Films, cinema Books
University of California Press Celluloid Symphonies
Book SynopsisA sourcebook of writings on music for film, bringing together fifty-three critical documents. It includes essays by those who created the music and outlines the major trends, aesthetic choices, technological innovations, and commercial pressures that have shaped the relationship between music and film from 1896 to the present.Trade Review"Hubbert has provided a useful supplemental resource for those interested in the history of film music." -- M. Goldsmith ChoiceTable of ContentsPreface Acknowledgments PART ONE. PLAYING THE PICTURES: MUSIC AND THE SILENT FILM (1895--1925) Introduction 1. F.{ths}H. Richardson / Plain Talk to Theater Managers and Operators (1909) 2. Incidental Music for Edison Pictures (1909) 3. Louis Reeves Harrison / Jackass Music (1911) 4. Eugene A. Ahern / from What and How to Play for Pictures (1913) 5. Clarence E. Sinn / Music for the Picture (1911) 6. W. Stephen Bush / The Art of Exhibition: Rothapfel on Motion Picture Music (1914) 7. Edith Lang and George West / from Musical Accompaniment of Moving Pictures (1920) 8. George Beynon / from Musical Presentation of Motion Pictures (1921) 9. Erno Rapee / from Encyclopaedia of Music for Pictures (1925) 10. Two Thematic Music Cue Sheets: The Thief of Bagdad (1924) and Dame Chance (1926) 11. Hugo Riesenfeld / Music and Motion Pictures (1926) 12. Publishers Win Movie Music Suit (1924) PART TWO. ALL SINGING, DANCING, AND TALKING: MUSIC IN THE EARLY SOUND FILM (1926--1934) Introduction 13. New Musical Marvels in the Movies (1926) 14. Musicians to Fight Sound-Film Devices (1928) 15. Mark Larkin / The Truth about Voice Doubling (1929) 16. Jerry Hoffman / Westward the Course of Tin-Pan Alley (1929) 17. Sigmund Romberg / What's Wrong with Musical Pictures? (1930) 18. Verna Arvey / Present Day Musical Films and How They Are Made Possible (1931) 19. Stephen Watts / Alfred Hitchcock on Music in Films (1934) PART THREE. CARPET, WALLPAPER, AND EARMUFFS: THE HOLLYWOOD SCORE (1935--1959) Introduction 20. George Antheil / Composers in Movieland (1935) 21. Leonid Sabaneev / The Aesthetics of the Sound Film (1935) 22. Max Steiner / Scoring the Film (1937) 23. Erich Wolfgang Korngold / Some Experiences in Film Music (1940) 24. Denis Morrison / What Is a Filmusical? (1937) 25. Aaron Copland / Music in the Films (1941) 26. Harold C. Schonberg / Music or Sound Effects? (1947) 27. Theodor Adorno and Hanns Eisler / The New Musical Resources (1947) 28. Arthur Knight / Movie Music Goes on Record (1952) 29. Elmer Bernstein / The Man with the Golden Arm (1956) 30. Louis and Bebe Barron / Forbidden Planet (1956) 31. James Hillier / Interview with Stanley Donen (1977) 32. Alan Freed / One Thing's for Sure, R 'n' R Is Boffo B.O. (1958) PART FOUR. THE RECESSION SOUNDTRACK: FROM ALBUMS TO AUTEURS, SONGS TO SERIALISM (1960--1977) Introduction 33. June Bundy / Film Themes Link Movie, Disk Trades (1960) 34. Eddie Kalish / Mancini Debunks Album Values (1961) 35. Herrmann Says Hollywood Tone Deaf as to Film Scores (1964) 36. Gene Lees / The New Sound on the Soundtracks (1967) 37. Renata Adler / Movies: Tuning In to the Sound of New Music (1968) 38. Ennio Morricone / Towards an Interior Music (1997) 39. Harvey Siders / Keeping Score on Schifrin: Lalo Schifrin and the Art of Film Music (1969) 40. BBC Interview with Jerry Goldsmith (1969) 41. Harvey Siders / The Jazz Composers in Hollywood: A Symposium (1972) 42. Steven Farber / George Lucas: Stinky Kid Hits the Bigtime (1974) 43. Elmer Bernstein / The Annotated Friedkin (1974) 44. David Raksin / Whatever Became of Movie Music? (1974) PART FIVE. THE POSTMODERN SOUNDTRACK: FILM MUSIC IN THE VIDEO AND DIGITAL AGE (1978--PRESENT) Introduction 45. Susan Peterson / Selling a Hit Soundtrack (1979) 46. Craig L. Byrd / Interview with John Williams (1997) 47. Terry Atkinson / Scoring with Synthesizers (1982) 48. Marianne Meyer / Rock Movideo (1985) 49. Stephen Holden / How Rock Is Changing Hollywood's Tune (1989) 50. Randall D. Larson / Danny Elfman: From Boingo to Batman (1990) 51. Interviews from The Celluloid Jukebox (1995) 52. Philip Brophy / Composing with a Very Wide Palette: Howard Shore in Conversation (1999) 53. Rob Bridgett / Hollywood Sound (2005) Index
£30.60
University of California Press Carnal Thoughts Embodiment and Moving Image
Book SynopsisIn these innovative essays, Vivian Sobchack considers the key role our bodies play in making sense of today's image-saturated culture. Emphasizing our corporeal rather than our intellectual engagements with film and other media, Carnal Thoughts shows how our experience always emerges through our senses and how our bodies are not just visible objects but also sense-making, visual subjects. Sobchack draws on both phenomenological philosophy and a broad range of popular sources to explore bodily experience in contemporary, moving-image culture. She examines how, through the conflation of cinema and surgery, we've all had our eyes done; why we are moved by the movies; and the different ways in which we inhabit photographic, cinematic, and electronic space. Carnal Thoughts provides a lively and engaging challenge to the mind/body split by demonstrating that the process of making sense requires an irreducible collaboration between our thoughts and our senses.Trade Review"Carnal Thoughts wonderfully conveys the phenomenological aim of Sobchack's work. It is an important contribution to the field. It is also accessible and almost scandalously fun to read. The voice of a wise, eloquent, and witty woman emerges from these pages and keeps the reader constantly engaged." - Linda Williams, author of Playing the Race Card; "Powerfully written and movingly personal, Carnal Thoughts consistently demonstrates what an embodied film criticism might actually be. Sobchack is insistent, impassioned, and persuasive in her attempt to show how cinematic spectatorship is always more than visual. The scholarship is superior, the organization is strong, and the literary style is accomplished, engaging, and polished. This is an extremely important work." - Patrice Petro, author of Aftershocks of the New"
£27.00
University of California Press A Critical Cinema 4
Book SynopsisA Critical Cinema 4 is the fourth volume in Scott MacDonald's Critical Cinema series, the most extensive, in-depth exploration of independent cinema available in English. In this new set of interviews, MacDonald once again engages filmmakers in detailed discussions of their films and of the personal experiences and political and theoretical currents that have shaped their work. The interviews are arranged to express the remarkable diversity of modern independent cinema and the network of interconnections within the community of filmmakers. A Critical Cinema 4 includes the most extensive interview with the late Stan Brakhage yet published; a conversation with P. Adams Sitney about his arrival on the New York independent film scene; a detailed discussion with Peter Kubelka about the experience of making Our African Journey; a conversation with Jill Godmilow and Harun Farocki on modern political documentary; Jim McBride's first extended published conversation in thirty years; a discussion with Abigail Child about her evolution from television documentarian to master editor; and the first extended interview with Chuck Workman. This volume also contains discussions with Chantal Akerman about her place trilogy; Lawrence Brose on his examination of Oscar Wilde's career; Hungarian Peter Forgacs about his transformation of European home movies into video operas; Iranian-born Shirin Neshat on working between two cultures; and Ellen Spiro about exploring America with her video camera and her dog. Each interview is supplemented by an introductory overview of the filmmaker's contributions. A detailed filmography and a selected bibliography complete the volume.Trade Review"An invaluable addition to the first three volumes of A Critical Cinema. This volume continues an exciting journey through the landscape of the different forms of the noncommercial cinema that is rich in information, insights and enthusiasm." - Jonas Mekas"
£27.90
University of California Press Backstory 4
Book SynopsisFeatures several interviews, giving detailed and personal stories from veteran screenwriters of the seventies and eighties, focusing on their craft, their lives, and their profession. Looking at how movies get made, this work offers a different perspective on many of the great movies, directors, and actors of the seventies and eighties.Trade Review"Backstory 4 lives up to the high standards of the previous volumes, providing us with intimate, funny, insightful conversations with the highly articulate and film-literate screenwriters and writer-directors of many of the most memorable American films from the 1970s and 1980s, the era of the movie brats, the cult film, and the blockbuster. Each interview is a revelation. Both the interviewers and the subjects are great company. Editor Patrick McGilligan has done it again." - Matthew Bernstein, editor of Controlling Hollywood"Table of ContentsAcknowledgments Introduction Robert Benton: The New Traditionalist Interview by Christian Keathley Larry Cohen: Manic Energy Interview by Patrick McGilligan Blake Edwards: Jumping Around Interview by Bill Krohn Walter Hill: Last Man Standing Interview by Patrick McGilligan Ruth Prawer Jhabvala: Out of India Interview by Vincent LoBrutto Lawrence Kasdan: A Humanist in Hollywood Interview by Graham Fuller Elmore Leonard: The Hot Kid Interview by Patrick McGilligan Paul Mazursky: A Map of the Heart Interview by Nat Segaloff Nancy Meyers: Late Bloomer Interview by Fred Topel John Milius: The Good Fights Interview by Nat Segaloff Frederic Raphael: Renaissance Man Interview by John Baxter Alvin Sargent: Pursuit and Destination Interview by Patrick McGilligan Donald E. Westlake: The Worst That Could Happen Interview by Patrick McGilligan Bibliographic Notes About the Contributors General Index Index of Films, Plays, and Books
£27.00
University of California Press Americanizing the Movies and MovieMad Audiences
Book SynopsisAnalyzes film distribution and exhibition practices in order to reconstruct a context for understanding moviegoing at a time when American cities were coming to grips with new groups of immigrants and women working outside the home. This book talks about the history of the film industry, and about the process of imaging a national community.Trade Review"Like all of Richard Abel's previous works, this book is characterized by careful marshalling of data and the exploration of new sources. There is a wealth of extremely important, instructive information, and the book provides an encyclopedic treatment of film exhibition in the early 1910s and the key film genres of the period. This will be an important book for film studies." - Lea Jacobs, University of Wisconsin, Madison"Table of ContentsList of Illustrations Acknowledgments "L'Envoi of Moving Pictures," Motion Picture Story Magazine (June 1912) Introduction "Signs of the Times," Motion Picture Story Magazine (February 1912) Chapter 1 : American Variety and/or Foreign Features: The Throes of Film Distribution Document: "The Backbone of the Business," Motography (20 September 1913) "The Power of a Nickel," Motion Picture Story Magazine (March 1912) Entr'acte 1: Mapping the Local Terrain of Exhibition Document: "Moving Pictures and Their Audiences," Moving Picture News (16 September 1911) "My Picture Girl," Motion Picture Story Magazine (June 1912) Chapter 2: The "Usable Past" of Westerns: Cowboy, Cowboy Girl, and Indian Pictures, Part 1 Document: "The 'Bison-101' Headliners," Moving Picture World (27 April 1912) "Bein' Usher in a Motion Picture Show," Motion Picture Story Magazine (June 1912) Entr'acte 2: Moviegoing Habits and Everyday Life Document: "Some Picture Show Audiences," Outlook (24 June 1911) "The Motion Picture Cowboy," Motion Picture Story Magazine (August 1912) Chapter 3: The "Usable Past" of Westerns: Cowboy, Cowboy Girl, and Indian Pictures, Part 2 Document: "Latest Snapshots Local and Worldwide," Cleveland Leader (2 March 1913) "In a Minor Chord," Moving Picture News (25 November 1911) Entr'acte 3: A "Forgotten" Part of the Program: Illustrated Songs Document: "Unique Effects in Song Slides," Film Index (6 May 1911) "A Dixie Mother," Motion Picture Story Magazine (July 1911) Chapter 4 : The "Usable Past" of Civil War Films: The Years of the "Golden Jubilee" Document: "Sundered Ties," Moving Picture World (14 September 1912) Document: "Feature Films: The Battle of Gettysburg," New York Dramatic Mirror (11 June 1913) "He's Seen a Lot," New York Morning Telegraph (8 September 1912) Entr'acte 4: Another "Forgotten" Part of the Program: Nonfiction Document: "Reviews of Special Feature Subjects," New York Dramatic Mirror (24 April 1912) "The Maid of the Movies," New York Morning Telegraph (14 December 1913) Chapter 5: The "Usable Present" of Thrillers: From the Jungle to the City Document: "Advertising and Criticising," Moving Picture World (23 November 1912) "The Photoplayers," Photoplay Magazine (July 1913) Entr'acte 5: Trash Twins: Newspapers and Moving Pictures Document: "Moving Picture Sections," Motography (5 April 1913) "The M.P. Girl," New York Dramatic Mirror (12 June 1912) Chapter 6: "The Power of Personality in Pictures": Movie Stars and "Matinee Girls" Document: "Personality a Force in Pictures," New York Dramatic Mirror (15 January 1913) Document: "{hrs}'Miss Billie Unafraid'--Torn by a Tiger but Nervy as Ever to Act the Most Daring Things Ever Seen on the Stage!--Heroine of Movies," Des Moines News (17 November 1912) Document: "Sees the Movies as Great, New Field for Women Folk," Toledo News-Bee (30 March 1914) Notes Bibliography Index
£27.00
University of California Press Film as Art 50th Anniversary Printing
Book SynopsisFocuses on the way art in film was derived from that medium's early limitations: no sound, no color, no three-dimensional depth.Trade Review"More than half a century since its initial publication, this deceptively compact book remains among the most incisive analyses of the formal and perceptual dynamics of cinema. No one who cares about film can afford to remain ignorant of its insights and wisdom. As digital technology fundamentally alters motion pictures, the lessons of Film as Art commend themselves as excellent insurance against reinventing the wheel in the new media landscape and hailing it as progress." - Edward Dimendberg author of Film Noir and the Spaces of Modernity "After more than eight decades, Rudolph Arnheim's small book of film theory remains one of the essential works in defining film art, understanding film less as reproducing the world than as opening up new possibilities for formal play and unexpected imagery. Anyone serious about film, whether scholar, filmmaker or simply a lover of cinema, must take Arnheim seriously." - Tom Gunning, author of The Films of Fritz Lang (2000) and D.W. Griffith and the Origins of American Narrative Film (1994)"Table of Contents1957 A Personal Note 1933 Selections Adapted from Film 1 Film and Reality 2 The Making of a Film 3 The Content of the Film 4 The Complete Film 1933 The Thoughts That Made the Picture Move 1934 Motion 1935 A Forecast of Television 1938 A New Laocoon: Artistic Composites and the Talking Film
£27.00
University of California Press Hollywood in the Neighborhood
Book SynopsisPresents a picture of how movies entered the American heartland. This book examines the social and cultural changes this form of entertainment brought to towns from Gastonia, North Carolina to Placerville, California, and from Norfolk, Virginia to rural Ontario and beyond.Trade Review"Virtually every essay is empirical, detailed, and fully documented... This volume is a rarity--fully, sometimes stolidly, fact based: film theory with its feet planted firmly on the ground." Choice "This is a valuable contribution to current debates ... about film exhibition ... [and] film history as a whole." Screening The PastTable of ContentsPART I: INTRODUCTION-SETTING THE CONTEXTS 1. Introduction: Researching and Writing the History of Local Moviegoing Kathryn H. Fuller-Seeley and George Potamianos 2. Decentering Historical Audience Studies: A Modest Proposal Robert C. Allen PART II: ORIGINS-CASE STUDIES 3. The Itinerant Movie Show and the Development of the Film Industry Calvin Pryluck 4. Early Film Exhibition in Wilmington, North Carolina Anne Morey 5. Building Movie Audiences in Placerville, California, 1908-1915 George Potamianos 6. Cinema Virtue, Cinema Vice: Race, Religion, and Film Exhibition in Norfolk, Virginia, 1908-1922 Terry Lindvall PART III: INTEGRATION AND VARIATIONS-CASE STUDIES 7. The Movies in a "Not So Visible Place": Des Moines, Iowa, 1911-1914 Richard Abel 8. Digging the Finest Potatoes from Their Acre: Government Film Exhibition in Rural Ontario, 1917-1934 Charles Tepperman 9. At the Movies in the "Biggest Little City in Wisconsin" Leslie Midkiff DeBauche PART IV: MATURITY AND CRISIS IN THE 1930S-CASE STUDIES 10. Imagining and Promoting the Small-Town Theater Gregory A. Waller 11. "What the Picture Did for Me": Small-Town Exhibitors' Strategies for Surviving the Great Depression Kathryn H. Fuller-Seeley 12. "Something for Nothing": Bank Night and the Refashioning of the American Dream Paige Reynolds PART V: LOOKING BACKWARD, LOOKING FORWARD 13. Bad Sound and Sticky Floors: An Ethnographic Look at the Symbolic Value of Historic Small-Town Movie Theaters Kevin Corbett 14. Conclusion: When Theory Hits the Road Ronald G. Walters Contributors Selected Bibliography Index
£27.00
University of California Press Uncanny Bodies
Book SynopsisPresents an argument that the coming of sound inspired more in the massively influential horror movies than screams, creaking doors, and howling wolves. This book makes a case for understanding film viewing as a force that can powerfully shape both the minutest aspects of individual films and the broadest sweep of film production trends.Trade Review"Rich, insightful book... A poetic and clever analysis, presenting impressive historical scholarship with panache." Choice "Well-researched and persuasive... Uncanny Bodies impressively persuades one to think anew about films." Film Quarterly "Original and stimulating." -- Anneleen Masschelein Image & Narrative "Spadoni's analysis is intriguing." Metro Newspapers "Contributes substantially to the history of film sound as well as the history of classic horror cinema... Lucid, accessible prose." Hist Journal Of Film, Rad, TV "Profoundly original ... Thanks to Robert Spadoni we can now see and hear Dracula and Frankenstein in a fresh light." Music, Sound & The Moving Image "Readers interested in the transition from silent to sound film will find Uncanny Bodies intriguing for its focus specifically on horror films... [He offers a] tight argument and detailed background information on the period." -- Steffen Hantke Film CriticismTable of ContentsAcknowledgments Introduction 1. THE UNCANNY BODY OF EARLY SOUND FILM The Shrinking of Personality The Return of the Medium-Sensitive Viewer The Complexion of the Thing Shadows in Three Dimensions A Modality 2. LUDICROUS OBJECTS, TEXTUALIZED RESPONSES Films as Mirrors of Viewer Response The Hollywood Revue of 1929 Two Ventriloquism Films Svengali 3. THE MYSTERY OF DRACULA Real Emotional Horror Kick The Mystery of Dracula? The Vampire's Hiss and the Madman's Laugh 4. DRACULA AS UNCANNY THEATER Figure Ground 5. FRANKENSTEIN AND THE VATS OF HOLLYWOOD Strong Meat and Monster Food Frankenstein and the Uncanny of Early Sound Film Frankenstein and the Uncanny of Silent Film From Modality to Monad Conclusion Notes Bibliography Films Cited Index
£27.00
University of California Press Body Shots
Book SynopsisArgues that it was the human form in motion that most profoundly shaped early cinema. Situating his discussion in a political and historical context, the author begins his analysis with films that reveal striking anxieties and preoccupations about persons on public display. It also considers twentieth-century American incarnation of cinema itself.Trade Review"It is essential reading and serve to remind us of the richness of this period of cinema production for film scholarship." -- Anna Dzenis Screening The Past "Brings a refreshing perspective to the study of early cinema." -- Abigail Salerno American Literature "Carefully locating his work in relation to scholarship that has characterized the period as 'cinema of attractions,' Auerbach provides a supplement to, rather than a repudiation of, this important scholarship." -- Steve J. Wurtzler Journal Of American History "Delightful ... Perhaps most refreshing in Auerbach's writing is his healthy appetite for the action, and the people acting." Year's Work In Critical And Cultural Theory "Clever, erudite, illuminating, and maddening." American Studies JournalTable of ContentsList of Illustrations Acknowledgments Introduction: Body, Movement, Space PART I. BODIES IN PUBLIC 1. Looking In: McKinley at Home 2. Looking Out: Visualizing Self-Consciousness Interlude. The Vocal Gesture: Sounding the Origins of Cinema PART II. BODIES IN SPACE 3. Chasing Film Narrative 4. Windows 1900; or, Life of an American Fireman Conclusion: The Stilled Body Notes Bibliography Index
£27.00
University of California Press Visions of Japanese Modernity
Book SynopsisExplores the processes by which film was defined, transformed, and adapted during its first three decades in Japan. The author focuses in particular on how one trend in criticism, the "Pure Film Movement", changed not only the way films were made, but also how they were conceived.Trade Review"The author offers not just a history of early Japanese cinema but also a history of Japanese film studies that describes the struggles to define cinema, control spectatorship, and articulate modernity." Choice "Remarkable for it breadth and precision." -- Alexander Jacoby Sight & Sound Magazine "The book has a wealth of information." -- Vili Maunula Akirakurosawa.infoTable of ContentsContents List of Illustrations Acknowledgments Introduction 1. The Motion Pictures as a Problem 2. Gonda Yasunosuke and the Promise of Film Study 3. Studying the Pure Film 4. The Subject of the Text: Benshi, Authors, and Industry 5. Managing the Internal Conclusion: Mixture, Hegemony, and Resistance Notes Selected Bibliography Index
£27.00
University of California Press The Fun Factory
Book SynopsisEven as Keystone Film Company brought 'lowbrow' comic traditions to the screen, the studio played a key role in reformulating those traditions for a new, cross-class audience. This book explores the dimensions of that process, arguing for a fresh understanding of working-class cultural practices within early cinematic mass culture.Trade Review"A searching and briskly authoritative history." National Post "[An] ambitious and innovative study [and] an important contribution... A wonderful analysis of the historical and cultural complexity of this key moment of modernity and one of its major industries. [It] should be compulsory to all scholars in the field." Leonardo Reviews "Essential reading for all those film historians not necessarily interested in slapstick comedy." Screening The Past "This studio history ... offers insights on the politics of early filmmaking through the sociology of laughter." Communication Booknotes QuarterlyTable of ContentsList of Illustrations Acknowledgments Introduction PART I: "SATIRE IN OVERALLS": THE KEYSTONE FILM COMPANY AND POPULAR CULTURE 1. "The Fun Factory": Class, Comedy, and Popular Culture, 1912-1914 2. "Funny Germans" and "Funny Drunks": Clowns, Class, and Ethnicity at Keystone, 1913-1915 3. "The Impossible Attained!" Tillie's Punctured Romance and the Challenge of Feature-Length Slapstick, 1914-1915 PART II: "MORE CLEVER AND LESS VULGAR": THE KEYSTONE FILM COMPANY AND MASS CULTURE 4. "Made for the Masses with an Appeal to the Classes": Keystone, the Triangle Film Corporation, and the Failure of Highbrow Film Culture, 1915-1917 5. "Uproarious Inventions": Keystone, Modernity, and the Machine, 1915-1917 6. From "Diving Venus" to "Bathing Beauties": Reification and Feminine Spectacle, 1916-1917 Conclusion Notes Filmography Index
£27.00
University of California Press The Frodo Franchise The Lord of the Rings and
Book SynopsisExamines the movie, "The Lord of the Rings", its scripting and design and technologies deployed to produce the films, video games, and DVDs. This book demonstrates the impact "Rings" had on the companies that made it, on the fantasy genre, on New Zealand, and on independent cinema.Trade Review"The Frodo Franchise is the best case study yet written about film as a commodity in the global marketplace." -- Stephen Prince Film Quarterly "For any person interested in the role of franchise film making on modern Hollywood, The Frodo Franchise should be considered required reading." -- Terry Hobgood Film International "A lively and quick read that should appeal to scholars and fans alike." Tolkien Studies "It's always more satisfying to follow the art than the money, but in this comprehensive study you can do both." -- Richard Von Busack Metro Newspapers "Whether you are a film scholar, a student, or a Tolkien enthusiast, you will benefit from her [Thompson's] efforts." Journal Of Popular CultureTable of ContentsList of Illustrations Preface and Acknowledgments List of Interviews Abbreviations Introduction: Sequel-itis PART ONE: THE FILM 1. Prudent Aggression 2. Not Your Father's Tolkien 3. Handcrafting a Blockbuster PART TWO: BUILDING THE FRANCHISE 4. Flying Billboards and FAQs 5. Click to View Trailer 6. Fans on the Margins, Pervy Hobbit Fanciers, and Partygoers PART III: BEYOND THE MOVIE 7. Licenses to Print Money 8. Interactive Middle-earth PART IV: THE LASTING POWER OF THE RINGS 9. Fantasy Come True 10. Right in Your Own Backyard Notes Index
£20.70
University of California Press Ride Boldly Ride
Book SynopsisA study of the Western that covers its history from the early silent era to recent spins on the genre in films such as No Country for Old Men, There Will Be Blood, True Grit, and Cowboys & Aliens. It also examines various forms of genre-revival and genre-revisionism that have recurred over the years.Trade Review"A fascinating inquiry into how the lowly American Western evolved into one of our most respected and beloved film genres." -- Tom Lavoie Shelf Awareness For Readers "Perceptive, wide-ranging." American History "An in-depth look at the development of the world of Western films from its first silent versions to recent Clint Eastwood movies." -- Kristin Yinger Los Angeles Magazine First-rate film books like this one are like good cookbooks; they tell you what to shop for (in this case on Netflix) and help you savor it. -- Zara Raab SF / Sacramento Book Rev / 1776 Prod "Both encyclopedic and a page turner, which is almost impossible to accomplish ... 'Ride, Boldly Ride' informs, engages and entertains as few books can." -- William David Barry Portland Press Herald "The attraction here is sourdough expertise: the authors have drunk deep of the classics of the genre... If you feel at home in the Hollywood Western, RIDE, BOLDLY RIDE will wrap over you like a warm blanket on a cold night in big sky country." -- Thomas Doherty Cineaste "The authors are authorities in the field of cinema, and their level of analysis is very high. The scope of cinematic knowledge is broad and deep, and the writing is clear and engaging... Highly recommended for all readers." -- R. Ducharme CHOICETable of ContentsList of Illustrations Acknowledgments Foreword Introduction 1. Diverse Perspectives in Silent Westerns: Landscape, Morality, and the Native American 2. Not at Home on the Range: Women against the Frontier in The Wind 3. "He Went That-Away": The Comic Western and Ruggles of Red Gap 4. Landscape and Standard-Setting in the 1930s Western: The Big Trail and Stagecoach 5. Indian- Fighting, Nation-Building, and Homesteading in the A-Western: Northwest Passage and The Westerner 6. Howard Hawks and John Wayne: Red River and El Dorado 7. The Postwar Psychological Western (1946-- 1956): My Darling Clementine to Jubal 8. John Ford's Later Masterpieces: The Searchers and The Man Who Shot Liberty Valance 9. The Existential and Revisionist Western: Comanche Station to The Wild Bunch and Beyond 10. Eastwood and the American Western: High Plains Drifter, The Outlaw Josey Wales, and Unforgiven 11. Coda: From Lonesome Dove (1989) to Cowboys and Aliens (2011) Notes Bibliography Index
£28.90
University of California Press The Passion of Montgomery Clift
Book SynopsisFrom his 1948 film debut in Red River through such classics as The Heiress, A Place in the Sun, and From Here to Eternity, Montgomery Clift epitomized the naturalistic style of acting. This book challenges the myth of Clift as tragic victim by examining his participation in the manipulation of his image, and his interactions with writers.Trade Review"This book makes a valuable contribution to star studies as well as enhancing our understanding of Clift's work." -- Martin Shingler Screen Journal
£27.00
University of California Press The Anatomy of Harpo Marx
Book SynopsisOffers a detailed play-by-play account of Harpo Marx's physical movements as captured on screen. This title guides us through the thirteen Marx Brothers films, from The Cocoanuts in 1929 to Love Happy in 1950, to focus on Harpo's chief and yet heretofore unexplored attribute - his profound and contradictory corporeality.Trade Review"A zesty and deeply literate joy to read." -- Jonathan Kiefer New Haven Review "A charming and rigorous study." -- Brian Dillon Sight & Sound Magazine "A fittingly zany, aphoristic, and meandering study of the great mime of Marx Brothers fame... Koestenbaum's approach to Harpo makes for highly animated reading." -- Noah Isenberg Bookforum "Koestenbaum provides an informed, original, and near-obsessive assessment of all things Harpo." Publishers Weekly "Provocative, original scholarship that lights a fire under the typically stodgy studies that we usually get from university press star biographies." -- Dennis King OklahomanTable of ContentsAcknowledgments I. Early Ecstatic Emptiness The Holy Fool Flees Language's Stink Bomb: The Cocoanuts (1929) Pinky, the Pointing Scapegoat, Lags Behind: Duck Soup (1933) The Mad Mohel's Goo-Goo Eyes of Monomaniacal Attunement: A Night at the Opera (1935) Poppy Power; or, The Thick-Enough Art of Zombie Dumbfoundment: Animal Crackers (1930) II. Later Astonishments Fake Dead Jew as Cute Zoo-Idiot: Room Service (1938) Passe Punchy's Humiliated Buddy Huddle: At the Circus (1939) Freeze Rusty's Anal Rage in a Cozy Void: Go West (1940) Lonely Wacky's Incremental Lines of Flight: The Big Store (1941) The Bubble-Blowing Demarcator Tickles Totality: A Night in Casablanca (1946) Bulge, Glaze, Pause, Shock; or, The Bushy-Haired Ragpicker's Burnt Offering: Love Happy (1949) III. The Idiot Tumbles Back to the Beginning of Time The Undeliverable Ice of Pinky's Mom-Mouth: Horse Feathers (1932) The Kippering, Bopping, Shushing, Bear-Hugging, Beard-Pulling Bustle: Monkey Business (1931) The Pretzel Glimmer-Eye of Stuffy's Stuttering Surge: A Day at the Races (1937)
£27.00
University of California Press Hollywood 1938
Book SynopsisDrawing on the records of studio personnel, independent exhibitors, moviegoers, and the motion pictures themselves, this title analyzes what was wrong - and right - with Hollywood at the end of a heralded decade, and how the industry's troubles changed the making and marketing of films in 1938 and beyond.Trade Review"A fascinating and substantial contribution to the cultural history of Hollywood film... Highly recommended." -- S. C. Dillon, Bates College ChoiceTable of ContentsList of Illustrations Acknowledgments Introduction: Hollywood Looks at Its Audience Part One: The Campaign 1. Annus Horribilis Goldwyn's Folly Such a Thing as Bad Publicity The Moviegoing Habit 2. Exhibitors, the Movie Quiz Contest, and a Divided Industry The Minds of Exhibitors The Carrot and the Stick The Quiz Contest on the Ground What the Contest Did for Me Independents Rebel 3. The Campaign and the Press The Film Industry Speaks Its Mind Marginal Moviegoers The Gossip Columnists The Dailies Have Their Say Part Two: The Films 4. "The Finest Array of Productions" Ninety-Four Films The Death of Glamour Human Films The Human Side of Screwball You Can't Take It with You Four Daughters Boys Town Marie Antoinette That's Entertainment The Fourth Estate Conclusion: Motion Pictures' Worst Year Appendix 1 Appendix 2 Notes Index
£27.00
University of California Press The Black Hole of the Camera
Book SynopsisAndy Warhol, one of the twentieth century's major visual artists, was a prolific filmmaker who made hundreds of films, many of them - "Sleep", "Empire", "Blow Job", "The Chelsea Girls", and "Blue Movie" - seminal but misunderstood contributions to the history of American cinema. This title provides a survey and analysis of Warhol's films.Trade Review"Challenge[s] the entire field to discover the pleasures and rewards of respecting the specificity and integrity of Warhol's production." Artforum "Murphy has derived a highly unique, counterintuitive map, tracing Warhol's cinematic influence to the heart of U.S. art cinema." Cineaste "Murphy's study is critical to any understanding of Warhol's impact and influence as a filmmaker... This is one of the best books on Warhol's films to date." Choice "Forget everything you think you know about Andy Warhol... In encouraging us to completely rethink Warhol, Murphy's real strength is the way he's able to make these films sound so alive and vibrant." Bad Lit "Murphy's engaging study gives us Warhol the visionary." Times Higher Education "Fascinating and essential... A product of thoroughly engaged research." -- Jack Sargeant Filmink Magazine "An engaging, invaluable volume that does much to reframe Warhol's complex use of [film]... A terrific resource." Fandor.comTable of ContentsList of Illustrations Acknowledgments Introduction: Try Not to Blink 1. The Early Films of Andy Warhol: Obeying the Machine 2. Scenarios by Ronald Tavel: We Have Your Number 3. Films Made with Chuck Wein: Mind Games 4. The Sound Portraits: Doing Ourselves 5. Expanded Cinema: Come Blow Your Mind 6. The Sexploitation Films: Enticing the Raincoat Crowd 7. Paul Morrissey Films: Confidential Stories Conclusion: The Factory of the Future Notes Selected Filmography Bibliography Index
£27.00
University of California Press Late Godard and the Possibilities of Cinema
Book SynopsisMakes a contribution to scholarship on Jean-Luc Godard, especially his films and videos since the late 1980s. Through detailed analyses of extended sequences, technical innovations, and formal experiments, the author provides an original interpretation of a series of several internally related films.Trade Review"[Morgan navigates] provocative claims ... with a rigorous logic that his lucid prose is able to explicate on both micro and macro levels." -- Clayton Dillard Slant Magazine "Valuable... An enormous boon for thinking about Godard's late work and an enjoyable read beyond that... Highly Recommended." -- R. P. Kinsman ChoiceTable of ContentsList of Illustrations Preface Acknowledgments Introduction PART ONE 1. The Work of Aesthetics 2. Nature and Its Discontents 3. Politics by Other Means PART TWO 4. Cinema without Photography 5. What Projection Does 6. Cinema after the End of Cinema (Again) Notes Index
£27.00
University of California Press Go West Young Women
Book SynopsisIn the early part of the twentieth century, migrants made their way from rural homes to cities in record numbers and many traveled west. Los Angeles became a destination. Women flocked to the growing town to join the film industry as workers and spectators, creating a New Woman. Their efforts transformed filmmaking from a marginal business to a cosmopolitan, glamorous, and bohemian one. By 1920, Los Angeles had become the only western city where women outnumbered men. In Go West, Young Women! Hilary A. Hallett explores these relatively unknown new western women and their role in the development of Los Angeles and the nascent film industry. From Mary Pickford's rise to become perhaps the most powerful woman of her age, to the racist moral panics of the post-World War I years that culminated in Hollywood's first sex scandal, Hallett describes how the path through early Hollywood presaged the struggles over modern gender roles that animated the century to come.Trade Review"Don't miss Go West, Young Women!" The Huffington Post "A lively look at Hollywood's past, when the movies were still in their infancy, and at the women who were a critical part of it... Highly recommended." -- G. A. Foster ChoiceTable of ContentsList of Illustrations Part I. Along the Road to Hollywood Prologue I. Landscapes 1. "Oh for a girl who could ride a horse like Pearl White": The Actress Democratizes Fame 2. Women-Made Women: Writing the "Movies" before Hollywood Part II. Melodramas of Hollywood's Birth Prologue II. The Postwar Revolution in Morals and Manners, Redux 3. Hollywood Bohemia 4. The Movie Menace 5. A Star Is Born: Rereading Hollywood's First Sex Scandal Conclusion: The Girl from Hollywood Filmography Notes Acknowledgments Index
£22.50
University of California Press ExCinema From a Theory of Experimental Film and
Book SynopsisWhat does it mean for film and video to be experimental? This title features a collection of essays framed by the concept ex- - meaning from, outside, and no longer. It explores the aesthetic, technical, and theoretical reverberations of avant-garde film and video.Table of ContentsList of Illustrations Acknowledgments EXC00 Exergue Ex-cinema EXC01 Out of the Blue (ex nihilo) EXC02 Extimacy: Outside Time and Super-realist Cinema EXC03 Cinemnesis: Martin Arnold's Memory Apparatus EXC04 The Rhetoric of Images, of the Unimaginable EXC05 Derrida, Specters, Self-reflection EXC06 (Parenthesis: Video Ergo Sum) EXC07 Digesture: Gestures Without Bodies EXC08 Extract Matthias Muller EXC09 Revisionary Cinema EXC10 xxxxMA
£50.40
University of California Press ExCinema From a Theory of Experimental Film and
Book SynopsisWhat does it mean for film and video to be experimental? This title features a collection of essays framed by the concept ex- - meaning from, outside, and no longer. It explores the aesthetic, technical, and theoretical reverberations of avant-garde film and video.Table of ContentsList of Illustrations Acknowledgments EXC00 Exergue Ex-cinema EXC01 Out of the Blue (ex nihilo) EXC02 Extimacy: Outside Time and Super-realist Cinema EXC03 Cinemnesis: Martin Arnold's Memory Apparatus EXC04 The Rhetoric of Images, of the Unimaginable EXC05 Derrida, Specters, Self-reflection EXC06 (Parenthesis: Video Ergo Sum) EXC07 Digesture: Gestures Without Bodies EXC08 Extract Matthias Muller EXC09 Revisionary Cinema EXC10 xxxxMA
£999.99
University of California Press First Cut
Book SynopsisOffers an opportunity to learn what film editing really is, and to learn from the source. Filled with animated anecdotes and detailed examples, and updated with a new preface, this book provides a treatment of both documentary and feature film editing.Trade Review"The real accomplishment of Oldham's book is her concentration on the psychology of editors rather than just their technical ingenuity ... Let's hope a third volume of this illuminating series will follow." -- Kevin Lewis Editors Guild MagTable of ContentsAcknowledgements Foreword Harrison Engle Preface to the 2012 Edition Introduction Being an Editor Sheldon Kahn Becoming an Editor Emily Paine Distilling the Documentary Tom Haneke Film as All the Arts Carol Littleton Flashback, Flashforward Harold F. Kress and Carl Kress The Essential Film Geof Bartz Telling Stories Tom Rolf Sparkling Life, Shaping People Paul Barnes Touching the Heart Anne V. Coates Maximizing the Moment Bill Pankow Percussive Editing Paul Hirsch Keeping the Beat Donn Cambern Seeing the Invisible Evan Lottman Remaining Versatile Peter C. Frank Good Stuff Never Changes John D. Dunning Subliminal Truths Ted Winterburn The Inner Voice Sidney Levin Drawing the Emotional Line Merle Worth The Supreme Collabotion Barry Malkin Diplomatic Takes Rudi Fehr Creating a Legacy Richard Marks "Locking Up" Alan Heim Appendix: Awards and Nominations References Index
£22.50
University of California Press American Ethnographic Film and Personal
Book SynopsisTells the history of American filmmakers crucial to the development of ethnographic film and personal documentary. By exploring the cinematic, personal, and professional relationships between these accomplished filmmakers, MacDonald shows how an approach to documentary developed over the past half century.Trade Review"Inestimable addition to the film-studies canon." 10 Best Film-Studies Books of 2013. -- Clayton Dillard Slant Magazine "Intimacy is rarely a word connected to published academic work, and yet I can't think of a better word to distinguish MacDonald's thoroughly researched and rigorously annotated tome from all previous books I've reviewed on these pages." -- Cynthia Close Documentary "This book does justice to a significant and extensive body of documentary filmmaking." Critical Inquiry "MacDonald's connection between the ethnographic and the personal documentary is a fitting and eloquent book topic that draws attention to the blurring of lines between filmic categories and styles." Jump CutTable of ContentsIntroduction A Tentative Overview of Boston-Area Documentary Filmmaking * Ethnographic Film and Personal Documentary * Pragmatism: Learning from Experience * The Mission of American Ethnographic Film and Personal Documentary: The Cambridge Turn * Subjects for Further Research * Acknowledgments 1. Lorna and John Marshall Beginnings: Lorna Marshall and First Film * John Marshall: The Hunters * Idylls of the !Kung * Pedagogy * Expulsion from Eden: Bitter Melons and N!ai, the Story of a !Kung Woman * The Pittsburgh Police Films and Brakhage's Eyes * Putting Down the Camera and Picking Up the Shovel * The Road Taken: A Kalahari Family * A Process in Time 2. Robert Gardner East Coast/West Coast: Early Experiments * Gardner and the Marshalls * Dead Birds * The Experience of Filmmaking as Thought Process * Robert Fulton: Reality's Invisible--"Serious Playing Around" * Screening Room: Midnight Movies * City Symphony: Forest of Bliss * The Return of the Repressed: Ika Hands * Still Journeying On: Unfinished Examinations of a Life * Studio7Arts: Sharon Lockhart's Double Tide and Robert Fenz's Correspondence 3. Timothy Asch Dodoth Morning and the Ethnographic Deadpan * Asch and the Yanomamo * The Ax Fight 4. Ed Pincus and the Emergence of Personal Documentary The Miriam Weinstein Quartet and Richard P. Rogers's Elephants: Fragments of an Argument * Ed Pincus's Diaries (1971--1976) * Alfred Guzzetti: Family Portrait Sittings * Guzzetti: It's a Small World * Guzzetti: Time Exposure 5. Alfred Guzzetti and Personal Cinema Air * Experimental Video: "Language Lessons" * Scylla and Charybdis * Still Point 6. Ross McElwee Finding a Muse: Charleen * Finding a Voice: Ann Schaetzel's Breaking and Entering and McElwee's Backyard * Doppleganger: Sherman's March * Nesting Dolls: Time Indefinite * On the Road Again: Six O'Clock News * Occupational Hazards: Bright Leaves * Orpheus: In Paraguay and Photographic Memory 7. Robb Moss Riverdogs: A Possible Eden * The Tourist: "Freelance Editing" * Voyage of Life: The Same River Twice 8. Panorama: Other Approaches to Personal Documentary Steve Ascher and Jeanne Jordan: Families in Transition * Michel Negroponte: Getting Involved * Leacock and Lalonde * The Subject Rebels: Nina Davenport's Films and Ed Pincus and Lucia Small's The Axe in the Attic * The Political Is the Personal: John Gianvito's Profit Motive and the Whispering Wind and Jeff Daniel Silva's Balkan Rhapsodies * Alexander Olch's The Windmill Movie: "This Little Seance of Flickering Light" * Amie Siegel's DDR/DDR 9. Lucien Castaing-Taylor and Sensory Ethnography Ilisa Barbash, Lucien Castaing-Taylor, and Sweetgrass * "Sheeple": Castaing-Taylor's Audio-Video Installations * The Sensory Ethnography Lab: J. P. Sniadecki, Stephanie Spray, Verena Paravel, and Leviathan Epilogue Appendix: Film Sources Notes Index
£28.90
University of California Press Hitchcock on Hitchcock Volume 2
Book SynopsisA second volume of Alfred Hitchcock's reflections on his life and work and the art of cinema. It offers a collection of interviews, articles with the director's byline, and as-told-to pieces that provides an enlivening perspective on a career that spanned seven decades and transformed the history of cinema.Trade Review"For the more strictly cinematic sort of genius which everyone agrees Hitchcock had, the best bet [is] the volume by Gottlieb," Claremont Review of BooksTable of ContentsAcknowledgments Introduction Stories and Suspense Introduction The Henley Telegraph Stories The Woman's Part (1919) Sordid (1920) And There Was No Rainbow (1920) What's Who? (1920) The History of Pea Eating (1920) Fedora (1921) Good-night, Nurse! (c. 1922--23) Hitchcock on Stories (1937) Lights! Action!--but Mostly Camera! (1941) Hitchcock, Master Maker of Mystery (1941) - Beth Twiggar Introduction to Intrigue: Four Great Spy Novels of Eric Ambler (1943) The Quality of Suspense (1945) The Film Thriller (1946) Death in the Crystal Ball (1950) The Wise Man of Kumin (1951) The Chloroform Clue: My Favorite True Mystery (1953) "It's the Manner of Telling": An Interview with Alfred Hitchcock (1976) - Anthony Macklin Pure Cinema and the Hitchcock Touch Introduction Titles--Artistic and Otherwise (1921) How a Talking Film Is Made (1929) Why I Make Melodramas (1937) Some Thoughts on Color (1937) The "Hitch" Touch (1946) Encounter with Alfred Hitchcock (1956) Charles Bitsch and Francois Truffaut Alfred Hitchcock Murders a Blonde (1958) My Favorite Film Character Is--ME! (1959) A Lesson in PSYCHO-logy (1960) Rear Window (1968) On Directors and Directing Introduction An Autocrat of the Film Studio (1928) A New "Chair" Which a Woman Might Fill (1929) - Roger Burford A Columbus of the Screen (1931) Britain Must Be Great (1932) The Man Who Knew Too Much (1956) Hitchcock on Truffaut (1962) Declaration of Alfred Hitchcock (1967) Interview with Alfred Hitchcock (1973) Hitchcock at Work Introduction Making Murder! (1930) Hitchcock's Notes on Stage Fright (c. 1950) Interview with Alfred Hitchcock (1955) - Francois Truffaut and Claude Chabrol Alfred Hitchcock Brings His Directing Techniques to the Medium of Television (1955) Hitch: I Wish I Didn't Have to Shoot the Picture (1966) - Budge Crawley, Fletcher Markle, and Gerald Pratley Hitchcock Speaks Introduction Hitchcock Speaking (1956) Women (1959) Alfred Hitchcock Resents (1962) - Bill Davidson The Chairman of the Board (1964) - Richard Gehman John Player Lecture (1967) Interview: Alfred Hitchcock (1978) - R. Allen Leider Selected Bibliography Acknowledgments of Permissions Index
£27.00
University of California Press An Invention without a Future
Trade Review"Taken as a whole, An Invention Without a Future serves as a fantastic overview of conversations concerning film history, while providing thoughtful analyses of important Classical Hollywood films and styles." Slant "Every essay here is a polished gift from a master of the literary essay." -- David Bordwell Observations on Film ArtTable of ContentsAcknowledgments Introduction: An Invention without a Future PART I. ISSUES Authorship, Auteurism, and Cultural Politics The Reign of Adaptation Notes on Acting in Cinema Imitation, Eccentricity, and Impersonation in Movie Acting The Death and Rebirth of Rhetoric PART II. AUTHORS, ACTORS, ADAPTATIONS Hawks, Chandler, Bogart, Bacall: The Big Sleep Uptown Folk: Blackness and Entertainment in Cabin in the Sky Hitchcock and Humor Hitchcock at the Margins of Noir Spies and Lovers: North by Northwest Welles, Hollywood, and Heart of Darkness Orson Welles and Movie Acting Welles and Kubrick: Two Forms of Exile The Treasure of the Sierra Madre The Return of The Dead PART III. IN DEFENSE OF CRITICISM James Agee Manny Farber Andrew Sarris Jonathan Rosenbaum Four Years as a Critic: 2007--2010 Works Cited Index
£50.15
University of California Press Amateur Cinema
Book SynopsisFrom the very beginning of cinema, there have been amateur filmmakers at work. It wasn't until Kodak introduced 16mm film in 1923, however, that amateur moviemaking became a reality, and by the 1950s, over a million Americans had amateur movie cameras. This book explores the meaning of the amateur in film history and modern visual culture.Trade Review"Thoughtful, thoroughly researched ... clear and accessible ... This book contributes significantly to the growing literature on non-theatrical cinema and enriches understanding of film history more generally." -- D. Herbert CHOICE "A very welcome, and much needed, addition to this literature.' The Moving ImageTable of ContentsList of Illustrations Acknowledgments Introduction Part I. Contexts of Amateur Cinema 1. Cine-Prophecy: The Emergence of Amateur Cinema (1892--1927) 2. Cine-Community: The First Wave of Amateur Film Culture (1928--1945) 3. Cine-Engagement: Amateurs and Current Events 4. Cine-Technology: Machine Art for a Machine Age 5. Cine-Sincerity: Postwar Amateur Film Culture (1945--1960) Part II. Modes of Amateur Cinema 6. "Communicating a New Form of Knowledge": Amateur Chronicles of Family, Community, and Travel 7. "The Amateur Takes Leadership": Amateur Film, Experimentation, and the Aesthetic Vanguard 8. Mechanical Craftsmanship: Amateurs Making Practical Films 9. Photoplaying Themselves: Amateur Fiction Films Conclusion Appendix 1. Amateur Filmography Appendix 2. A Preliminary Directory of Movie Clubs Notes Selected Bibliography Index
£64.00
University of California Press Distribution Revolution
Book SynopsisOffers a collection of interviews with leading film and TV professionals concerning the many ways that digital delivery systems are transforming the entertainment business.Trade Review"Although the collection largely allows individuals at the forefront of changing practices to speak for themselves, Curtin, Holt, and Sanson lead them through carefully crafted questions and assembled an insightful and diverse roster of interviewees... Distribution Revolution provides a resource students will recognize as relevant and applicable to their world." Journalism & Mass Communication QuarterlyTable of ContentsIntroduction: Making of a Revolution By Michael Curtin, Jennifer Holt, and Kevin Sanson Studios Editors' Introduction Gary Newman, President and Chairman, 20th Century Fox Television Richard Berger, Senior Vice President, Global Digital Strategy and Operations, Sony Pictures Kelly Summers, Former Vice President, Worldwide Digital Distribution, Walt Disney Studios Thomas Gewecke, Chief Digital Officer, Warner Bros. Entertainment Mitch Singer, Chief Digital Strategy Officer, Sony Pictures Home Entertainment Upstarts Editors' Introduction Gail Berman, Founding Partner, BermanBraun Jordan Levin, President, Alloy Digital and Chief Executive Officer, Generate Betsy Scolnik, Founder, Scolnik Enterprises Christian Mann, General Manager, Evil Angel Productions Ted Sarandos, Chief Content Officer, Netflix, Inc. Anders Sjoman, Vice President, Communication, Voddler Group Creatives Editors' Introduction Scott Frank, Screenwriter-Director Paris Barclay, Director-Producer Felicia D. Henderson, Writer-Producer Stanton "Larry" Stein, Partner, Liner Law Patric Verrone, Writer-Producer and Former President, WGA-West Dick Wolf, Executive Producer and Creator, Law & Order
£22.50
University of California Press A Hidden History of Film Style
Book SynopsisThrough analysis of several key collaborations in American cinema from the silent era to the late twentieth century such as those of D W Griffith and Billy Bitzer, and Alfred Hitchcock and Robert Burks, this book underlines the importance of cinematographers to both the development of cinematic technique and the expression of visual style in film.
£64.00
University of California Press L.A. Rebellion Creating a New Black Cinema
Book SynopsisSuitable for scholars and enthusiasts, this book establishes the key role played by the L A Rebellion within the histories of cinema, Black visual culture, and postwar art in Los Angeles.Trade Review"L.A. Rebellion: Creating a New Black Cinema is a groundbreaking and highly readable compendium focused on the kaleidoscopic network of filmmakers based at UCLA between the 1960s and the 1990s. The collection opens up previously obscured historical pathways that deepen our knowledge of black American cinema, and should inspire further research and scholarship." Kraszna-Krausz Book Awards
£27.00
University of California Press Latin American Cinema
Book SynopsisTransforms our understanding of the region's cultural history in the last hundred years by highlighting how key players such as the church and the state have affected cinema's unique ability to help shape public discourse and construct modern identities in a region marked by ongoing struggles for social justice and liberation.Trade Review"The comparative approach here serves not to erase the specificities of national experience in favour of some sort of homogenous Pan-American depiction of cinema's role in Latin America. Rather, it allows a nuanced understanding of the wider ideological developments that underscored the shifts in cinema across the region. It also allows the author eloquently to bring together local, national, and transnational productions in what he refers to as a 'triangulated' view of cinema's trajectory in the region." Australian Book ReviewTable of ContentsContents Acknowledgments Introduction Organization of the Book Latin America's Multiple Modernities PART ONE. SILENT CINEMA 1. Conventional Silent Cinema A Cinema by and for Criollos Periodization Actualities (1897-1907) Transition (1908-15) Feature Narrative Cinema (1915-30) Film d'art * Religious Films * Popular Entertainment Films * The Legacy of the Silent Period 2. Avant-Garde Silent Cinema A Cinema Against the Grain Sao Paulo, A Sinfonia da Metropole (1929) * Ganga Bruta (1933) * !Que viva Mexico! (1931) * Limite (1929) An Avant-Garde Moment PART TWO. STUDIO CINEMA 3. Transition to Sound Latin American Studios Latin American Studio Cinema as a Vernacular of Hollywood's International Style "Hispanic" Films and the Consolidation of Hollywood's International Style The Day You Love Me (1935) Alternatives to Hollywood's International Style Fernando de Fuentes's Trilogy of the Mexican Revolution 4. Birth and Growth of an Industry The Musical Birth of an Industry Out on the Big Ranch (1936) Argentinean Cinema's "Golden Age" Prisioneros de la tierra (1939) * Closed Door (1939) Social Comedies The Impact of the Good Neighbor Policy on Latin American Cinema The Mexican School of Cinema Maria Candelaria (1943) * Rio Escondido (1947) Studio Cinema and Peronism God Bless You (1948) The Corporatism of Latin American Studio Cinema 5. Crisis and Decline of Studio Cinema From Good Neighbors to Cold War Containment Parody as Symptom of the Crisis of Studio Cinema Aventurera (1950) Documentary and Newsreel Production During the Studio Era The Legacy of Studio Cinema PART THREE. NEOREALISM AND ART CINEMA 6. Neorealism and Art Cinema Emergence of a Cinephile Culture Convergence of Neorealism and Art Cinema in Latin America Luis Bunuel Los olvidados (1950) * This Strange Passion (1953) Vera Cruz Studio and Its Aftermath Rio, 40 Graus (1955) and Rio, Zona Norte (1957) Leopoldo Torre Nilsson's Gothic Trilogy (1957-61) The Legacy of Neorealism and Art Cinema PART FOUR. NEW LATIN AMERICAN CINEMA 7. New Latin American Cinema's Militant Phase Documentary Foundations Epic Projections Black God, White Devil (1963) * The Hour of the Furnaces (1968) * The Battle of Chile (1975-79) Transition to a Neobaroque Praxis Memories of Underdevelopment (1968)* Lucia (1968) * One Way or Another (1974) 8. New Latin American Cinema's Neobaroque Phase The Colonial Roots of the Latin American Neobaroque Frida Still Life (1983) * The Last Supper (1976) * La nacion clandestina (1989) Theory of the New Latin American Cinema Arc of the New Latin American Cinema PART FIVE. CONTEMPORARY CINEMA 9. Collapse and Rebirth of an Industry Neoliberal Restructuring A Melorealist Cinema The Marketing of Nostalgia Strawberry and Chocolate (1993) * Central Station (1998) * Amores perros (2000) 10. Latin American Cinema in the Twenty-First Century Suspenseful Narratives for Precarious Times !Y tu mama tambien! (2001) The Rise of the Woman Director Lucrecia Martel's Salta Trilogy (2001-8) * The Milk of Sorrow (2009) From Nostalgia to Suspense Conclusion: A Triangulated Cinema Appendix: Discourses of Modernity in Latin America Notes Index
£29.75
University of California Press Speaking Truths with Film
Book SynopsisHow do issues of form and content shape the documentary film? What role does visual evidence play in relation to a documentary's arguments about the world we live in? This book investigates the ways documentaries strive for accuracy and truthfulness and simultaneously fabricate a form that shapes reality.Trade Review"There is a fluidity in Nichols’ writing that gently forces us to see the 'blurred boundaries' . . . between all forms of visual expression. In reading these essays, one is often struck by how much is illuminated, not only within the boundaries of documentary film but into the historical, political, social and cultural world that provides the fertile ground where ideas take root." * Documentary *"Nichols’s marvelous volume of essays . . . spans forty years of his contribution to contemporary film theory. It offers lucid, articulate, and illuminating studies of both general issues in documentary theory and of individual films. Readers familiar with his books will find fascinating essays here, both supplementing his published volumes and adding new perspectives on his work." * European Legacy *Table of ContentsPREFACE ACKNOWLEDGMENTS INTRODUCTION PART I. DOCUMENTARY MEETS THE NEIGHBORS: THE AVANT-GARDE AND FICTION FILM PART II. THE AUDIO IN AUDIOVISUAL PART III. BEYOND "JUST THE FACTS": EVIDENCE, INTERPRETATION, AND SOCIAL CONTEXT PART IV. ETHICS AND IRONY IN DOCUMENTARY PART V. POLITICS AND THE DOCUMENTARY FILM NOTES INDEX
£64.00
University of California Press Cinema and the Wealth of Nations
Book SynopsisCinema and the Wealth of Nations explores how media principally in the form of cinema was used during the interwar years by elite institutions to establish and sustain forms of liberal political economy beneficial to their interests. It examines the media produced and circulated by institutions such as states, corporations, and investment banks, as well as the emergence of a corporate media industry and system supported by state policy and integral to the establishment of a new consumer system. Lee Grieveson sketches a genealogy of the use of media to encode liberal political and economic power across the period that saw the United States eclipse Britain as the globally hegemonic power and the related inauguration of new forms of liberal economic globalization. But this is not a distant history. Cinema and the Wealth of Nations examines a foundational conjuncture in the establishment of media forms and a media system instrumental in, and structural to, the emergence and expansion of a world system that has been-and continues to be-brutally violent, unequal, and destructive.Trade Review"Lee Grieveson’s bold historical analysis of the relationship between media and capital is nothing if not timely. . . . [He] deepens the scholarship on cinema’s social role beyond the dominant art and entertainment paradigms." * Reviews in History *"A monumental achievement, a book that invites scholars to rethink what it means to research and write film history." * JCMS: Journal of Cinema and Media Studies *"Few recent books in film and media studies can match the ambition Lee Grieveson set himself with Cinema and the Wealth of Nations: Media, Capital, and the Liberal World System, and even fewer have delivered in the way Grieveson does. Nothing less than a comprehensive reconceptualisation of the discipline is on the agenda . . . in which political economy replaces aesthetics at the centre of our concerns, and in which questions of corporate ownership, state policy and class hegemony form the core of research in the field. . . . [It's a] rare breed of academic text: one that leaves the reader vivified at the end, as Grieveson’s final chapter whizzes from the techno-futurism of the 1939 World Fair, through the cinema’s insertion into the military-industrial complex in the Cold War and onto the fully automated drone-logic of contemporary capitalist media." * Senses of Cinema *"A beacon for future research, Grieveson’s Cinema and the Wealth of Nations will undoubtedly become one of the most significant monographs in the field of media history and political economy, and provide an indispensable resource, not only in terms of its valuable content, but also its grand scope, ambitious synthesis, and urgent message." * Film-Philosophy *Table of ContentsList of Illustrations Acknowledgments 1. The Silver Screen and the Gold Standard 2. The Panama Caper 3. Empire of Liberty 4. Liberty Bonds 5. The State of Extension 6. The Work of Film in the Age of Fordist Mechanization 7. The Pan-American Road to Happiness and Friendship 8. Highways of Empire 9. League of Corporations 10. The Silver Chains of Mimesis 11. The Golden Harvest of the Silver Screen 12. Welfare Media 13. The World of Tomorrow—Today! Notes Sources and Bibliography Index
£32.30
University of California Press Pixar and the Aesthetic Imagination Animation
Book SynopsisDraws upon film theory, animation theory, and philosophy to examine modes of animation storytelling that address aesthetic experience within contexts of technological, environmental, and socio-cultural change.Table of ContentsList of Illustrations Acknowledgments Introduction 1. Aesthetic Storytelling: A Tradition and Theory of Animated Film 2. The Uncanny Integrity of Digital Commodities (Toy Story) 3. From the Technological to the Postmodern Sublime (Monsters, Inc.) 4. The Exceptional Dialectic of the Fantastic and the Mundane (The Incredibles) 5. Disruptive Sensation and the Politics of the New (Ratatouille) Conclusion Notes Bibliography Index
£64.00
University of California Press Hollywood Made in China
Book SynopsisChina's entry into the World Trade Organization in 2001 ignited a race to capture new global media audiences. This book examines this compelling dynamic, where the distinctions between Hollywood's dream factory and the PRC's Chinese dream of global influence become increasingly blurred.Trade Review"Timely and informative." * H-Diplo *"Hollywood Made in China is a timely contribution to film studies, media studies, and communication studies... impressive, far-reaching." * China Review *“Kokas’ work provides an insightful analysis of Sino-US co-ventures, and exemplifies an important approach to global media industries in general. . . .this is a groundbreaking book with an analysis that helps us understand how the Chinese government’s policy-making and Hollywood’s economic ambitions in the Chinese market complicate Sino-US media collaborations and construct ‘multilayered systems that unite the American and Chinese economies’.” * Asian Journal of Communication *"Hollywood Made in China is an elegant account of Hollywood’s evolving engagements in China’s commercial film environment... an accessible, intriguing study of an unlikely liaison." * Modern Chinese Literature and Culture *"Like High Concept, scholar and industry consultant Justin Wyatt’s landmark 1994 book about Hollywood’s pivot towards packaged promotion - and merchandising-ready properties, Aynne Kokas’s Hollywood Made in China will be the seminal guidebook to understanding media in the era of the world’s pivot to China." - Karen Fang, University of Houston * China Review International *"A concise and lucid analysis." * China Quarterly *"...an informative book with updated real-world cases and textual analysis on Sino-US film co-production. For those less familiar with the topic, this book serves as a great introduction and resource." * Global Media and Communication *Table of ContentsList of Illustrations Preface Acknowledgments List of Abbreviations Introduction 1. Policy and Superheroes: China and Hollywood in Sino-US Relations 2. Hollywood's China: Mickey Mouse, Kung Fu Panda, and the Rise of Sino-US Brandscapes 3. Soft Power Plays: How Chinese Film Policy Influences Hollywood 4. Whispers in the Gallery: How Industry Forums Build Sino-US Media Collaboration 5. Compradors: How Above-the-Line Workers Brand Sino-US Film Production 6. Farm Labor, Film Labor: How Below-the-Line Workers Shape Sino-US Film Production Conclusion Appendix 1: Examples of Sino-US Film Collaboration by Type Appendix 2: Chinese Character Glossary Notes Filmography Bibliography Index
£64.00
University of California Press Immortal Films
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
£64.00
University of California Press Cold War Cosmopolitanism Period Style in 1950s
Book SynopsisSouth Korea in the 1950s was home to a burgeoning film culture, one of the many Golden Age cinemas that flourished in Asia during the postwar years. Cold War Cosmopolitanism offers a transnational cultural history of South Korean film style in this period, focusing on the works of Han Hyung-mo, director of the era's most glamorous and popular women's pictures, including the blockbuster Madame Freedom (1956). Christina Klein provides a unique approach to the study of film style, illuminating how Han's films took shape within a free world network of aesthetic and material ties created by the legacies of Japanese colonialism, the construction of US military bases, the waging of the cultural Cold War by the CIA, the forging of regional political alliances, and the import of popular cultures from around the world. Klein combines nuanced readings of Han's sophisticated style with careful attention to key issues of modernitysuch as feminism, cosmopolitanism, and consumerismin the first monograph devoted to this major Korean director. Afree open access ebook is available upon publication. Learn more atwww.luminosoa.org.Trade Review"With this meticulous study, Christina Klein has created a unique product that systematically and in great detail deals with changes in film culture, so I warmly recommend the book." * New Review of Film and Television Studies *"Overall, Cold War Cosmopolitanism is an exciting and welcome addition to interdisciplinary and transnational Korean studies. It is well documented, convincingly argued, and a pleasure to read." * Acta Koreana *
£27.00
University of California Press Comic Books Incorporated How the Business of
Book SynopsisComic Books Incorporated tells the story of the US comic book business, reframing the history of the medium through an industrial and transmedial lens. Comic books wielded their influence from the margins and in-between spaces of the entertainment business for half a century before moving to the center of mainstream film and television production. This extraordinary history begins at the medium's origin in the 1930s, when comics were a reviled, disorganized, and lowbrow mass medium, and surveys critical moments along the waymarket crashes, corporate takeovers, upheavals in distribution, and financial transformations. Shawna Kidman concludes this revisionist history in the early 2000s, when Hollywood had fully incorporated comic book properties and strategies into its business models and transformed the medium into the heavily exploited, exceedingly corporate, and yet highly esteemed niche art form we know so well today.Trade Review"The field needs studies like this, and it needs academics like Kidman who take on the sometimes unglamorous task of exposing the frames – the structures and infrastructures – within which, and between which, the colourful figures of comics and screen so fluidly move." * Times Higher Education *"Comic Books Incorporated chronicles the rise of the comic book business by documenting its emergence as a cultural product. Highlighting the transmedia infrastructures that made comic books possible, Kidman discusses comic books and their history as a medium, how comic books connect to politics and society, and the rise of comic book fan culture . . . Highly recommended." * Choice *"Kidman’s methodology provides a fresh and exciting contribution to our understanding of the relationship between comics and Hollywood in the twenty-first century." * Media Industries Journal *
£27.00
University of California Press A Queer Way of Feeling
Book SynopsisA Queer Way of Feeling gathers an unexplored archive of fan-made scrapbooks, letters, diaries, and photographs to explorehowgirls coming of age in the United States in the 1910s used cinema to forge a foundational language of female nonconformity, intimacy, and kinship. Pasting cross-dressed photos into personal scrapbooks and making love to movie actresses in epistolary writing, girl fans from all walks of life stitched together established homoerotic conventions with an emergent syntax of film stardom to make sense of feeling queer or different from the norm. These material testimonies show how a forgotten audience engenderedterminologies, communities, and creative practices that became cornerstones of media fan reception and queer belonging. Table of ContentsContents Acknowledgments Introduction: Girl, Fan, Queer: Female Film Reception in the 1910s 1. It Disquiets, It Delights: Same-Sex Attachments and Early Female Moviegoing 2. “Dear Flo”: Homoerotic Desire and Queer Identification in Private Fan Mail 3. “If I Were a Man”: Gender-Bending in Girls’ Published Fan Poems 4. Girls, Pick Up Your Scissors: The Queer Makings of the “Movie Scrap Book” Fad 5. Different from Others: Movie-Illustrated Diaries, Cross-Dressing, and Circulated Discourses on Female Deviance 6. A Coding of Queer Delights: Gender Nonconformity in Girls’ Movie Scrapbooks Epilogue: One of Us: The Corporatization of Female Fan Love and Labor Notes Illustration Credits Index
£64.00
University of California Press Films for the Colonies Cinema and the
Book SynopsisFilms for the Colonies examines the British Government's use of film across its vast Empire from the 1920s until widespread independence in the 1960s. Central to this work was the Colonial Film Unit, which produced, distributed, and, through its network of mobile cinemas, exhibited instructional and educational films throughout the British colonies. Using extensive archival research and rarely seen films, Films for the Colonies provides a new historical perspective on the last decades of the British Empire. It also offers a fresh exploration of British and global cinema, charting the emergence and endurance of new forms of cinema culture from Ghana to Jamaica, Malta to Malaysia. In highlighting the integral role of film in managing and maintaining a rapidly changing Empire, Tom Rice offers a compelling and far-reaching account of the media, propaganda, and the legacies of colonialism.Trade Review"Offers an astute political analysis of colonial film's development in Britain and makes an outstanding contribution to film history. . . . a wonderfully rich resource for anyone interested in the field, an education for those who are unfamiliar with the subject and a must for historians’ shelves." * Journal of British Cinema and Television *"[T]his volume provides a sophisticated perspective on the transformations of colonial cinema through the lens of the [Colonial Film Unit] as part of a shifting context for representation and sovereignty." * Journal of Colonialism and Colonial History *“With this book, Rice makes the case for the importance of film to the wind-down of the empire and to independence movements of the 1960s.” * CHOICE *"Like other works on British colonial filmmaking, the narrative of the CFU [Colonial Film Unit] in Films for the Colonies explains how the simultaneous construction of the metropole and the colony through moving images was an essential process of British colonialism. What is unique about Rice’s approach is his effort to centralise colonialism within broader histories of British cinema, particularly by emphasizing the CFU’s work in relation to that of the canonical filmmaking of the British documentary movement. As such, Films for the Colonies is essential reading for scholars interested in the visual history of colonialism and the global history of documentary and other ‘useful’ genres." * Reviews in History *"The first in-depth study of the British Colonial Film Unit (CFU), it provides a meticulously researched survey of a cinema corps that has been largely neglected by historians of British film. . . . Films for the Colonies provides a sturdy foundation for future studies of the CFU, one that scholars can build upon to shed further light on the unit’s rich, underexplored body of surviving films." * Journal of Visual Culture *"This book shows the depth of available material and the kinds of media histories that can be researched and written based on that material." * Journal of Religion & Film *"Films for the Colonies will prove essential reading for the growing community of scholars interested in the history of media in European colonies. . . . this is an attractively packaged, absorbingly written history of a fascinating subject. It will prove equally valuable to scholars interested in British film history, the global history of film, or the end of the Empire." * Journal of Cinema and Media Studies *"This essential book, while very aware of race, seems to navigate an internal complexity between making visible the colonized subjects and the colonial agents outside the frame, and a disquiet in articulating the very violence of the racial representations within." * Screen *Table of ContentsList of Illustrations Acknowledgments Accessing Digitized Materials Timeline Introduction 1. Beginnings: The Interwar Movement of Nonfiction Film 2. Film Rules: The Governing Principles of the Colonial Film Unit 3. Mobilizing an Empire: The Colonial Film Unit in a State of War 4. Moving Overseas: “Films for Africans, with Africans, by Africans” 5. Handover: Local Units through the End of Empire Notes Selected Bibliography Index
£64.00
University of California Press Making Images Move Handmade Cinema and the Other
Book SynopsisMaking Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of handmade cinema from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema's shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come.Trade Review"Written with careful precision and breadth. . . chronicling a rich, 100-year history of handmade moviemaking in which artists similarly trespass into other areas of creative practice." * Los Angeles Review of Books *"Gregory Zinman’s excellent new book on movies made (or remade) through the direct, often tactile engagement of artists and their filmstrips, video-feedback loops, and myriad other animated oozes and vibrant viscosities, Making Images Move: Handmade Cinema and the Other Arts is everything one wants in this age of over-scribbling at the margins of cinema. Lucid, smart, but entirely readable, and compellingly illuminated with color illustrations of the wonders it describes." * Cinema Scope Magazine *"Devoid of zeitgeisty romanticizations of the analog, Gregory Zinman's Making Images Move presents a defiant yet clear-eyed alternative history of the origins of cinema. . . . Zinman's prose sparkles in recounting artists' use of chemicals, bodily fluids, and elements like wind and water, which often render celluloid fragile or ephemeral." * Film Comment *"Zinman’s is the book perched on our balconies. It is worth way more than two in the bush. That’s the great thing about books that are also birds. Their singleness multiplies in hands that hold them. Running fingers through their feathered figures to thread additional ones in responds to their song." * Critical Inquiry *"Zinman explores the history of camera-less filmmaking in an exciting intervention that ennobles an underdiscussed mode of film production and challenges our very conception of what constitutes a 'movie.' . . . A groundbreaking immersion into a previously uncelebrated filmmaking practice." * Historical Journal of Film, Radio and Television *"Rather than manifesting a site of contestation between painting, film, sculpture, or photography, Making Images Move espouses the handmade's medium-collaborative impulse through material investigations of light in time. . . . Though Zinman situates the return to craft as a response to mass digitization, the current pandemic transfigures Zinman's politics of handmade joy into something almost elegiac, as even the possibility of direct artistic experience remains untenable." * Millennium Film Journal *Table of ContentsList of Illustrations Acknowledgments Introduction A Shadow History of the Moving Image PART I. HANDMADE FILM 1. Between Canvas and Celluloid Visual Music, Motion Paintings, and Cameraless Photography 2. Abstractions in Time Painting and Scratching on Film 3. By Chemical, by Body, by Mechanism Other Handmade Methods 4. Beyond the Frame Cameraless Questions of Politics and Representation PART II. HANDMADE MOVING IMAGES 5. Light in Motion The Moving Image between the Plastic Arts and Cinema 6. Making Space, Making Time Light Art of the 1950s and 1960s 7. Forms of Radiance The Practice and Significance of the Psychedelic Light Show 8. Video Art Analog Circuit Palettes, Cathode Ray Canvases Conclusion Handmade Moving Images in the Digital Era Notes Index
£68.00
University of California Press Frame by Frame
Book SynopsisAt publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visitwww.luminosoa.orgto learn more. In this beautifully written and deeply researched study, Hannah Frank provides an original way to understand American animated cartoons from the Golden Age of animation (19201960). In the pre-digital age of the twentieth century, the making of cartoons was mechanized and standardized: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called cels) and then photographed in succession, a labor-intensive process that was divided across scores of artists and technicians. In order to see the art, labor, and technology of cel animation, Frank slows cartoons down to look frame by frame, finding hitherto unseen aspects of the animated image. What emerges is both a methodology and a highly original account of an art formed on the assembly line.Trade Review"It's not every day that a posthumously published Ph.D. thesis nudges the world of cinema studies off its axis. All hail Frame by Frame: A Materialist Aesthetics of Animated Cartoons." * Artforum *"After reading Frame by Frame, it's difficult to naively or passively watch a classic-era cartoon again, considering the erased labor that was alienated and mechanized, yet individuated—ultimately producing an artwork. Frank impressively ties together the imaginative pleasures of close analysis to rethink the trajectory of animation as more than a 'history of drudgery.'" * Film Comment *"Frank moves with a shocking assuredness of purpose through all possible configurations of a process she has sharpened and honed for purpose. . . . [a] wry, effortless, sublime work of prose . . . It is hard not to fantasize about future volumes of Frankian prose while reading Frame by Frame, so commanding and captivating a stylist and a critical imagination is she. Her hideously premature death highlights the book’s only retroactive flaw: that it is too short that it offers itself only as the first volume in a great, ongoing work spanning a lifetime. A great mind and writer, Frank could and should have continued to write, producing work as virtuosic as this particular volume but on an industrial scale to match her favorite animators." * Cineaste *"This work, Frame by Frame, as it is, is a masterwork of ingenuity that pulls together studies on technics, labor, and aesthetics. It should be read by anyone working in the history of animation, by scholars in film studies and for many outside those fields with their own critical eyestrain upon visual studies, sensation, and the role of the scholar in stating their position within activist research." * Historical Journal of Film, Radio and Television *Table of ContentsList of Illustrations Foreword: Hannah Frank’s Pause by Tom Gunning Editor’s Introduction by Daniel Morgan Acknowledgments Introduction: Looking at Labor 1. Animation and Montage; or, Photographic Records of Documents 2. A View of the World: Toward a Photographic Theory of Cel Animation 3. Pars Pro Toto: Character Animation and the Work of the Anonymous Artist 4. The Multiplication of Traces: Xerographic Reproduction andOne Hundred and One Dalmatians Conclusion: The Labor of LookingNotes Bibliography Index
£27.00
University of California Press Film and Its Techniques
Book Synopsis
£39.10
University of California Press Sporting Blackness Race Embodiment and Critical
Book SynopsisSporting Blackness examines issues of race and representation in sports films, exploring what it means to embody, perform, play out, and contest blackness by representations of Black athletes on screen. By presenting new critical terms, Sheppard analyzes not only skin in the game, or how racial representation shapes the genre's imagery, but also skin in the genre, or the formal consequences of blackness on the sport film genre's modes, codes, and conventions. Through a rich interdisciplinary approach, Sheppard argues that representations of Black sporting bodies contain critical muscle memories: embodied, kinesthetic, and cinematic histories that go beyond a film's plot to index, circulate, and reproduce broader narratives about Black sporting and non-sporting experiences in American society.Trade Review"Samantha N. Sheppard addresses the spectacle of blackness in sports as a sustained effort to challenge our amnesiac public discourse by creating a cinematic archive of black movement. . . . Sporting Blackness offers a version of endurance — a capacity for sustaining movement together — that can help us remember, or even affect, how it all plays out." * Los Angeles Review of Books *"Sheppard’s exploration of documentary sports films connects to how audiences view and understand contemporary Black athletes’ public articulations of dissent. Highlighting the real and perceived representations of Blackness expressed through film allows a recognition of the fundamental response to racial bias and antagonism that pervade sports; it also foregrounds the ways these portrayals articulate resistance to racial injustices." * Public Books *"In her fusion of theories of race and blackness with her concept of critical muscle memory, Sheppard offers a new analytical paradigm applicable beyond the genre at the center of her study. . . . Sporting Blackness is packed with joy, resistance, and hope—much-needed attributes in this time." * Film Quarterly *"Sporting Blackness represents a thoughtful, vibrant and absorbing contribution to our understanding of race, sport and media. . . . As we look to make sense of the current racialized and racist world we live in, and facilitate our students to do the same, Sheppard’s outstanding book will no doubt prove to be an instructive and indispensable resource." * Ethnic and Racial Studies *"Sporting Blackness, with its incisive close readings and its exciting weave of film-phenomenology, critical race theory and more, is an exemplary work of film studies that must surely influence much work to come." * Visual Studies *Table of ContentsList of Illustrations Acknowledgments INTRODUCTION: SPORTING BLACKNESS AND CRITICAL MUSCLE MEMORY ON SCREEN 1. HISTORICAL CONTESTANTS IN BLACK SPORTS DOCUMENTARIES 2. RACIAL ICONICITY AND THE TRANSMEDIA BLACK ATHLETE 3. BLACK FEMALE INCOMMENSURABILITY AND ATHLETIC GENDERS 4. THE REVOLT OF THE CINEMATIC BLACK ATHLETE CONCLUSTION: THE FITNESS OF SPORTING BLACKNESS Notes Bibliography Index
£22.50
University of California Press Arab Modernism as World Cinema The Films of
Book SynopsisArab Modernism as World Cinema explores the radically beautiful films of Moroccan filmmaker Moumen Smihi, demonstrating the importance of Moroccan and Arab film cultures in histories of world cinema. Addressing the legacy of the Nahda or Arab Renaissance of the nineteenth and early twentieth centurywhen Arab writers and artists reenergized Arab culture by engaging with other languages and societiesPeter Limbrick argues that Smihi's films take up the spirit of the Nahda for a new age. Examining Smihi's oeuvre, which enacts an exchange of images and ideas between Arab and non-Arab cultures, Limbrick rethinks the relation of Arab cinema to modernism and further engages debates about the use of modernist forms by filmmakers in the Global South. This original study offers new routes for thinking about world cinema and modernism in the Middle East and North Africa, and about Arab cinema in the world.Trade Review"Weaving together close film analysis, studies of cinematic techniques, and scholarly engagement with a broad spectrum of interdisciplinary material, Limbrick offers an unprecedented window into Smihi’s 'multifaceted and polyphonic' filmography. At the same time, he demonstrates that Arab film culture, when studied in its global ramifications and affinities, reveals an inner complexity that resists systematic and univocal readings, and invites to rethink Arab modernism as a dynamic and multidimensional concept." * Critical Inquiry *Table of ContentsAcknowledgments Note on Transliteration Introduction: Moumen Smihi, World Cinema, Arab Modernism Chapter One: Radical Realities: Form and Politics in the New Arab Cinema Chapter Two: The Voice of the Arabs: Smihi’s Soundscapes Chapter Three: Kan ya makan: Intertextuality and Arab Modernism Chapter Four: Religion, Secularism, Modernity Chapter Five: For a New Nahda: Gender, Sexuality, and Freedom Notes Filmography Bibliography Index
£27.00
University of California Press Cinema Off Screen Moviegoing in Socialist China
Book SynopsisAt a time when what it means to watch movies keeps changing, this book offers a case study that rethinks the institutional, ideological, and cultural role of film exhibition, demonstrating that film exhibition can produce meaning in itself apart from the films being shown. Cinema Off Screen advances the idea that cinema takes place off screen as much as on screen by exploring film exhibition in China from the founding of the People's Republic in 1949 to the end of the Cold War in the early 1990s. Drawing on original archival research, interviews, and audience recollections, Cinema Off Screen decenters the filmic text and offers a study of institutional operations and lived experiences. Chenshu Zhou details how the screening space, media technology, and the human body mediate encounters with cinema in ways that have not been fully recognized, opening new conceptual avenues for rethinking the ever-changing institution of cinema.Table of ContentsList of Illustrations Acknowledgments Introduction: "Projecting Cinema" 1. Space 2. Labor 3. Multimedia 4. Atmosphere 5. Discomfort 6. Screen Postscript: Recognizing Cinema Appendix: Interviewee Profiles Character Glossary Notes Bibliography Index
£64.00
University of California Press The First True Hitchcock
Book SynopsisHitchcock's previously untold origin story. Alfred Hitchcock called The Lodger the first true Hitchcock movie,the one that anticipated all the others. And yet the story of how The Lodger came to be made is shrouded in myth, often repeated and much embellished, even by Hitchcock himself. The First True Hitchcock focuses on the twelve-month period that encompassed The Lodger's production in 1926 and release in 1927, presenting a new picture of this pivotal year in Hitchcock's life and in the wider film world. Using fresh archival discoveries, Henry K. Miller situates Hitchcock's formation as a director against the backdrop of a continent shattered by war and confronted with the looming presence of a new superpower, the United States, and its most visible exportfilm. The previously untold story of The Lodger's making in the London fogand attempted remaking in the Los Angeles sunis the story of how Hitchcock became Hitchcock.Trade Review'Henry K. Miller’s in-depth study of the production and impact of Alfred Hitchcock’s 1927 silent film The Lodger is an essential addition to the Hitch canon." * The Film Stage *"Miller reminds us that film history consistently requires an understanding of past worlds that no matter how ‘fixed’ have long since vanished." * Sight & Sound *"The First True Hitchcock is an invigoratingly deep dive into the movie that launched one of world cinema’s most endlessly intriguing careers." * Hitchcock Annual *Table of ContentsPreface Map of London, 1926–1927 1. The Embankment at Midnight 2. The Reputation and the Myth 3. No Old Masters 4. The Autocrat of the Studio 5. To Catch a Thief 6. The First True Hitchcock 7. Stories of the Days to Come 8. Wilshire Palms Notes Bibliography Index
£63.90
University of California Press Aeroscopics
Book SynopsisIn 1900, Paris had no skyscrapers, no tourist helicopters, no drones. Yet well before aviation made aerial views more accessible, those who sought such vantages had countless options available to them. They could take in the vista from an observation ride, see a painting of the view from Notre-Dame, or overlook a miniature model city. In Aeroscopics, Patrick Ellis offers a history of the view from above, written from below. Richly illustrated and premised upon extensive archival work, this interdisciplinary study reveals the forgotten media available to the public in the Balloon Era and after. Ellis resurrects these neglected spectacles as aeroscopics, opening up new possibilities for the history of aerial vision.Trade Review"Aeroscopics opens new ground for media archeology, not just by adding a list of less-known media to the already very long list of recently rediscovered lost or forgotten media, but also by offering new perspectives on media we thought we knew, such as the panorama or the first aviation flights. It equally makes a great contribution to the broader concept of mechanical subjectivity, while healthily repeating to us the danger of tunnel vision and presentism." * Leonardo *"Aeroscopics is a complex but approachable book that will reward readers interested in a new understanding of visual media, including maps, in the nineteenth century.”" * Imago Mundi *"A lively exploration of the media of aerial vision." * Early Popular Visual Culture *Table of ContentsAcknowledgments Introduction: Spotting the Spot 1. The Panoramic Altitude 2. The Panstereorama 3. Vertigo Effects 4. Observation Rides 5. The Aeroplane Gaze Conclusion: First Flights Notes Index
£64.00
University of California Press Aeroscopics
Book SynopsisIn 1900, Paris had no skyscrapers, no tourist helicopters, no drones. Yet well before aviation made aerial views more accessible, those who sought such vantages had countless options available to them. They could take in the vista from an observation ride, see a painting of the view from Notre-Dame, or overlook a miniature model city. In Aeroscopics, Patrick Ellis offers a history of the view from above, written from below. Richly illustrated and premised upon extensive archival work, this interdisciplinary study reveals the forgotten media available to the public in the Balloon Era and after. Ellis resurrects these neglected spectacles as aeroscopics, opening up new possibilities for the history of aerial vision.Trade Review"Aeroscopics opens new ground for media archeology, not just by adding a list of less-known media to the already very long list of recently rediscovered lost or forgotten media, but also by offering new perspectives on media we thought we knew, such as the panorama or the first aviation flights. It equally makes a great contribution to the broader concept of mechanical subjectivity, while healthily repeating to us the danger of tunnel vision and presentism." * Leonardo *"Aeroscopics is a complex but approachable book that will reward readers interested in a new understanding of visual media, including maps, in the nineteenth century.”" * Imago Mundi *"A lively exploration of the media of aerial vision." * Early Popular Visual Culture *Table of ContentsAcknowledgments Introduction: Spotting the Spot 1. The Panoramic Altitude 2. The Panstereorama 3. Vertigo Effects 4. Observation Rides 5. The Aeroplane Gaze Conclusion: First Flights Notes Index
£27.00
