Filmmaking and production Books

Book SynopsisExamining the vanguard of New Turkish Cinema, Laurence Raw shows how these films reveal the effects of profound socio economic change on ordinary people in contemporary Turkey. Raw interleaves his film discussion with thoughtful commentary on nationalism, gender, personal identity, and cultural pluralism.Trade ReviewRaw chooses filmmakers whose films individually, and differently, reflect personal encounters with the culture, history, and politics of the Republic of Turkey. Replete with keen insights, this book is a delight to read and a model for compelling film scholarship and cultural commentary."" - Dennis Rothermel,California State University, Chico""Surprising and innovative. Raw integrates historical research with literary references and personal reflections, using the work of contemporary Turkish filmmakers to discuss pressing issues of identity and transcultural understanding."" - Iain Robert Smith,King's College London

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Book SynopsisSweden’s early film industry was dominated by Swedish Biograph. It is nostalgically remembered as the generative site of a nascent national artform, encapsulating a quintessentially Nordic aesthetic. Film scholar Jan Olsson takes a hard look at this established, romanticized narrative and offers a far more complete, complex, and nuanced story.Table of Contents List of Illustrations Acknowledgments Concepts and Considerations: An Introduction 1 Business and Economics 2 Starting Up the LidingÖ Studio 3 Novel Production Practices: 1913 4 Productions and Alliances: 1914–1916 5 Conceptual Indicators of Changes in Film Style 6 From “Nonsense to Film Art: Historiographic Negotiations 7 Critical Recognition and Commercial Misgivings: Responses from Key Markets 8 Crossroads: From LidingÖ to Berlin via Dalecarlia and London 9 Archival Practices: From the Swedish Film Society and First-Generation Scholarship to the Swedish Film Institute ConclusionAppendix 1. Intertitles and Other Indications of Temporal Shifts Between Reels in Films from 1912 to 1916 Appendix 2. Svensk Filmindustri’s Educational Department Catalogs Appendix 3. Directors at the SB Studio (Apart from SjÖstrÖm and Stiller) Notes Selected Bibliography Index

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Book SynopsisCasablanca is one of the most celebrated Hollywood films of all time, its iconic romance enshrined in collective memory across generations. Drawing from archival materials, industry trade journals, and cultural commentary, Barbara Klinger explores the history of Casablanca's circulation in the United States from the early 1940s to the present by examining its exhibition via radio, repertory houses, television, and video. By resituating the film in the dynamically changing industrial, technological, and cultural circumstances that have defined its journey over eight decades, Klinger challenges our understanding of its meaning and reputation as both a Hollywood classic and a cult film. Through this single-film survey, Immortal Films proposes a new approach to the study of film history and aesthetics and, more broadly, to cinema itself as a medium in constant interface with other media as a necessary condition of its own public existence and endurance.Trade Review"A terrific new book." * Critical Inquiry *Table of ContentsContents List of Figures Preface Acknowledgments Introduction: The Cultural Biography of a Film 1 • Listening to Casablanca: Radio Adaptations and Sonic Hollywood 2 • Back in Theaters: Postwar Repertory Houses and Cult Cinema 3 • Everyday Films: Broadcast Television, Reruns, and Canonizing Old Hollywood 4 • Movie Valentines: Holiday Cult and the Romantic Canon in VHS Video Culture 5 • Happy Anniversaries: Classic Cinema on DVD/Blu-ray in the Conglomerate Age Epilogue: Streaming Casablanca and Afterthoughts Appendix 1: Casablanca’s First Appearances on US Platforms/Formats Appendix 2: Casablanca’s Physical-Format Video Rereleases Notes Selected Bibliography Index

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Book SynopsisAfter World War II, as cultural and industry changes were reshaping Hollywood, movie studios shifted some production activities overseas, capitalizing on frozen foreign earnings, cheap labor, and appealing locations. Hollywood unions called the phenomenon runaway production to underscore the outsourcing of employment opportunities. Examining this period of transition from the late 1940s to the early 1960s, Runaway Hollywood shows how film companies exported production around the world and the effect this conversion had on industry practices and visual style. In this fascinating account, Daniel Steinhart uses an array of historical materials to trace the industry's creation of a more international production operation that merged filmmaking practices from Hollywood and abroad to produce movies with a greater global scope.Table of ContentsAcknowledgments Prologue: Movie Ruins Introduction: “Have Talent, Will Travel” part i: foundations 1 • All the World’s a Studio: Th e Design and Debates of Postwar “Runaway” Productions Case Study. Tax Evasion, Red-Baiting, and the White Whale: Moby Dick (1956) part i i: production 2 • London, Rome, Paris: Th e Infrastructure of Hollywood’s Mode of International Production 3 • Lumière, Camera, Azione!: Th e Personnel and Practices of Hollywood’s Mode of International Production Case Study. When in Rome: Roman Holiday (1953) part i i i: style 4 • A Cook’s Tour of the World: Th e Art of International Location Shooting Case Study. Mental Spaces and Cinematic Places: Lust for Life (1956) Epilogue: Sunken Movie Relics Appendix: Hollywood’s International Productions, 1948–1962 Notes Index

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Book SynopsisJohn Thornton Caldwell's landmark Specworld demonstrates how twenty-first-century media industries monetize and industrialize creative labor at all levels of production. Through illuminating case studies and rich ethnography of colliding social-media and filmmaking practices, Caldwell takes readers into the world of production workshopping and trade mentoring to show media production as an untidy social constructrather than a unified, stable practice. This messy complex system, he argues, is full of discrete yet interconnected parts that include legacy production companies, marketers and influencers, aspirant online producers, data miners, financiers, talent agencies, and more. Caldwell peels away the layers of these embedded production systems to examine the folds,fault lines,and fracturesthat underlie a risky, high-pressure, and often exploitative industry. With insights on the ethical and human predicament faced by industry hopefuls and crossovercreators seeking professional careers, Caldwell offers new interpretive frames and research methods that allow readers to better see the hidden and multifaceted financial logics and forms of labor embedded in contemporary media production industries.Trade Review"The text is a wave to be surfed. . . . It will absolutely require Caldwellian levels of attention, vision, and language to measure up to the complexities of the world." * Film Quarterly *Table of ContentsContents Preface List of Abbreviations 1 Ethics? Stress, Rifts, Bad Behavior 2 Framework: Spec, Folds, Leaks 3 Regimes: Craftworld, Brandworld, Specworld 4 Case: Warring Creator Pedagogies (The Aspirant’s Crossover Dilemma) 5 Folding: Stress Aesthetics, Compliance, Deprivation Pay 6 Case: Televisioning Aspirant Schemes 7 Fracturing: Rifts and Stress Points as System Self-Portraits 8 Case: Conjuring Microfinance to Overleverage Aspirants 9 Methods: Production Culture Research Design Acknowledgments Select Field Sites: Observations, Interviews, Transcriptions Notes Works Cited Index

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Book SynopsisJohn Thornton Caldwell's landmark Specworld demonstrates how twenty-first-century media industries monetize and industrialize creative labor at all levels of production. Through illuminating case studies and rich ethnography of colliding social-media and filmmaking practices, Caldwell takes readers into the world of production workshopping and trade mentoring to show media production as an untidy social constructrather than a unified, stable practice. This messy complex system, he argues, is full of discrete yet interconnected parts that include legacy production companies, marketers and influencers, aspirant online producers, data miners, financiers, talent agencies, and more. Caldwell peels away the layers of these embedded production systems to examine the folds,fault lines,and fracturesthat underlie a risky, high-pressure, and often exploitative industry. With insights on the ethical and human predicament faced by industry hopefuls and crossovercreators seeking professional careersTrade Review"The text is a wave to be surfed. . . . It will absolutely require Caldwellian levels of attention, vision, and language to measure up to the complexities of the world." * Film Quarterly *Table of ContentsContents Preface List of Abbreviations 1 Ethics? Stress, Rifts, Bad Behavior 2 Framework: Spec, Folds, Leaks 3 Regimes: Craftworld, Brandworld, Specworld 4 Case: Warring Creator Pedagogies (The Aspirant’s Crossover Dilemma) 5 Folding: Stress Aesthetics, Compliance, Deprivation Pay 6 Case: Televisioning Aspirant Schemes 7 Fracturing: Rifts and Stress Points as System Self-Portraits 8 Case: Conjuring Microfinance to Overleverage Aspirants 9 Methods: Production Culture Research Design Acknowledgments Select Field Sites: Observations, Interviews, Transcriptions Notes Works Cited Index

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Book SynopsisOffering detailed case studies of key films and filmmakers, Jay Beck explores how sound design was central to the 1960s and 1970s era of experimentation with new modes of cinematic storytelling. He demonstrates how sound was key to many directors' signature aesthetics. Yet the book also examines sound design as a collaborative process.Trade Review“Presenting strong, original research, Designing Sound examines a period of remarkable and often overlooked experimentation with sound in American cinema during the 1960s and 1970s." -- Steve J. Wurtzler * author of Electric Sounds: Technological Change and the Rise of Corporate Mass Media *"Jay Beck puts in perspective an influential turning point in cinema's storytelling with sound, examining how young directors of the 1970s working with monaural soundtracks took on new aesthetic challenges...a critically important historical work!" -- David Stone * Savannah College of Art and Design *Table of ContentsAcknowledgments1 Introduction: The State of the ArtPart One General Trends (1965–1971)2 The British Invasion3 TV and Documentary’s Influence on Sound Aesthetics4 New Voices and Personal Sound Aesthetics, 1970–1971Part Two Director Case Studies (1968–1976)5 Francis Ford Coppola: American Zoetrope and Collective Filmmaking6 Robert Altman’s Collaborative Sound Work7 Martin Scorsese’s Dialectical SoundPart Three The Dolby Stereo Era (1975–1980)8 The Sound of Music: Dolby Stereo and Music in the New American Cinema9 The Sound of Spectacle: Dolby Stereo and the New Classicism10 The Sound of Storytelling: Dolby Stereo and the Art of Sound DesignNotesBibliographyIndex

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Book SynopsisIda Lupino, Director shines a long-awaited spotlight on one of our greatest filmmakers, one whose movies depicted the plights of postwar women and exposed the dark underside of American society. The authors show Lupino as a trailblazing feminist auteur who created a distinctive style in film and television that was both highly expressionistic and grittily realistic.Trade Review"[A] landmark study of this underrecognized director. The book couldn't be timelier… Grisham and Grossman do not consider their subject narrowly as a woman filmmaker. They present Lupino broadly as a pioneer independent moviemaker and director." * Film Quarterly *"Exactly the serious study Ida Lupino deserves, this superb book sketches her directing career against larger developments in postwar Hollywood, demonstrating her feminist impact on a changing industry." -- Shelley Stamp * author of Lois Weber in Early Hollywood *"Low budget, unheralded and genre bending, Lupino’s work has never received its full due. Grisham and Grossman’s sensitive study, informed by thorough research and new paradigms, provides a welcome corrective." -- Sarah Kozloff * author of Overhearing Film Dialogue *"One of Hollywood’s few female directors, Ida Lupino was a true maverick, making movies with the same steely determination and emotional sensitivity that characterized her work as an actor. Therese Grisham and Julie Grossman’s thoughtful study sheds a welcome light on an oeuvre that has been too long obscured." -- J. Hoberman * author of Film After Film: Or, What Became Of 21st Century Cinema? *"Grossman and Grisham's book is an urgently needed and long overdue reclamation of the directorial work of Ida Lupino, one of the most significant auteurs of the twentieth century. Cineastes will be delighted by this dazzling, well written, and comprehensive book." -- Gwendolyn Audrey Foster * coauthor of A Short History of Film *"[A] groundbreaking and judiciously comprehensive study." * South Atlantic Review *Table of ContentsPreface Acknowledgments Note on Quotations Part I. Introducing Ida Lupino, Director and Feminist Author A Rejection of Hollywood Lupino Directs Director Lupino and Colleagues The Filmakers’ Films Lupino and the Censors Lupino as Feminist Auteur Postwar Hollywood, American Society and Culture Close-up on Outrage Empathy and a Cinema of Engagement Italian Neorealism or American Realisms? Looking Backward? Outrage and M Part II. Lupino’s Ingenious Genres: Early Films and The Trouble with Angels (1966) The Social Problem Film and Film Noir Home Noir Home Is Where the Noir Is Doubled Dreams in Hard, Fast and Beautiful Doubled Domesticity in The Bigamist Doubled Trauma: Outrage A Mighty Girl: Lupino and The Trouble with Angels Part III: Lupino Moves to Television Industrial Contexts: Film to Television Directing for Television “No. 5 Checked Out” Ida Lupino, Television Director On Close Readings of 1950s and 1960s Television “The Return”: Norma Desmond and Ida Lupino Haunt the Small ScreenMr. Adams and Eve Directed Episodes, 1956–1968 Comedies Action, Thrillers, Mysteries Westerns Notes Works Cited Index

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Book SynopsisIda Lupino, Director shines a long-awaited spotlight on one of our greatest filmmakers, one whose movies depicted the plights of postwar women and exposed the dark underside of American society. The authors show Lupino as a trailblazing feminist auteur who created a distinctive style in film and television that was both highly expressionistic and grittily realistic.Trade Review"[A] landmark study of this underrecognized director. The book couldn't be timelier… Grisham and Grossman do not consider their subject narrowly as a woman filmmaker. They present Lupino broadly as a pioneer independent moviemaker and director." * Film Quarterly *"Exactly the serious study Ida Lupino deserves, this superb book sketches her directing career against larger developments in postwar Hollywood, demonstrating her feminist impact on a changing industry." -- Shelley Stamp * author of Lois Weber in Early Hollywood *"Low budget, unheralded and genre bending, Lupino’s work has never received its full due. Grisham and Grossman’s sensitive study, informed by thorough research and new paradigms, provides a welcome corrective." -- Sarah Kozloff * author of Overhearing Film Dialogue *"One of Hollywood’s few female directors, Ida Lupino was a true maverick, making movies with the same steely determination and emotional sensitivity that characterized her work as an actor. Therese Grisham and Julie Grossman’s thoughtful study sheds a welcome light on an oeuvre that has been too long obscured." -- J. Hoberman * author of Film After Film: Or, What Became Of 21st Century Cinema? *"Grossman and Grisham's book is an urgently needed and long overdue reclamation of the directorial work of Ida Lupino, one of the most significant auteurs of the twentieth century. Cineastes will be delighted by this dazzling, well written, and comprehensive book." -- Gwendolyn Audrey Foster * coauthor of A Short History of Film *"[A] groundbreaking and judiciously comprehensive study." * South Atlantic Review *Table of ContentsPreface Acknowledgments Note on Quotations Part I. Introducing Ida Lupino, Director and Feminist Author A Rejection of Hollywood Lupino Directs Director Lupino and Colleagues The Filmakers’ Films Lupino and the Censors Lupino as Feminist Auteur Postwar Hollywood, American Society and Culture Close-up on Outrage Empathy and a Cinema of Engagement Italian Neorealism or American Realisms? Looking Backward? Outrage and M Part II. Lupino’s Ingenious Genres: Early Films and The Trouble with Angels (1966) The Social Problem Film and Film Noir Home Noir Home Is Where the Noir Is Doubled Dreams in Hard, Fast and Beautiful Doubled Domesticity in The Bigamist Doubled Trauma: Outrage A Mighty Girl: Lupino and The Trouble with Angels Part III: Lupino Moves to Television Industrial Contexts: Film to Television Directing for Television “No. 5 Checked Out” Ida Lupino, Television Director On Close Readings of 1950s and 1960s Television “The Return”: Norma Desmond and Ida Lupino Haunt the Small ScreenMr. Adams and Eve Directed Episodes, 1956–1968 Comedies Action, Thrillers, Mysteries Westerns Notes Works Cited Index

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Book SynopsisThe Extraordinary Image takes readers on a fascinating journey through the lives and films of Welles, Hitchcock and Kubrick identifying the qualities that made them cinematic visionaries.Trade Review"Robert P. Kolker takes readers on a fascinating journey into the lives and work of these three directors, examining the unique visual themes—and finding the common threads of genius—in their cinematic worlds." * Parade Magazine *"The Extraordinary Image takes as a welcome point of departure the notion that filmmaking is essentially the craft of building images, and telling stories by way of their composition and juxtaposition. Kolker’s project is especially well-tailored to that insight, as the directors under consideration are among the most purposefully cinematic of filmmakers... The book is littered with keen observations readily savored." * Boston Review *"For a book of criticism, [The Extraordinary Image] is wonderfully accessible, less like a lecture and closer to a conversation. [Kolker's] observations reflect both the consensus of critical thought on these films, and his personal connections to the images ... this collective study adds a distinctive tone that will make this of interest to fans of any of these filmmakers." * Library Journal *"Kolker ingeniously brings together three dissimilar filmmakers—Hitchcock, Welles, Kubrick—and deftly manages to make them convincing subjects of a comparative study… Kolker writes with such fluency and grace about these filmmakers that he makes the feat of discussing their quite distinct and challenging respective oeuvres seem easy... Kolker's study makes one hungry to experience its subjects' creativity anew, inspiring one to revisit the oeuvres of three great, distinctive, and distinct filmmakers whose bodies of work, as Kolker persuasively argues, converge in the creation of lasting and, indeed, extraordinary images." * Cineaste *"This book offers far more pleasures than we can easily count, all reflecting the author's passion for film and his ability to get it into highly personal writing. He shows us how Hitchcock, Kubrick and Welles brought excitement and light to the cinema, however dark or distraught their films became, and there is something quite dazzling about the way he keeps picturing these three figures as belonging together and yet entirely different from each other." -- Michael Wood * author of Alfred Hitchcock: The Man Who Knew Too Much *"Like the three masters he loves, Kolker brings power and passion to his brilliant study of this trio of closely related and unforgettable filmmakers. It is a supremely sublime achievement." -- Bill Nichols * author of Introduction to Documentary and Speaking Truths with Film *"The most refreshing quality of The Extraordinary Image is its respect for the humanist tradition. Kolker’s bottom-line insistence on the deeply rooted humanity of the greatest cinema is invigorating, especially when he connects his emotions about movies with his longtime effort to share his insights and enthusiasms with students and readers." * Hitchcock Annual *"This is not the first book to consult when studying Kubrick, but Abrams provides enough compelling insights and revisions of well-trodden territory to make one go back to the films. His study doubles as a general intellectual biography of Kubrick, and one of its pleasures is learning what books were on Kubrick’s shelf." * Choice *Table of ContentsAcknowledgments Prelude The Passion of Film What We Talk About When We Talk About Film The Body of Work Origins The Films They Made The Work of the Body Hunger Artists Apollo, Dionysus, and Nemesis Embodiment and Performance Form, Time, and Space The Dreamworld The Spaces of Space Fiction Cycles and Symmetry Photograph of a Photograph Power and Sexuality The Art of Feeling Coda: An Immense Shadow Chronology of Films by Welles, Hitchcock, and Kubrick NotesSelect BibliographyIndex

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Book SynopsisLiberating Hollywood examines the professional experiences and creative output of women filmmakers during a unique moment in history when the social justice movements that defined the 1960s and 1970s challenged the enduring culture of sexism and racism in the U.S. film industry. Trade Review"Maya Montañez Smukler’s Liberating Hollywood: Women Directors and the Feminist Reform of 1970s American Cinema is an exciting and topical examination of a transformative group of female filmmakers whose stories and struggles have too often been forgotten. At once an eye-opening analysis and a significant contribution to feminist film scholarship, Liberating Hollywood persuasively challenges the received wisdom about a period of American cinema (the so-called time of Easy Riders and Raging Bulls) in which women are routinely banished to the margins. As Smukler demonstrates, women were always there – making movies, good trouble and American history." -- Manohla Dargis * film critic for The New York Times *“A counterintuitive feminist history of the new Hollywood that convincingly challenges widely held assumptions about the boys’ club movie brat auteur renaissance. In Liberating Hollywood, Maya Montanez Smukler is remarkably attentive to the industrial as well as sociopolitical histories that made such a new women’s cinema and such a suddenly liberated Hollywood possible.” -- Jon Lewis * author of Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles *"Both long overdue and coming right on time, Liberating Hollywood richly expands our understanding of Hollywood filmmaking in the 1970s. Expertly researched with stories from those who were there, Maya Montañez Smukler’s book tells the stories of female directors working in Hollywood in the 1970s and fighting for their rights as mediamakers." -- Miranda Banks * author of The Writers: A History of American Screenwriters and Their Guild *"100 Women, One Hotel, and the Weekend Retreat That Presaged Time’s Up By 18 Years" by Cari Beauchamp * Vanity Fair *"Smukler sees the increase of independently produced features in the ’80s as a turning point for women no longer at the mercy of a slow-moving studio system. She’s right, though working independently puts the onus of proving artistic and commercial viability directly on individual artists’ shoulders, dependent on a world of potentially prejudiced funders with no centralized power to reform, however incrementally. That said, it’s impossible to read Liberating Hollywood and not recognize the progress that has been made, even though too much remains sadly familiar. It’s still rough out there, but histories like these keep me moving forward." * Film Comment *"How the 1970s Marked a Turning Point for Women Directors in Hollywood" by Dan Schindel * Hyperallergic *"Highly recommended." * Choice * "A fascinating series of profiles of trailblazing filmmakers." * Sight and Sound *"Liberating Hollywood is an invigorating, detailed account of the women who were denied seats at the directors’ roundtable and sat down anyway. Their bittersweet but valiant efforts paved the way for feminist reform. Smukler’s book is valuable not just because it covers an important piece of Hollywood history, but because it’s a reminder that progress is not to be taken for granted." * Movie Maker Magazine *"[An] essential book." * New Yorker *"[An] excellent and deeply researched book." * Variety *"An ambitious [and] compelling book....Smukler has done an excellent job of researching and writing about the individual careers of her directors. The stories are both empowering and heartbreaking, and she has out the available oral histories to good use." * Cineaste *"This engaging and timely book is a long-overdue corrective to the histories of 1970s Hollywood that have celebrated the iconoclasm of 'new Hollywood' without also asking why that iconoclasm did not extend to changing Hollywood's production culture, and why, at the height of second-wave feminism, Hollywood continued to define media-making as men's work." * Journal of American History *Book List: Celebrating Women in Film and TV History * UCLA Library Film & Television Archive *Table of ContentsContents Acknowledgements Introduction Prologue 1 Feminist Reform Comes to Hollywood 2 1970s Cultures of Production: Studio, Art House, and Exploitation 3 New Women: Women Directors and the 1970s New Woman Film 4 Radicalizing the Directors Guild of America 5 Desperately Seeking the Eighties: 1970s Perseverance Turns to 1980s Progress Appendix Notes Index

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Book SynopsisIntroduces readers to a vast menagerie of movie monsters. Armed with an encyclopedic knowledge of film history, Grant presents us with an eclectic array of monster movies, from Nosferatu to Get Out. As he discovers, although monster movies might claim to be about “Them!”, they are really about the capacity for horror that lurks within each of us.Trade Review"Barry Keith Grant is an ideal guide in this wide-ranging survey of monsters in the movies. He leaps across genres, periods, and critical traditions with authority and verve."— Adam Lowenstein, author of Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film "This is far more than a very handy guidebook to monsters in the movies. Barry Keith Grant’s prose is lucid, and informed by a keen intelligence and exhaustive scholarship demonstrating his mastery of the genre. This is a great read!"— Christopher Sharrett, author of The Rifleman "Barry Keith Grant’s Monster Cinema is an 'unnaturally' fine book, providing readers with a concise, engaging, and perceptive historical and ideological overview that attests to the enduring power of this genre."— Lester D. Friedman, coauthor of Monstrous Progeny: A History of the Frankenstein Narratives "The book is highly recommended, because, as Grant himself notes, our survival depends on understanding monsters—in other words, on understanding ourselves." — Science Fiction ReviewsTable of ContentsContents 1 Meeting Movie Monsters: Monsters R Us 2 Human Monsters 3 Natural Monsters 4 Supernatural Monsters Acknowledgments Further Reading Works Cited Index

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Book SynopsisThe New Hollywood era of the late 1960s and early 1970s has become one of the most romanticized periods in motion picture history. The Limits of Auteurism challenges many of these assumptions. The book explores how distribution and critical reception determined the parameters of the New Hollywood canon. Trade Review"The Limits of Auteurism is a completely new interpretation of the New Hollywood as a period and as an industrial/aesthetic phenomenon. Godfrey's scholarship is very nearly exhaustive, and his writing exquisite and cogently organized." -- David Cook * author of Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979 *"Godfrey moves with skill between the landmarks of New Hollywood, plotting novel routes, excursions and detours in order to give us a masterly and compelling guide to the era’s films." -- Peter Stanfield * author of Hoodlum Movies: Seriality and the Outlaw Biker Film Cycle, 1966-1972 *"For those who are interested in the New Hollywood period and American cinema, this is a book that contributes usefully to the body of scholarship on this fertile time. One of its strengths is the way in which it balances its academic preoccupations with general accessibility, facilitated through writing that elucidates rather than obscures. Godfrey’s panoramic view of cinematic creation – from production conditions, to textual features, to historical reference, to critical reception – importantly places his analysis in a broad context, ensuring that there are no reasons to question his thoroughness." * Film Matters *Table of ContentsIntroduction: open roads Which new Hollywood? Easy rider Variations on a theme: five easy riders Five easy pieces Two-lane blacktop Vanishing point Little Fauss and Big Halsy Adam at 6 a.m Politicizing genre. Dirty Harry The French connection The limits of auteurism. The last movie The hired hand Conclusion: the end of the road

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Book SynopsisThe New Hollywood era of the late 1960s and early 1970s has become one of the most romanticized periods in motion picture history. The Limits of Auteurism challenges many of these assumptions. The book explores how distribution and critical reception determined the parameters of the New Hollywood canon. Trade Review"The Limits of Auteurism is a completely new interpretation of the New Hollywood as a period and as an industrial/aesthetic phenomenon. Godfrey's scholarship is very nearly exhaustive, and his writing exquisite and cogently organized." -- David Cook * author of Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979 *"Godfrey moves with skill between the landmarks of New Hollywood, plotting novel routes, excursions and detours in order to give us a masterly and compelling guide to the era’s films." -- Peter Stanfield * author of Hoodlum Movies: Seriality and the Outlaw Biker Film Cycle, 1966-1972 *"For those who are interested in the New Hollywood period and American cinema, this is a book that contributes usefully to the body of scholarship on this fertile time. One of its strengths is the way in which it balances its academic preoccupations with general accessibility, facilitated through writing that elucidates rather than obscures. Godfrey’s panoramic view of cinematic creation – from production conditions, to textual features, to historical reference, to critical reception – importantly places his analysis in a broad context, ensuring that there are no reasons to question his thoroughness." * Film Matters *Table of ContentsIntroduction: open roads Which new Hollywood? Easy rider Variations on a theme: five easy riders Five easy pieces Two-lane blacktop Vanishing point Little Fauss and Big Halsy Adam at 6 a.m Politicizing genre. Dirty Harry The French connection The limits of auteurism. The last movie The hired hand Conclusion: the end of the road

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Book SynopsisMonster Cinema introduces readers to a vast menagerie of movie monsters, from gigantic beasts to microscopic parasites, from grotesque demons to normal-looking serial killers. Film expert Barry Keith Grant considers what each type of movie monster might reveal about how we regard the natural, the supernatural, and the human. Trade Review"This is far more than a very handy guidebook to monsters in the movies. Barry Keith Grant’s prose is lucid, and informed by a keen intelligence and exhaustive scholarship demonstrating his mastery of the genre. This is a great read!" -- Christopher Sharrett * author of The Rifleman *"Barry Keith Grant’s Monster Cinema is an 'unnaturally' fine book, providing readers with a concise, engaging, and perceptive historical and ideological overview that attests to the enduring power of this genre." -- Lester D. Friedman * coauthor of Monstrous Progeny: A History of the Frankenstein Narratives *"Barry Keith Grant is an ideal guide in this wide-ranging survey of monsters in the movies. He leaps across genres, periods, and critical traditions with authority and verve." -- Adam Lowenstein * author of Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film *"The book is highly recommended, because, as Grant himself notes, our survival depends on understanding monsters—in other words, on understanding ourselves." * Science Fiction Reviews *Table of ContentsContents 1 Meeting Movie Monsters: Monsters R Us 2 Human Monsters 3 Natural Monsters 4 Supernatural Monsters Acknowledgments Further Reading Works Cited Index

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Book SynopsisTrade Review"The Long Take demonstrates a thorough and masterful command of film, media, and visual theory. With vivid descriptions of the works under consideration, Lutz Koepnick helps illuminate and elucidate the use of the long take in film and art with a prose that is at once accessible and intelligent. An ambitious and magisterial work."—Nora M. Alter, Temple University"Analysing permutations in the long take across a notably diverse array of institutional contexts, with close readings of moving images drawn from feature films, gallery installations, site-specific artworks and video games, Lutz Koepnick develops an expansive and nuanced account of wondrous looking. Although Koepnick is fully attuned to the demands of the attention economy, The Long Take nonetheless strikes a hopeful and appropriately curious tone, highlighting the multiple settings and situations in which, for a time at least, spectatorship can be both embodied and unguarded."—Maeve Connolly, author of TV Museum and The Place of Artists’ Cinema"The Long Take offers important, timely, and provocative insights on the transformation of our relationship to projected images as sites of exhibition morph and multiply and as viewing practices become mobile and contingent. Koepnick’s mode of analysis serves as a lesson in how criticism must adapt to the dynamic visual ecologies of the present moment."—Critical InquiryTable of ContentsContentsPreface and AcknowledgmentsIntroduction: Toward a Wondrous Spectator1. To Cut or Not to Cut2. Images of/as Promise3. “It’s Still Not Over”4. The Long Goodbye5. Funny Takes? 6. The Wonders of Being Stuck7. (Un)Timely MeditationsConclusion: Screens without FrontiersNotesIndex

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Book SynopsisTrade Review"The Long Take demonstrates a thorough and masterful command of film, media, and visual theory. With vivid descriptions of the works under consideration, Lutz Koepnick helps illuminate and elucidate the use of the long take in film and art with a prose that is at once accessible and intelligent. An ambitious and magisterial work."—Nora M. Alter, Temple University"Analysing permutations in the long take across a notably diverse array of institutional contexts, with close readings of moving images drawn from feature films, gallery installations, site-specific artworks and video games, Lutz Koepnick develops an expansive and nuanced account of wondrous looking. Although Koepnick is fully attuned to the demands of the attention economy, The Long Take nonetheless strikes a hopeful and appropriately curious tone, highlighting the multiple settings and situations in which, for a time at least, spectatorship can be both embodied and unguarded."—Maeve Connolly, author of TV Museum and The Place of Artists’ Cinema"The Long Take offers important, timely, and provocative insights on the transformation of our relationship to projected images as sites of exhibition morph and multiply and as viewing practices become mobile and contingent. Koepnick’s mode of analysis serves as a lesson in how criticism must adapt to the dynamic visual ecologies of the present moment."—Critical InquiryTable of ContentsContentsPreface and AcknowledgmentsIntroduction: Toward a Wondrous Spectator1. To Cut or Not to Cut2. Images of/as Promise3. “It’s Still Not Over”4. The Long Goodbye5. Funny Takes? 6. The Wonders of Being Stuck7. (Un)Timely MeditationsConclusion: Screens without FrontiersNotesIndex

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Book SynopsisThe films of Akira Kurosawa have had an immense effect on the way the Japanese have viewed themselves as a nation and on the way the West has viewed Japan. In this comprehensive and theoretically informed study of the influential director’s cinema, Mitsuhiro Yoshimoto definitively analyzes Kurosawa’s entire body of work, from 1943’s Sanshiro Sugata to 1993’s Madadayo. In scrutinizing this oeuvre, Yoshimoto shifts the ground upon which the scholarship on Japanese cinema has been built and questions its dominant interpretive frameworks and critical assumptions. Arguing that Kurosawa’s films arouse anxiety in Japanese and Western critics because the films problematize Japan’s self-image and the West’s image of Japan, Yoshimoto challenges widely circulating clichés about the films and shows how these works constitute narrative answers to sociocultural contradictions and institutional dilemmas. While fully acknowledgingTrade Review“A tour-de-force reading of Kurosawa’s films. Yoshimoto adds greatly to current Kurasawa scholarship and to situating the construct ‘Japanese Cinema’ in a way that it has not been situated before.”—E. Ann Kaplan, author of Looking for the Other: Feminism, Film, and the Imperial Gaze“Yoshimoto’s Kurosawa is destined to take its place along with the most important achievements of cinema studies, which is to say that it is a book about something more than cinema itself. Yet it offers a stimulating, running commentary on the films that makes one want to see them all over again, while also offering a new theory of auteurship as collective negotiation. This is a grand performance sustained by a voice of rare authority.”—Fredric JamesonTable of ContentsAcknowledgements ix Introduction 1 I Japanese Cinema in Search of a Discipline 7 II The Films of Kurosawa Akira 51 Kurosawa Criticism and the Name of the Author 53 Sanshiro Sugata 69 The Most Beautiful 81 Sanshiro Sagata, Part 2 89 The Men Who Tread on the Tiger’s Tail 93 No Regrets for Our Youth 114 One Wonderful Sunday 135 Drunken Angel 138 The Quiet Duel 140 Stray Dog 147 Scandal 179 Rashomon 182 The Idiot 190 Ikiru 194 Seven Samurai 205 Record of a Living Being 246 Throne of Blood 250 The Lower Depths 270 The Hidden Fortress 272 The Bad Sleep Well 274 Yojimbo 289 Sanjuro 293 High and Low 303 Red Beard 332 Dodeskaden 334 Dersu Uzala 344 Kagemusha 348 Ran 355 Dreams 359 Rhapsody in August 364 Madadayo 372 Epilogue 375 Notes 379 Filmography 433 Bibliography 451 Index 471

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Book SynopsisOne of the most prolific and respected directors of the Japanese cinema, Naruse Mikio (1905-69) made eighty-nine films between 1930 and 1967. This book illuminates Naruse's contributions to Japanese and world cinema.Trade Review“The Cinema of Naruse Mikio presents not only a deft and subtle run-through of the world of an important auteur, but also a virtual encapsulation of the intellectual history of Japanese cinema during its most important period, the 1930s–60s. Catherine Russell contextualizes Naruse in the commercial situation in which he worked and in the historical, social, political, and intellectual project of mid-twentieth-century Japan. I came away firmly believing that Naruse was more attuned to how modernity was leaving its indelible marks on Japanese women than any other director of classical Japanese cinema. For students of feminist film criticism, Russell’s book is an absolute must.”—David Desser, author of Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema“A confluence of many forces produced the great (and stereotypical) triumvirate of Japanese cinema: Kurosawa/Mizoguchi/Ozu. However, even as these three took their positions at the forefront of auteurism, a fourth name was regularly invoked and too often ignored. Perhaps this was to be expected. Naruse Makio’s films lacked period color for those searching for Oriental spectacle. Likewise, scholars celebrating formal inventiveness mistook Naruse’s cinematic style for pedestrian convention. Those who looked at the director’s films closely, however, knew that this was an extraordinary body of films and for a good many reasons. Catherine Russell looked closer than anyone, and has discovered a critical framework that provides us solid footing for exploring Naruse’s modern world. Working meticulously through all sixty-seven extant films, Russell gradually reveals a director and team of technicians and actors exploring the contradictions, hopes, and disappointments of modern Japan—particularly for women, who participate in and contribute to modernity both on and off Naruse’s screen. The Cinema of Naruse Mikio is a vivid and long-needed survey of the director’s life work and the everyday landscape of twentieth-century Japan.”—Abé Mark Nornes, author of Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary“A confluence of many forces produced the great (and stereotypical) triumvirate of Japanese cinema: Kurosawa/Mizoguchi/Ozu. However, even as these three took their positions at the forefront of auteurism, a fourth name was regularly invoked and too often ignored. Perhaps this was to be expected. Naruse Makio’s films lacked period color for those searching for Oriental spectacle. Likewise, scholars celebrating formal inventiveness mistook Naruse’s cinematic style for pedestrian convention. Those who looked at the director’s films closely, however, knew that this was an extraordinary body of films and for a good many reasons. Catherine Russell looked closer than anyone, and has discovered a critical framework that provides us solid footing for exploring Naruse’s modern world. Working meticulously through all sixty-seven extant films, Russell gradually reveals a director and team of technicians and actors exploring the contradictions, hopes, and disappointments of modern Japan—particularly for women, who participate in and contribute to modernity both on and off Naruse’s screen. The Cinema of Naruse Mikio is a vivid and long-needed survey of the director’s life work and the everyday landscape of twentieth-century Japan.”—Abé Mark Nornes, author of Forest of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary“Even for those who read Japanese and are familiar with Naruse Mikio’s work, Catherine Russell’s book contributes to a new understanding of his cinema. Russell shows how Naruse’s films contributed to Japanese modernity as a cultural movement, and, using feminist film criticism and Miriam Hansen’s influential concept of ‘vernacular modernism,’ she traces how his films illuminate female subjectivity throughout the studio era.”—Daisuke Miyao, author of Sessue Hayakawa: Silent Cinema and Transnational StardomTable of ContentsAcknowledgments ix Preface xi Introduction: The Auteur as Salaryman 1 1. The Silent Films: Women in the City, 1930-1934 39 2. Naruse as P.C.L.: Toward a Japanese Classical Cinema, 1935-1937 81 3. Not a Monumental Cinema: Wartime Vernacular, 1938-1945 131 4. The Occupation Years: Cinema, Democracy, and Japanese Kitsch, 1945-1952 167 5. The Japanese Woman's Film of the 1950s, 1952-1958 226 6. Naruse in the 1960s: Stranded in Modernity, 1958-1967 315 Conclusion 398 Notes 405 Filmography 431 Bibliography 435 Index 447

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Book SynopsisAssembling a range of interviews, essays, and conversations, Sisters in the Life narrates the history of African American lesbian media-making during the past thirty years, thereby documenting the important and influential work of this group of understudied and underappreciated artists.Trade Review"Sisters in the Life is an act of reclamation, a means of shining a light on the critical work that these women have done with little recognition or fanfare. . . . For those who are invested in the history of representation, Sisters in the Life is worth adding to your bookshelf." -- Evette Dionne * Bitch *"This well-researched title is highly recommended for readers interested in African American, women's, LGBTQ, and general film studies." -- Sally Bryant * Library Journal *"Sisters in the Life moves uninterruptedly from strength to strength. Along the way, its stories are eclectic but interrelated, U.S.-centered but increasingly global, alert to ongoing inequities but inspired by past and present accomplishments— and by futures that look brighter all the time." -- Nick Davis * Film Comment *"In this academic but engaging anthology, contributors examine the important contributions of black lesbian filmmakers over the past three decades. Finally, filmmakers like Cheryl Dunye, Dee Rees, and Angela Robinson get their due. So too should Welbon (director of 1993’s famed Sisters in the Life: First Love.)" -- Jacob Anderson-Minshall * The Advocate *"This is an eye-opening study that seems likely to become a classic in its genre." -- Jean Roberta * Gay & Lesbian Review *Table of ContentsPreface. To Be Transparent: Seeing Directions and Connections in Black Lesbian Film / Alexandra Juhasz ix Introduction. The Sisters in the Life Archive Project / Yvonne Welbon 1 Part I. 1986–1995 Introduction / Yvonne Welbon 15 1. Birth of a Notion: Toward Black, Gay, and Lesbian Imagery in Film and Video / Michelle Parkerson 21 2. Narrating Our History: An Introduction / Thomas Allen Harris 26 3. Narrating Our History: Selections from a Dialogue among Queer Media Artists from the African Diaspora / Edited by Raùl Ferrera-Balanquet and Thomas Allen Harris, with Shari Frilot, Leah Gilliam, Dawn Suggs, Jocelyn Taylor, and Yvonne Welbon 29 4. Construction of Computation and Desire: Introduction to Yvonne Welbon's Interview with Pamela L. Jennings / Kara Keeling 47 5. Ruins and Desire: Interview with Pamela L. Jennings, July 27, 2012 / Yvonne Welbon 51 6. the book of ruins and desire: Interactive Mechatronic Sculpture / Pamela L. Jennings 63 7. A Cosmic Demonstration of Shari Frilot's Curatorial Practice / Roya Rastegar 66 8. Identity and Performance in Yvonne Welbon's Remembering Wei-Yi Fang, Remembering Myself: An Autobiography / Devorah Heitner 92 Part II. 1996–2016 Introduction / Yvonne Welbon 115 9. Producing Black Lesbian Media / Candace Moore 125 10. Stereotypy, Mammy, and Recovery in Cheryl Dunye's The Watermelon Woman / Karin D. Wimbley 11. Coquie Hughes: Urban Lesbian Filmmaker. Introduction to Yvonne Welbon's Interview with Coquie Hughes / Jennifer DeVere Brody 160 12. Stepping Out on Faith: Interview with Coquie Hughes, July 27, 2012 / Yvonne Welbon 165 13. "Invite Me In!": Angela Robinson at Hollywood's Threshold / Patricia White 176 14. Shine Louise Houston: An Interstice of Her Own Making / L. H. Stallings 191 15. From Rage to Resignation: Reading Tina Mabry's Mississippi Damned as a Post-Civil Rights Response to Nina Simone's "Mississippi Goddam" / Marlon Rahquel Moore 205 16. The Circuitous Route of Presenting Black Butch: The Travels of Dee Ree's Pariah / Jennifer DeClue 225 17. Creating the World Anew: Black Lesbian Legacies and Queer Film Futures / Alexis Pauline Gumbs 249 Acknowledgments 261 Selected Bibliography 263 Contributors 269 Index 273

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Book SynopsisAssembling a range of interviews, essays, and conversations, Sisters in the Life narrates the history of African American lesbian media-making during the past thirty years, thereby documenting the important and influential work of this group of understudied and underappreciated artists.Trade Review"Sisters in the Life is an act of reclamation, a means of shining a light on the critical work that these women have done with little recognition or fanfare. . . . For those who are invested in the history of representation, Sisters in the Life is worth adding to your bookshelf." -- Evette Dionne * Bitch *"This well-researched title is highly recommended for readers interested in African American, women's, LGBTQ, and general film studies." -- Sally Bryant * Library Journal *"Sisters in the Life moves uninterruptedly from strength to strength. Along the way, its stories are eclectic but interrelated, U.S.-centered but increasingly global, alert to ongoing inequities but inspired by past and present accomplishments— and by futures that look brighter all the time." -- Nick Davis * Film Comment *"In this academic but engaging anthology, contributors examine the important contributions of black lesbian filmmakers over the past three decades. Finally, filmmakers like Cheryl Dunye, Dee Rees, and Angela Robinson get their due. So too should Welbon (director of 1993’s famed Sisters in the Life: First Love.)" -- Jacob Anderson-Minshall * The Advocate *"This is an eye-opening study that seems likely to become a classic in its genre." -- Jean Roberta * Gay & Lesbian Review *Table of ContentsPreface. To Be Transparent: Seeing Directions and Connections in Black Lesbian Film / Alexandra Juhasz ix Introduction. The Sisters in the Life Archive Project / Yvonne Welbon 1 Part I. 1986–1995 Introduction / Yvonne Welbon 15 1. Birth of a Notion: Toward Black, Gay, and Lesbian Imagery in Film and Video / Michelle Parkerson 21 2. Narrating Our History: An Introduction / Thomas Allen Harris 26 3. Narrating Our History: Selections from a Dialogue among Queer Media Artists from the African Diaspora / Edited by Raùl Ferrera-Balanquet and Thomas Allen Harris, with Shari Frilot, Leah Gilliam, Dawn Suggs, Jocelyn Taylor, and Yvonne Welbon 29 4. Construction of Computation and Desire: Introduction to Yvonne Welbon's Interview with Pamela L. Jennings / Kara Keeling 47 5. Ruins and Desire: Interview with Pamela L. Jennings, July 27, 2012 / Yvonne Welbon 51 6. the book of ruins and desire: Interactive Mechatronic Sculpture / Pamela L. Jennings 63 7. A Cosmic Demonstration of Shari Frilot's Curatorial Practice / Roya Rastegar 66 8. Identity and Performance in Yvonne Welbon's Remembering Wei-Yi Fang, Remembering Myself: An Autobiography / Devorah Heitner 92 Part II. 1996–2016 Introduction / Yvonne Welbon 115 9. Producing Black Lesbian Media / Candace Moore 125 10. Stereotypy, Mammy, and Recovery in Cheryl Dunye's The Watermelon Woman / Karin D. Wimbley 11. Coquie Hughes: Urban Lesbian Filmmaker. Introduction to Yvonne Welbon's Interview with Coquie Hughes / Jennifer DeVere Brody 160 12. Stepping Out on Faith: Interview with Coquie Hughes, July 27, 2012 / Yvonne Welbon 165 13. "Invite Me In!": Angela Robinson at Hollywood's Threshold / Patricia White 176 14. Shine Louise Houston: An Interstice of Her Own Making / L. H. Stallings 191 15. From Rage to Resignation: Reading Tina Mabry's Mississippi Damned as a Post-Civil Rights Response to Nina Simone's "Mississippi Goddam" / Marlon Rahquel Moore 205 16. The Circuitous Route of Presenting Black Butch: The Travels of Dee Ree's Pariah / Jennifer DeClue 225 17. Creating the World Anew: Black Lesbian Legacies and Queer Film Futures / Alexis Pauline Gumbs 249 Acknowledgments 261 Selected Bibliography 263 Contributors 269 Index 273

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Book SynopsisTable of ContentsList of Plates and Figures | ix Introduction: The Body of Medusa | 1 1 China Girls in the Film Laboratory | 33 2 Gone Girls of Escamontage | 73 3 Gradivan Footsteps in the Film Archive | 102 Afterword | 129 Acknowledgments | 133 Notes | 135 Bibliography | 165 Index | 181 Color plates follow page 84

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Book SynopsisBorn in Tehran in 1957, filmmaker Mohsen Ostad Ali Makhmalbaf grew up in the religious and politically charged atmosphere of the 1960s, and the June 1963 uprising of Ayatollah Khomeini constitutes one of his earliest memories. In 1972, Makhmalbaf formed his own urban guerrilla group and two years later attacked a police officer, for which he was arrested and jailed. He remained incarcerated until 1978, when the revolutionary wave led by Ayatollah Khomeini freed him and launched his career as a writer and self-taught filmmaker. Since then, Makhmalbaf has gone on to make such highly admired films as Gabbeh and The Silence. The three lengthy conversations collected here, between Makhmalbaf and leading Iranian film critic and scholar Hamid Dabashi, traverse the filmmaker's experiences as a young radical, his critical stance regarding the current Islamic regime, and his fascination with filmsboth as product and as process. In this in-depth view of one of the most significant Middle Easter

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Book Synopsis

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Book SynopsisBLAKE EDWARDS Blake Edwards: Film Director as Multitalented Auteur is the first critical analysis to focus on the dramatic works of Blake Edwards. Best known for successful comedies such as The Pink Panther series with Peter Sellers, Blake Edwards wrote, produced, and directed serious works in radio, television, film, and theater for seven decades. Although hit films such as Breakfast at Tiffany's and 10' remain popular, many of Edwards's dramas have been forgotten or marginalized. In this unique book, William Luhr and Peter Lehman draw on original research from numerous set visits and personal interviews with Edwards and many of his creative and business collaborators to explore his dramas, radio and television work, theatrical productions, one-man art shows, and unproduced screenplays. In-depth chapters analyze non-comedic films including Experiment in Terror, Days of Wine and Roses, and The Tamarind Seed, the theatrical fTable of ContentsList of Figures ix Preface xiii Acknowledgments xv Chapter 1 Introduction: “Call Me Blake.” 1 Chapter 2 The Early Period (1948–1962) 29 Chapter 3 Mister Cory (1957) 64 Chapter 4 Experiment in Terror (1962) 77 Chapter 5 Days of Wine and Roses (1962) 92 Chapter 6 Gunn (1967) and Peter Gunn (1989) 108 Chapter 7 Wild Rovers (1971) 129 Chapter 8 The Carey Treatment (1972) 152 Chapter 9 Julie (1972) 171 Chapter 10 The Tamarind Seed (1974) 194 Chapter 11 Sunset (1988) 210 Chapter 12 The Late Period: Play It Again, Blake 234 Appendix 1: Books on Blake Edwards 261 Appendix 2: The Interviews 263 Index 265

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Book SynopsisAn examination of the critical influence of working actors and actors' labor unions on industrial structures and practices in Hollywood, including film, television, and streaming.Trade ReviewGiven the recent stories surrounding Hollywood and its unions, [Fortmueller's] look at the place occupied by working actors and extras in the film industry could not be more timely. * The Film Stage *[A] thorough history of background actors and extras in the entertainment industry workforce, from the silent era to today...Fortmueller offers intriguing details and anecdotes uncovered in archival materials, and at times the book reads like an entertaining work of meta-cinema, full of scandal and intrigue. * Library Journal *[Below the Stars] is a valuable read that untangles, with exceptional clarity, the convoluted histories of labour unions in various media landscapes and stages of technological developments, presenting a comprehensive picture of industrial forces from the unique vantage point of below-the-star actors. * Alphaville *[Below the Stars demonstrates] how media studies scholars should theorize and teach labor organizing and media industry structures...Fortmueller’s archival research demonstrates a keen ability to find Hollywood workers often missing from other archival collections. But in her final chapter, interviews with working actors provide a striking look at the precarity of employment that defines our contemporary media moment. * Journal of Cinema and Media Studies *[Below the Stars] provides us with multiple previously obscured union histories. It also drives home our need to re-envision the ideological constructs we sometimes cling to in our field: the conflation of actor and star and the belief in the impermeable boundaries between media. In short, this book fills several gaps in the field and is a necessary addition to any course on the US media industries, stardom, performance, and/or US television history. * Media Industries *Table of ContentsList of Abbreviations Acknowledgments Introduction Chapter 1. Hollywood Freelance: How Actors and Extras Shaped the Film Industry Chapter 2. Actors and the Making of Television’s First Golden Age Chapter 3. Reuse and Replace? Actors, Reruns, and the Cable Era Chapter 4. New Media, Old Labor Conflicts: Voice Actors and Digital Professionalization Conclusion Postscript. Actors and COVID-19: What the Pandemic Teaches Us about Film and Television Labor Notes Selected Bibliography Index

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Book SynopsisShane Denson examines the ways in which computer-generated digital images displace and transform the traditional spatial and temporal relationships that viewers had with conventional analog forms of cinema.Trade Review“Addressing some of the most important issues faced by film and media scholars today, Shane Denson gives a surprising and highly cogent account of the changes that make for our current experience of ‘postcinematic’ audiovisual media. He powerfully shows how broad socio-technological forces work in the realm of visual media and suggests ways that such media can help us to grasp the scale and effects of those forces. An important book, Discorrelated Images offers major new contributions to film and media studies.” -- Steven Shaviro, author of * The Universe of Things: On Speculative Realism *“Theoretically brilliant in its phenomenological conceptualization of discorrelation, Shane Denson's book reveals the perceptual and aesthetic discontinuities and continuities between film-based and digitally rendered cinema. Most significantly, Denson argues that understanding the effects of discorrelation and its expansion of our ways of seeing and being may provoke greater awareness of our existential precarity. A groundbreaking work.” -- Vivian Sobchack, author of * The Address of the Eye: A Phenomenology of Film Experience *"The true strength of Discorrelated Images lies in Denson’s ability to make such dramatic claims about the role of technology in reshaping human subjectivity without ever veering into crude techno-determinism, or media-effects style moral panic... [It] is highly recommended to any reader with an interest in contemporary social and media theory.” -- Marcus Maloney * Thesis Eleven *“For anyone concerned with digital media in particular and media theory in general, Discorrelated Images is essential reading.” -- Christian de Mouilpied Sancto * Film-Philosophy *Table of ContentsAcknowledgments ix Introduction. Discorrelation and Post-cinema 1 Part I. Theorizing Discorrelation 1. Crazy Cameras 21 2. Dividuated Images 51 3. Screen Time 73 Part II. Making Sense of Discorrelation 4. Life to Those Pixels! 113 5. The Horrors of Discorrelation 153 6. Post-cinema after Extinction 193 Notes 237 Bibliography 277 Index 293

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Book SynopsisA rare look at the role of special effects in creating fictional worlds and transmedia franchises From comic book universes crowded with soaring superheroes and shattering skyscrapers to cosmic empires set in far-off galaxies, today's fantasy blockbusters depend on visual effects. Bringing science fiction from the studio to your screen, through film, television, or video games, these special effects power our entertainment industry. More Than Meets the Eye delves into the world of fantastic media franchises to trace the ways in which special effects over the last 50 years have become central not just to transmedia storytelling but to worldbuilding, performance, and genre in contemporary blockbuster entertainment. More Than Meets the Eye maps the ways in which special effects build consistent storyworlds and transform genres while traveling from one media platform to the next. Examining high-profile franchises in which special effects have played a constitutiTrade ReviewElegantly written and extensively researched, More Than Meets the Eye makes an impressive contribution to digital and special effects studies. Bob Rehak moves beyond critical perspectives that have dominated this area of inquiry, exploring how special effects have a life of their own beyond momentary appearances in films and television programs. Studying both analog and digital effects and their continuing interface, he finds that they create vast narrative networks across media, platforms, and time, speaking to a variety of concerns in media studies from authorship and convergence culture to performance and fan labor. That he is able to bring exciting new concepts to bear on canonical media franchises like Star Wars, Star Trek, and Lord of the Rings is a testament to the provocative originality of this book. -- Barbara Klinger,author of Beyond the Multiplex: Cinema, New Technologies, and the HomeRehak has produced the kind of history that film and media studies needsrightnow, and his book displays elegance and serious intellectual chops in equal measure. Hes unafraid of theory or his predecessors, hes alert to both the big picture and nuances of form, and his scholarshipin numerous areasis thorough. More Than Meets the Eye is hugely original and a pleasure to read. -- Scott Bukatman,author of Hellboy’s World: Comics and Monsters on the Margins

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Book SynopsisThe interviews in this book offer a range of insights into the theoretical, critical, and practical circumstances of Eric Rohmer's remarkably coherent body of films, but also allow Rohmer to act as his own critic, providing us with an array of readings concerning his interest in setting, season, colour, and narrative.

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Book SynopsisAN EXPANSIVE TREATMENT OF THE MEANINGS AND QUALITIES OF ORIGINAL AND REMADE AMERICAN HORROR MOVIESIn Making and Remaking Horror in the 1970s and 2000s author David Roche takes up the assumption shared by many fans and scholars that original horror movies are more disturbing, and thus better than the remakes. He assesses the qualities of movies, old and recast, according to criteria that include subtext, originality, and cohesion. With a methodology that combines a formalist and cultural studies approach, Roche sifts aspects of the American horror movie that have been widely addressed (class, the patriarchal family, gender, and the opposition between terror and horror) and those that have been somewhat neglected (race, the Gothic, style, and verisimilitude). Containing seventy-eight black and white illustrations, the book is grounded in a close comparative analysis of the politics and aesthetics of four of the most significant independent American horror movies of the 1970s--The Texas C

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Book SynopsisAn expansive and insightful collection of interviews with one of cinema's highly regarded filmmakers.

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Book SynopsisTracks filmmaker Harmony Korine's stunning rise, fall, and rise again through his own evolving voice. Bringing together interviews collected from over two decades, this unique chronicle includes rare interviews unavailable in print for years and an extensive, new conversation recorded at the filmmaker's home in Nashville.

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Book SynopsisMartin Scorsese (b. 1942) has long been considered one of America's greatest cinematic storytellers. Over the last fifty years he has created some of the most iconic moments in American film, never afraid to confront controversial issues with passion. This collection was originally edited by the late Peter Brunette in 1999 and is now revised and extensively updated by Robert Ribera.

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Book SynopsisBefore he was the Academy Award-nominated director of The Last Picture Show, Peter Bogdanovich interviewed some of cinema's great masters. Since becoming an acclaimed filmmaker himself, he has given countless interviews to the press about his own career. This volume collects thirteen of his best, most comprehensive, and most insightful of these interviews.

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Book SynopsisIn the summer of 2000 X-Men surpassed all box office expectations and ushered in an era of unprecedented production of comic book film adaptations. From superheroes to Spartan warriors, The Comic Book Film Adaptation offers the first dedicated study to examine how comic books moved from the fringes of popular culture to the centre of mainstream film production.Trade ReviewBy far the most insightful look ever at superheroes in film. It's not about what's been translated from comics to the movies - it's about why it has, how it has, and why it works well enough to produce some of the most popular movies in all of cinema history. There is no better, smarter examination of the relationship between comics and film."" - Mark Waid, Eisner Award-winning writer of Kingdom Come and Daredevil.""Liam Burke takes the reader on a compelling journey through this new ‘Golden Age' of adaptation, his argument combining the rigorous, exhaustive research of a committed scholar with the energy and encyclopedic knowledge of a passionate fan. This is a serious book about comic books and their relationship with cinema; it is seriously enjoyable, and also seriously important."" - Will Brooker, author of Hunting the Dark Knight and editor of Cinema Journal.""What is all too often an overlooked form is finally given the seriousness it deserves in The Comic Book Film Adaptation. A most welcome intervention in the field of adaptation studies."" - Deborah Cartmell, coauthor of Screen Adaptation: Impure Cinema and coeditor of the journal Adaptation.""Burke presents a masterly and engaging argument regarding cultural, technological, and industry transformations, which have facilitated a shift in the comic book form - on page and on screen - from the margins to the mainstream. This excellent book is sure to become a key text in the burgeoning field of comics studies, while also having a great deal to offer film and media studies."" - Angela Ndalianis, editor of The Contemporary Comic Book Superhero and Super/Heroes: From Hercules to Superman"a fascinating read, both for aficionados of the comic book and students of modern film trends" - Barry Forshaw, Crime Time & DVD Choice

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Book SynopsisIncludes twenty interviews with Fred Schepisi and two with longtime collaborators, cinematographer Ian Baker and composer Paul Grabowsky. The interviews trace the filmmaker's career from his beginnings in advertising, through his two early Australian features to his subsequent work in the United States and beyond.

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Book SynopsisOriginally published in 1998, On Sunset Boulevard describes the life of acclaimed filmmaker Billy Wilder (1906-2002). This definitive biography takes the reader on a fast-paced journey from Billy Wilder's birth outside of Krakow to Vienna, where he grew up, to Berlin, where he moved as a young man, and triumphantly to Hollywood.

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Book SynopsisThough he has made only five films in two decades, Australian writer-director Baz Luhrmann is an internationally known brand name. In this collection of interviews, Luhrmann discusses his methods and his motives, explaining what has been important to him and his collaborators from the start and how he has been able to maintain an independence from the studios that have backed his films.Trade ReviewThis work aims to capture- mostly in his own words- the director's distinctive vision and the origins and evolution of his highly romantic, camp style.""- The Age (Melbourne, Australia)

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Book SynopsisDouglas Sirk (1897-1987) brought to all his work a distinctive style that led to his reputation as one of twentieth-century film's great directors. This book offers fresh insights into all of the director's films and situates them in the culture of their times. Tom Ryan also incorporates extensive interview material drawn from a variety of sources.

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Book SynopsisDavid O. Russell (b. 1958) boasts a diverse body of work as a writer and director, spanning multiple genres and featuring radically differing aesthetic styles. This career-spanning volume features conversations with scholars and journalists as well as filmmakers, revealing Russell's evolving writing and directing process, and opening his life to reveal how a remarkable body of work has come to be.

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Book SynopsisAmerican filmmaker John Cassavetes (1929-1989) made only nine independent films during a quarter century, but those films affected the cinema culture of the 1960s to the 1980s in unprecedented ways. With a close nucleus of actors and crew members on his team, Cassavetes created films that explored the gritty side of human relationships.Trade ReviewOldham . . . identifies the essences of this pioneer: an actor's director 'who felt compelled to let his actors unleash their potentials, shape their own cinematic realities, and play them out naturally on the screen'; . . . a specialist 'in men-women relationships and their emotional dysfunctions'; . . . and always an artist 'with almost child-like admissions of a belief in humanity's better self ' and 'a surprising naiveté he transferred to his characters, both male and female.'"" - Kurt Brokaw, The Independent""A particularly important book for film courses, either as a primary text to provide a definition of how a consummate independent filmmaker feels and works or as a supporting text in a course on filmmaking and critical studies."" - Lowell Harris, adjunct professor of film studies, University of Tampa

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Book SynopsisAfter a robust career in the Netherlands as the country's most successful director, Paul Verhoeven built an impressive career in America with controversial blockbusters. Paul Verhoeven: Interviews covers every phase of the director's career, beginning with Dutch newspaper interviews dating back to 1968 and ending with previously unpublished interviews dedicated to his most recent work.

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Book SynopsisWong Kar-wai's signature style - experimental, emotive, character-driven, and timeless - remains apparent throughout his films. This volume includes interviews that appear in English for the first time, including some that appeared in Hong Kong magazines now out of print. The interviews cover each of Wong’s feature films.

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Book SynopsisSpanning twenty-five years, these conversations reveal Steven Soderbergh to be as self-effacing and lighthearted in his later more established years as he was when just beginning to make movies. He comes across as a man undaunted by the glitz and power of Hollywood, remaining, above all, a truly independent filmmaker.

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Book SynopsisIranian filmmaker Jafar Panahi is as famous for his remarkable films as for his courageous defiance of Iran's state censorship. In sparkling, lively interviews, Panahi reveals his influences, politics, and filmmaking practices, and explains the challenges he faces while working within (and often around) Iran's heavily restricted film industry.

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