting the terms of the debate, The Disguised Political Film in Contemporary Hollywood offers a fresh, new approach to the subject of the political film.The political film is not a clearly delineated object but rather an elusive one and resistant to clear boundaries. So, what is a political film? Can The Hunger Games (2012) belong to the same category as Lincoln (2012)? Is Jarhead (2005) a political movie simply because it is set during the Gulf War but with no reference to the motives of the conflict and/or AmericTrade ReviewIn this comprehensive study, Kaklamanidou argues that there is a subset of Hollywood movies which fit into 'political genre,' a term not yet used by scholars, film critics, or industry (IMDB). She identifies 78 movies that were released between 2002 and 2012 and clearly explains why some ‘political thrillers’ do not belong to the genre of the political film, while other dramas, comedies, or science fiction movies do. This is a very important contribution to the study of genre and the political and will be an invaluable resource to scholars, students, and movie fans. * Tony Spanakos, Associate Professor of Politics and Law, Montclair State University, USA *Hollywood cinema and politics have always had a difficult relationship, with the American film industry traditionally reluctant to acknowledge the political messages of its films and the political intent of its filmmakers. As a result a vast part of Hollywood film production has been marketed as comedies, action thrillers, history dramas and epics, heritage films and biopics when they could also be perceived as political films. Looking behind these conventional generic disguises, film genre studies expert Betty Kaklamanidou deftly identifies the generic registers of political films in Hollywood cinema post-9/11 and demonstrates compellingly how their structure dovetails the formal and narrative requirements of contemporary filmmaking in the US. Rich in textual analysis and informed by strong theoretical and historical insights, The ‘Disguised’ Political Film in Contemporary Hollywood will help readers understand how to read popular films politically. * Yannis Tzioumakis, Senior Lecturer in Communication and Media, the University of Liverpool, UK *Kaklamanidou’s insights are powerful and her writing is accessible and entertaining… Kaklamanidou’s impressive ability to demonstrate the political in a whole range of films is illuminating and makes this engaging study a must read. * Peggy Tally, Professor of Policy Studies, SUNY Empire State College, USA *Table of ContentsChapter 1: The "Disguised" Political Film: Introduction Chapter 2: Political Comedies Chapter 3: Political Thrillers and U.S. Foreign Policy Chapter 4: Political History Dramas and U.S. Domestic Policy Chapter 5: Political Films From Antiquity to the 20th Century Chapter 6: Behind the Scenes of the Disguised Political Film Genre Chapter 7: Epilogue Works Cited Index

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Book SynopsisIndigeneity in Latin American Cinema explores how contemporary films (2000-2020) participate in the evolution and circulation of images and sounds that in many ways define how indigenous communities are imagined, at a local, regional and global scale. The volume reviews the diversity of portrayals from a chronological, geopolitical, linguistic, epistemic-ontological, transnational and intersectional, paradigm-changing and self-representational perspective, allocating one chapter to each theme. The corpus of this study consists of 68 fictional features directed by non-indigenous filmmakers, 31 cinematic works produced by indigenous directors/communities, and 22 Cine Regional (Regional Cinema) films. The book also draws upon a significant number of engravings, drawings, paintings, photographs and films, produced between 1493 and 2000, as primary sources for the historical review of the visual representations of indigeneity. Through content and close (textual) analysis, inteTrade ReviewThis is an essential and highly original text that sharpens our understanding of the representation of indigeneity across Latin American cinema. It takes a much-needed interdisciplinary and decolonizing approach that disrupts older paradigms and reveals a richly diverse treatment of indigenous communities in film. * Sarah Barrow, Professor of Film and Media, University of East Anglia, UK *Indigeneity in Latin American Cinema is a tour de force; this book takes a bold approach to examining how contemporary indigenous representation in Latin American cinema has been subject to racist and othering practices through what Gonzalez Rodriguez convincingly calls “histrionic indigeneity” as these films circulate through international film festivals and other Global South-North trajectories. This frank look at contemporary practices is a must read for any scholars interested in the ways in which indigenous visual culture and the cinema has been imagined historically to the present day. * Tamara L. Falicov, author of Latin American Film Industries and the Cinematic Tango: Contemporary Argentine Film *This book succeeds in going beyond the traditional approach in studying the Amerindian in global northern visual culture. In fact, anyone interested in the colonial heritage of the Americas should take careful note of the author’s conclusions. * Arij Ouweneel, former professor of Amerindian Studies Utrecht University and the University of Amsterdam, the Netherlands, and author of Resilient Memories: Amerindian Cognitive Schemas in Latin American Art (2018) *Gonzalez Rodriguez goes beyond traditional paradigms to offer an original, decolonizing approach yielding many provocative new cultural insights. * Choice *Table of ContentsAcknowledgements List of Diagrams List of Figures List of Tables Basis: Introduction Indigeneity: Conceptualization, Perception and Representation Syntonic versus Histrionic Indigeneity 1. Mimesis: Circulation of Ideas and Images Figment, Art and Fabrication Cinema and Indigeneity 2. Metropolis: Production of Audiovisual Cultural Artefacts Mexico and Central America South America 3. Lexis: Portrayals of Linguistic Topologies Accented Inclusion and Vocative Framing (In)discernible Sounds and Authenticity 4. Emphasis: Embodiment of Indigeneity Nature-Technology Nexus as an Ontological Genre Ethnicity, Senses and Knowledge 5. Axis: Identities and Global Imaginaries Intersectional Paradigms Arrayed Figures 6. Catalysis: Paradigms and Disruption (In)visibility and Representation (Re)drawn Blueprint 7. Wääjx äp: Epistemic and Ontological Repositioning The Cybernetics of Self-Representation Screen(ed)/(ing) Intimacy and Clusivity Synopsis / Conclusion References Bibliography Filmography Index

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Book SynopsisNickelodeon's Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14) are among the most acclaimed and influential U.S. animated television series of the 21st century. Yet, despite their elevated status, there have been few academic works published about them. The Avatar Television Franchise: Storytelling, Identity, Trauma, Fandom and Reception remedies this gap by bringing together a wide range of scholarly writings on these shows. This edited collection is comprised of 13 chapters organized into 4 sections, featuring close readings of key episodes, analyzing how they create meaning as well as illustrating how established theories can guide those readings. Some chapters explore different theories relating to identity as well as considering the repercussions of depicting real-world identities in these shows, while others examine the various manifestations of trauma from throughout the franchise as well as illustrates different s

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Book SynopsisFrom big city bites to small town tastes, feed your interdimensional demon inside with a smorgasbord of paranormal-inspired recipes with the first-ever official Ghostbusters cookbook!Who you gonna call… to eat?! Featuring more than 50 recipes inspired by the beloved Ghostbusters 1984 film and continuing into present day with Ghostbusters: Afterlife, this cookbook celebrates the bold personalities of Egon, Venkman, Zeddemore, and Stantz, along with the spooks, spectres, and ghosts that tried to transform New York City to a Babylonian dystopia. But they’re not alone — they’ve got company with a new generation of Ghostbusters like Phoebe, Trevor, Podcast, and Lucky that saved Summerville, Oklahoma from the second coming of Gozer! In fact, it’s Podcast’s, well, podcast that inspires this book! Now he and Ray are combing through the Ghostbusters archives and recording new episodes to bring the group’s favorite new and old foods to delicious life. With luscious full-color photography and packed with the fun and spirit of the films, Ghostbusters: The Official Cookbook is a must-have for foodies and paranormal investigative fans alike. 50+ RECIPES: Includes more than 50 exciting and tempting recipes—from savory snacks to delectable desserts; unforgettable dishes that can tame the scariest appetites. GORGEOUS PHOTOS: Packed with mouth-watering full-color recipe photos. RECIPES FOR EVERY SKILL LEVEL: Ghostbusters: The Official Cookbook features recipes geared toward every home cook; from beginner to experienced chef, there’s something for everyone.  OFFICIALLY LICENSED COOKBOOK: Created in collaboration with Sony Pictures Entertainment and Ghost Corps, this is the only officially licensed Ghostbusters cookbook. 

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Book SynopsisBring the magic of Hogwarts™ on your next adventure with the Harry Potter Platform 9-3/4™ Travel Set.Like Harry Potter stepping through to Platform 9-3/4™-it’s time for a travel adventure! This deluxe gift set features a travel journal to log your experiences and memories, a passport holder to organize important documents, and a luggage tag to keep track of your suitcase-all housed in a collectible, Hogwarts™-inspired luggage case. 184-PAGE TRAVEL JOURNAL: This deluxe, vegan-leather travel journal includes daily spreads to record the sights you visited, a full page to capture your most memorable experiences of the day, and an address book section to record the contact information of people you want to correspond with, places you visited, or friends you made along the way PASSPORT HOLDER: Keep the magic of Platform 9-3/4™ and your important travel documents close at hand with this beautiful passport holder. Four card slots and two larger pockets make it easy to summon your passport, identification, credit cards, and boarding pass at a moment’s notice. The holder will fit any passport 4 x 5.5 inches or smaller. LUGGAGE TAG: Let every witch and wizard know which bag belongs to you with a luggage tag featuring the artwork of the HogwartsTM Express train ticket. Included are two identification cards, one for your home address and one for two different destination addresses, to ensure your luggage safely arrive wherever you are traveling COLLECTIBLE TRAVEL CASE: Carry your travel journal and passport holder in the travel case inspired by the luggage carried by Hogwarts™ students, or use it to store tickets, small souvenirs, photos, and other travel mementos collected along the way

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Book SynopsisExperience the creation of Denis Villeneuve’s Dune like never before with this startling collection of photography by Chiabella James.From the cliffs of Norway to the deserts of Jordan, unit photographer Chiabella James was on set to capture every moment of Dune, director Denis Villeneuve’s Oscar-nominated sci-fi epic based on Frank Herbert’s classic novel. Curated from thousands of stills shot throughout the filming of Dune, this deluxe volume compiles the most compelling photos to form a remarkable visual journey that fully captures the unique spirit of the production. Encompassing the epic vistas witnessed on location shoots, through to candid moments between Villeneuve and key cast members including Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Zendaya, Sharon Duncan-Brewster, and Jason Momoa, this book also features a foreword by executive producer Tanya Lapointe (The Art and Soul of Dune), a preface by Ferguson, and an afterword by Brian Herbert. DAZZLING IMAGES: Curated from thousands of photos shot throughout the filming of Dune, this visually stunning compilation features the most remarkable photos from the set, including the epic vistas of location shoots. BEHIND-THE-SCENES CONTENT: Witness candid moments between director Denis Villeneuve and key cast members, including Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Zendaya, Sharon Duncan-Brewster, and Jason Momoa, plus never-before-seen photos from the set. THE IDEAL COLLECTOR’S ITEM: Dune Part One: The Photography is the quintessential collectible for fans of director Denis Villeneuve and film enthusiasts everywhere. COMPLETE YOUR DUNE FILM COLLECTION: Dune Part One: The Photography is the perfect companion volume to the gorgeous Insight Editions book The Art and Soul of Dune.

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Book SynopsisThe YT-1300 Corellian Freighter gets the Haynes treatment! This is a Haynes Manual based on the YT-1300 Corellian Freighter, the best-known variant of which is the Millennium Falcon, the iconic spaceship appearing in the original Star Wars trilogy, plus The Force Awakens, The Last Jedi, and Solo: A Star Wars Story. Using brand-new cutaway illustrations, together with other art and photographs, this manual provides the most thorough technical description of the YT-1300 available, making it essential reading for all Star Wars fans.

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Book SynopsisRelive your favorite Star Wars adventures with this collection of the galaxy’s greatest posters.Judge a book by its size, do you? Hold over four decades of cinematic history in the palm of your hand with Star Wars: The Poster Collection. This mini book features posters from all eras of Star Wars, from the original trilogy’s classic theatrical posters and the epic one-sheets of the prequel films to the latest artwork for Star Wars: The Rise of Skywalker. Featuring iconic posters and rarely seen artwork and promotional imagery, Star Wars: The Poster Collection spotlights the art that has captured the imaginations of multiple generations, making it the perfect gift for all Star Wars fans.

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Book SynopsisHOWARD HUGHES'S NEW FILMGOERS' GUIDE TO SCIENCE-FICTION FILMS DELVES DEEP INTO THE LANDMARK MOVIES OF THIS EVERPOPULAR GENRE, FROM METROPOLIS TO AVATAR AND BEYOND, AND COVERS OVER 250 MORE Outer Limits explores science-fiction cinema through 26 great films, from the silent classic Metropolis to today. It reviews the galaxy of stars and directors who have created some of the most popular films of all time, including George Lucas's 'Star Wars' films, Steven Spielberg's Close Encounters of the Third Kind and Minority Report, James Cameron's 'Terminator' films and Ridley Scott's milestones Alien and Blade Runner. It also discusses everything from A-listers 2001: A Space Odyssey and Planet of the Apes, to Japanese monster movies, 1950s B-movies, creature features and cult favourites, depicting time travel, distant planets or alien invasions. Films featured include The War of the Worlds, Independence Day, Tarantula, Godzilla, The Thing, Forbidden Planet, Barbarella, Galaxy Quest, Mad Max 2, Back to the Future, The Man Who Fell to Earth, Star Trek, Apollo 13, Invasion of the Body Snatchers, The Matrix, and many, many more. Illustrated with original posters, Outer Limits is an informative, entertaining tour of the sci-fi universe.Table of ContentsNow and Then: An Introduction to Science Fiction Cinema Acknowledgements 1. Death to the Machines 2. Regarded this Earth with Envious Eyes 3. Godzilla is just a Legend 4. I Never Saw Anything Like It! 5. You're Next! 6. We Are, After All, Not God 7. He Has all the Time in the World 8. Damn You All to Hell 9. My God, it's Full of Stars 10. I Love all the Love in You 11. The Mysteries Remain 12. The Force Will Be With You, Always 13. When You Wish Upon a Star 14. In Space No One Can Hear you Scream 15. Nobody Gets Out of Here Alive 16. Like Tears in Rain 17. It's Weird and Pissed Off 18. You Have no Concept of Time 19. Hasta La Vista, Baby 20.Houston, we Have a Problem 21 Now that's what I call a Close Encounter 22. Welcome to the Real World 23. By Grabthar's Hammer! 24. We See what they See 25. Live Long and Prosper 26. I See You Bibliography and Sources Index of Film Titles

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Book SynopsisFilm historian James Chapman has mined Hitchcock's own papers to investigate fully for the first time the spy thrillers of the world's most famous filmmaker. Hitchcock made his name as director of the spy movie. He returned repeatedly to the genre from the British classics of the 1930s, including The 39 Steps and The Lady Vanishes, through wartime Hollywood films Foreign Correspondent and Saboteur to the Cold War tracts North by Northwest, Torn Curtain and his unmade film The Short Night. Chapman's close reading of these films demonstrates the development of Hitchcock's own style as well as how the spy genre as a whole responded to changing political and cultural contexts from the threat of Nazism in the 1930s and 40s to the atom spies and double agents of the post-war world.Trade Review"In this judicious, authoritative, and fluent book, film historian, James Chapman, deftly plots the fertile marriage between the master of suspense and the espionage thriller. In doing so he achieves far more: a deeply researched and richly nuanced perspective upon the trajectory of Hitchcock's entire career after the coming of sound."--Richard Allen, author of Hitchcock's Romantic Irony, 'James Chapman is an authentic historian, and his expertise fully pays off in this important addition to the Hitchcock literature. His book achieves a pleasing balance between film and politics, between Hitchcock's own authorship and his multiple influences, and - especially welcome - between the British and American sections of his long career.' - Charles Barr, author of Ealing Studios and The English Hitchcock

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Book SynopsisTen years after its initial successful publication, The MarvelVault is due for an update. New text and images chroniclehow Marvel has channelled its singular storytelling into ablockbuster movie studio, even as it has stayed true to itshallowed roots in the comics world. This updated editionfeatures 16 new pages that focus on Marvel's history andcore stories, plus an envelope containing removabledocuments.Trade Review"The Marvel Vault: A Visual History is a must own art book for fans of the comic book creating giant." - Entertainment Buddha"Bursting with interesting information and wonderful imagery from the Marvel Comics Universe throughout its diverse and expandable history, this 192 page book is your one stop shop that includes information about its characters, stories and its creators." - Impulse Gamer"If you know you have a Marvel fan this Holiday season, then The Marvel Vault – A Visual History will make a great gift item." - Retrenders"This is a great book that details Marvel’s history from the dawn of comics until the 2010’s with plenty of art to look at and great stories about Marvel’s growth over the years." - Entertainment Buddha gift guide“This is a package no Marvel fan will want to miss!” - Forces of Geek “The Marvel Vault makes for a fascinating trip down memory lane for those curious about what went on behind the pages. It's highly recommended.” Cinema Sentries

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Book SynopsisExplore the creation of Guillermo del Toro's early masterpiece through this visually stunning and insightful look at the spine-chilling classic. Released in 2001, Guillermo del Toro's The Devil's Backbone marked out the director as a singular talent with the unique ability to mix the macabre with the sublime. Set during the Spanish Civil War, the film focuses on ten-year-old Carlos (Fernando Tielve), an orphan taken in by Republican sympathisers. On his first day at the orphanage, he witnesses a ghostly apparition, the spirit of a young boy named Santi (Andreas Munoz) who disappeared from the institution a year earlier. With the ghost's help, Carlos must uncover the dark secrets that led to Santi's death and help prevent himself and his fellow orphans from meeting the same fate. Seen by del Toro as a spiritual companion piece to his Oscar-winning Pan's Labyrinth (2006), The Devil's Backbone explores similar themes against the backdrop of the same brutal conflict that turned ordinary men into monsters. This book is written in close collaboration with the director and provides the definitive account of the film's creation, covering everything from del Toro's initial musings through to the haunting designs for Santi, the hugely challenging shoot, and the overwhelming critic and fan reactions upon its release. Including exquisite concept art and rare unit photography from the set, Guillermo del Toro's The Devil's Backbone gives readers an exclusive, behind-the-scenes look at how this gothic horror masterpiece was crafted for the screen. The book also draws on interviews with every key player in the film's creation to present the ultimate behind-the-scenes look at this unforgettable Spanish-language classic.

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Book SynopsisVolume 4 The very best features and interviews from Star Wars Insider-the official magazine of the Star Wars saga! Mark Hamill discusses the making of Return of the Jedi and Daisy Ridley talks about making her Star Wars debut in The Force Awakens! Freddie Prinze Jnr reveals all about playing Kanan in Star Wars Rebels and we take a look at the largest Star Wars collection in the world!Trade Review"With the recent loss of Carrie Fisher, it feels all too appropriate that there's a lot of kickass content about the women of Star Wars in this collection. From Hera and Sabine of Rebels to Daisy Ridley and the world of fangirls, it's awesome to see the myth of Star Wars being just for boys dispelled with so much terrific material...As always, the slick presentation and fascinating content made for a great read." - San Francisco Book Review (5/5 stars)

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Book SynopsisAn all-new Star Wars story arrives in cinemas returns as the hotly anticipated stale of Han Solo’s early years. Meet the characters including familiar acquaintances such as Lando Calrissian and the mighty Chewbacca!

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Book SynopsisChoice Outstanding Academic Title 2023 From The Passion of the Christ to Life of Brian, and from The Ten Commandments to Last Temptation of Christ, filmmakers have been adapting the stories of the Bible for over 120 years, from the first time the Höritz Passion Play was filmed in the Czech Republic back in 1897. Ever since, these stories have inspired musicals, comedies, sci-fi, surrealist visions and the avant-garde not to mention spawning their own genre, the biblical epic. Filmmakers across six continents and from all kinds of religious perspectives (or none at all), have adapted the greatest stories ever told, delighting some and infuriating others. 100 Bible Films is the indispensable guide to this wide and varied output, providing an authoritative but accessible history of biblical adaptations through one hundred of the most interesting and significant biblical films. Richly illustrated with film stills, this book depicts how such films have undertaken a complex negotiation between art, commerce, entertainment and religion. Matthew Page traces the screen history of the biblical stories from the very earliest silent passion plays, via the golden ages of the biblical epic, through to more innovative and controversial later films as well as covering significant TV adaptations. He discusses films made not only by some of our greatest filmmakers, artists such as Martin Scorsese, Jean Luc Godard, Alice Guy, Roberto Rossellini, Pier Paolo Pasolini, Lotte Reiniger, Carl Dreyer and Luis Buñuel, but also those looking to explore their faith or share it with lovers of cinema the world over.Trade ReviewMatthew Page’s impressive book on the history of scripture adaptations is a Christian cinephile’s dream, covering everything from five-minute silent films to four-hour Italian epics. ... it is an insightful addition to your bookshelves. * Premier Christianity magazine *Table of ContentsIntroduction 1. The Life and Passion of Jesus Christ (1898) - Georges Hatot and Louis Lumière: France 2. Martyrs Chrétiens ("Christian Martyrs", 1905) - Lucien Nonguet: France 3. La Vie du Christ ("The Birth, the Life and the Death of Christ", 1906) - Alice Guy: France 4. Vie et passion de N.S. Jésus-Christ ("The Life and Passion of Jesus Christ", 1907) - Ferdinand Zecca: France 5. Jephthah's Daughter: A Biblical Tragedy (1909) - J. Stuart Blackton: US 6. L'Exode (The Exodus, 1910) - Louis Feuillade: France 7. Jaël et Sisera (1911) - Henri Andréani: France 8. From the Manger to the Cross (1912) - Sidney Olcott: US 9. Judith of Bethulia (1914) - D.W. Griffith: US 10. Intolerance: Love's Struggle Throughout the Ages (1916) - D.W. Griffith: US 11. Blade af Satans bog ("Leaves From Satan's Book", 1920) - Carl Theodor Dreyer: Denmark 12. La Sacra Bibbia ("After Six Days", 1920) - Pier Antonio Gariazzo and Armando Vey: Italy 13. Der Galiläer ("The Passion Play", 1921) - Dimitri Buchowetzki: Germany 14. Salomé (1922) - Charles Bryant and Alla Nazimova: US 15. Sodom und Gomorrha ("The Queen of Sin", 1922) - Michael Curtiz: Germany/Austria 16. The Ten Commandments (1923) - Cecil B. DeMille: US 17. Ben-Hur: A Tale of the Christ (1925) - Fred Niblo: US 18. The King of Kings (1927) - Cecil B. DeMille: US 19. Noah's Ark (1928) - Michael Curtiz: US 20. Lot in Sodom (1933) - Melville Webber and James Sibley Watson: US 21. Golgotha ("Behold the Man", 1935) - Julien Duvivier: France 22. The Last Days of Pompeii (1935) - Ernest B. Schoedsack and Merian C. Cooper: US 23. The Green Pastures (1936) - Marc Connelly and William Keighley: US 24. Jesús de Nazareth (1942) - José Díaz Morales: Mexico 25. Samson and Delilah (1949) - Cecil B. DeMille: US 26. David and Bathsheba (1951) - Henry King: US 27. Quo Vadis (1951) - Mervyn LeRoy: US 28. The Robe (1953) - Henry Koster: US 29. Sins of Jezebel (1953) - Reginald Le Borg: US 30. The Prodigal (1955) - Richard Thorpe: US 31. The Ten Commandments (1956) - Cecil B. DeMille: US 32. The Star of Bethlehem (1956) - Lotte Reiniger: UK 33. Celui qui doit mourir ("He Who Must Die", 1957) - Jules Dassin: France/Italy 34. Solomon and Sheba (1959) - King Vidor: US 35. Ben-Hur (1959) - William Wyler: US 36. Esther and the King (1960) - Raoul Walsh and Mario Bava: Italy/US 37. The Story of Ruth (1960) - Henry Koster: US 38. King of Kings (1961) - Nicholas Ray: US 39. Barabbas (1961) - Richard Fleischer: Italy/US 40. Il vecchio testamento ("The Old Testament", 1962) - Gianfranco Parolini: Italy/France 41. Il vangelo secondo Matteo ("The Gospel According to St. Matthew", 1964) - Pier Paolo Pasolini: Italy/France 42. The Greatest Story Ever Told (1965) - George Stevens: US 43. I grandi condottieri ("Samson and Gideon", 1965) - Marcello Baldi and Francisco Pérez-Dolz: Italy/Spain 44. The Bible: In the Beginning... (1966) - John Huston: Italy/US 45. Les Actes des apôtres ("Acts of the Apostles", 1969) - Roberto Rossellini: France/Italy/ Spain/West Germany/Tunisia 46. La voie lactée ("The Milky Way", 1969) - Luis Buñuel: France/Italy/West Germany 47. Son of Man (1969) - Gareth Davies: UK 48. Jesús, nuestro Señor ("Jesus, our Lord", 1971) - Miguel Zacarías: Mexico 49. Jesus Christ Superstar (1973) - Norman Jewison: US 50. Godspell (1973) - David Greene: US 51. Moses und Aron (1975) - Danièle Huillet and Jean-Marie Straub: West Germany/Austria/France/Italy 52. Il messia ("The Messiah", 1975) - Roberto Rossellini: Italy/France 53. The Passover Plot (1976) - Michael Campus: Israel/US 54. Jesus of Nazareth (1977) - Franco Zeffirelli: Italy/UK/US 55. Karunamayudu ("Man of Compassion", 1978) - A. Bhimsingh and Christopher Coelho: India 56. Jesus (1979) - John Krish and Peter Sykes: US 57. Monty Python's Life of Brian (1979) - Terry Jones: UK 58. Camminacammina ("Keep Walking", 1983) - Ermanno Olmi: Italy 59. Je vous salue, Marie ("Hail Mary", 1985) - Jean-Luc Godard: France/Switzerland/UK 60. King David (1985) - Bruce Beresford: UK/US 61. Esther (1986) - Amos Gitai: Austria/Israel/UK 62. Samson dan Delilah (1987) - Sisworo Gautama Putra: Indonesia 63. The Last Temptation of Christ (1988) - Martin Scorsese: Canada/US 64. Jésus de Montréal (1989) - Denys Arcand: Canada/France 65. The Garden (1990) - Derek Jarman: UK/Germany/Japan 66. The Visual Bible: Matthew (1993) - Regardt van den Bergh: South Africa 67. Al-mohager ("The Emigrant", 1994) - Youssef Chahine: Egypt/France 68. Jeremiah (1998) - Harry Winer: Italy/Germany/US 69. The Prince of Egypt (1998) - Brenda Chapman, Steve Hickner and Simon Wells: US 70. The Book of Life (1998) - Hal Hartley: France/US 71. La Genèse ("Genesis", 1999) - Cheick Oumar Sissoko: Mali/France 72. Jesus (1999) - Roger Young: Italy/USA etc. 73. The Miracle Maker (2000) - Stanislav Sokolov and Derek W. Hayes: Russia/UK 74. The Real Old Testament (2003) - Curtis Hannum and Paul Hannum: US 75. The Visual Bible: The Gospel of John (2003) - Philip Saville: Canada/UK 76. The Passion of the Christ (2004) - Mel Gibson: US 77. Shanti Sandesham ("Message of Peace", 2004) - P. Chandrasekhar Reddy: India 78. Color of the Cross (2006) - Jean Claude LaMarre: US 79. Jezile (Son of Man, 2006) - Mark Dornford-May: South Africa 80. The Nativity Story (2006) - Catherine Hardwicke: US 81. Mesih ("Jesus, the Spirit of God", 2007) - Nader Talebzadeh: Iran 82. The Passion (2008) - Michael Offer: UK 83. El cant dels ocells ("Birdsong", 2008) - Albert Serra: Spain 84. Oversold (2008) - Paul Morrell: US 85. Year One (2009) - Harold Ramis: US 86. Io sono con te ("Let It Be", 2010) - Guido Chiesa: Italy 87. Su re ("The King", 2012) - Giovanni Columbu: Italy 88. The Bible (2013) - Crispin Reece, Tony Mitchell and Christopher Spencer: US 89. Noah (2014) - Darren Aronofsky: US 90. The Savior (2014) - Robert Savo: Palestine/Jordan/Bulgaria 91. Exodus: Gods and Kings (2014) - Ridley Scott: UK/Spain/US 92. The Red Tent (2014) - Roger Young: US 93. Os Dez Mandamentos: O Filme ("The Ten Commandments: The Movie", 2016) - Alexandre Avancini: Brazil 94. Risen (2016) - Kevin Reynolds: US 95. Get Some Money (2017) - Biko Nyongesa: Kenya 96. Mary Magdalene (2018) - Garth Davis: UK/Australia/US 97. Paul, Apostle of Christ (2018) - Andrew Hyatt: US 98. Seder-Masochism (2018) - Nina Paley: US 99. Assassin 33 A.D. (2020) - Jim Carroll: US 100. Lamentations of Judas (2020) - Boris Gerrets: Netherlands

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Book SynopsisMovies have constantly pushed at the boundaries of sexual representation, outraging censors, transgressing taboos and opening up formerly forbidden realms of sensual pleasure. Whether through an exploration of our dreamiest fantasies or our darkest desires, films have expanded our repertoire of erotic images and challenged who we are as sexual beings. The first book to look at truly contemporary erotic cinema, this publication gives in-depth analyses of sex scenes from over 100 films, more than half of them released in the 21st century. Beginning with an overview of how depictions of sex on screen have changed over the last 40 years, with particular attention to censorship controversies, the book is divided into three main parts - erotic genres, themes and acts - and covers sex comedies, body horror, alien sex and erotic animation; gay, lesbian, bisexual and trans films, movies about youth, marriage and infidelity, films dealing with incest, blasphemy and death; on-screen nudity and voyeurism, masturbation, oral and anal sex, the ménage à trois and the orgy, and bestiality, rape and sadomasochism. The films discussed include 9 Songs, American Pie, Bad Education, Black Swan, Brokeback Mountain, Intimacy, Last Tango in Paris, The Reader, The Wayward Cloud, Y Tu Mamá También and many more.

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Book SynopsisEuro Noir by Britain's leading crime fiction expert Barry Forshaw (author of Nordic Noir) examines the astonishing success of European fiction and drama. This is often edgier, grittier and more compelling than some of its British or American equivalents, and the book provides a highly readable guide for those wanting to look further than the obvious choices. The sheer volume of new European writers and films is daunting but Euro Noir provides a roadmap to the territory and is also a perfect travel guide to the genre. Barry Forshaw covers influential Italian authors, such as Andrea Camilleri and Leonardo Sciascia and Mafia crime dramas Romanzo Criminale and Gomorrah, along with the gruesome Gialli crime films. He also considers important French and Belgian writers such as Maigret's creator Georges Simenon to today's Fred Vargas, cult television programmes Braquo and Spiral, and films, from the classic heist movie Rififi to modern successes such as Hidden, Mesrine and Tell No One. German and Austrian greats are covered including Jakob Arjouni and Jan Costin Wagner, and crime films such as Run Lola Run and The Lives of Others. Euro Noir also covers the best crime writing and filmmaking from Spain, Portugal, Greece, Holland and other European countries and celebrates the wide scope of European crime fiction, films and TV.Trade ReviewAn informative, interesting, accessible and enjoyable guide as Forshaw guides us through the crime output of a dozen nations -- Marcel Berlins * The Times *An exhilarating tour of Europe viewed through its crime fiction -- P D Smith * Guardian *Entertaining, illuminating, and indispensable. This is the ultimate road map for anybody interested in European crime books, film, and TV -- Andy Lawrence * Euro But Not Trash *Exemplary tour of the European crime landscape... supremely readable -- Jane Jakeman * The Independent *This is a book for everyone and will help and expand your reading and viewing -- Jo Harding * We Love This Book *

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Book SynopsisFrom the vengeful ghosts of J-horror to the walking dead in 28 Days Later and World War Z, from the creepiness of Spain's haunted houses to the graphic gore of the New French Extremism, horror is everywhere in the twenty-first century. This lively and illuminating book explores over 100 contemporary horror films, providing insightful and provocative readings of what they mean while including numerous quotes from their creators. Some of these films, including The Babadook, The Green Inferno, It Follows, The Neon Demon, Pride and Prejudice and Zombies and The Witch are so recent that this will be one of the first times they are discussed in book form. The book is divided into three main sections: 'nightmares', 'nations' and 'innovations'. 'Nightmares' looks at new manifestations of traditional fears, including creepy dolls, haunted houses and demonic possession as well as vampires, werewolves, witches and zombies; and also considers more contemporary anxieties such as dread of home invasion and homophobia. 'Nations' explores fright films from around the world, including Australia, Canada, Czechoslovakia, France, Germany, India, Japan, Norway, Russia, Serbia, Spain and Sweden as well as the UK and the US. 'Innovations' focuses on the latest trends in terror from 3D to found-footage films, from Twilight teen romance to torture porn, and from body horror and eco-horror to techno-horror. Parodies, remakes and American adaptations of Asian horror are also discussed.Trade ReviewMeticulously examining the most influential films from the last two decades, this guide provides an original perspective on today's culture for horror fanatics and cinema buffs alike -- Debi Moore * Dread Central *Keesey does an excellent job in his analysis... the material is surprisingly rich with information -- ZigZag * Horror Talk *

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Book SynopsisA.L. REES was a Research Tutor in Visual Communication, Royal College of Art, London.

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Book SynopsisAnime: A Critical Introduction maps the genres that have thrived within Japanese animation culture, and shows how a wide range of commentators have made sense of anime through discussions of its generic landscape. From the battling robots that define the mecha genre through to Studio Ghibli’s dominant genre-brand of plucky shojo (young girl) characters, this book charts the rise of anime as a globally significant category of animation. It further thinks through the differences between anime’s local and global genres: from the less-considered niches like nichijo-kei (everyday style anime) through to the global popularity of science fiction anime, this book tackles the tensions between the markets and audiences for anime texts. Anime is consequently understood in this book as a complex cultural phenomenon: not simply a “genre,” but as an always shifting and changing set of texts. Its inherent changeability makes anime an ideal contender for global dissemination, as it can be easily re-edited, translated and then newly understood as it moves through the world’s animation markets. As such, Anime: A Critical Introduction explores anime through a range of debates that have emerged around its key film texts, through discussions of animation and violence, through debates about the cyborg and through the differences between local and global understandings of anime products. Anime: A Critical Introduction uses these debates to frame a different kind of understanding of anime, one rooted in contexts, rather than just texts. In this way, Anime: A Critical Introduction works to create a space in which we can rethink the meanings of anime as it travels around the world.Trade ReviewA brilliant encapsulation of the vast range of anime, from its history to the digital era. For anyone wondering what all the fuss is about this is the place to begin, and for those already turned on to the wonders of the form this will point you in new directions for both viewing and study. * David Desser, Professor Emeritus of Cinema Studies, University of Illinois at Urbana-Champaign, USA *In this lively and readable book, Rayna Denison frames Japanese animation in relation to local and transnational genres from science fiction through to horror. This is, quite simply, the best scholarly introduction to anime that I have read. * Iain Robert Smith, Senior Lecturer in Film, University of Roehampton, UK *In the complicated world of anime studies, where definitions clash over anime’s relation to culture, technology, and media, Rayna Denison clears up the field by focusing on the field itself, skillfully using concepts from genre studies to reveal how anime has been constructed in history through the discourse of fans, critics, and producers not only through genres such as science fiction and horror, but as a fascinating and flexible genre itself. * Aaron Gerow, Professor of Film and Media Studies and East Asian Languages and Literatures, Yale University, USA *This slender volume packs an interesting punch: it looks at the very concept of anime itself, outlining both its history within Japan and how it has been received and perceived in the USA and the UK. Written with admirable clarity, it examines some key examples in order to illustrate the complexity of the genres that get included under the umbrella term anime. Anime: A Critical Introduction has all the hallmarks of a teaching classic—one for all of us to add to our reading lists whether in Japanese Studies or Film and Cultural Studies. * Dolores Martinez, Emeritus Reader in Anthropology and Associate Member of the Centre for Media and Film Studies, School of Oriental and African Studies, University of London, UK, and Research Associate, ISCA, Oxford University, USA *Table of ContentsIntroduction Chapter 1: Approaching Anime: Genre and Subgenres Chapter 2: Sci Fi Anime: Cyberpunk to Steampunk Chapter 3: Anime’s Bodies Chapter 4: Early Anime Histories: Japan and America Chapter 5: Anime, Video and the Shojo and Shonen Genres Chapter 6: Post-Video Anime: Digital Media and the Revelation of Anime’s Hidden Genres Chapter 7: Ghibli Genre: Toshio Suzuki and Studio Ghibli’s Brand Identity Chapter 8: Experiencing Japan’s Anime: Genres at the Tokyo International Anime Fair Chapter 9: Anime Horror and Genrification Index

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Book SynopsisJust what is 'independent' cinema? D. K. Holm aims to define a term all too carelessly used both by media commentators and marketers, and distinguish it from categories such as avant-garde, underground, experimental or 'art' films, with which it is often confused. By contrasting studio-era Hollywood with changes in the business since the 1970s, and the rise of companies such as Miramax and New Line, it shows the birth of a commercial environment in which the new independent cinema can emerge. Profiles of specific filmmakers suggest how diverse personalities use independent cinema for individual ends; directors such as James Mangold, who found indie cinema to be a stepping stone to more mainstream movies, Jill Sprecher, who uses its flexibility to explore philosophical ideas, and Guy Maddin, one of the few true independent filmmakers, whose films are beholden to his own unique vision rather than financiers or abstract audience markets.Trade Reviewwell produced, comprehensive yet compact in size and succinct. They include focused content, reviews of key films and even relevant DVDs as part of the package! They border on the authoritive when it comes to content and offer overviews of major film genres in bite sized packages... of interest not only to the film fanatic but to any student of cinema, indeed they would prove of exceptional value in TAFE and University film courses * Synergy Magazine *

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Book SynopsisDiscover the science behind the most popular sci-fi franchise of all time! We marvel at the variety of creatures and technology and the mystery behind the force. But how much of the Star Wars world is rooted in reality? Could we see some of the extraordinary inventions materialize in our world? This uncomplicated, entertaining read makes it easy to understand how advanced physics concepts, such as wormholes and Einstein’s theory of relativity, apply to the Star Wars universe.Trade Review“If you’ve ever wondered how life could arise on Tatooine or how likely it is that there’s a cantina full of aliens somewhere in our galaxy, The Science of Star Wars is for you.”—San Francisco Book Review“A real treat, with many moments of epiphany lurking between the pages . . . Offers much more than just the scientific facts.”—Labtimes“A gloriously fascinating look into that galaxy far, far away!”—Professor Lewis Dartnell, University of Westminster, New York Times bestselling author of The Knowledge“As a longtime Star Wars maniac, I’d like to recommend Mark Brake and Jon Chase’s The Science of Star Wars: The Scientific Facts Behind the Force, Space Travel, and More! for the geek on your Christmas list. The book is divided into sections on space travel, space, aliens, tech, and bio-tech, with each addressing the scientific feasibility of the Star Wars universe, from faster than light travel to the nature of the Force itself. Written in a clear, friendly style, reading The Science of Star Wars is like sitting down for a conversation with a super geeky scientist friend.”—Unbound Worlds“Using the basic principles of mathematics and science, author Mark Brake and science presenter Jon Chase have unlocked some of the secrets behind the George Lucas films, and have concluded that The Force might not be complete fantasy.”—Telegraph“A fairly easy read in the sense that simple language is used to explain what can at times be fairly complex concepts . . . It’s certainly best enjoyed by anyone with a bent towards the stars and how they stay up there. . . . For the right fan, it would be an excellent Christmas present.”—In a Far Away Galaxy“If you’ve ever wondered how life could arise on Tatooine or how likely it is that there’s a cantina full of aliens somewhere in our galaxy, The Science of Star Wars is for you.”—San Francisco Book Review“A real treat, with many moments of epiphany lurking between the pages . . . Offers much more than just the scientific facts.”—Labtimes“A gloriously fascinating look into that galaxy far, far away!”—Professor Lewis Dartnell, University of Westminster, New York Times bestselling author of The Knowledge“As a longtime Star Wars maniac, I’d like to recommend Mark Brake and Jon Chase’s The Science of Star Wars: The Scientific Facts Behind the Force, Space Travel, and More! for the geek on your Christmas list. The book is divided into sections on space travel, space, aliens, tech, and bio-tech, with each addressing the scientific feasibility of the Star Wars universe, from faster than light travel to the nature of the Force itself. Written in a clear, friendly style, reading The Science of Star Wars is like sitting down for a conversation with a super geeky scientist friend.”—Unbound Worlds“Using the basic principles of mathematics and science, author Mark Brake and science presenter Jon Chase have unlocked some of the secrets behind the George Lucas films, and have concluded that The Force might not be complete fantasy.”—Telegraph“A fairly easy read in the sense that simple language is used to explain what can at times be fairly complex concepts . . . It’s certainly best enjoyed by anyone with a bent towards the stars and how they stay up there. . . . For the right fan, it would be an excellent Christmas present.”—In a Far Away Galaxy

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Book SynopsisThe book is based on amateur films, shot by the architect Ernest Weissmann (1903-1985) with a Pathé Motocamera in the years 1929-1933 at, among other places, the Atelier Le Corbusier and Pierre Jeanneret. These films capture moments from Le Corbusier's life that have never been seen before. It also documents his friendships with Pierre Jeanneret, Lluis Sert, Charlotte Perriand, Norman Rice, Kunio Maekawa, Sigfried Giedion and others. Across six chapters, the book shows impressive stills from these films and places them in the respective historical and personal context of Le Corbusier in introductory texts. Two introductions are devoted to the history of these pioneering amateur films and to Ernest Weissmann's life and his life-long relationship with Le Corbusier. A documentary treasure trove on the life of Le Corbusier Featuring 80 previously unpublished film stills Available as softcover (9783035627282), hardcover (9783035627299) and limited special edition with three photographic prints (9783035627305)

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Book SynopsisNigeria's Nollywood has rapidly grown into one of the world's largest film industries, radically altering media environments across Africa and in the diaspora; it has also become one of African culture's most powerful and consequential expressions, powerfully shaping how Africans see themselves and are seen by others. With this book, Jonathan Haynes provides an accessible and authoritative introduction to this vast industry and its film culture. Haynes describes the major Nigerian film genres and how they relate to Nigerian society its values, desires, anxieties, and social tensions as the country and its movies have developed together over the turbulent past two decades. As he shows, Nollywood is a form of popular culture; it produces a flood of stories, repeating the ones that mean the most to its broad audience. He interprets these generic stories and the cast of mythic figures within them: the long-suffering wives, the business tricksters, the Bible-wielding pastors, the kings in t

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Book SynopsisA groundbreaking contribution to the study of non-theatrical film exhibition, Carceral Fantasies tells the story of how cinema found a home in the U.S. penitentiary system and how the prison emerged as a setting and narrative trope. Focusing on films shown before 1935, the book explores the experience of viewing cinema while incarcerated.Trade ReviewAlison Griffiths's examination of how movie exhibition came into prisons is truly groundbreaking. No one has studied the culture of movie-going behind bars in this fashion before. A unique and absolutely exciting work! -- Dana Polan, author of Scenes of Instruction: The Beginnings of the U.S. Study of Film Carceral Fantasies is a complex and highly original book that attends the intersections between various early cinema images of prisons and the real thing. Griffiths has a fascinating story to tell, in which she argues that we can view execution films as a kind of attraction-and in doing so are led to ponder: what constitutes an attraction? -- Jon Lewis, author of American Film: A HistoryTable of ContentsList of Figures Acknowledgments Introduction Part I: The Carceral Imaginary 1. Tableaux Mort: Execution, Cinema, and Carceral Fantasies 2. Prison on Screen: The Carceral Aesthetic Part II: The Carceral Spectator 3. Screens and the Senses in Prison 4. "The Great Unseen Audience": Sing Sing Prison and Motion Pictures Part III: The Carceral Reformer 5. A Different Story: Recreation and Cinema in Women's Prisons and Reformatories 6. Cinema and Prison Reform Conclusion: The Prison Museum and Media Use in the Contemporary Prison Notes Filmography Bibliography Index

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Book SynopsisTrade ReviewAlison Griffiths's examination of how movie exhibition came into prisons is truly groundbreaking. No one has studied the culture of moviegoing behind bars in this fashion before. A unique and absolutely exciting work! -- Dana Polan, author of Scenes of Instruction: The Beginnings of the U.S. Study of FilmCarceral Fantasies is a complex and highly original book that attends the intersections between various early cinema images of prisons and the real thing. Griffiths has a fascinating story to tell, in which she argues that we can view execution films as a kind of attraction—and in doing so are led to ponder: what constitutes an attraction? -- Jon Lewis, author of American Film: A HistoryCarceral Fantasies paints a complex, rich portrait of the historical relationship between cinema and the American penal system that crosses disciplinary borders and engages with a diverse body of scholarship. Groundbreaking in its historical exploration, rigorous and acrobatic in its theoretical intervention, and provocative in its call to action, Carceral Fantasies is a rewarding and important read for anyone interested in the history of American cinema. * Film & History *Griffiths’s work uncovers hidden and rarely considered aspects of penal practice, media consumption and film history. * Prison Service Journal *A timely, challenging, and always thought-provoking text, Carceral Fantasies will become necessary reading for all working to map the medial administration of state terror and to imagine cinema’s capacities to glimpse beyond it. * Canadian Journal of Film Studies *Carceral Fantasies is a fascinating look at the history of cinema and the penitentiary. * Criminal Law and Criminal Justice Books *The original research she has performed, especially in understanding the nature of the carceral spectator, makes a significant contribution to film history, particularly film as a cultural artifact. She provides a glimpse of a nearly invisible audience that may have discovered in film their only connection to the world at large. In doing so, Griffiths brings light to what remains one of the most hidden places in our society. * Wide Angle *Carceral Fantasies will certainly attract scholars who are interested in the development of this scholarship about the silent era. The book will also be of value for those who are interested by nontheatrical film exhibition and the unique experience of watching films in prison. * Historical Journal of Film, Radio, and Television *Carceral Fantasies is a provocative and engrossing read. Griffiths’s study also makes a significant contribution to histories of cinema-going and early twentieth-century visual culture, and to our understanding of the complexities that underpin the dynamics between spectator and spectacle. * Alphaville *Table of ContentsList of FiguresAcknowledgmentsIntroductionPart I: The Carceral Imaginary1. Tableaux Mort: Execution, Cinema, and Carceral Fantasies2. Prison on Screen: The Carceral AestheticPart II: The Carceral Spectator3. Screens and the Senses in Prison4. "The Great Unseen Audience": Sing Sing Prison and Motion PicturesPart III: The Carceral Reformer5. A Different Story: Recreation and Cinema in Women's Prisons and Reformatories6. Cinema and Prison ReformConclusion: The Prison Museum and Media Use in the Contemporary PrisonNotesFilmographyBibliographyIndex

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Book SynopsisTrade ReviewAn ambitious and important contribution to the study of European horror films. -- Francesco Di Chiara European Journal of Media StudiesTable of ContentsContributors Introduction, by Patricia Allmer, Emily Brick, and David Huxley Reception and Perception of European Horror Cinemas Section Introduction, by Patricia Allmer, Emily Brick, and David Huxley Resident Evil? The Limits of European Horror: Resident Evil Versus Suspiria, by Peter Hutchings Beyond Suspiria: The Place of European Horror Cinema in the Fan Canon, by Brigid Cherry Refusing to Look at Rape: The Reception of Belgian Horror Cinema, by Ernest Mathijs and Russ Hunter Depressing, Degrading! The Reception of the European Horror Film in Britain, 1957-68, by David Huxley British Horror Cinema Section Introduction, by Patricia Allmer, Emily Brick, and David Huxley The Boundaries of Horror in Wolf Rilla's Village of the Damned, by John Sears New Labour, New Horrors: Genetic Mutation, Generic Hybridity and Gender Crisis in British Horror of the New Millennium, by Linnie Blake French Horror Cinema Section Introduction, by Patricia Allmer, Emily Brick, and David Huxley Baise-moi and the French Rape-Revenge Film, by Emily Brick Subjectivity Unleashed: Haute Tension, by Matthias Hurst Spanish Horror Cinema Section Introduction, by Patricia Allmer, Emily Brick, and David Huxley Paul Naschy, Exorcismo and the Reactionary Horrors of Spanish Popular Cinema in the Early 1970s, by Andy Willis History, Terrain and Tread: The Walk of Demons, Zombie Flesh Eaters and the Blind Dead, by Phil Smith Alejandro Amenabar and Contemporary Spanish Horror, by Barry Jordan Italian Horror Cinema Section Introduction, by Patricia Allmer, Emily Brick, and David Huxley Live Ate: Global Catastrophe and the Politics and Poetics of the Italian Zombie Film, by Mark Goodall A Touch of Terror: Dario Argento and Deleuze's Cinematic Sensorium, by Anna Powell German and Northern European Horror Cinema Section Introduction, by Patricia Allmer, Emily Brick, and David Huxley 'A Former Director of German Horror Films': Horror, European Cinema and the Critical Reception of Robert Siodmak's Hollywood Career, by Mark Jancovich World of Blood and Fire: Lang, Mabuse, and Bergman's The Serpent's Egg, by Samuel J. Umland 'Le Cineaste d'Horreur Ordinaire': Michael Haneke and the Horrors of Everyday Existence, by Catherine Wheatley Eastern European Horror Cinema Section Introduction, by Patricia Allmer, Emily Brick, and David Huxley A Gaze from Hell: Eastern European Horror Cinema Revisited, by Christina Stojanova Taxidermia-a Hungarian Taste for Horror, by Patricia Allmer Horror Films in Turkish Cinema: To Use or Not to Use Local Cultural Motifs, That is Not the Question, by Kaya Ozkaracalar Filmography Index

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Book SynopsisChallenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation.Trade ReviewAn ambitious undertaking, supported by admirably clear prose and an impressive range of research. -- Richard Dienst, Rutgers University Remes's concise writing eloquently recounts his sensitive attention to the screened films that he discusses. His subsequent, objectively based observations are often profound. His description and analysis of the implications of what he has seen in my own films is revealing even to me. Unique in its emphasis on the single frame as the core of cinema, this book is one of the best books ever written about 'experimental' film. -- Michael Snow Justin Remes' Motion(less) Pictures is written and argued so well that one can enjoy it and learn from it without much liking the cinema of stasis. Early on, the book grants us leave to view Warhol's Empire or Sleep in a state of high distraction, perhaps while munching panini and conversing with friends. We can even exit and take a stroll. Remes rightly links both films to Erik Satie's 'furniture music'--'music to which,' John Cage said, 'one did not have to listen' (Satie himself said that 'a man who has not heard Furniture music does not know happiness"). Other types of stasis cinema--"protracted cinema," "the textual film," and "the monochrome film'--invite more sustained attention. In every type, though, duration is more palpable than motion, and Remes recommends that duration rather than motion be considered the 'indispensable component' of all cinema. Yet mindful that cinema is richly diverse and ever changing, he resists reducing it to a single essence. He calls instead for 'a theory of film... as flexible and expansive as cinema itself,' and cites, as supporters as well as foils, multiple artists, theorists, and philosophers. Among them are Michael Snow, Bill Viola, Nam June Paik, Tom Gunning, Steve Shaviro, Noel Carroll, Plato, Aristotle, Bergson, Wittgenstein, Barthes, and Deleuze. The result is a broad survey of aesthetic thought and practice that, while illuminating all of cinema, deftly transposes stillness from the margins of our attention to the center. -- Ira Jaffe, author of Slow Movies: Countering the Cinema of Action A brilliant book... Highly recommended. Choice A worthwhile examination of a small but notable canon. Prefix Photo MagazineTable of ContentsAcknowledgments 1. Introduction: The Filmic 2. Serious Immobilities: Andy Warhol, Erik Satie, and the Furniture Film 3. Stasis in Fluxus: Disappearing Music for Face and Protracted Cinema 4. Boundless Ontologies: Michael Snow, Wittgenstein, and the Textual Film 5. Colored Blindness: Derek Jarman's Blue and the Monochrome Film 6. Conclusion: Static Cinema in the Digital Age Appendix 1. The Cinema of Stasis Appendix 2. Films Relevant to Understanding the Cinema of Stasis Notes Index

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Book SynopsisTrade ReviewHighly recommended. CHOICE The variety of voices contained within this slim volume celebrates the different kinds of discourse generated by and about avant-garde filmmakers. The result is a collection as formally experimental as many of the films in question-one that makes for exuberant reading. Slavic and East European JournalTable of ContentsAcknowledgments Notes on Contributors Introduction 1. The Themersons and the Polish Avant-Garde: Warsaw-Paris-London, by A. L. Rees 2. 'The Inexpressible Unearthly Beauty of the Cinematograph': The Impact of Polish Futurism on the First Polish Avant-Garde Films, by Kamila Kuc Excerpts from the 'Archives' of the Polish Avant-Garde 3. The Search for a 'More Spacious Form': Experimental Trends in Polish Documentary (1945-1989), by Mikolaj Jazdon 4. Avant-Garde and the Thaw: Experimentation in Polish Cinema of the 1950s and 1960s, by Marcin Gizycki 5. Avant-Garde Exploits: The Cultural Highs and Lows of Polish Emigre Cinema, by Jonathan L. Owen 6. The Mechanical Imagination-Creativity of Machines: Film Form Workshop 1970-1977, by Ryszard Kluszczynski 7. The 1980s: From Specificity to the New Tradition-Avant-Garde Film and Video Art in Poland, by Ryszard Kluszczynski Film Form Workshop Statements 8. A Rebellion a la Polonaise, by Mateusz Werner Bibliography Filmography Index of Names

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Book SynopsisShowcases film and television studies’ singular ability to expose and potentially disable the fantasies that sustain torture and the regimes that deploy itTrade ReviewOne of the clearest signs of the ethical regression that characterizes the last decade is the changed status of torture in public discourse: no longer a taboo, something that is to be done in secret, torture is today a topic of 'rational' legal, ethical, and medical debates. This renormalization of torture would not have been possible without movies and television series that gradually rendered it acceptable. This is why Hilary Neroni's The Subject of Torture reaches well beyond cultural studies and provides a courageous examination of the ongoing moral catastrophe-everyone who cares about our ethical predicament should read it. The book is not only very readable and simultaneously a work of highest academic standards, it is much more: an alarm call that should awaken us all from our moral slumber. -- Slavoj Zizek, author of Less Than Nothing and The Year of Dreaming Dangerously and coauthor of What Does Europe Want? Wonderfully astute, politically timely, and deeply engaging. Hilary Neroni undertakes the pressing task of destroying the logic that sustains contemporary justifications for torture. The Subject of Torture is truly pathbreaking in its lucid engagement with the torture debate from a psychoanalytic perspective. -- Jennifer Friedlander, Pomona College The suffering, tremulous body examined in this excellent book is not that of the torture victim, who must pay in the flesh for our access to truth, but that of the torturer, who conceals his obscene pleasure behind euphemisms such as 'enhanced interrogation' and rationalizations based on false scenarios of imminent threat. Hilary Neroni's expert and detailed readings of the Abu Ghraib photographs, documentary films about the events leading up to them, and the new genre of 'torture porn' that appeared in their wake execute a fine twist, one that completely revises the course of reflections on the body at stake in biopolitics. -- Joan Copjec, Brown University Neroni deftly illuminates the conspicuous uptick of post-9/11 media representations of torture by adopting the neglected but indispensable viewpoint of unconscious motives and distorting fantasies. A valuable contribution. -- Richard Boothby, Loyola University MarylandTable of ContentsAcknowledgments Introduction: Confronting the Abu Ghraib Photographs 1. Torture, Biopower, and the Desiring Subject 2. The Nonsensical Smile of the Torturer in Post-9/11 Documentary Films 3. Torture Porn and the Desiring Subject in Hostel and Saw 4. 24, Jack Bauer, and the Torture Fantasy 5. The Biodetective Versus the Detective of the Real in Zero Dark Thirty and Homeland 6. Alias and the Fictional Alternative to Torture Notes Index

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Book SynopsisExamines the gangster film in its historical context with an emphasis on the ways the image of the gangster has adapted and changedTable of ContentsAcknowledgements Introduction 1. A Silent Era: From Gangs to Gangsters 2. The Racketeer and the Outlaw: Gangster Archetypes of the 1930s 3. Murder, Incorporated: Post-war Developments in the Gangster Film 4. La Famiglia: Coppola, Scorsese, and Gangster Ethnicity Conclusion Filmography Bibliography Index

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Book SynopsisFeaturing new essays on this important director and his films, this collection explores Hartley’s work from a variety of aesthetic, cultural, and economic contexts, while also looking closely at his collaborations with actors, his reworking of the romantic comedy and other genres, and the shifting economics of his filmmaking.Trade ReviewHal Hartley has been at work for a quarter of a century and his films still seem like fresh discoveries. Independent, individualistic, idiosyncratic, and indefatigable, he defies all known pigeonholes, and this balanced, wide-ranging collection marks a welcome new stage in the exploration of his work. -- David Sterritt, author of The Cinema of Clint Eastwood: Chronicles of America This first collection to showcase the curiously under-celebrated independent filmmaker reminds us why Hartley and his films matter. Rich in original insights about conditions of authorship into the crowdfunding era, textuality and intertextuality, film style, critical reception, the local in location production, indie genericity, performance, and more across the past 25 years, this book brings Hartley's vibrant work back to the fore of film studies. -- Mark Gallagher, University of NottinghamTable of ContentsAcknowledgements Notes on Contributors Introduction: Hal Hartley: A Quality of Attention, by Steven Rybin 1. Up Close and Impersonal: Hal Hartley and the Persistence of Tradition, by David Bordwell 2. 'Young. Middle-Class. College-Educated. Unskilled.': Hal Hartley in 1991, by Mark L. Berrettini 3. 'Some Things Shouldn't Be Fixed': Frameworks of Critical Reception and the Early Career of Hal Hartley, by Jason Davids Scott 4. The Locality of Hal Hartley: The Aesthetics and Business of Smallness, by Steven Rawle 5. Hal Hartley's Romantic Comedy, by Sebastian Manley 6. A New Man: The Logic of the Break in Hal Hartley's Amateur, by Daniel Varndell 7. Not Getting It: Flirt as Anti-Puzzle Film, by Steven Rybin 8. Poiesis and Media in The Book of Life and No Such Thing, by Fernando Gabriel Pagnoni Berns 9. Bodies, Space and Theatre in The Unbelievable Truth (and its American Precursors), by Zachary Tavlin 10. Parker Posey as Hal Hartley's 'Captive Actress', by Jennifer O'Meara 11. The Figure Who Writes: On the Henry Fool Trilogy, by Steven Rybin Filmography Bibliography Index

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Book SynopsisFeaturing new essays on this important director and his films, this collection explores Hartley’s work from a variety of aesthetic, cultural, and economic contexts, while also looking closely at his collaborations with actors, his reworking of the romantic comedy and other genres, and the shifting economics of his filmmaking.Trade ReviewHal Hartley has been at work for a quarter of a century and his films still seem like fresh discoveries. Independent, individualistic, idiosyncratic, and indefatigable, he defies all known pigeonholes, and this balanced, wide-ranging collection marks a welcome new stage in the exploration of his work. -- David Sterritt, author of The Cinema of Clint Eastwood: Chronicles of America This first collection to showcase the curiously under-celebrated independent filmmaker reminds us why Hartley and his films matter. Rich in original insights about conditions of authorship into the crowdfunding era, textuality and intertextuality, film style, critical reception, the local in location production, indie genericity, performance, and more across the past 25 years, this book brings Hartley's vibrant work back to the fore of film studies. -- Mark Gallagher, University of NottinghamTable of ContentsAcknowledgements Notes on Contributors Introduction: Hal Hartley: A Quality of Attention, by Steven Rybin 1. Up Close and Impersonal: Hal Hartley and the Persistence of Tradition, by David Bordwell 2. 'Young. Middle-Class. College-Educated. Unskilled.': Hal Hartley in 1991, by Mark L. Berrettini 3. 'Some Things Shouldn't Be Fixed': Frameworks of Critical Reception and the Early Career of Hal Hartley, by Jason Davids Scott 4. The Locality of Hal Hartley: The Aesthetics and Business of Smallness, by Steven Rawle 5. Hal Hartley's Romantic Comedy, by Sebastian Manley 6. A New Man: The Logic of the Break in Hal Hartley's Amateur, by Daniel Varndell 7. Not Getting It: Flirt as Anti-Puzzle Film, by Steven Rybin 8. Poiesis and Media in The Book of Life and No Such Thing, by Fernando Gabriel Pagnoni Berns 9. Bodies, Space and Theatre in The Unbelievable Truth (and its American Precursors), by Zachary Tavlin 10. Parker Posey as Hal Hartley's 'Captive Actress', by Jennifer O'Meara 11. The Figure Who Writes: On the Henry Fool Trilogy, by Steven Rybin Filmography Bibliography Index

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Book SynopsisThe essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. This volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema.Trade ReviewThe long-awaited news flash foregrounded by The Essay Film: Dialogue, Politics, Utopia is that cinema studies has at last parted ways with moldy, genre-based epistemologies. The idea of film-thinking as a philosophia sui generis that opposes formalistic classifications has been there from the get-go-in the hearts and minds of groundbreaking film-heretics. Here we are finally offered a thoroughly researched and carefully thought-out contemplation of the primordial desires and wishful prospects of the art of filmmaking, a distinct form of human expression. This book heralds an advanced phase of maturation for cinema studies. Its straightforward willingness to destabilize its own epistemic, aesthetic, and ethical dimensions, generating authentic terms-of-being, perfectly matches the true spiritual and intellectual scope of the essay film as we know it-and, more critically, as we can never truly know its inherently unknowable stratum. The clarity of this book's statement provides a firm foundation for future revelations the essay film holds in store. -- Dan Geva, Haifa University, and documentary filmmaker This exciting collection promises to be an important milestone for ongoing debates and discussions about the emergent medium of interactive and nonlinear documentary. -- Matt Soar, Concordia UniversityTable of ContentsAcknowledgments Notes on Contributors Introduction: Dialogue, Politics, Utopia, by Elizabeth A. Papazian and Caroline Eades Part I: The Essay Film as Dialogue 1. Essayism and Contemporary Film Narrative, by Timothy Corrigan 2. Essaying the Forms of Popular Cinema: Godard, Farocki and the Principle of Shot/Countershot, by Rick Warner 3. The Practice of Strangeness: L'Intrus, from Jean-Luc Nancy (2000) to Claire Denis (2004), by Martine Beugnet 4. Cinema-verite and Kino-pravda: Rouch, Vertov, and the Essay Form, by Caroline Eades and Elizabeth A. Papazian Part II: The Essay Film as Politics 5. Notes for a Revolution: Pasolini's Postcolonial Essay Films, by Luca Caminati 6. Chris Marker's Description of a Struggle and the Limits of the Essay Film, by Eric Zakim 7. A Woman with a Movie Camera: Chantal Akerman's Essay Films, by Anne Eakin Moss 8. 'What Does It Mean Today to Be a Communist?': Nanni Moretti's Palombella rossa and La cosa as Essay Films, by Mauro Resmini Part III: The Essay Film as Utopia 9. Mohamed Soueid's Cinema of Immanence, by Laura U. Marks 10. Inside/Outside: Nicolasito Guillen Landrian's Subversive Strategy in Coffea Arabiga, by Ernesto Livon-Grosman 11. American Essays in How to Build a Home: Thoreau, Mekas, Proenneke, by Oliver Gaycken 12. 'to speak, to hold, to live by the image': Notes in the Margins of the New Videographic Tendency, by Luka Arsenjuk Afterword: The Idea of Essay Film, by Laura Rascaroli Index

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Book SynopsisIn Specters of Slapstick and Silent Film Comediennes, Maggie Hennefeld examines little-known silent films that, she argues, provide disturbing but suggestive images for comprehending gendered social upheavals in the early twentieth century. Hennefeld shows how slapstick comediennes were crucial to the emergence of film language and experimentation.Trade ReviewNamed Best Silent Film Book of 2018 * Silent London *An original and significant book, solidly grounded in comic theory. * Film Quarterly *Hennefeld's work will delightfully haunt, but intelligently entertain. Highly recommended. * Choice *Hennefeld’s book concludes with a call to “make visible the forgotten histories of feminist social struggle and of women’s cultural visibility”. Rather neatly, Specters of Slapstick offers an engrossing and energising example of that very work. -- Pamela Hutchinson * Sight & Sound *Delivers on its ambitious commitment to ‘find a third way, an alternative to the impasses of the killjoy’s refusal and the unruly woman’s disruption.’ * Screen *Hennefeld’s book represents a significant contribution to the field in its refreshing methodological combination of cultural analysis and feminist historiography. * NECSUS *Invite[s] us to rethink our preconceptions about the place of women’s comic performances in film history, to imagine the effects of spectator laughter a century ago, and to examine the sources of our own delight in those performances. * Journal of Cinema and Media Studies *The depth of Hennefeld’s analysis, the breadth of her research, the many cinematic examples she uses to illustrate her points, and the compelling nature of her arguments make the book a moving tribute to these women and an engaging andinformative read. * Women's Studies *This book’s animated tone and savvy provocations [cause readers] to think about women’s silent-era comedy in new, dynamic, and surprising ways...In addition, Specters of Slapstick offers a significant new critical approach to women’s comedy for scholarship. * Journal of Cinema and Media Studies *Maggie Hennefeld's comprehensive and in-depth study of female comedians in the silent film era...is an important intervention in the field of comedy studies as well as gender studies...a must read for students and scholars interested in gender, in film history, and in comedy. * Early Popular Visual Culture *Hennefeld’s thoughtful reflections on theories of humor flesh out not only her discussions of slapstick but also the fraught relation between what makes us laugh and feminism. * Studies in American Humor *Hennefeld’s thoughtful, comprehensive study, which does much to illuminate an overlooked archive of films, demonstrates clearly that these texts are themselves part of an 'undead past' that haunts the development of film throughout the 20th century and resonates with conventions of film comedy today. -- Rebecca Burditt * Film and History *Simultaneously hilarious and seriously incisive, Specters of Slapstick and Silent Film Comediennes is a dazzling demonstration of the way in which the female body in early film comedy is the privileged site for the display of the cinema’s defamiliarization of the world. Hennefeld skillfully links the centrality of women in comic films of mobility and catastrophe to anxieties surrounding their rapidly changing social position. This is a marvelous analysis. -- Mary Ann Doane, University of California, BerkeleyHennefeld does a remarkable job of framing the politics of early film comedy in relation to late nineteenth- and early twentieth-century philosophies of laughter. This is a far-reaching study that will change our understanding of the history of early film slapstick and gender. -- Robert J. King, Columbia UniversityHennefeld draws on hundreds of films to reveal the radical interest and specificity of the silent film comediennes who humorously ruptured themselves while negotiating the shifting place of women’s bodies in cinema’s early years. Forging a rigorous third way between “killjoy refusal” and “unruly disruption” using a “Laughing Methodology” to counter misogynist violence, this brilliant book illuminates the vital link between feminist laughter and the slow-burn pleasure of feminist thought. -- Karen Redrobe, University of PennsylvaniaSpecters of Slapstick and Silent Film Comediennes has been quite a revelation to me. -- Scott AdlerbergWill set new agendas in our understanding of comic theory, early film history, feminist performances, and the sources of laughter. -- Tom Gunning * Cultural Critique *Table of ContentsList of IllustrationsAcknowledgmentsIntroductionPart I. Early Film Combustion1. Early Cinema and the Comedy of Female Catastrophe 2. Female Combustion and Feminist Film Historiography Part II. Transitional Film Metamorphosis3. Slapstick Comediennes in Transitional Cinema: Between Body and Medium 4. The Geopolitics of Transitional Film Comedy: American Vitagraph Versus French Pathé-Freres 5. D. W. Griffith’s Slapstick Comediennes: Female Corporeality and Narrative Film Storytelling Part III. Feminist Slapstick Politics6. Film Comedy Aesthetics and Suffragette Social Politics 7. Radical Militancy and Slapstick Political Violence Postscript: Haunted Laughter at Late Comediennes Annotated Filmography Notes Bibliography Index

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Book SynopsisDrawing on new scholarship in transnational theatrical, film, and cultural histories, this collection demonstrates that melodrama speaks to fundamental aspects of modern life and feeling. Contributors articulate new ways of thinking about melodrama that underscore its pervasiveness across national cultures and in a variety of genres.Trade ReviewTwo of the most brilliant and lucid writers on film melodrama have put together this wonderful anthology that both consolidates and clarifies thinking about the topic and opens out the field, placing film melodrama more precisely and securely in relation to its theatrical and literary antecedents and extending consideration from well beyond the confines of Europe and North America. A hand-picked roster of contributors confirm the unbounded scope of the collection and demonstrate the importance and range of melodrama and above all the complexity, ideological urgency, and intoxicating pleasures of its emotions. -- Richard Dyer, King’s College London and St. Andrews UniversityMelodrama Unbound extends the already robust feminist analysis of melodramatic modes into transmedial, transnational, and philosophical scenes. It addresses from diverse viewpoints how the emotional encounter with the artwork becomes generally held. The writing is diverse, vivid, and conceptually challenging in all the best senses. -- Lauren Berlant, University of ChicagoWhat riches the reader will find in this volume! Its vision is rigorously transmedial and transnational. Within this expansive framework, a wide variety of essays “unbind” melodrama from critical misconceptions that have hindered our understanding of its importance, its pervasiveness, and its power as a mode that continues to flourish in a magnificent proliferation of genres, media, art forms, and forms of social expression. -- Carolyn Williams, Rutgers UniversityThis book brings melodrama studies up to date with strongly argued, exciting, original work. It has been many years since melodrama has received such varied and sustained attention in a single volume as we find in Melodrama Unbound, which changes once again how we understand this protean form. -- Robert Lang, author of American Film Melodrama: Griffith, Vidor, MinnelliTable of ContentsPrologue: The Reach of Melodrama, by Christine GledhillAcknowledgmentsIntroduction, by Christine Gledhill and Linda WilliamsPart I: Melodrama’s Crossmedia, Transnational Histories1. Unbinding Melodrama, by Matthew Buckley2. The Passion of Christ and the Melodramatic Imagination, by Richard Allen3. Boucicault in Bombay: Global Theater Circuits and Domestic Melodrama in the Parsi Theater, by Kathryn Hansen4. Global Melodrama and Transmediality in Turn-of-the-Century Japan, by Hannah Airriess5. Transnational Melodrama, Wenyi, and the Orphan Imagination, by Zhen Zhang6. Performing/Acting Melodrama, by Helen Day-Mayer and David Mayer7. Melodrama and the Making of Hollywood, by Hilary A. Hallett8. Modernizing Melodrama: The Petrified Forest on American Stage and Screen (1935–1936), by Martin Shingler9. One Suffers but One Learns: Melodrama and the Rules of Lack of Limits, by Carlos Monsiváis (trans. Kathleen M. Vernon)10. World and Time: Serial Television Melodrama in America, by Linda Williams11. Melodrama’s “Authenticity” in Carl Th. Dreyer’s La Passion de Jeanne d’Arc, by Amanda DoxtaterPart II: Cultural and Aesthetic Debates12. “Tales of Sound and Fury . . .” or, The Elephant of Melodrama, by Linda Williams13. Repositioning Excess: Romantic Melodrama’s Journey from Hollywood to China, by Panpan Yang14. Melodrama and the Aesthetics of Emotion, by E. Deidre Pribram15. Expressionist Aurality: The Stylized Aesthetic of Bhava in Indian Melodrama, by Ira Bhaskar16. The Sorrow and the Piety: Melodrama Rethought in Postwar Italian Cinema, by Louis Bayman17. Costumes as Melodrama: Super Fly, Male Costume, and the Larger-Than-Life, by Drake Stutesman18. Melodrama and Apocalypse: Politics and the Melodramatic Mode in Contagion, by Despina Kakoudaki19. Even More Tears: The Historical Time Theory of Melodrama, by Jane M. GainesBibliographyContributor BiographiesIndex

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Book SynopsisDrawing on new scholarship in transnational theatrical, film, and cultural histories, this collection demonstrates that melodrama speaks to fundamental aspects of modern life and feeling. Contributors articulate new ways of thinking about melodrama that underscore its pervasiveness across national cultures and in a variety of genres.Trade ReviewTwo of the most brilliant and lucid writers on film melodrama have put together this wonderful anthology that both consolidates and clarifies thinking about the topic and opens out the field, placing film melodrama more precisely and securely in relation to its theatrical and literary antecedents and extending consideration from well beyond the confines of Europe and North America. A hand-picked roster of contributors confirm the unbounded scope of the collection and demonstrate the importance and range of melodrama and above all the complexity, ideological urgency, and intoxicating pleasures of its emotions. -- Richard Dyer, King’s College London and St. Andrews UniversityMelodrama Unbound extends the already robust feminist analysis of melodramatic modes into transmedial, transnational, and philosophical scenes. It addresses from diverse viewpoints how the emotional encounter with the artwork becomes generally held. The writing is diverse, vivid, and conceptually challenging in all the best senses. -- Lauren Berlant, University of ChicagoWhat riches the reader will find in this volume! Its vision is rigorously transmedial and transnational. Within this expansive framework, a wide variety of essays “unbind” melodrama from critical misconceptions that have hindered our understanding of its importance, its pervasiveness, and its power as a mode that continues to flourish in a magnificent proliferation of genres, media, art forms, and forms of social expression. -- Carolyn Williams, Rutgers UniversityThis book brings melodrama studies up to date with strongly argued, exciting, original work. It has been many years since melodrama has received such varied and sustained attention in a single volume as we find in Melodrama Unbound, which changes once again how we understand this protean form. -- Robert Lang, author of American Film Melodrama: Griffith, Vidor, MinnelliTable of ContentsPrologue: The Reach of Melodrama, by Christine GledhillAcknowledgmentsIntroduction, by Christine Gledhill and Linda WilliamsPart I: Melodrama’s Crossmedia, Transnational Histories1. Unbinding Melodrama, by Matthew Buckley2. The Passion of Christ and the Melodramatic Imagination, by Richard Allen3. Boucicault in Bombay: Global Theater Circuits and Domestic Melodrama in the Parsi Theater, by Kathryn Hansen4. Global Melodrama and Transmediality in Turn-of-the-Century Japan, by Hannah Airriess5. Transnational Melodrama, Wenyi, and the Orphan Imagination, by Zhen Zhang6. Performing/Acting Melodrama, by Helen Day-Mayer and David Mayer7. Melodrama and the Making of Hollywood, by Hilary A. Hallett8. Modernizing Melodrama: The Petrified Forest on American Stage and Screen (1935–1936), by Martin Shingler9. One Suffers but One Learns: Melodrama and the Rules of Lack of Limits, by Carlos Monsiváis (trans. Kathleen M. Vernon)10. World and Time: Serial Television Melodrama in America, by Linda Williams11. Melodrama’s “Authenticity” in Carl Th. Dreyer’s La Passion de Jeanne d’Arc, by Amanda DoxtaterPart II: Cultural and Aesthetic Debates12. “Tales of Sound and Fury . . .” or, The Elephant of Melodrama, by Linda Williams13. Repositioning Excess: Romantic Melodrama’s Journey from Hollywood to China, by Panpan Yang14. Melodrama and the Aesthetics of Emotion, by E. Deidre Pribram15. Expressionist Aurality: The Stylized Aesthetic of Bhava in Indian Melodrama, by Ira Bhaskar16. The Sorrow and the Piety: Melodrama Rethought in Postwar Italian Cinema, by Louis Bayman17. Costumes as Melodrama: Super Fly, Male Costume, and the Larger-Than-Life, by Drake Stutesman18. Melodrama and Apocalypse: Politics and the Melodramatic Mode in Contagion, by Despina Kakoudaki19. Even More Tears: The Historical Time Theory of Melodrama, by Jane M. GainesBibliographyContributor BiographiesIndex

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Book Synopsis​The Psycho Records follows the influence of the primal shower scene within subsequent slasher and splatter films.Trade ReviewThe most interesting, challenging, and eclectic psychoanalytic theorist of our time... there is no writer who works the seams between academic and B-culture with Rickels' intelligence and connoisseurship. Sensitive SkinTable of ContentsAcknowledgements Preface: Late Arrival of the 'New Vampire Lectures' Psycho-Historical Introduction Record One: Playing Catch Up with the Vampire-But with True Blood Record Two: Schauer Scenes Record Three: Alternate History-1960 Record Four: Epidemics of Mass Murder Record Five: Manuals Record Six: Still Working on It Record Seven: Phantoms Record Eight: The Turning Record Nine: The Crowd and the Couple Record Ten: Getting Into B-Pictures Record Eleven: The Emperor's New Closure Record Twelve: By Rule of Tomb Record Thirteen: The Renewal of Psycho Horror by Compact with the Devil Filmography Bibliography Index

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