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Book SynopsisTrade Review“Guaranteed to engross anyone with any interest at all in Hollywood, in movies, in #MeToo and in the never-ending story of men with power and women without.” — New York Times Book Review “The stories Longworth uncovers—about Katharine Hepburn and Jane Russell, yes, but also Ida Lupino and Faith Domergue and Anita Loos—are so rich, so compelling, that they urge you to question how much else in history has been lost within the swirling vortex of Great Men.” — Atlantic “A compelling and relevant must-read.” — Entertainment Weekly “A first-rate work of cultural curation, in which Longworth combs the countless stacks of Hollywood memoirs and biographies, with a focus on the pathological predations of Howard Hughes, Texas millionaire, starmaker and film producer.” — USA Today (four stars) “An astute and entertaining takedown of the movie industry, the press and the multimillionaire turned wannabe filmmaker Howard Hughes. Hardly anyone emerges from the pages of Seduction unblemished by selfishness and greed once they are touched by the movie business and its promise of wealth, power and fame.” — Associated Press “From the force behind the You Must Remember This podcast comes a book exploring the glamour of classic Hollywood cinema through the lens of Texas business magnate, filmmaker (Hell’s Angels, Scarface), and notorious womanizer Howard Hughes—think a Harvey Weinstein–esque character decades before #MeToo.” — Vanity Fair “Longworth blasts through the seductive narratives propagated by men in the film business to uncover the dark stories underneath.” — The Cut “Vibrant… A compulsive page-turner… Much of Seduction reads like a long overdue act of redress, repositioning women into the more central positions where they belong.” — Los Angeles Times “Longworth pulls back the curtain on Hollywood’s golden age to reveal, through the stories of some of the actresses pursued by legendary millionaire mogul Howard Hughes, its dark and lasting legacy of power inequity, harassment, and abuse.” — Bustle “Seduction reads like a scandal sheet tempered with primary and secondary research.” — Los Angeles Review of Books “A candid portrait of the multifaceted millionaire…As his romantic tastes shifts from known quantities — like Hepburn, Rogers and Gardner — to powerless unknowns, Seduction reveals the root of Hughes’s interest in women: a desire to exert total control, rather than true affection.” — Washington Post “Audacious and welcome.” — Sight and Sound “Jam-packed with Hollywood scandal and history.” — Refinery 29 “Karina Longworth loves Hollywood the way it ought to be loved — mercilessly. She is a skeptic without cynicism, a feminist without apology, and in Seduction she has found the great subject that her essential podcast has long promised” — James Kaplan, author of Sinatra “An entertaining and timely tour of early Hollywood mores and manipulation. No matter how much you think you know about golden age Hollywood, Longworth serves up fascinatingly fresh perspective on the ways male desire and power shaped movie mythology.” — Joy Press, author of Stealing the Show “Full of insight...illuminating and memorable.” — Booklist “A history that shows clearly how powerful men exploited actresses long before the #MeToo movement began. Hollywood historian Longworth has mined memoirs, biographies, magazines, newspapers, and archives to create an entertaining, gossip-filled portrait of the film capital’s golden age… A lively—and often sordid—Hollywood history.” — Kirkus Reviews “Throughout this densely researched and lively book the siren song of the new medium of film is heard.” — Cineaste

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisRC is an award-winning photographer, podcast host, educator, and the author of 15 best-selling books on photography, video, Photoshop, Lightroom, and HDR. He is an assistant teaching professor of visual communications at the Newhouse School for Visual Communications at Syracuse University. As an Adobe Certified Instructor in Photoshop, Illustrator, and Lightroom, RC has over 27 years of experience creating content in creative, information technology, and e-commerce industries and spends his days developing creative content for corporate clients, educational institutions, and students looking to take their creative vision further. As a Photoshop and Lightroom expert, RC also worked with Adobe to write the Adobe Certified Expert exam for Photoshop CS6, Lightroom 4, and Lightroom 5. He has written the Lightroom and Photoshop books for the Adobe Press Classroom in a Book series. RC is a highly sought-after public speaker, presenting to corporations and creative studTable of ContentsCHAPTER 1 The Elements of Story CHAPTER 2 How to Structure Your Story CHAPTER 3 Previsualizing Your Idea CHAPTER 4 Working with Sound CHAPTER 5 Working with Video CHAPTER 6 The Importance of Dialogue CHAPTER 7 Everything in Its Place CHAPTER 8 Assembling Your Story in Adobe Premiere Pro CHAPTER 9 Basic Edits: Sharpening Your Point in Premiere Pro CHAPTER 10 Editing: Beyond the Basics CHAPTER 11 Mobile Journalism Project CHAPTER 12 Sharing Your Video Online CHAPTER 13 Project: Card Game

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Book SynopsisThrough a new look at how political, historical, and art documentaries engage with photographic images, objects, and archives, A Medium Seen Otherwise argues that film allows us to better understand what people do with analog and digital photographs as material objects that enable social and political relations through multisensory experience. Moreover, as a time-based medium with sound, film can bring the event of photography into fuller view, demonstrating how no single participant in it (photographer, subject, camera, photograph, or viewer) has sovereignty over its affect, meaning, or value. The book thus explores the ways in which the innovative incorporation of photography into documentary film permits us to see both of these media otherwise. Photographs, whether professional or vernacular, are conventionally understood to furnish documentaries with indexical evidence and visual illustration of history, yet the spatio-temporal and aural dimensions of film permit documentaries to iTable of ContentsAcknowledgments About the Companion Website Introduction 1. Photographic Images in Documentary Film 2. Filming the Photographic Object 3. Filming the Photographer 4. Discoveries and Restitutions of the Photographic Archive 5. Encounters with Photographic Portraits Conclusion Notes Bibliography Index

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Trade ReviewBooth's inquiry is the first of its kind to embrace both film studies and studies on Indian film music ... and should be immensely useful to scholars of music, cinema studies and other social sciences. * Madhuja Mukherjee, Studies in Musical Theatre *Table of ContentsPART ONE - HISTORY, TECHNOLOGY, AND A DETERMINIST MILIEU FOR HINDI FILM SONG; PART TWO - THE LIFE OF MUSIC IN THE MUMBAI FILM INDUSTRY; PART THREE - MUSIC, INSTRUMENTS, AND MEANING FROM MUSICIANS' PERSPECTIVES

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Book SynopsisHow do we compare a Broadway musical to its Hollywood counterpart? A Fine Romance: Adapting Broadway to Hollywood in the Studio System Era answers this question by exploring the symbiotic relationship between a dozen Broadway musicals and their Hollywood film adaptations. From enduring classics like Oklahoma!, Brigadoon, and West Side Story to lesser-known gems such as Cabin in the Sky, Call Me Madam, and Silk Stockings, author Geoffrey Block examines some of the best loved stage and screen musicals of all time as well as neglected works that deserve our attention and respect.Block delves into what happens during the transfer of stories from stage to film, the critical criteria that motivates decisions to alter or preserve stage elements when adapting to film, and the dramatic and musical consequences at play in these artistic and commercial choices. In telling this story, A Fine Romance engages with aesthetic and critical concerns while also considering the social issues around Broadway and Hollywood film through the lenses of race and ethnicity, class, gender, and sexual identity. Beginning with the stage debut of Show Boat in 1927 and concluding with the release of Bob Fosse''s cinematic re-envisioning of Cabaret nearly a half century later in 1972, the romance between Broadway and Hollywood was frequently turbulent. Differing commercial and aesthetic models and goals of Broadway and Hollywood created both conflicting and harmonious collaborations. Attempts at economic and artistic domination, irreconcilable differences, and occasional broken promises ensued. At other times, the screen and stage creative teams aligned, resulting in well-crafted, much admired, and frequently breathtaking films.Trade ReviewA Fine Romance, Geoffrey Block's excellent new book from Oxford University Press. * Peter Filichia, Broadway Select *In this lively and illuminating book, Geoffrey Block reveals the often productive but sometimes fraught relationship between the Broadway musical and the Hollywood studio system that brought it to the big screen. The volume is packed with new information and revealing analysis that will make the reader want to return to it time and again. A showstopper among the scholarship on the American musical! * Dominic Broomfield-McHugh, Professor of Musicology at the University of Sheffield and author of Loverly: The Life and Times of "My Fair Lady" *A quarter of a century ago, Geoffrey Block's Enchanted Evenings opened a door for the serious study of American musical theater. Now, this pioneering and prolific scholar has produced another compelling and meticulous exploration of the musical, bringing unusual empathy and enthusiasm for both stage and screen, and again offering a vivid and inspiring model for future work. * Jeffrey Magee, author of Irving Berlin's American Musical Theater *Geoffrey Block's A Fine Romance makes meticulous, detailed comparisons between the stage and screen versions of 12 musicals that shaped American popular culture. The film versions of these musicals brought their stories, songs, and dances to more audiences than the theater versions ever could. Rather than assuming the inferiority of the film versions because of their commercialism or broad appeal, Block gives them an open-minded treatment. He notes that the medium of film is different from the stage and reveals the many ways that artists took advantage of this to create film adaptations that merit serious treatment and admiration. In reading the book I gained a deeper appreciation of the versatility of the musical as a genre. * Kara Gardner, author of Agnes de Mille: Telling Stories in Broadway Dance *A Fine Romance in a seminar-style course on musicals. All in all, Block's most recent entry in his influential body of musical-theater scholarship continues his innovative and thorough research in the field. * Megan Woller, Notes: the Quarterly Journal of the Music Library Association vol. 80 *Table of ContentsPreface 1. The Hollywood Studio System and a Brief Survey of Film Adaptations from Show Boat to Cabaret 2. Surviving in the 1930s Movie Studio Jungle: Jerome Kern and Show Boat, The Cat and the Fiddle, and Roberta 3. Challenging the Hollywood Studio Model: On the Town vs. Call Me Madam 4. 1940s Stage Musicals and Their Screen Adaptations: Cabin in the Sky, Brigadoon, and Oklahoma! 5. More Than a

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Book SynopsisTrade ReviewMoving within and between disciplines, traditions and paradigms with impressive erudition – and challenging overly simplistic cognitive and affective oppositions at every turn – this study establishes Hven as an original and powerful voice in the expanding theory of cinematic worlds, environments and atmospheres. * Daniel Yacavone, University of Edinburgh *Table of ContentsAcknowledgements Introduction Chapter 1: The Diegesis as Environment: A New Theory of Film Worlds Chapter 2: The Atmospheric Worlds of Cinema Chapter 3: Narrative Experientiality and Affect Chapter 4: The Moving Camera and the Motor-Affective Arrangement of Films Chapter 5: Narratives Spaces and Sonic Environments Afterword Index

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Book SynopsisTable of ContentsForeword Robert Kolker 1. Introduction Nathan Abrams and Gregory Frame 2. Boundaries of Viscerality: A sense of abjection regarding

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Book SynopsisTrade ReviewThis book's solidly interdisciplinary framing sustains richly detailed research and analysis. It will speak to broad audiences across film, media, and cultural studies, as well as gender and women's studies and critical race theory. Palis's analysis takes the most subtle and incisive type of approach to questions of both the canon and authorship. Her argument bypasses more traditional, additive or inclusive canon 'revision' in favor of a radical reshaping, reframing, and re-contextualizing of the canonical history of U.S. cinema since the 'New Hollywood. * Sharon Willis, Professor of Art History and Visual and Cultural Studies, University of Rochester *Table of ContentsIntroduction Chapter 1: "Quoting Genre and Creating Canon" Chapter 2: "Film Quotation and the Oppositional Gaze" Chapter 3: "'D-I-Y' Quotation and Created Appropriation" Chapter 4: "Film Quotation and Visual Sovereignty" Chapter 5: "Film Quotation, Foreign and Domestic" Chapter 6: "Cinephilic Pilgrimage and Authorial Scandal" Annotated Appendix Index

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Book SynopsisTable of ContentsAcknowledgements Contributors About the Companion Website Introduction 1. Loud, Pretty, Strong, White [Repeat]: The Jeanette MacDonald and Nelson Eddy Operettas at MGM (1935-1942) 2. 'Is this the right material, girl?': How Madonna Makes Us Like Eva, but Not Necessarily Evita 3. Brigadoon and its Transition to MGM Dance Musical: Adapting a Stage Show for Star Dancers 4. 'I'm Once Again the Previous Me': Performance and Stardom in the Barbra Streisand Stage-to-Screen Adaptations 5. Lost in Translation: Rodgers and Hammerstein's Carousel on the Silver Screen 6. Carol Burnett and the Ends of Variety: Parody, Nostalgia, and Analysis of the American Musical 7. Flamboyance, Exuberance, and Schmaltz: Half a Sixpence and the Broadway Adaptation in 1960s Hollywood 8. The Producers and Hairspray: The Hazards and Rewards of Recursive Adaptation 9. Rescoring Anything Goes in 1930s Hollywood Select Bibliography Index

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The Music of James Bond is the first comprehrensive chronicle of the songs and scores written for the movie adventures of Ian Fleming's intrepid Agent 007. New interviews with Bond songwriters and composers coupled with previously undiscovered details make this book required reading for all 007 fans. This paperback edition is brought up-to-date with a new chapter on Skyfall.

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Book SynopsisTells the fascinating but too little known story of how Chicago served as the unlikely capital of film production in America in the years prior to the rise of Hollywood (1907-1913)Trade ReviewLong overdue... Chicago Tribune An exceptional new book... that immediately joins the ranks of essential film references Chicagoist [Flickering Empire] is a goldmine for popular culture historians and early-film buffs... Recommended. Choice A fascinating read from beginning to end. The Midwest Book ReviewTable of ContentsAcknowledgements Foreword, by Susan Doll Persons Discussed in Flickering Empire Preface: Hollywood Before Hollywood Part 1. Thomas Edison, Invention and the Dawn of a New Chicago 1. Edison's Kinetoscope and Pre-Motion-Picture Entertainment 2. The Columbian Exposition 3. The Dawn of Exhibition Part 2. Chicago Rising 4. Colonel William Selig 5. George Spoor, George Kleine, and the Rise of the Nickelodeon 6. Gilbert "Broncho Billy" Anderson 7. The Edison Trust Part 3. The Golden Age of Chicago Film Production 8. The Golden Age of Essanay 9. The Golden Age of Selig Polyscope 10. Essanay Signs Charlie Chaplin 11. Chaplin in Chicago: His New Job Part 4. It All Came Crashing Down 12. The Decline of the Chicago Studios 13. Major M. L. C. Funkhouser and the Chicago Censorship Code Epilogue Post-Script: Oscar and Orson Appendix A: Selig Polyscope's Pointers on Picture Acting Appendix B: A Complete List of the Extant Chicago-Shot Films Named in This Book and Where to See Them Appendix C: Some Censored Scenes of Chicago Films Noted in Local Newspapers Endnotes Index

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Book SynopsisAriel Rogers rethinks the history of moving images by exploring how experiments with screen technologies in and around the 1930s changed the way films were produced, exhibited, and experienced. She challenges conventional narratives about the novelty of the twenty-first-century multiscreen environment.Trade ReviewThere is no other book remotely like this. On the Screen is original in the material it unearths and discusses, offering an innovative history of film and technology. It strikes an easy balance between big ideas and focused analysis, addressing unmapped screen dynamics as crucial elements of cinema. -- Haidee Wasson, author of Museum Movies: The Museum of Modern Art and the Birth of Art CinemaOffering an extensive and systematic exploration of screen practices in the 1930s, Ariel Rogers recharacterizes this seemingly solid, coherent era by analyzing its multiplicity and heterogeneity. The screen becomes a kaleidoscopic reality. -- Francesco Casetti, author of The Lumière Galaxy: Seven Key Words for the Cinema to ComeFilm theory's classic question "What is cinema?" often gets a (stereo)typical answer around the idea that movies exist when projected on standard screens in theaters. With her well-known and lauded attention to archival research, Ariel Rogers revises this received account of cinema and essentially rewrites it from the ground up. This is a rich and rewarding study that combines sharp scholarship with compelling new interpretation to change the field. -- Dana Polan, New York UniversityA thoroughly documented account of the broad culture of synchronicity in screen culture over the long 1930s. * Choice *On the Screen is a major achievement that insists on screen technology as an integral component of film history. * Technology and Culture *Rogers’s detailed and impressively supported account of how film screen technologies have proliferated is a timely and relevant study. * Film Criticism *Rogers provides a vivid sense of the historical particularity of screens in the long 1930s. * Film Quarterly *Table of ContentsAcknowledgmentsIntroduction1. Production Screens in the Long 1930s: Rear Projection and Special Effects2. Theatrical Screens, 1926–1931: Transforming the Screen3. Theatrical Screens, 1931–1940: Integrating the Screen4. Extratheatrical Screens in the Long 1930s: Film and Television at Home and in TransitCoda: Multiplicity, Immersion, and the New ScreensNotesBibliographyIndex

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Book SynopsisJustin Remes demonstrates how omissions of expected elements can spur viewers to interpret and understand the nature of film in new ways. Through a careful analysis of a broad array of avant-garde works, Absence in Cinema reveals that films must be understood not only in terms of what they show but also what they withhold.Trade ReviewAn enchanting, endearing feature of this detailed and serious study of four films by Walter Ruttmann, Stan Brakhage, Naomi Uman and Martin Arnold is that it advances through a series of anecdotes, conversations, diversions, cross-references and speculations, capturing the spirit of the avant-garde in critical writing, a feat at once difficult and joyful. -- Brinda Bose * Telegraph India *Absence in Cinema is a dazzling, meticulously detailed, even revolutionary work. Remes's style is so assured with such a light and knowing touch that the reader is propelled through the book from first page to last. -- Wheeler Winston Dixon, author of Synthetic Cinema: The 21st Century Movie MachineThis theoretically sophisticated book about a set of exemplary avant-garde films during which there is either “nothing” to see or “nothing” to hear, or both, is a remarkably fun read. Justin Remes is a magician who makes Nothing in cinema Something! -- Scott MacDonald, editor of Avant-Doc: Intersections of Documentary and Avant-Garde CinemaAbsence in Cinema is about mysterious gaps and thwarted expectations. Starting from the idea that “every absence is a presence in disguise”, Justin Remes combines aesthetic analysis with psychology, neuroscience and Buddhist philosophy to construct a powerful theory of erasure in experimental film culture. Taking in invisible art, soundless music and wordless poetry, Absence in Cinema is as incisive and radical as its subject matter. -- Holly Rogers, author of Sounding the Gallery: Video and the Rise of Art MusicAn important, vital contribution to film studies that will appeal to all scholars, students, and (especially) teachers of cinema...Highly recommended. * Choice *A witty, richly detailed book... a delight to read. * Journal of Cinema and Media Studies *Table of ContentsAcknowledgmentsIntroduction: Voids1. Walter Ruttman and the Blind Film2. Stan Brakhage and the Birth of Silence3. Naomi Uman and the Peekaboo Principle4. Martin Arnold’s Disappearing ActConclusion: Nothing Is ImportantFilmographyNotesIndex

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Book SynopsisJustin Remes demonstrates how omissions of expected elements can spur viewers to interpret and understand the nature of film in new ways. Through a careful analysis of a broad array of avant-garde works, Absence in Cinema reveals that films must be understood not only in terms of what they show but also what they withhold.Trade ReviewAn enchanting, endearing feature of this detailed and serious study of four films by Walter Ruttmann, Stan Brakhage, Naomi Uman and Martin Arnold is that it advances through a series of anecdotes, conversations, diversions, cross-references and speculations, capturing the spirit of the avant-garde in critical writing, a feat at once difficult and joyful. -- Brinda Bose * Telegraph India *Absence in Cinema is a dazzling, meticulously detailed, even revolutionary work. Remes's style is so assured with such a light and knowing touch that the reader is propelled through the book from first page to last. -- Wheeler Winston Dixon, author of Synthetic Cinema: The 21st Century Movie MachineThis theoretically sophisticated book about a set of exemplary avant-garde films during which there is either “nothing” to see or “nothing” to hear, or both, is a remarkably fun read. Justin Remes is a magician who makes Nothing in cinema Something! -- Scott MacDonald, editor of Avant-Doc: Intersections of Documentary and Avant-Garde CinemaAbsence in Cinema is about mysterious gaps and thwarted expectations. Starting from the idea that “every absence is a presence in disguise”, Justin Remes combines aesthetic analysis with psychology, neuroscience and Buddhist philosophy to construct a powerful theory of erasure in experimental film culture. Taking in invisible art, soundless music and wordless poetry, Absence in Cinema is as incisive and radical as its subject matter. -- Holly Rogers, author of Sounding the Gallery: Video and the Rise of Art MusicAn important, vital contribution to film studies that will appeal to all scholars, students, and (especially) teachers of cinema...Highly recommended. * Choice *A witty, richly detailed book... a delight to read. * Journal of Cinema and Media Studies *Table of ContentsAcknowledgmentsIntroduction: Voids1. Walter Ruttman and the Blind Film2. Stan Brakhage and the Birth of Silence3. Naomi Uman and the Peekaboo Principle4. Martin Arnold’s Disappearing ActConclusion: Nothing Is ImportantFilmographyNotesIndex

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Book SynopsisVirginia Wright Wexman offers a groundbreaking history of how movie directors became cinematic auteurs that reveals and pinpoints the influence of the Directors Guild of America. Hollywood’s Artists sheds new light on the ways in which the DGA has shaped the role and image of directors both within the Hollywood system and in the culture at large.Trade ReviewVirginia Wright Wexman’s original, fine-grained study of the Directors’ Guild of America shows us how that organization helped shape the idea of the film director as author, how it managed political tensions within Hollywood, and how it negotiated major changes in the industry. Based on extensive research, this is a revealing and highly important contribution to U.S. film history. -- James Naremore, Indiana UniversityHollywood’s Artists is a groundbreaking study of the Directors Guild of America—viewing it not primarily as a traditional union, but as an organization that has fought for the recognition of its members as artists. Wexman provides a well-researched history of earlier organizations leading up to the formation of the DGA, the cultural context for its claims of artistry (including European traditions and the auteur theory), the effects of the rise of television, as well as a discussion of a controversial moment in its history during the McCarthy era, the HUAC hearings, and the persecution of the “Hollywood Ten.” Furthermore, she examines the notion of the director as authority figure (which requires “charisma”) as well as the legal battles engaged in by the organization. Finally, Wexman explores new challenges to film directors in the current era involving the ascendancy of digital effects and streaming services, as well as the globalization of the industry. In sum, a thorough and masterful study. -- Lucy Fischer, author of Cinema by Design: Art Nouveau, Modernism, and Film HistoryThis book fills a significant void in film history and offers an original and important argument about the role of the director in the ‘authorship’ of Hollywood films. -- Tom Schatz, University of Texas at Austin[A] concise and lucid history of how the Directors Guild focused upon the authorship of film. * Film Quarterly *Introduces academic audiences to the nuances of labor, law, and DGA politics by providing extensive sources from practitioners and adding context to famous moments in DGA history . . . Recommended. * Choice *Wexman has written a perceptive and interesting account of the Guild’s development and its underlying values. * Film & History *Table of ContentsAcknowledgmentsIntroduction1. Directors as Artists: The DGA Rides the Wave2. Charisma and Competition: The DGA Stakes Its Claim3. Recognition: The DGA Takes Credit4. Politics: The DGA Stages HUAC5. Law: The DGA and Artists as OwnersConclusionAppendix A. Beyond Creative RightsAppendix B. Chronology of the Directors Guild of AmericaAppendix C. Officers of the Directors Guild of AmericaAppendix D. Chronology of the Artists Rights FoundationNotesBibliographyIndex

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Book SynopsisVirginia Wright Wexman offers a groundbreaking history of how movie directors became cinematic auteurs that reveals and pinpoints the influence of the Directors Guild of America. Hollywood’s Artists sheds new light on the ways in which the DGA has shaped the role and image of directors both within the Hollywood system and in the culture at large.Trade ReviewVirginia Wright Wexman’s original, fine-grained study of the Directors’ Guild of America shows us how that organization helped shape the idea of the film director as author, how it managed political tensions within Hollywood, and how it negotiated major changes in the industry. Based on extensive research, this is a revealing and highly important contribution to U.S. film history. -- James Naremore, Indiana UniversityHollywood’s Artists is a groundbreaking study of the Directors Guild of America—viewing it not primarily as a traditional union, but as an organization that has fought for the recognition of its members as artists. Wexman provides a well-researched history of earlier organizations leading up to the formation of the DGA, the cultural context for its claims of artistry (including European traditions and the auteur theory), the effects of the rise of television, as well as a discussion of a controversial moment in its history during the McCarthy era, the HUAC hearings, and the persecution of the “Hollywood Ten.” Furthermore, she examines the notion of the director as authority figure (which requires “charisma”) as well as the legal battles engaged in by the organization. Finally, Wexman explores new challenges to film directors in the current era involving the ascendancy of digital effects and streaming services, as well as the globalization of the industry. In sum, a thorough and masterful study. -- Lucy Fischer, author of Cinema by Design: Art Nouveau, Modernism, and Film HistoryThis book fills a significant void in film history and offers an original and important argument about the role of the director in the ‘authorship’ of Hollywood films. -- Tom Schatz, University of Texas at Austin[A] concise and lucid history of how the Directors Guild focused upon the authorship of film. * Film Quarterly *Introduces academic audiences to the nuances of labor, law, and DGA politics by providing extensive sources from practitioners and adding context to famous moments in DGA history . . . Recommended. * Choice *Wexman has written a perceptive and interesting account of the Guild’s development and its underlying values. * Film & History *Table of ContentsAcknowledgmentsIntroduction1. Directors as Artists: The DGA Rides the Wave2. Charisma and Competition: The DGA Stakes Its Claim3. Recognition: The DGA Takes Credit4. Politics: The DGA Stages HUAC5. Law: The DGA and Artists as OwnersConclusionAppendix A. Beyond Creative RightsAppendix B. Chronology of the Directors Guild of AmericaAppendix C. Officers of the Directors Guild of AmericaAppendix D. Chronology of the Artists Rights FoundationNotesBibliographyIndex

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Book SynopsisThis book is a groundbreaking and comprehensive account of Hollis Frampton’s work in its totality, from his earliest films through the unfinished epic Magellan.Trade ReviewAt long last, we have an authoritative guide to the work of one of experimental film’s most intriguing and polymathic figures. Through his meticulous study of Hollis Frampton’s unfinished Magellan project, Michael Zryd illuminates the filmmaker’s oeuvre as a whole, shedding light on the relationship among cinema, modernism, and epistemology. -- Erika Balsom, author of After Uniqueness: A History of Film and Video Art in CirculationHollis Frampton was a rigorous and complex individual, as well as a passionate and generous filmmaker/teacher. As a “Meta-Historian” of film, his radical work bridged the fields of cinema, poetry, mathematics, photography, xerography and early digital art. He made one of the defining films of the structural film canon, Zorns Lemma (1970), following it with the seminal, (anti-)autobiographical work nostalgia (1971). Magellan (1976-) was perhaps Frampton’s equivalent to Wagner’s Ring Cycle; an epic, wildly ambitious, calendrical film cycle lasting 36 hours that was only partially completed before his tragic premature death in 1984. Taking on the intimidating task of deciphering and decoding Frampton’s project from the fragments left behind, Zryd not only renders Magellan legible for film scholars but contextualizes and evaluates the entire project in hugely readable and nourishing prose. This book will surely become the authoritative text, not only on Magellan, but on Frampton’s oeuvre as a whole. -- Luke Fowler, filmmaker and artistMichael Zryd’s elegant treatise on Hollis Frampton’s late metafilms is the first to map the terrain of his accomplishment with commensurate intelligence and comprehensiveness. Zryd synoptically conjugates the master’s filmmaking, photography, and writing as an interlaced summa of the history of cinema and the most prescient bridge to its digital successors. -- David E. James, author of Power Misses II: Cinema, Asian and ModernZryd brings unmatched expertise to the task of resurrecting Hollis Frampton’s last major work. The strength of this book resides in its ability to make the complexity of this massive cultural and artistic undertaking legible. Even for scholars of avant-garde cinema and veteran viewers of Frampton’s films, it offers revelatory readings. -- Bruce Jenkins, coauthor of The Films of Andy Warhol Catalogue Raisonné: 1963-1965This groundbreaking book offers a richly layered map for navigating Frampton’s complex films and their intertexts. Devoting particular attention to the epic, encyclopedic, unfinished Magellan cycle, Zryd takes us on a deep dive into a speculative metahistory grounded in meticulous and expansive research. Frampton finds an articulate and generous interlocutor here: the energy of his last work endures through Zryd’s engagement with the idea of a cinema that moves past all limits, towards the infinite. -- Sarah Keller, author of Anxious Cinephilia: Pleasure and Peril at the MoviesThis authoritative guide to the avant-garde filmmaker/photographer/theorist has been needed for years; finally, 40 years after Frampton’s death, comes this comprehensive look at his life and career. * The Film Stage *The author of this volume mirrors his subject's all-embracing approach to the art-making task in hand, rigorously tracking the twists and turns in this remarkable artist's creations and the reverberations he had on the discourses of the day. * Leonardo *Examining not only the Magellan films but also Frampton’s writings and archival materials, Zryd provides a sort of Bloomsday Book for deciphering this vast project, marking an invaluable contribution to the study of this singular filmmaker. * Cineaste *An incredibly useful and necessary resource for anyone interested in synthesising Frampton’s theories and reconstructing his cinematic goals, which remain pertinent in the digital age. * Historical Journal of Film, Radio and Television *Table of ContentsAcknowledgmentsIntroduction: From the Chemistry of Cobalt to the Chemistry of Dirt1. A Brief Introduction to Frampton’s Films before Magellan2. An Introduction to Magellan3. Metahistory and the Archive: “Historical Necessity” and Tradition4. Encyclopedism, the Universe, and Everything5. Archeology: Millennial Allegories of Art, Representation, and Politics in the Camera Arts6. The ConstellationConclusion: Virtual Future MetahistoryNotesBibliographyIndex

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Book SynopsisThis book is a groundbreaking and comprehensive account of Hollis Frampton's work in its totality, from his earliest films through the unfinished epic Magellan.Trade ReviewAt long last, we have an authoritative guide to the work of one of experimental film’s most intriguing and polymathic figures. Through his meticulous study of Hollis Frampton’s unfinished Magellan project, Michael Zryd illuminates the filmmaker’s oeuvre as a whole, shedding light on the relationship among cinema, modernism, and epistemology. -- Erika Balsom, author of After Uniqueness: A History of Film and Video Art in CirculationHollis Frampton was a rigorous and complex individual, as well as a passionate and generous filmmaker/teacher. As a “Meta-Historian” of film, his radical work bridged the fields of cinema, poetry, mathematics, photography, xerography and early digital art. He made one of the defining films of the structural film canon, Zorns Lemma (1970), following it with the seminal, (anti-)autobiographical work nostalgia (1971). Magellan (1976-) was perhaps Frampton’s equivalent to Wagner’s Ring Cycle; an epic, wildly ambitious, calendrical film cycle lasting 36 hours that was only partially completed before his tragic premature death in 1984. Taking on the intimidating task of deciphering and decoding Frampton’s project from the fragments left behind, Zryd not only renders Magellan legible for film scholars but contextualizes and evaluates the entire project in hugely readable and nourishing prose. This book will surely become the authoritative text, not only on Magellan, but on Frampton’s oeuvre as a whole. -- Luke Fowler, filmmaker and artistMichael Zryd’s elegant treatise on Hollis Frampton’s late metafilms is the first to map the terrain of his accomplishment with commensurate intelligence and comprehensiveness. Zryd synoptically conjugates the master’s filmmaking, photography, and writing as an interlaced summa of the history of cinema and the most prescient bridge to its digital successors. -- David E. James, author of Power Misses II: Cinema, Asian and ModernZryd brings unmatched expertise to the task of resurrecting Hollis Frampton’s last major work. The strength of this book resides in its ability to make the complexity of this massive cultural and artistic undertaking legible. Even for scholars of avant-garde cinema and veteran viewers of Frampton’s films, it offers revelatory readings. -- Bruce Jenkins, coauthor of The Films of Andy Warhol Catalogue Raisonné: 1963-1965This groundbreaking book offers a richly layered map for navigating Frampton’s complex films and their intertexts. Devoting particular attention to the epic, encyclopedic, unfinished Magellan cycle, Zryd takes us on a deep dive into a speculative metahistory grounded in meticulous and expansive research. Frampton finds an articulate and generous interlocutor here: the energy of his last work endures through Zryd’s engagement with the idea of a cinema that moves past all limits, towards the infinite. -- Sarah Keller, author of Anxious Cinephilia: Pleasure and Peril at the MoviesThis authoritative guide to the avant-garde filmmaker/photographer/theorist has been needed for years; finally, 40 years after Frampton’s death, comes this comprehensive look at his life and career. * The Film Stage *The author of this volume mirrors his subject's all-embracing approach to the art-making task in hand, rigorously tracking the twists and turns in this remarkable artist's creations and the reverberations he had on the discourses of the day. * Leonardo *Examining not only the Magellan films but also Frampton’s writings and archival materials, Zryd provides a sort of Bloomsday Book for deciphering this vast project, marking an invaluable contribution to the study of this singular filmmaker. * Cineaste *An incredibly useful and necessary resource for anyone interested in synthesising Frampton’s theories and reconstructing his cinematic goals, which remain pertinent in the digital age. * Historical Journal of Film, Radio and Television *Table of ContentsAcknowledgmentsIntroduction: From the Chemistry of Cobalt to the Chemistry of Dirt1. A Brief Introduction to Frampton’s Films before Magellan2. An Introduction to Magellan3. Metahistory and the Archive: “Historical Necessity” and Tradition4. Encyclopedism, the Universe, and Everything5. Archeology: Millennial Allegories of Art, Representation, and Politics in the Camera Arts6. The ConstellationConclusion: Virtual Future MetahistoryNotesBibliographyIndex

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Book SynopsisWilliam Carroll offers a new account of Suzuki Seijun’s career that highlights the intersections of film theory, film production, cinephile culture, and politics in 1960s Japan. This book presents both a major reinterpretation of Suzuki’s work and a new lens on postwar Japanese film culture and industry.Trade ReviewA filmography with several unreleased titles, including those for television, contributes to the richness of this work. -- Stephen Sarrazin * East Asia *You’ll learn a lot from Suzuki Seijun and Postwar Japanese Cinema, and not just about the subject: this scholarly work tells the inspiring story of an artist with a distinct vision that neither time nor studio interference could ever truly tame. -- Pat Padua * Spectrum Culture *Ever engaging, ever challenging, Suzuki Seijun and Postwar Japanese Cinema by William Carroll is an utter marvel. To those who have loved Suzuki Seijun as much as I have, you shall find so much to love in this comprehensive work and to those that adore Japanese cinema, this text manages to illuminate so much that it demands reading and should be in every cinephiles library. Highly Recommended!!! -- Ruben Rosario * FilmMonthly *[A] meticulous analysis of the filmmaker’s output throughout the years. -- Dr. A. Ebert * PopCultureShelf.com *Suzuki Seijun and Postwar Japanese Cinema is a thoughtful, stimulating, and rigorous study of a neglected Japanese filmmaker. It makes a major contribution to our understanding of critical discourses circulating in Japan and the situation of the domestic film industry during the protracted decline of the studio system. -- Isolde Standish, author of Politics, Porn, and Protest: Japanese Avant-Garde Cinema in the 1960s and 1970sThis groundbreaking book shows that Suzuki, far from being “incomprehensible,” was actually understood by—and deeply entwined with—competing theoretical schools in Japan. Carroll’s study offers not only illuminating analyses of Suzuki’s cinema of deviation within its historical context but also compelling expositions on what it means for cinema then and today. -- Aaron Gerow, Yale UniversityBy lucidly setting out the cultural, political, technological, and studio contexts in which Suzuki operated, Carroll goes beyond the prevailing notions of the director as a maverick, iconoclast, and pop-cultural curio who dismissed his own works as ‘nonsense.’ This book presents a convincing argument as to what makes his films so eminently watchable to this day. -- Jasper Sharp, author of Historical Dictionary of Japanese CinemaTable of ContentsAcknowledgmentsNote on Names, Images, and TranslationsIntroduction: Why Suzuki Seijun?1. 1968 and the Suzuki Seijun Incident2. Suzuki Seijun and the Impossibility of Cinema3. Postwar Japanese Genre Filmmaking and the Nikkatsu Action Sylistic Idiom4. The Emergence of the Seijunesque5. The Authorial Voice of Suzuki SeijunCodaAppendix 1. FilmographyAppendix 2. Unfilmed ProjectsAppendix 3. Guryū Hachirō Extended FilmographyAppendix 4. Suzuki Seijun as Assistant DirectorAppendix 5. Commercials Directed by Suzuki SeijunAppendix 6. Books Written by Suzuki SeijunNotesBibliographyIndex

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Book SynopsisWilliam Carroll offers a new account of Suzuki Seijun’s career that highlights the intersections of film theory, film production, cinephile culture, and politics in 1960s Japan. This book presents both a major reinterpretation of Suzuki’s work and a new lens on postwar Japanese film culture and industry.Trade ReviewA filmography with several unreleased titles, including those for television, contributes to the richness of this work. -- Stephen Sarrazin * East Asia *You’ll learn a lot from Suzuki Seijun and Postwar Japanese Cinema, and not just about the subject: this scholarly work tells the inspiring story of an artist with a distinct vision that neither time nor studio interference could ever truly tame. -- Pat Padua * Spectrum Culture *Ever engaging, ever challenging, Suzuki Seijun and Postwar Japanese Cinema by William Carroll is an utter marvel. To those who have loved Suzuki Seijun as much as I have, you shall find so much to love in this comprehensive work and to those that adore Japanese cinema, this text manages to illuminate so much that it demands reading and should be in every cinephiles library. Highly Recommended!!! -- Ruben Rosario * FilmMonthly *[A] meticulous analysis of the filmmaker’s output throughout the years. -- Dr. A. Ebert * PopCultureShelf.com *Suzuki Seijun and Postwar Japanese Cinema is a thoughtful, stimulating, and rigorous study of a neglected Japanese filmmaker. It makes a major contribution to our understanding of critical discourses circulating in Japan and the situation of the domestic film industry during the protracted decline of the studio system. -- Isolde Standish, author of Politics, Porn, and Protest: Japanese Avant-Garde Cinema in the 1960s and 1970sThis groundbreaking book shows that Suzuki, far from being “incomprehensible,” was actually understood by—and deeply entwined with—competing theoretical schools in Japan. Carroll’s study offers not only illuminating analyses of Suzuki’s cinema of deviation within its historical context but also compelling expositions on what it means for cinema then and today. -- Aaron Gerow, Yale UniversityBy lucidly setting out the cultural, political, technological, and studio contexts in which Suzuki operated, Carroll goes beyond the prevailing notions of the director as a maverick, iconoclast, and pop-cultural curio who dismissed his own works as ‘nonsense.’ This book presents a convincing argument as to what makes his films so eminently watchable to this day. -- Jasper Sharp, author of Historical Dictionary of Japanese CinemaTable of ContentsAcknowledgmentsNote on Names, Images, and TranslationsIntroduction: Why Suzuki Seijun?1. 1968 and the Suzuki Seijun Incident2. Suzuki Seijun and the Impossibility of Cinema3. Postwar Japanese Genre Filmmaking and the Nikkatsu Action Sylistic Idiom4. The Emergence of the Seijunesque5. The Authorial Voice of Suzuki SeijunCodaAppendix 1. FilmographyAppendix 2. Unfilmed ProjectsAppendix 3. Guryū Hachirō Extended FilmographyAppendix 4. Suzuki Seijun as Assistant DirectorAppendix 5. Commercials Directed by Suzuki SeijunAppendix 6. Books Written by Suzuki SeijunNotesBibliographyIndex

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Book SynopsisThis book provides the most complete account of Paul Thomas Anderson’s career to date, encompassing his evolution from a self-anointed auteur to one of his generation’s most distinctive voices. It is at once an unconventional primer on Anderson’s films and a provocative reframing of what makes his work so essential.Trade ReviewThe Cinema of Paul Thomas Anderson is a feast of a book. With consummate clarity and inventiveness, Warren brings the films into rich, often fractious dialogue with one another. The results are extraordinarily illuminating. The entire book is infused with the kind of energy and delectable unpredictability that I associate with Anderson’s art at its best. Warren’s study shakes up conventional approaches to director-centered analysis in a fashion that will have lasting influence. -- George Toles, University of Manitoba, author of Paul Thomas AndersonEthan Warren should be commended for his razor-sharp analysis and rich knowledge of Anderson’s unique perspective and worldview, as well as Anderson’s contribution to American cinema. Warren leaves no stone unturned in this book, and his insightful enthusiasm makes these multifaceted films come alive through his careful study of Anderson’s life and influences. -- Whitney Crothers Dilley, author of The Cinema of Wes AndersonSmart and compelling. -- Christopher Schobert * The Film Stage *[Warren] brings his cinephilic eloquence to bear upon unknotting the enigmatic plots of, or characters in, Anderson’s films as well as Anderson’s ethos. To be sure, this is not a film theory text. Rather, Warren’s biography holds this boy genius (or brat) up to the light like a prism and slowly allows every refraction of Anderson to shine. -- Hannah Bonner * Senses of Cinema *Table of ContentsAcknowledgmentsForeword, by Lindsay ZoladzIntroduction1. On Paul Thomas Anderson’s Career to Date2. On Places and Spaces3. On Influence4. On Domesticity5. On Screenwriting6. On Gender Performance7. On Alienation Effects8. On Faith and Belief9. On Music Videos10. On HistoryNotesIndex

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Book SynopsisVoyages of Discovery is the definitive account of Frederick Wiseman’s career, offering a comprehensive analysis of the work of the leading documentary filmmaker in the United States. In this updated edition, Barry Keith Grant adds new material exploring the documentarian’s works since the 1990s.Trade ReviewBarry Keith Grant provides an updated version of his own singularly authoritative study of documentarian Frederick Wiseman’s astonishing range of films—from the controversial Titicutt Follies through such diverse examples as Meat, Missile, Model, Deaf, Blind, Public Housing, Ballet, and Belfast, Maine, to name a few. In his deeply informed study, Grant creates his own meticulous, yet accessible, “tapestry” of inquiry worthy of the same approach he credits Wiseman with adopting. Grant’s insightful readings of Wiseman’s carefully wrought compositions—and the happy accidents that sometimes occur—highlight colorful thematic threads woven to create the “reality fictions” Wiseman, in his own words, is producing. At the same time, Grant presents a capacious “mosaic,” placing Wiseman’s films in textured dialogue, not only with each other, but also with works of literature, art, theater, music, and dance, along with other films and Hollywood genres, that inform them. Grant explores Wiseman’s penetrating vision of institutional operations—the human interactions that sustain them and the ideological underpinnings beneath the “rules” that govern them. As Grant compellingly claims, Wiseman avoids providing viewers with easy answers. Voyages of Discovery powerfully uncovers the ambiguities inviting viewers to democratically, actively, and reflexively assess their own participation in, contributions to, and complicity within the cultural conditions Frederick Wiseman so evocatively observes. -- Cynthia Lucia, Rider UniversityVoyages of Discovery is one of the very best books of film analysis and scholarship that I've ever read. It is certainly the essential work about a major film-maker, whose films require special tools and sensitivities to discuss, which Grant possesses in abundance. This is a most useful work both for those just discovering Wiseman and those who think they know him. Great ideas abound on every page, and Grant's organization of the films is original and helpful. Exemplary as well are the carefully selected frame enlargements, which nicely support his close analysis of visual issues. Grant's ability to bring in relevant ideas from both film study and beyond it is the mark of an eminent scholar. That Grant discusses the entirety of Wiseman's prodigious output, in depth and entertainingly, is also quite an accomplishment. -- Stephen Mamber, author of Cinema Verite in America: Studies in Uncontrolled DocumentaryThis is the new edition we have been waiting for. Barry Keith Grant provides an essential companion to Frederick Wiseman, one of the most distinctive and prominent voices in US documentary. Voyages of Discovery offers perceptive and in-depth analyses of Wiseman's vast catalogue, ranging from the 1960s to his most recent work. Grant foregrounds the ways Wiseman's films have not only documented institutions but have challenged their established practices, encouraging audiences to meaningfully engage with and question the hierarchies and fraught political dynamics encountered in everyday life. This study matches the subtlety and resistance to reductive narratives found in Wiseman's own films, revealing why his work remains compelling and necessary viewing that continues to speak to the present day. -- Jeffrey Geiger, author of American Documentary Film: Projecting the NationThis revised edition of Voyages of Discovery is updated and expanded to cover Wiseman’s prodigious output over the decades since the original appeared. Supplemented and supported by a range of secondary sources from diverse fields spanning film studies, sociology, art history, and political science (among so many others), Grant develops a portrait of a working filmmaker that is informed and definitive. -- Michael Baker, Sheridan CollegeThe time is right for a second edition, and this year's 'revised and expanded' version rises to the occasion. * Journal of American Culture *Table of ContentsAcknowledgmentsPrefaceIntroduction1. Man with a Movie Camera2. American Madness: Titicut Follies (1967), High School (1968), Law and Order (1969), Hospital (1970), Juvenile Court (1974), Welfare (1975)3. The Big Parade: Basic Training (1971), Manoeuvre (1979), Missile (1988)4. Blood of the Beasts: Primate (1974), Meat (1976), Racetrack (1985), Zoo (1993)5. When Worlds Collide: Canal Zone (1977), Sinai Field Mission (1978), Model (1980), The Store (1983)6. The Bad and the Beautiful: The Cool World (1963), Seraphita’s Diary (1982)7. You and Me: Essene (1972), Blind (1987), Deaf (1987), Adjustment and Work (1987), Multi-Handicapped (1987), Aspen (1991)8. Love and Death: Near Death (1989)9. The Never-Ending Story: High School II (1994), Public Housing (1997), Domestic Violence (2001), Domestic Violence 2 (2002)10. Playtime: Ballet (1995), La Comédie-Française, ou L’amour joué (1996), The Last Letter (2002), La Danse—Le Ballet de l’Opéra de Paris (2009), Boxing Gym (2010), Crazy Horse (2011), National Gallery (2014), A Couple (2022)11. Our Town: Central Park (1989), Belfast, Maine (1999), State Legislature (2007), At Berkeley (2013), In Jackson Heights (2015), EX-LIBRIS: The New York Public Library (2017), Monrovia, Indiana (2018), City Hall (2020)FilmographyIndividual AwardsRetrospective ScreeningsNotesBibliographyIndex

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Book SynopsisVoyages of Discovery is the definitive account of Frederick Wiseman’s career, offering a comprehensive analysis of the work of the leading documentary filmmaker in the United States. In this updated edition, Barry Keith Grant adds new material exploring the documentarian’s works since the 1990s.Trade ReviewBarry Keith Grant provides an updated version of his own singularly authoritative study of documentarian Frederick Wiseman’s astonishing range of films—from the controversial Titicutt Follies through such diverse examples as Meat, Missile, Model, Deaf, Blind, Public Housing, Ballet, and Belfast, Maine, to name a few. In his deeply informed study, Grant creates his own meticulous, yet accessible, “tapestry” of inquiry worthy of the same approach he credits Wiseman with adopting. Grant’s insightful readings of Wiseman’s carefully wrought compositions—and the happy accidents that sometimes occur—highlight colorful thematic threads woven to create the “reality fictions” Wiseman, in his own words, is producing. At the same time, Grant presents a capacious “mosaic,” placing Wiseman’s films in textured dialogue, not only with each other, but also with works of literature, art, theater, music, and dance, along with other films and Hollywood genres, that inform them. Grant explores Wiseman’s penetrating vision of institutional operations—the human interactions that sustain them and the ideological underpinnings beneath the “rules” that govern them. As Grant compellingly claims, Wiseman avoids providing viewers with easy answers. Voyages of Discovery powerfully uncovers the ambiguities inviting viewers to democratically, actively, and reflexively assess their own participation in, contributions to, and complicity within the cultural conditions Frederick Wiseman so evocatively observes. -- Cynthia Lucia, Rider UniversityVoyages of Discovery is one of the very best books of film analysis and scholarship that I've ever read. It is certainly the essential work about a major film-maker, whose films require special tools and sensitivities to discuss, which Grant possesses in abundance. This is a most useful work both for those just discovering Wiseman and those who think they know him. Great ideas abound on every page, and Grant's organization of the films is original and helpful. Exemplary as well are the carefully selected frame enlargements, which nicely support his close analysis of visual issues. Grant's ability to bring in relevant ideas from both film study and beyond it is the mark of an eminent scholar. That Grant discusses the entirety of Wiseman's prodigious output, in depth and entertainingly, is also quite an accomplishment. -- Stephen Mamber, author of Cinema Verite in America: Studies in Uncontrolled DocumentaryThis is the new edition we have been waiting for. Barry Keith Grant provides an essential companion to Frederick Wiseman, one of the most distinctive and prominent voices in US documentary. Voyages of Discovery offers perceptive and in-depth analyses of Wiseman's vast catalogue, ranging from the 1960s to his most recent work. Grant foregrounds the ways Wiseman's films have not only documented institutions but have challenged their established practices, encouraging audiences to meaningfully engage with and question the hierarchies and fraught political dynamics encountered in everyday life. This study matches the subtlety and resistance to reductive narratives found in Wiseman's own films, revealing why his work remains compelling and necessary viewing that continues to speak to the present day. -- Jeffrey Geiger, author of American Documentary Film: Projecting the NationThis revised edition of Voyages of Discovery is updated and expanded to cover Wiseman’s prodigious output over the decades since the original appeared. Supplemented and supported by a range of secondary sources from diverse fields spanning film studies, sociology, art history, and political science (among so many others), Grant develops a portrait of a working filmmaker that is informed and definitive. -- Michael Baker, Sheridan CollegeThe time is right for a second edition, and this year's 'revised and expanded' version rises to the occasion. * Journal of American Culture *Table of ContentsAcknowledgmentsPrefaceIntroduction1. Man with a Movie Camera2. American Madness: Titicut Follies (1967), High School (1968), Law and Order (1969), Hospital (1970), Juvenile Court (1974), Welfare (1975)3. The Big Parade: Basic Training (1971), Manoeuvre (1979), Missile (1988)4. Blood of the Beasts: Primate (1974), Meat (1976), Racetrack (1985), Zoo (1993)5. When Worlds Collide: Canal Zone (1977), Sinai Field Mission (1978), Model (1980), The Store (1983)6. The Bad and the Beautiful: The Cool World (1963), Seraphita’s Diary (1982)7. You and Me: Essene (1972), Blind (1987), Deaf (1987), Adjustment and Work (1987), Multi-Handicapped (1987), Aspen (1991)8. Love and Death: Near Death (1989)9. The Never-Ending Story: High School II (1994), Public Housing (1997), Domestic Violence (2001), Domestic Violence 2 (2002)10. Playtime: Ballet (1995), La Comédie-Française, ou L’amour joué (1996), The Last Letter (2002), La Danse—Le Ballet de l’Opéra de Paris (2009), Boxing Gym (2010), Crazy Horse (2011), National Gallery (2014), A Couple (2022)11. Our Town: Central Park (1989), Belfast, Maine (1999), State Legislature (2007), At Berkeley (2013), In Jackson Heights (2015), EX-LIBRIS: The New York Public Library (2017), Monrovia, Indiana (2018), City Hall (2020)FilmographyIndividual AwardsRetrospective ScreeningsNotesBibliographyIndex

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Book SynopsisBeing a successful editor is about more than just knowing how to operate a certain piece of software, or when to make a certain transition. On the contrary, there are many unwritten laws and a sense of propriety that are never discussed or taught in film schools or in other books.Based on their own experiences, first as upcoming assistant editors, then as successful Hollywood editors, the authors guide you through the ins and outs of establishing yourself as a respected film and video editor.Insight is included on an array of technical issues such as script breakdown, prepping for sound effects, organizing camera and sound reports, comparison timings, assemply footages and more. In addition, they also provide first-hand insight into industry protocol, providing tips on interviewing, etiquette, career planning and more, information you simply won''t find in any other book.The book concludes with a chapter featuring Q+A sessions with various establishedTrade Review"A thorough guide to becoming an indispensable assistant editor.- Alan Heim, Vice President, A.C.E.; Professional film editor (Network, Grey Gardens, American History X, Alpha Dog)"Make the Cut explains the postproduction editing workflow with utmost clarity and illustrates with abundant examples. Priceless! The book reflects a great depth of knowledge, that clearly has come from years of experience and accumulated wisdom. This book inspires excellence and will provide any aspiring editor with a huge leg up."- Howard E. Smith, A.C.E.; Professional film editor (Snakes on a Plane, Glengarry Glen Ross, The Abyss)"This is terrific preparation for anyone who wants to be an assistant editor. I teach editing at USC and I will certainly have this on my class' reading list. I will also give it to anyone I hire as an assistant."- Tina Hirsch, A.C.E."Where was Make the Cut when I started out. [T]his is a must-read.. My biggest frustration is that there wasn't a book like this when I started editing. If there was I wouldn't have made the same political missteps or fumbles, so if you're trying to get into the editing world this book should find a home on your bookshelf."- Guillotine website"Make The Cut is an excellent read and a vital manual to keep in your bag when embarking on your first few assisting jobs. (..) Throughout the book it is made abundantly clear that attention to detail, tenacity and personality are all key to becoming a successful assistant editor. Make the Cut is an absolute must read for anyone seeking to begin, or develop their career in film editing."- Jonny ElwynTable of ContentsPart 1 Getting Started; Chapter 1 On Your Way; Chapter 2 Before Your First Day on the Job; Chapter 3 Your First Day; Chapter 4 Your Second Day; Chapter 5 Edit and Distribute the Cut; Chapter 6 Get Ready to Online; Chapter 7 Assisting Protocols for Documentaries; Chapter 8 Assisting Protocols for Reality Shows; Chapter 9 First Day Observations in the Editing Room; Part 2 Protocol; Chapter 10 The Unwritten Rules of the Editing Room; Chapter 11 Personality; Chapter 12 Navigating the Room; Part 3 Make the Cut; Chapter 13 Approaching Your Career; Chapter 14 Plan Ahead and Move Up; Chapter 15 On the Brink of Editing; Part 4 Commonality; Chapter 16 Editors Panel Discussion;

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Book SynopsisPresents an English-language study of Chris Marker, who stands among the most influential filmmakers of the postwar era. This study includes interviews with the director and investigates the core themes and motivations behind an often unpredictable and transnational that defies easy classification.Trade Review"Nora Alter's short study of Marker's work does much to restore a sense of the complexity of his motivations and working methods . . . She is especially informative on the aesthetic and political involutions of post-war France. . . . For its filmography and the breadth of its coverage, her book is essential."--Brian Dillon, Sight and Sound "A valuable addition to Marker scholarship."--Film International

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Book SynopsisPresents a book-length study of the Belgian brothers, Jean-Pierre and Luc Dardenne. This book analyses their directorial style and explores the philosophical issues dealt with in their films. It discusses the Dardennes' varied and searching career from its inception in the late 1970s.Trade Review"Meticulously researched and fluently written, it makes a very substantial and important contribution to the literature on two enormously important film-makers."--H-France Review"In this masterful, efficient study, Mai reviews their canon with sensitivity, insight, and respectful objectivity. Recommended."--Choice"An innovative, intelligent introduction to the work of Jean-Pierre and Luc Dardenne. Mai delivers a lucid, critically engaged account of the filmmakers' influences and their own unique style.”--Sarah Cooper, Reader in Film Theory and Aesthetics, King's College London"Intelligently argued. . . . A keenly observed account of the Dardennes' work, and whets the appetite for new, or renewed, viewings of the film."--Modern & Contemporary France

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Book SynopsisA study of Michael Haneke's searing cinema.Trade Review"Brunette wields critical theory with an extremely light touch, which results in a smooth reading experience."--Jump Cut "Brunette offers detailed, expert analyses of Haneke’s 10 theatrical films, from the early works made in his native Austria through The White Ribbon, which won the Palme d’Or at Cannes."--Booklist"Recommended."--Choice"Brunette writes with a clear command of the material and a great admiration for Haneke's scriptwriting and cinematic skills."--Cineaste"A compelling choice for anyone seeking a comprehensive, eloquent, and accessible introduction to the films of Michael Haneke."--Roy Grundmann, editor of A Companion to Michael Haneke and curator of the retrospective "Michael Haneke: A Cinema of Provocation"

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Book Synopsis This in-depth study of Mexican film director Alejandro González Iñárritu explores his role in moving Mexican filmmaking from a traditional nationalist agenda towards a more global focus. Working in the United States and in Mexico, Iñárritu crosses national borders while his movies break the barriers of distribution, production, narration, and style. His features also experiment with transnational identity as characters emigrate and settings change. In studying the international scope of Iñárritu''s influential films Amores Perros, 21 Grams, and Babel, Celestino Deleyto and María del Mar Azcona trace common themes such as human suffering and redemption, chance, and accidental encounters. The authors also analyze the director''s powerful visual style and his consistent use of multiple characters and a fragmented narrative structure. The book concludes with a new interview with Iñ&aTrade Review"An excellent analysis of the director’s style."--PopMatters"An important contribution on the work of one of the most interesting contemporary filmmakers. Through meticulous analysis and attention to detail, style and structure, the authors offer an in-depth analysis of the work of Alejandro González Iñárritu."--Miscelánea: A Journal of English and American Studies"A model of impeccable scholarship and writing. Alejandro González Iñárritu is unquestionably one of the most interesting and important contemporary filmmakers in Latin America, and this study demonstrates a solid and secure understanding of Iñárritu's role in moving Mexican filmmaking toward a more globalized focus."--David William Foster, author of Mexico City and Contemporary Mexican Filmmaking

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Book SynopsisA consideration of the distinctly independent filmmaker's explicitly political cinemaTrade Review"An insightful and thorough study of an important film director. Bringing to bear his broad knowledge of cinema, literature, and popular culture, David R. Shumway's study will appeal to fans of Sayles's work and others interested in the politics of American cinema."--Lucy Fischer, editor of American Cinema of the 1920s: Themes and Variations"A thoughtful overview."--Times Literary Supplement

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Book SynopsisProfiles the most influential women directors practicing today, examining their career paths, artistry, and major achievements.Trade Review "Comprehensive and stimulating, this work gives readers a broader understanding of the challenges that women directors encounter and highlights their impressive achievements. Recommended for theatre practitioners and students, aspiring women directors, and gender studies scholars."--Ann Marie Gardinier Halstead, St. Lawrence University "A unique examination of women in the arts, created as a reference point for students, researchers, and theater practitioners. Recommended."--Booklist "Recommended."--ChoiceTable of ContentsIntroduction Anne Fliotsos 1 Argentina May Summer Farnsworth and Brenda Werth 5 Australia Laura Ginters 18 Brazil Alessandra Vannucci 30 Bulgaria Vessela S. Warner 43 Canada Gordon McCall 56 China Jiangyue Li 70 Cuba Ileana Azor 83 Czech Republic Mirenka Cechova 95 Egypt Dalia Basiouny 109 France Kate Bredeson 122 Germany Ursula Neuerburg-Denzer 136 Great Britain Adam J. Ledger 148 Greece Avra Sidiropoulou 161 India Erin B. Mee 174 Ireland Karin Maresh 187 Kenya Margaretta Swigert-Gacheru 198 Mexico Ileana Azor 211 Pakistan Claire Pamment 223 Poland Magda Romanska 237 Romania Diana Manole 251 Russia Maria Ignatieva 264 South Africa Marie-Heleen Coetzee and Lliane Loots 277 Taiwan Iris Hsin-chun Tuan 291 United States of America Anne Fliotsos and Wendy Vierow 303

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Book SynopsisSince the release of Do the Right Thing in 1989, Spike Lee has established himself as a cinematic icon. Lee's mostly independent films garner popular audiences while at the same time engaging in substantial political and social commentary. The author argues that Lee uses excess in his films to intervene in issues of philosophy, politics, and art.Trade Review"This collection brings valuable attention to the largely overlooked experiences of Asian Americans in the southern US. . . . An important contribution to Asian American studies. Essential."--Choice "In this invaluable study, Todd McGowan describes Spike Lee as a political theorist whose films always go 'too far.' In this way Lee vividly illustrates how we are defined as human subjects by what 'exceeds' us: the disturbing and often unconscious passions that break out in sexuality, violence, and the racism we disclaim. According to McGowan, far from considering this excess of being from a moralistic perspective, Lee uses each of his films to explore both its deadly consequences and its ambiguous role in driving the passions bound up in thought, emotion, and behavior. This book brings the kind of philosophical focus to Lee's work that has long been needed, without sacrificing close attention to the aesthetic elements and historical contexts of the films." --Susan White, Associate Professor of Film and Literature, University of Arizona"McGowan's decision to ignore the specificity of Lee's life and engage a rather theoretical, straightforwardly auteurist reading of Lee's oeuvre yields specific, fascinating readings of individual films."--Slant Magazine "Several of the films produced by 40 Acres and a Mule Filmworks and directed by the prominent director Spike Lee are intricately analysed by Todd McGowan with poise, eloquence, and succinctness ending in a brilliant diegesis. From the start the author formulates for the reader the profound value the concept excess holds in crucially interpreting Spike Lee as not only an iconic political filmmaker but an artist committed to using excess as a unique peculiarity throughout his film repertoire."--Ethnic and Racial Studies"A solid look at director Spike Lee's often controversial and always to-the-point films. . . . A well-thought-out assessment."--Library Journal"Spike Lee is an enlightening take on the numerous ways excess plays a significant role in the films of Spike Lee and serves as an alternative look into a complex filmmaker."--Film Matters

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Book SynopsisConsider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle. This book offers a collection of essays that reassesses the genre's iconic style, history, and themes.Trade ReviewNominee for Edgar® Award, Best Critical/Biographical category, 2015. A Choice Outstanding Academic Title, 2015. "A thrilling example of the possibilities of renewed scholarly attention to the classic noir period. Its broad range of novel topics and uniformly astute analyses reframe and open up the field of film noir study in provocative and insightful ways that herald a new phase in scholarship not only of the genre but of Classic Hollywood itself."--David Greven, author of Psycho-Sexual: Male Desire in Hitchcock, De Palma, Scorsese, and Friedkin"An invaluable resource for anyone interested in film noir. Essential."-Choice“The essays in Kiss the Blood off My Hands seek fresh angles on a genre that has attracted so much scholarship that the academic field has its own worn tropes: German Expressionism, post-war ambience, gender politics. Several essays in Robert Miklitch’s edited collection advance the study of film noir by attending to previously neglected aspects of style.”--Times Literary Supplement

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Book SynopsisExplores the emotional tenor of Terence Davies' work by focusing on four paradoxes within the director's oeuvre: films that are autobiographical yet fictional; melancholy yet elating; conservative in tone and theme yet radically constructed; and obsessed with the passing of time yet frozen in time and space.Trade Review"A significant contribution to the field. Koresky is able to both chart the development of Davies' cinema, while convincingly conveying the coherence and continuity of both theme and style at the heart of this very singular auteur." --Duncan Petrie, author of Creativity and Constraint in the British Film Industry"Britain's finest living director finally gets the analytic overview and close reading that he deserves. . . . Koresky is especially perceptive. Recommended."--Choice"Michael Koresky's study of Davies is above all attuned to the contradictions that define his life and inform his work, namely 'beauty and ugliness, the real and the artificial, progression and tradition, motion and stasis.' Koresky unpacks the paradoxes intrinsic to Davies's project with clarity and rigor, dividing his aesthetic among the fiction of autobiography (refraction of personal memories for poetic effect), the elation of melancholy (sensually pleasing depictions of excruciating events), the radical traditional (classical themes embedded in avant-garde constructions), and the suspension of forward motion."--Film Comment"Koresky. . . . regards Terence Davies’s work as 'one of the richest, most idiosyncratic, and arrestingly experimental bodies of work put out by a narrative filmmaker,' and his monograph in the University of Illinois Contemporary Film Directors series is both informative and insightful."--Sight and Sound

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Book SynopsisReading auteur theory as the new American business theory, the author reveals how Coppola's vision of a new kind of company has transformed the worker into a liberated and well-utilized artist, but has also commodified individual creativity at a level unprecedented in corporate history.Trade Review"Well researched, well written, compellingly argued. Writing intelligently and coherently about an auteur as significant and complex as Francis Coppola in a short book is more of a challenge than doing so in a more expansive format. Menne proves up to the task." --Jon Lewis, author of Whom God Wishes to Destroy: Francis Coppola and the New Hollywood"Jeff Menne has found a new angle on one of the most remarkable filmmakers of his era."--Shepherd Express

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Book SynopsisEmir Kusturica is one of Eastern Europe's most celebrated and influential filmmakers. Over the course of a thirty-year career, Kusturica has navigated a series of geopolitical fault lines to produce subversive, playful, often satiric works.Trade Review"Bertellini is admirably succinct and evocative in discussing Kusturica's aesthetic management and no less insightful in discussing critical perspectives on the sociocultural, political thematic underpinnings of his major films." --Daniel Goulding, author ofLiberated Cinema: The Yugoslav Experience, 1945–2001"Enter Giorgio Bertellini with this remarkable study of Kusturica, his films, and their cinematic, cultural, and political implications and dimensions. . . . This is one of those rare film studies books that actively engages those who have seen and appreciated Kusturica's work as well as those just coming to these unusual films for the first time."--Slavic Review

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Book SynopsisSince his explosive debut with the indie sensation Hard Eight , Paul Thomas Anderson has established himself as one of contemporary cinema''s most exciting artists. His 2002 feature Punch-Drunk Love radically reimagined the romantic comedy. Critics hailed There Will Be Blood as a key film of the new millennium. In The Master , Anderson jarred audiences with dreamy amorphousness and a departure from conventional story mechanics. Acclaimed film scholar and screenwriter George Toles approaches these three films in particular, and Anderson''s oeuvre in general, with a focus on the role of emergence and the production of the unaccountable. Anderson, Toles shows, is an artist obsessed with history, workplaces, and environments but also intrigued by spaces as projections of the people who dwell within. Toles follows Anderson from the open narratives of Boogie Nights and Magnolia through the pivot that led to his more recent films, Janus-faced masterpieces that orbit around isolated centrTrade ReviewGeorge Toles is film studies' most astute close reader and its finest prose stylist. This book captures the ineffable strangeness of P. T. Anderson's films--their unusual forms, unsettled soundscapes, and characters wanting unmet connections. Toles explores the subjective interiors and cultural terrain these blinkered selves--and we viewers--cannot fully see. It's been said that actors are our substitutes, avatars who test unplumbed psychic depths. So it is with Toles, our guide to these miraculous films.--Carol Vernallis, author of Unruly Media: Youtube, Music Video, and the New Digital CinemaScriptwriter for films by Guy Maddin, George Toles is also one of the most insightful and articulate critics writing today. Tackling the enigmatic Paul Thomas Anderson, Toles probes these dramas of isolation, revealing both desperate violence and the possibility of communion.--Tom Gunning, author of The Films of Fritz Lang: Allegories of Vision and ModernityHere, caught within its covers, is the inimitable George Toles's richly challenging and brilliantly lambent voyage into the world of P. T. Anderson. Always turning and returning, always leaping and quivering with thought, the book opens Anderson to a new sense of value and depth that reveals his poetry, his multiplicities, and his touch upon our lives.--Murray Pomerance, author of Moment of Action: Riddles of Cinematic Performance

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Book SynopsisTrade Review"Possesses the potential to alter the entire field. An unimpeachable reference book to be dipped into at need and taken in toto as a substantial, sustained, and original interpretation of its subject. Miklitsch is profoundly (and charmingly) collegial, but his scrupulous tone should not obscure the challenge to received wisdom his book poses."--Ann Douglas, author of Terrible Honesty: Mongrel Manhattan in the 1920s"Miklitsch's extended mediation on 1950s noir will entertain and intrigue both film scholars and movie fans." --Journal of American Culture"An interesting piece of work that highlights a commonly neglected period of American film noir."--Pop Culture Shelf “In this recommended read, [Miklitsch] finds something fresh to say about a familiar film topic.”--Library Journal"Highly Recommended."--Choice"Robert Miklitsch shows once again why he is one of the most interesting and knowledgeable critics of film noir. These readings of key '50s releases sparkle with insight, wit, and the enthusiasm of the committed cinephile."--R. Barton Palmer, author of Hollywood's Dark Cinema: The American Film Noir?

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Book SynopsisTrade Review"Cristi Puiu is, undoubtedly, the most important filmmaker in contemporary Romanian cinema. His masterpieces have made their mark not only in the national film industry, but also in the European film culture. Monica Filimon's book, the first comprehensive analysis of all of Puiu's works until now, provides a thorough overview of the inner mechanisms of a complex and influential cinema-maker."--Doru Pop, author of Romanian New Wave Cinema: An Introduction"An original and highly competent investigation."--Dina Iordanova, University of St. Andrews"Monica Filimon's concise and helpful study of the director's oeuvre, background, and aesthetics is such a welcome publication. . . . Apart from her highly readable and well-argued accounts of Puiu's films . . . Filimon offers a convincing account of the director's evolution."--Cineaste"Monica Filimon offers an enlightening and engaging portrait of the larger-than-life personality that forms a core part of the New Romanian Cinema." --Studies in European Cinema

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Book SynopsisTrade Review"A readable and insightful analysis of a vital contemporary filmmaker . . . Highly recommended."--Choice "A decisive account of Anderson's movies, alive to their obvious charms, undaunted by their limits, and dedicated to activating their hidden potentials. This slim volume is both a sure introduction to Anderson's cinema and an authoritative reframing of the critical consensus. Anderson is the cinematic collector par excellence, and in this beautifully written study, Kornhaber plunges into the causes and consequences of that obsession in new and trenchant ways."--J. D. Connor, author of The Studios after the Studios: Neoclassical Hollywood, 1970–2010

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Book SynopsisIf size counts for anything, Michael Bay towers over his contemporaries. His summer-defining event films involve extraordinary production costs and churn enormous box office returns. His ability to mastermind breathtaking spectacles of action, mayhem, and special effects continually push the movie industry as much as the medium of film toward new frontiers. Lutz Koepnick engages the bigness of works like Armageddon and the Transformers movies to explore essential questions of contemporary filmmaking and culture. Combining close analysis and theoretical reflection, Koepnick shows how Bay''s films, knowingly or not, address profound issues about what it means to live in the late twentieth- and early twenty-first centuries. According to Koepnick''s astute readings, no one eager to understand the state of cinema today can ignore Bay''s work. Bay''s cinema of world-making and transnational reach not only exemplifies interlocking processes of cultural and economic globalization. It urgeTrade Review"Compelling. The brilliance of this new book lies in the way that it grasps Bay's cinema not as the diametrical opposite, but rather as the dialectical counterpart, of 'slow cinema.' Exemplary in the way that it takes full measure of its subject without naive enthusiasm, but also without critical condescension."--Steven Shaviro, author of Post Cinematic Affect"This book is for everyone who loved the film classes they took in college, then watched Transformers: Revenge of the Fallen and thought 'I give up.' Lutz Koepnick’s study of Michael Bay is a clear-eyed assessment of the oeuvre of Hollywood's hyperkinetic trash-virtuoso, but it is also a joyful demonstration of what film criticism and film theory can accomplish when they don't capitulate before the new cinema of confetti-cuts and incessant franchise service. The thinking person's guide to Bayhem."--Adrian Daub, coauthor of The James Bond Songs: Pop Anthems of Late Capitalism

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Book SynopsisTrade Review"A uniquely accessible book for experts, in the fields of documentary history or feminist film theory, and newcomers alike." --Film Quarterly"Shilyh Warren’s Subject to Reality quite simply transforms the terrain of both documentary film studies and feminist film history. Not merely a labor of excavation, Warren’s transhistorical study turns to neglected works by women filmmakers in order to reshape how we can understand the history of US documentary film production and how we can understand the form itself. Deeply attentive, intelligent, and generous to the subjects of her study, Warren’s book is a model of inclusive scholarship. Put simply, Subject to Reality is an ethical work, one which we need now more than ever."--Amelie Hastie, author of Cupboards of Curiosity: Women, Recollection, and Film History"Warren approaches this body of work in new and illuminating ways. She consolidates and animates earlier debates within the field while complementing and expanding this with careful connections to relevant fields like ethnography and anthropology. She unearths and examines work by early women filmmakers that need to be part of this canon and reveals a gendered impulse at the heart of the ethnographic filmmaking enterprise. A delight."--Alexandra Juhasz, coeditor of Sisters in the Life: A History of Out African American Lesbian Media-Making"In re-examining the history of women in documentary, Warren has clearly shown how women's early anthropologically inflected films resonate powerfully with the present." --Documentary Magazine

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