Film: styles and genres Books

Book SynopsisAn Open Access edition of this book is available on the Liverpool University Press website and through Knowledge Unlatched.Well-known in science fiction for tomb-raiding and mummy-wrangling, the archaeologist has been a rich source for imagining ‘strange new worlds’ from ‘strange old worlds.’ But more than a well-spring for SF scenarios, the genre’s archaeological imaginary invites us to consider the ideological implications of digging up the past buried in the future. A cultural study of an array of very popular, though often critically-neglected, North American SF film and television texts–running the gamut of telefilms, pseudo-documentaries, teen serial drama and Hollywood blockbusters–Excavating the Future explores the popular archaeological imagination and the political uses to which it is being employed by the U.S. state and its adversaries. By treating SF texts as documents of archaeological experience circulating within and between scientific and popular culture communities and media, Excavating the Future develops critical strategies for analyzing SF film and television’s critical and adaptive responses to post 9/11 geopolitical concerns about the war on terror, homeland security, the invasion and reconstruction of Iraq, and the ongoing fight against ISIS.Trade Review'[A] provocative and fastidiously researched monograph... Invoking such heavy-hitters as Roland Barthes, Jean Baudrillard, and Homi Bhabha, Excavating the Future is best for scholars or advanced students already acquainted with a fair amount of theory. Nevertheless, Malley maps rich territory at the intersection of literature, media studies, history, and geopolitics.'Pedro Ponce, SFRA Review'This volume should prove to be of interest not only to SF scholars but to film, television, and general popular-culture scholars as well...Not only does this study convey SF’s enormous potential for social influence and criticism, but it also captures the zeitgeist of the early 21st century, when we are poised at a unique time in history for unthinkable change.'James Hamby, Fafnir-Nordic Journal of Science Fiction and Fantasy ResearchTable of ContentsIntroductionPart 1: Battling BabylonChapter 1: ManticoreChapter 2: Stargate SG-1Chapter 3: Transformers 2: Revenge of the FallenPart 2: Of Artifacts and Ancient AliensChapter 4: Ancient AliensChapter 5: Indiana Jones and the Kingdom of the Crystal SkullChapter 6: SmallvillePart 3: Cyborg SitesChapter 7: Battlestar GalacticaChapter 8: PrometheusEnvoyWorks CitedIndex

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Book SynopsisKwasu D. Tembo is Lecturer in English Literature at Lancaster University, UK.

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Book SynopsisWhen the film Clue came out in 1985, audiences were baffled. A movie based on a board game, with three different endings, and you had to pick which one to go see? Bad reviews compounded the problem, and instead of choosing one ending, most people stayed away entirely. Clue, outgrossed at the box office by films that had been released months earlier, quickly faded away. When it unceremoniously premiered on Showtime a year after its theatrical debut, there was no sign it was destined for anything other than obscurity, another flop bound to be forgotten. Instead, Gen Xers and millennials, raised on pop culture and cable TV in an era long before the streaming wars, discovered this zany farce about a group of six strangers locked in a remote house with a killer. The movie appealed to kids. The creepy mansion and eerie music contrasted with slapstick gags and double entendres, deflating the tension. Today, almost forty years later, Clue is the epitome of a cult classic, with midnight screenings, script readings for charity, cosplaying fans, and a stage play. “What Do You Mean, Murder?” dives deep into the making of Clue and walks fans through the movie they know and love.

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Book SynopsisChapter 1: Gynoids and Fabular Femininity.- Chapter 2: The Perfect (Artificial) Woman.- Chapter 3: Artificial Girlfriends.- Chapter 4: Chosen (Artificial) Motherhood.- Chapter 5: Sexy Killing Machines.- Chapter 6: Evolving Fables and Future Femininities.- Appendix A:  Artificial Sexuality Archetypes and Their Instances.- Appendix B: Abridged Timeline of Real-World AI and Robotics.- Appendix C: Artificial Sexuality Filmography.- Appendix D: Full Filmography by Year.- Appendix E: Glossary.

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Book SynopsisBasics of Teen TV.- Current Teen TV: Case Studies.- Teen TV from Germany.- DRUCK as transmedial Teen TV.

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Book SynopsisGhost Movies in Southeast Asia and Beyond explores ghost movies, one of the most popular film genres in East and Southeast Asia, by focusing on movie narratives, the cultural contexts of their origins and audience reception. In the middle of the Asian crisis of the late 1990s, ghost movies became major box office hits. The emergence of the phenomenally popular “J-Horror” genre inspired similar ghost movie productions in Korea, Thailand, Taiwan, Hong Kong, the Philippines and Singapore. Ghost movies are embedded and reflected in national as well as transnational cultures and politics, in narrative traditions, in the social worlds of the audience, and in the perceptual experience of each individual. They reflect upon the identity crises and traumas of the living as well as of the dead, and they unfold affection and attraction in the border zone between amusement and thrill, secular and religious worldviews. This makes the genre interesting not only for sociologists, anthropologists, media and film scholars, but also for scholars of religion.Table of ContentsPeter J. Bräunlein: ‘Cinema-Spiritualism’ in Southeast Asia and Beyond: Encounters with Ghosts in the 21st Century Section 1: Narratives Vivian Lee: Ghost Movies in Southeast Asia: Universal Hybrids—The Trans/local Production of Pan-Asian Horror Elisabeth Scherer: Well-Travelled Female Avengers: The Transcultural Potential of Japanese Ghosts Martin Platt: Telling Tales: Variety, Community, and Horror in Thailand Maren Wilger: ‘Sundelbolong’ as a Mode of Femininity: Analysis of Popular Ghost Movies in Indonesia Section 2: Cultural Contexts Katarzyna Ancuta: That’s the Spirit! Horror Films as an Extension of Thai Supernaturalism Benjamin Baumann: The Khmer Witch Project: Demonizing the Khmer by Khmerizing a Demon Henri Myrttinen: Stepping Out from the Silver Screen and into the Shadows: The Fearsome, Ephemeral Ninjas of Timor-Leste Section 3: Audience Mary Ainslie: The Supernatural and Post-War Thai Film: Traditional Monsters and Social Mobility Natalie Boehler: Globalized Haunting: The Transnational Spectral in Apichatpong’s Syndromes and a Century and its Reception Patrick Keilbart: Pencak Silat, Ghosts, and (Inner) Power: Reception of Martial Arts Movies and Television Series amongst Young Pencak Silat Practitioners in Indonesia Ghost Movies, the Makers, and their Audiences: Andrea Lauser in Conversation with the Filmmakers Katarzyna Ancuta, Solarsin Ngoenwichit from Thailand and Mattie Do from Laos About the Authors

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Book SynopsisThe essays analyze the most emblematic films about the guerrilla movement against Francoism, emphasizing how this Cinema of Memory dismisses concrete historic reference, thus allowing a reflection on the ethics of resistance and on the power of counterfactual imagination. Los artículos analizan las películas más emblemáticas en torno a la guerrilla antifranquista, enfatizando como este cine de memoria parte de un concreto referente histórico, desarrollando una reflexión sobre la ética de la resistencia y el poder de la imaginación contrafáctica.Table of ContentsA modo de introducción. Cine y guerrilla o la memoria intempestiva Pere Joan Tous y Cornelia Ruhe La guerrilla antifranquista como lugar de memoria. Coordenadas de una configuración narrativa e icónica Ulrich Winter El espíritu en el laberinto. La memoria filosófica de la guerrilla en películas de Víctor Erice y Guillermo del Toro Cornelia Ruhe Residuos de un pasado irresuelto. El maquis en el cine preconsensual de la Transición Daniel Arroyo-Rodríguez El magnicidio soñado. ETA y el asesinato de Carrero Blanco a través del cine Santiago de Pablo La pérdida del sentido. La imagen de ETA en Yoyes, de Helena Taberna Franziska Hudek Entre historia y memoria. La representación de la guerrilla antifranquista en Silencio roto, de Montxo Armendáriz Claudia Jünke Víctimas y victimarios en Les veus del Pamano, novela (Jaume Cabré, 2004) y película (Lluís Maria Güell, 2009) Daniela Bister Un artefacto de resistencia antifranquista en clave grotesca. Balada triste de trompeta de Álex de la Iglesia Ana Luengo Material de derrota. Avatares del relato mesiánico y ética de la dignidad en Caracremada (2010) de Lluís Galter Pere Joan Tous Los cronotopos de la memoria. Representación y reconstrucción de la guerrilla antifranquista en películas documentales Virginie Gautier N'Dah-Sékou Annex Nota del director Lluís Galter Nota del director (Traducción por Pere Joan Tous) Lluís Galter Entrevista con Lluís Galter Silvestre Garbayo Vidaurreta Un documental de 57 mn Odette Martínez Maler Entre ficciones y consensos anda el juego. O lo que viene en las películas y las novelas después de la palabra FIN Alfons Cervera

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Book SynopsisContemporary Fairy-Tale Magic, edited by Lydia Brugué and Auba Llompart, studies the impact of fairy tales on contemporary cultures from an interdisciplinary perspective, with special emphasis on how literature and film are retelling classic fairy tales for modern audiences. We are currently witnessing a resurgence of fairy tales and fairy-tale characters and motifs in art and popular culture, as well as an increasing and renewed interest in reinventing and subverting these narratives to adapt them to the expectations and needs of the contemporary public. The collected essays also observe how the influence of academic disciplines like Gender Studies and current literary and cinematic trends play an important part in the revision of fairy-tale plots, characters and themes.Table of ContentsAcknowledgements List of Illustrations Notes on Contributors Introduction Part 1 Contemporary Subversions of Gender in Fairy Tales 1 The Cursed Fairy: Broken Spells in Anne Sexton’s Poetry  Francisco José Cortés Vieco 2 Revisiting Fairy-Tale Land through a Gender Lens in Emma Donoghue’s Kissing the Witch  María Amor Barros del Río 3 Fairy-Tale Reflections: Space and Women Host(age)s in Helen Oyeyemi’s Boy, Snow, Bird  Paula Barba Guerrero 4 Un-training the Imagination through Adaptation: an Exploration of Gender through Neil Gaiman’s The Sleeper and the Spindle  Jade Lum 5 ‘There Are Always Choices. She Made One’: an Existentialist Approach to Neil Gaiman’s The Sleeper and the Spindle  Alba Torres Álvarez 6 The British Empire’s Lost Slipper: Dangerous Irish Cinderellas  Abigail Heiniger 7 Cinderboy and Snow White and the Seven Aliens: Analysis of the Rewriting of Two Classic Tales and Their Translations to Spanish  Ana Pereira Rodríguez and Lourdes Lorenzo García 8 Resistance and Revolt: Cinderella, Snow White and Sleeping Beauty Re-Viewed  Sarah Bonner 9 Empowered Fairy-Tale Heroines Reinvent Happily-Ever-After  Lisa L. Ortiz and Sheila M. Rucki 10 The Strongest of the Fairies: Reworking Gender and Villainy in Walt Disney’s Maleficent  Lydia Brugué and Auba Llompart 11 ‘There’s Always a Bright Side’: Poppy, a Positive Role Model in Trolls  Sara Martín Part 2 The Darkness of Contemporary Fairy Tales 12 Far from Beastly: Monstrous Imaginations in Postmodern Fairy-Tale Films  Claudia Schwabe 13 Echoes of Fairy Tales: Fantasy and Everyday Horrors in Guillermo del Toro’s Filmography  Gema Navarro Goig and Francisco Javier Sánchez-Verdejo Pérez 14 From Fairy Tales to Slasher Films: Little Red Riding Hood and Wes Craven’s The Last House on the Left  Javier Martín-Párraga 15 Howling in the Woods: Angela Carter’s Metamorphosed Little Red Riding Hoods  Nerea Riobó-Pérez 16 Red Shoes, Witches and Creatures of the Forest: Dolores Redondo’s Baztan Trilogy as Contemporary Fairy Tale  Miriam Borham-Puyal 17 ‘A Happy Person Never Phantasies’: Repression and Projection of the Self in Monstrous Fairy Tales  Stephanie Weber 18 ‘Children were terrified of her’: Interpreting Susan Hill’s The Woman in Black as a Folktale  Marta Miquel-Baldellou 19 The Broken Voice of History: Fairy Tales, Anti-Tales, and Holocaust Representation  María Jesús Martínez-Alfaro 20 Peter Pan Goes to War: the Reimaging and Exploration of J. M. Barrie’s Story as a Historically Realistic Graphic Novel  Stephané Greffrath Part 3 Other Contemporary Subversions of Genre through Fairy Tales 21 Mary Poppins: The Subversive Magic Helper  Renáta Marosi 22 Rodents in Children’s Literature and Audiovisual Fairy Tales: a Book-to-Film Adaptation Approach  Rebeca Cristina López González 23 Bear Tales: Ways of Seeing Polar Bears in Mythology, Traditional Folktales and Modern-Day Children’s Literature  Lizanne Henderson 24 Cultural Writings of the Fairy Tale: a Spatial Reading of Three Studio Ghibli Productions  Eduardo Barros-Grela 25 Contemporary Japanese Folktales Represented in Anime: the Paradigmatic Case of InuYasha  Alba Quintairos-Soliño 26 Oral Storytelling, Slavic Mythology, Philological Research and Fairy Tales: the Case of Croatian Tales of Long Ago  Estela Banov 27 The Mark of Fairy Tales in Galician Literature for Children and Young Adults  Carmen Ferreira Boo 28 Where Else but Reading? Blending Genres in Jasper Fforde’s Nursery Crime Series  Miriam Fernández-Santiago 29 Following the Lead of Fairy Tales: Storytelling in Jeanette Winterson’s The Passion  María José Coperías-Aguilar 30 Experimentalism and Self-Reflexivity in Donald Barthelme’s Postmodern Fairy Tales  Luisa María González Rodríguez Index

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Book SynopsisIn this book Martien Brinkman explores the Jesus incognito as found in Western film, literature, and the visual arts since 1960. His interest here is focused primarily on indirect references to the Jesus figure. To his surprise, he found an abundance of allusions to Jesus in key figures in modern art. This confirmed his view that film, literature, and the visual arts make a substantial contribution, even in secular Western culture, to continuing reflection on Jesus’ significance. Brinkman finds important characteristics of a hidden Christ in films by Gabriel Axel, Ingmar Bergman, Krzysztof Kieslowski, and Lars von Trier, novels by Peter De Vries, J.M. Coetzee, and Arnon Grunberg, poems by Les Murray and Czeslaw Milosz, and paintings by Andy Warhol, Harald Duwe, and Frans Franciscus. He defines a hidden Christ as a fictional human individual who can be seen as a new embodiment of the meaning that can be attributed in the present to the biblical figure of Jesus. The hidden Christ is therefore a contemporized Jesus figure. This book will be of interest for everyone who shares Brinkman’s quest for this Jesus incognito.Trade ReviewAn impressive study in art and theology Clement Grene, Edinburgh in The Expository TimesTable of ContentsPreface Introduction More than Illustrations Theological Impotence and Reluctance An Unfinished Tale Reciprocal Involvement Rearrangement Summary The Hidden Christ in Film Jesus Figures and Christ Figures Symbol and Reality Mutual Transformation Babette’s Feast: Background and Story Line Babette’s Feast: Interpretation The Communicants: Background and Story Line The Communicants: Interpretation A Short Film about Love: Background and Story Line A Short Film about Love: Interpretation Breaking the Waves: Background and Story Line Breaking the Waves: Interpretation Summary and Evaluation The Hidden Christ in Fiction and Poetry Introduction The Blood of the Lamb: Background and Story Line The Blood of the Lamb: Interpretation Disgrace: Background and Story Line Disgrace: Interpretation The Jewish Messiah: Background and Story Line The Jewish Messiah: Interpretation Les Murray: “Easter 1984” and “Church” Czeslaw Milosz: “Treatise on Theology” Summary and Evaluation The Hidden Christ in the Visual Arts Leonardo da Vinci’s Last Supper as Icon Andy Warhol’s Last Supper Frans Franciscus’ Last Supper Harald Duwe’s Last Supper Summary and Evaluation Epilogue Cultural Shifts Four Presuppositions Western Contours? Bibliography Index of Names Index of Subjects

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