Films, cinema Books
University of California Press A Grammar of the Film
Book Synopsis
£64.00
University of California Press Thinking in Pictures
Book Synopsis
£64.00
University of California Press Togo Mizrahi and the Making of Egyptian Cinema
Book SynopsisA free open access ebook is available upon publication. Learn more atwww.luminosoa.org. In this book, Deborah A. Starr recuperates the work of Togo Mizrahi, a pioneer of Egyptian cinema. Mizrahi, an Egyptian Jew with Italian nationality, established himself as a prolific director of popular comedies and musicals in the 1930s and 1940s. As a studio owner and producer, Mizrahi promoted the idea that developing a local cinema industry was a project of national importance. Togo Mizrahi and the Making of Egyptian Cinema integrates film analysis with film history to tease out the cultural and political implications of Mizrahi's work. His movies, Starr argues, subvert dominant notions of race, gender, and nationality through their playfuland queeruse of masquerade and mistaken identity. Taken together, Mizrahi's films offer a hopeful vision of a pluralist Egypt. By reevaluating Mizrahi's contributions to Egyptian culture, Starr challenges readers to reconsider the debates over who is Egyptian and what constitutes national cinema. Trade Review"Deborah A. Starr’s study of the pioneering Jewish-Egyptian film-maker Togo Mizrahi has arrived at a good time. . . . wherever this goes in the future, Togo Mizrahi’s Levantine dreams look very appealing from where we are now." * Times Literary Supplement *"The cinema of Togo Mizrahi is a vital contribution not only to Arab cinema but to the understanding of a region whose heterogeneity is methodically ignored." * New Arab *"Offers a complex and subtle analysis of a neglected and important figure—and suggests new ways of thinking about Muslim-Jewish interactions." * Markaz Review *"“Starr’s book recuperates this cinematic history through its welcome account of the pluralistic, hugely entertaining, and popular cinema of Mizrahi and, by extension, by making a case for why Mizrahi and other Alexandrians––Jewish, Greek, Italian, or otherwise––of his era were every bit as Egyptian as their citizen compatriots. . . . Togo Mizrahi and the Making of Egyptian Cinema will undoubtedly be a valuable resource for film scholars and students of early cinema in Egypt and for its contribution to thinking of cinema outside national histories." * Critical Inquiry *"Starr wonderfully recaptures a pre-1948 Egypt in which Jews enjoyed a level of coexistence with their Arab neighbors." * Sephardic Horizons *"In her detailed examination of Mizrahi’s oeuvre, Starr contributes to our understanding of the Egyptian movie industry and the role of Jews in its development. Of special emphasis is the treatment of indigenous people holding foreign citizenship in this process. The study is also of importance to women and gender studies, examining queerness and the role of both Jewish and Muslim women in the entertainment industry." * Association of Jewish Libraries Reviews *
£27.00
University of California Press Sirens of Modernity
Book SynopsisTrade Review"[A] profound labour of love. . . . Sunya’s book is a gift to faculty and students of both undergraduate and graduate studies because of its depth, lucidity, and accessibility." * FemAsia *"Sirens of Modernity provides a rigorous and scholarly, yet accessible and engrossing, contribution to Indian cinema studies that will be useful for world cinema studies, sound studies, and gender studies." * Film Quarterly *"Sunya’s groundbreaking and sophisticated study of Indian commercial cinema, its self-reflexivity, and its excesses. . . .will inspire more research that centers media texts, objects, and contexts beyond bipolar Cold War imaginaries of the field and open new routes of historiographic and theoretical inquiry." * Journal of Cinema and Media Studies *
£27.00
University of California Press Violated Frames
Book SynopsisWhen Armando Bó and Isabel Sarli began making sexploitation films together in 1956, they provoked audiences by featuring explicit nudity that would increasingly become more audacious, constantly challenging contemporary norms. Their Argentine films developed a large and international fan base. Analyzing the couple's films and their subsequent censorship,Violated Frames develops a new, roughly constructed, and bad archive of relocated materials to debate questions of performance, authorship, stardom, sexuality, and circulation. Victoria Ruétalo situates Bó and Sarli's films amidst the popular culture and sexual norms in post-1955 Argentina, and explores these films through the lens of bodies engaged in labor and leisure in a context of growing censorship. Under Perón, manual labor produced an affect that fixed a specific type of body to the populist movement of Peronism: a type of body that was young, lower-classed, and highly gendered. The excesses of leisure in exhibition, enjoyment, Trade Review"Violated Frames: Armando Bó and Isabel Sarli's Sexploits is an essential read for anyone interested in learning more about this fascinating piece of World Cinema history and the fabulous icon that was Isabel Sarli." * CinemaRetro *Table of ContentsCONTENTS List of Illustrations Note on Translation Foreword by Annie Sprinkle Acknowledgments Introduction The Signature of a “Bad Cinema” Part I: Bodies and Archives 1. Bodies through Time . . . Time through Bodies 2. Reading Bad Cinema through “Bad Archives” Part II: Censoring Bodies in Labor and Leisure 3. Disciplining Bodies through Censors’ Shears 4. Collective Working-Class Male Bodies 5. Affective Intimate Interludes The Risky Female Body Conclusion “You won with the censors. . . . They couldn’t stop you!” Notes Selected Filmography Index
£64.00
University of California Press Violated Frames
Book SynopsisWhen Armando Bó and Isabel Sarli began making sexploitation films together in 1956, they provoked audiences by featuring explicit nudity that would increasingly become more audacious, constantly challenging contemporary norms. Their Argentine films developed a large and international fan base. Analyzing the couple's films and their subsequent censorship,Violated Frames develops a new, roughly constructed, and bad archive of relocated materials to debate questions of performance, authorship, stardom, sexuality, and circulation. Victoria Ruétalo situates Bó and Sarli's films amidst the popular culture and sexual norms in post-1955 Argentina, and explores these films through the lens of bodies engaged in labor and leisure in a context of growing censorship. Under Perón, manual labor produced an affect that fixed a specific type of body to the populist movement of Peronism: a type of body that was young, lower-classed, and highly gendered. The excesses of leisure in exhibition, enjoyment, and ecstasy in Bó and Sarli's films interrupted the already fragmented film narratives of the day and created alternative sexual possibilities. Trade Review"Violated Frames: Armando Bó and Isabel Sarli's Sexploits is an essential read for anyone interested in learning more about this fascinating piece of World Cinema history and the fabulous icon that was Isabel Sarli." * CinemaRetro *Table of ContentsCONTENTS List of Illustrations Note on Translation Foreword by Annie Sprinkle Acknowledgments Introduction The Signature of a “Bad Cinema” Part I: Bodies and Archives 1. Bodies through Time . . . Time through Bodies 2. Reading Bad Cinema through “Bad Archives” Part II: Censoring Bodies in Labor and Leisure 3. Disciplining Bodies through Censors’ Shears 4. Collective Working-Class Male Bodies 5. Affective Intimate Interludes The Risky Female Body Conclusion “You won with the censors. . . . They couldn’t stop you!” Notes Selected Filmography Index
£27.00
University of California Press Incomplete
Book SynopsisThis field-defining collection establishes unfinished film projectsabandoned, interrupted, lost, or open-endedas rich and underappreciated resources for feminist film and media studies. In deeply researched and creatively conceived chapters, scholars join with film practitioners in approaching the unfinished film as an ideal site for revealing the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders.Incompleterecovers projects and practices marginalized in film industries and scholarship alike, while also showing how feminist filmmakers have cultivated incompletion as an aesthetic strategy.Objects of loss and of possibility, incomplete films raise profound historiographical and ethical questions about the always unfinished project of film history, film spectatorship, and film studies.Table of ContentsContents Editors’ Acknowledgments Pathways to the Feminist Incomplete: An Introduction, a Theory, a Manifesto Alix Beeston and Stefan Solomon PART ONE. UNFOUND OBJECTS 1. Never Jane M. Gaines 2. Catastrophic Optimism in the Name of Léontine Maggie Hennefeld 3. Body Parts: Feeling Labor in Early Film Color Katherine Groo PART TWO. REFUSALS AND INTERRUPTIONS 4. Creating the Archive for Incomplete Feminist Cinematic Narratives: The Andean-Amazonian Case Isabel Seguí 5. Women (Not) Making Movies under the Popular Unity in Chile (1970–1973) Elizabeth Ramírez-Soto 6. Writing with Jocelyne Saab: Infinite Metamorphoses and Sensitive Variations Mathilde Rouxel PART THREE. IN PROCESS 7. Ins and Outtakes: An Interview Peggy Ahwesh and Leo Goldsmith 8. “They keep moving”: Serialized Incompletion in the Work of Leslie Thornton and Lynn Hershman Leeson Stefan Solomon 9. One Long Electrical Cord: Dance, Editing, and the Creative Unfinished Karen Pearlman 10. Shirkers and Its Afterlives: Six Epitaphs for an Incomplete Film Sophia Siddique PART FOUR. POSTHUMOUS RETURNS 11. Kathleen Collins . . . Posthumously Alix Beeston 12. The Fierce, Unfinishable, Feminist Legacies of Helen Hill Karen Redrobe 13. Girls Who Can’t Say No: Celebrity Resurrections and the Consent of the Dead Katherine Fusco The Ruined Map, Relinked: A Postscript Giuliana Bruno About the Contributors Index
£64.00
University of California Press Incomplete
Book SynopsisThis field-defining collection establishes unfinished film projectsabandoned, interrupted, lost, or open-endedas rich and underappreciated resources for feminist film and media studies. In deeply researched and creatively conceived chapters, scholars join with film practitioners in approaching the unfinished film as an ideal site for revealing the lived experiences, practical conditions, and institutional realities of women's film production across historical periods and national borders.Incompleterecovers projects and practices marginalized in film industries and scholarship alike, while also showing how feminist filmmakers have cultivated incompletion as an aesthetic strategy.Objects of loss and of possibility, incomplete films raise profound historiographical and ethical questions about the always unfinished project of film history, film spectatorship, and film studies.Table of ContentsContents Editors’ Acknowledgments Pathways to the Feminist Incomplete: An Introduction, a Theory, a Manifesto Alix Beeston and Stefan Solomon PART ONE. UNFOUND OBJECTS 1. Never Jane M. Gaines 2. Catastrophic Optimism in the Name of Léontine Maggie Hennefeld 3. Body Parts: Feeling Labor in Early Film Color Katherine Groo PART TWO. REFUSALS AND INTERRUPTIONS 4. Creating the Archive for Incomplete Feminist Cinematic Narratives: The Andean-Amazonian Case Isabel Seguí 5. Women (Not) Making Movies under the Popular Unity in Chile (1970–1973) Elizabeth Ramírez-Soto 6. Writing with Jocelyne Saab: Infinite Metamorphoses and Sensitive Variations Mathilde Rouxel PART THREE. IN PROCESS 7. Ins and Outtakes: An Interview Peggy Ahwesh and Leo Goldsmith 8. “They keep moving”: Serialized Incompletion in the Work of Leslie Thornton and Lynn Hershman Leeson Stefan Solomon 9. One Long Electrical Cord: Dance, Editing, and the Creative Unfinished Karen Pearlman 10. Shirkers and Its Afterlives: Six Epitaphs for an Incomplete Film Sophia Siddique PART FOUR. POSTHUMOUS RETURNS 11. Kathleen Collins . . . Posthumously Alix Beeston 12. The Fierce, Unfinishable, Feminist Legacies of Helen Hill Karen Redrobe 13. Girls Who Can’t Say No: Celebrity Resurrections and the Consent of the Dead Katherine Fusco The Ruined Map, Relinked: A Postscript Giuliana Bruno About the Contributors Index
£27.00
University of California Press Maverick Movies
Book Synopsis
£27.00
University of California Press Captain of Her Soul
Book SynopsisNorthern California Book AwardsShortlistThe comprehensive critical biography of silent-screen star Marion Davies, who fittingly referred to herself as the captain of my soul. From Marion Davies's humble days in Brooklyn to her rise to fame alongside press baron William Randolph Hearst, the public life story of the film star plays like a modern fairy tale shaped by gossip columnists, fan magazines, biopics, and documentaries. Yet the real Marion Davies remained largely hidden from view, as she was wary of interviews and trusted few with her true life story. In Captain of Her Soul, Lara Gabrielle pulls back layers of myth to show a complex and fiercely independent woman, ahead of her time, who carved her own path. Through meticulous research, unprecedented access to archives around the world, and interviews with those who knew Davies, Captain of Her Soul counters the public story. This book reveals a woman who navigated disability and social stigma to rise to the top of a young Hollywood dominated by powerful men. Davies took charge of her own career, negotiating with studio heads and establishing herself as a top-tier comedienne, but her proudest achievement was her philanthropy and advocacy for children. This biography brings Davies out of the shadows cast by the Hearst legacy, shedding light on a dynamic woman who lived life on her own terms and declared that she was the captain of her soul.Trade Review"Actor Marion Davies (1897–1961) may have lived ‘a life shrouded in mystery, rumor, and half-truths,’ but she was witty, talented, and loyal, according to this sparkling debut from film historian Gabrielle. . . . a breezy, colorful saga of Old Hollywood, full of showbiz picaresque, glamorous parties at Hearst’s San Simeon castle, and a touching romance between two flawed, magnetic personalities. Film buffs will want to check this one out." * Publishers Weekly *"[A] scrupulously researched biography of American actress Davies (1897–1961), who was for a long time better known as the mistress of tabloid publisher William Randolph Hearst. . . . For fans of old-Hollywood lore and classic movies, especially those starring Marion Davies." * Library Journal *"Now, finally, there is a deeply researched and fair-minded biography of Davies’s life and movie work . . . . Gabrielle, like a detective or an archaeologist, has reconstructed a life history and made a convincing case . . . . that Marion was a complex, happy, and talented actress . . . . her love affair with W.R. Hearst was genuine, long-lasting, and intensely satisfying." * Alta Journal *"An entertaining, first-rate biography that necessarily serves . . . . as a corrective to Hollywood myth.” * Air Mail *"Author Gabrielle has given us a gift: an honest biography of a woman whose life and career have long been misunderstood. . . . In short, this is the book Marion Davies has always deserved." * Leonard Maltin site *"Gabrielle's book proves to be a fascinating read, from start to finish. The author documents the glamorous and epic parties at San Simeon, giving readers a picture of Hollywood's golden era. She also reveals the complicated, but enduring romance between Hearst and Davies." * Pop Culture Classics *"One of the most striking qualities of Captain of Her Soul is how the author powerfully portrays the actress’s spirit through the pages. . . .a must-read." * The Wonderful World of Cinema *"Davies was a fierce woman who blazed a trail amidst a Hollywood increasingly dominated by powerful men. At last, she is treated with the respect and reverence she merits through Gabrielle's writing." * Entertainment Weekly *"Gabrielle’s research is impressive. . . . [she] points out that Davies’s motto came from William Ernest Henley’s famous poem, 'Invictus,' which deals with the struggle to overcome vicissitudes and to triumph: 'It matters not how strait the gate, / How charged with punishment the scroll, / I am the master of my fate, / I am the captain of my soul.'" * The New York Sun *"Lara Gabrielle is the reigning expert on Marion Davies. She has written a spirited, well researched, highly readable biography that will pull you straight back to [Davies’s] times." * Northern California Book Reviewers *Table of ContentsContents Acknowledgments A Note on Sources Family Tree Introduction Beginnings “One of the Most Popular Girls in Town” “Unusual Box Office Attraction” “If You Stutter, They Find You Guilty Right Away” “A Good Actress, a Beauty, and a Comedy Starring Bet” “It’s Very Convenient to Have a Double” “Drinking Champagne Out of a Tin Cup” “Why Don’t We Forget the Play That’s Written and Let Marion Do as She Does?” “I Cannot Do Sound Pictures” “A Butterfly with Glue on Her Wings” “I Didn’t Want a Part Where I Just Sit on My Tail and Recite Poetry” “Just Make One Good Picture a Year” “What Difference Does It Make If You Walk Up to the Altar?” “Marion Has to Take the First Step Herself” “The Girl Who Lies by My Side at Night” “My Bounty Is as Boundless as the Sea” “Not If They Offered Me Mars on a Silver Platter” “I Don’t Think She Was Afraid of Death” Epilogue Filmography Notes Bibliography Index
£27.00
University of California Press New Arctic Cinemas
Book SynopsisFor centuries, the Arctic was visualized as an unchanging, stable, and rigidly alien landscape, existing outside twenty-first-century globalization. It is now impossible to ignore the ways the climate crisis, expanding resource extraction, and Indigenous political mobilization in the circumpolar North are constituent parts of the global present. New Arctic Cinemas presents an original, comparative, and interventionist historiography of film and media in twenty-first-century Scandinavia, Greenland, Russia, Canada, and the United States to situate Arctic media in the place it rightfully deserves to occupy: as central to global environmental concerns and Indigenous media sovereignty and self-determination movements. The works of contemporary Arctic filmmakers, from Zacharias Kunuk and Alethea Arnaquq-Baril to Amanda Kernell and Inuk Silis Høegh, reach worldwide audiences. In examining the reach and influence of these artists and their work, Scott MacKenzie and Anna Westerstahl Stenport reveal a global media system of intertwined production contexts, circulation opportunities, and imaginariesall centering the Arctic North.Table of ContentsContents List of Figures Acknowledgments 1 • Twenty-First-Century Arctic Cinemas and Global Media Studies, Media Sovereignty, the Anthropocene, and Interventionist Historiography 2 • New Arctic Explorers and Twenty-First-Century Ice Imaginaries: From Metrical Documentary to IMAX Spectacle 3 • Isuma and Indigenous Media Sovereignty 4 • The Arnait Collective, Feminist Practice, and Inuit Self-Determination 5 • Sámi Media Sovereignty and Interventionist Historiography:Environmental, Experimental, and Archival Politics 6 • Sámi Feminist First-Person Documentary and Women’s Activism 7 • Global Greenland and Postcolonial Cinema 8 • Greenlandic Reconciliation Cinema, Self-Determination, and Interventionist Historiography 9 • Russia’s Contemporary Arctic Cinema as Geopolitics 10 • From the Cold War to the Climate Crisis: The Russian North and Utopian Svalbard 11 • Looking Ahead: Global Arctic Cinemas in the Twenty-First Century References Index
£64.00
University of California Press New Arctic Cinemas
Book SynopsisFor centuries, the Arctic was visualized as an unchanging, stable, and rigidly alien landscape, existing outside twenty-first-century globalization. It is now impossible to ignore the ways the climate crisis, expanding resource extraction, and Indigenous political mobilization in the circumpolar North are constituent parts of the global present. New Arctic Cinemas presents an original, comparative, and interventionist historiography of film and media in twenty-first-century Scandinavia, Greenland, Russia, Canada, and the United States to situate Arctic media in the place it rightfully deserves to occupy: as central to global environmental concerns and Indigenous media sovereignty and self-determination movements. The works of contemporary Arctic filmmakers, from Zacharias Kunuk and Alethea Arnaquq-Baril to Amanda Kernell and Inuk Silis Høegh, reach worldwide audiences. In examining the reach and influence of these artists and their work, Scott MacKenzie and Anna Westerstahl Stenport reTable of ContentsContents List of Figures Acknowledgments 1 • Twenty-First-Century Arctic Cinemas and Global Media Studies, Media Sovereignty, the Anthropocene, and Interventionist Historiography 2 • New Arctic Explorers and Twenty-First-Century Ice Imaginaries: From Metrical Documentary to IMAX Spectacle 3 • Isuma and Indigenous Media Sovereignty 4 • The Arnait Collective, Feminist Practice, and Inuit Self-Determination 5 • Sámi Media Sovereignty and Interventionist Historiography:Environmental, Experimental, and Archival Politics 6 • Sámi Feminist First-Person Documentary and Women’s Activism 7 • Global Greenland and Postcolonial Cinema 8 • Greenlandic Reconciliation Cinema, Self-Determination, and Interventionist Historiography 9 • Russia’s Contemporary Arctic Cinema as Geopolitics 10 • From the Cold War to the Climate Crisis: The Russian North and Utopian Svalbard 11 • Looking Ahead: Global Arctic Cinemas in the Twenty-First Century References Index
£22.50
University of California Press Transatlantic Cinephilia
Book SynopsisIn the two decades after World War II, a vibrant cultural infrastructure of cineclubs, archives, festivals, and film schools took shape in Latin America through the labor of film enthusiasts who often worked in concert with French and France-based organizations. In promoting the emerging concept and practice of art cinema, these film-related institutions advanced geopolitical and class interests simultaneously in a polarized Cold War climate. Seeking to sharpen viewers' critical faculties as a safeguard against ideological extremes, institutions of film culture lent prestige to Latin America's growing middle classes and capitalized on official and unofficial efforts to boost the circulation of French cinema, enhancing the nation's soft power in the wake of military defeat and occupation. As the first book-length, transnational analysis of postwar Latin American film culture, Transatlantic Cinephilia deepens our understanding of how institutional networks have nurtured alternative and nontheatrical cinemas.Table of ContentsContents Acknowledgments List of Abbreviations Introduction 1. The Cineclub Movement in Latin America: Transatlantic Cooperation, Local Frictions 2. Toward a Global Film Preservation Practice? FIAF and the Emergence of Latin American Archives 3. Brokering Art Cinema: Latin America and the Festival Circuit 4. Film Pedagogy between Latin America and France: Training Professionals, Fostering Film Culture Conclusion Notes Bibliography Index
£56.80
University of California Press Transatlantic Cinephilia
Book SynopsisIn the two decades after World War II, a vibrant cultural infrastructure of cineclubs, archives, festivals, and film schools took shape in Latin America through the labor of film enthusiasts who often worked in concert with French and France-based organizations. In promoting the emerging concept and practice of art cinema, these film-related institutions advanced geopolitical and class interests simultaneously in a polarized Cold War climate. Seeking to sharpen viewers' critical faculties as a safeguard against ideological extremes, institutions of film culture lent prestige to Latin America's growing middle classes and capitalized on official and unofficial efforts to boost the circulation of French cinema, enhancing the nation's soft power in the wake of military defeat and occupation. As the first book-length, transnational analysis of postwar Latin American film culture, Transatlantic Cinephilia deepens our understanding of how institutional networks have nurtured alternative and nontheatrical cinemas.Table of ContentsContents Acknowledgments List of Abbreviations Introduction 1. The Cineclub Movement in Latin America: Transatlantic Cooperation, Local Frictions 2. Toward a Global Film Preservation Practice? FIAF and the Emergence of Latin American Archives 3. Brokering Art Cinema: Latin America and the Festival Circuit 4. Film Pedagogy between Latin America and France: Training Professionals, Fostering Film Culture Conclusion Notes Bibliography Index
£22.50
University of California Press Border Witness Reimagining the USMexico
Book SynopsisWhat a century of border films teaches about the real and imagined worlds of the US-Mexico borderlandsand how this understanding helps build better relations across boundaries. Border Witness is an account of cultural collision and fusion between Mexico and the United States, as seen on the ground and in films from the past hundred years. Blending film studies with political and cultural geography, Michael Dear investigates the making of cross-border identity and community in the territories between two nations. Border Witness introduces a new border film genre just now entering its golden age. A geographer and activist, Dear adopts an accessible and engaged perspective, combining the stories told by these films with insights drawn from his own decades-long research and travel. From early silent films to virtual reality, and from revolution to the present global crisis, border films provide fresh evidence for real and imagined politics and for envisioning future transborder architectures carved from in-between spaces.In an era of global geopolitics that favors walls and war over diplomacy, Dear's insights have relevance for borders around the world.Trade Review"Dear’s book is a magnificent chronicle of borderlands films over a century that should be a “must-read” for border scholars and perhaps used not only in film classes but also in border studies courses to supplement the often-dry readings assigned in our twenty-first century visual world." * Journal of Borderlands Studies *"A deep historical context along with solid cinematic summaries of a less discussed cinematic genre: the border film. . . . The author devotes a good deal of the book to the US's relationship with immigrants, the border patrol, and Mexican officials, providing readers with a firm understanding of the difficulties surrounding the failed policies and procedures currently taking place at the border." * CHOICE *Table of ContentsIntroduction Part 1 Origins 1. Border Witness: From the Pacific Ocean to the Gulf of Mexico 2. Bisected Bodies: Early Silent Films 3. Making Filmscapes 4. Using Film as Evidence 5. Revolution and Modernization 6. The Great Migrations 7. Border Film Noir Part 2 Fusions 8. Borderlands before Borders 9. From Final Girl to Woman Warrior 10. Narco Nations: Men at War 11. Lives of the Undocumented 12. Moral Tales, Border Law 13. Border Walls: Screen Folly and Fantasy 14. The Mexican Dream/El Sueño Mexicano Part 3 Witness 15. A Golden Age for Border Film 16. Ways of Seeing the Border (Beyond Film) 17. Border Witness of the Future Acknowledgments Appendix 1: Chronological Filmography Appendix 2: Alphabetical Filmography Appendix 3: Map of US-Mexico Borderlands Notes References Index
£64.00
University of California Press Border Witness
Book SynopsisWhat a century of border films teaches about the real and imagined worlds of the US-Mexico borderlandsand how this understanding helps build better relations across boundaries. Border Witness is an account of cultural collision and fusion between Mexico and the United States, as seen on the ground and in films from the past hundred years. Blending film studies with political and cultural geography, Michael Dear investigates the making of cross-border identity and community in the territories between two nations. Border Witness introduces a new border film genre just now entering its golden age. A geographer and activist, Dear adopts an accessible and engaged perspective, combining the stories told by these films with insights drawn from his own decades-long research and travel. From early silent films to virtual reality, and from revolution to the present global crisis, border films provide fresh evidence for real and imagined politics and for envisioning future transborder archiTrade Review"Dear’s book is a magnificent chronicle of borderlands films over a century that should be a “must-read” for border scholars and perhaps used not only in film classes but also in border studies courses to supplement the often-dry readings assigned in our twenty-first century visual world." * Journal of Borderlands Studies *"A deep historical context along with solid cinematic summaries of a less discussed cinematic genre: the border film. . . . The author devotes a good deal of the book to the US's relationship with immigrants, the border patrol, and Mexican officials, providing readers with a firm understanding of the difficulties surrounding the failed policies and procedures currently taking place at the border." * CHOICE *Table of ContentsIntroduction Part 1 Origins 1. Border Witness: From the Pacific Ocean to the Gulf of Mexico 2. Bisected Bodies: Early Silent Films 3. Making Filmscapes 4. Using Film as Evidence 5. Revolution and Modernization 6. The Great Migrations 7. Border Film Noir Part 2 Fusions 8. Borderlands before Borders 9. From Final Girl to Woman Warrior 10. Narco Nations: Men at War 11. Lives of the Undocumented 12. Moral Tales, Border Law 13. Border Walls: Screen Folly and Fantasy 14. The Mexican Dream/El Sueño Mexicano Part 3 Witness 15. A Golden Age for Border Film 16. Ways of Seeing the Border (Beyond Film) 17. Border Witness of the Future Acknowledgments Appendix 1: Chronological Filmography Appendix 2: Alphabetical Filmography Appendix 3: Map of US-Mexico Borderlands Notes References Index
£22.50
University of California Press Celluloid Democracy
Book SynopsisA free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Celluloid Democracy tells the story of the Korean filmmakers, distributors, and exhibitors who reshaped cinema in radically empowering ways through the decades of authoritarian rule that followed Korea's liberation from Japanese occupation. Employing tactics that ranged from representing the dispossessed on the screen to redistributing state-controlled resources through bootlegging, these film workers explored ideas and practices that simultaneously challenged repressive rule and pushed the limits of the cinematic medium. Drawing on archival research, film analysis, and interviews, Hieyoon Kim examines how their work foregrounds a utopian vision of democracy where the ruled represent themselves and access resources free from state suppression. The first book to offer a history of film activism in post-1945 South Korea
£27.00
University of California Press Historical Turns
Book Synopsis
£22.50
University of California Press Mobile Hollywood
Book Synopsis
£27.00
University of California Press Kartemquin Films
Book Synopsis
£20.70
University of California Press Toward a More Perfect Rebellion Multiracial
Book Synopsis
£999.99
University of California Press Edgar G. Ulmer
Book Synopsis
£21.60
University of California Press Antifascism and the AvantGarde
Book Synopsis
£64.00
University of California Press Celluloid Democracy
Book Synopsis
£64.00
University of California Press Anita Loos Rediscovered
Book Synopsis
£22.50
University of California Press Bunuel and Mexico
Book Synopsis
£27.00
John Wiley and Sons Ltd Hollywood Cinema
Book SynopsisThis extensively revised second edition offers a comprehensive introduction to Hollywood cinema, providing a fascinating account of the cultural and aesthetic significance of the world's most powerful film industry. Provides a fascinating account of Hollywood history. Examines the cultural and aesthetic significance of the world''s most powerful film industry. Explores and interprets Hollywood cinema in history and in the present, in theory and in practice. Extensively revised and updated with new chapter features including box sections, further reading lists, Notes and Queries, and chapter summaries. Trade Review"Hollywood Cinema is an important book, one to be included in any consideration of American film and its influence in world cinema." Journal of Film and Video “This updated and enhanced edition of Richard Maltby's Hollywood Cinema is quite simply the best single textbook on the subject. In clear, user-friendly fashion, Maltby provides an astonishing amount of basic information about Hollywood while explaining how both the movies and the critical/theoretical discourse of film study have evolved over time. The book is not only an extremely useful overview but also an important intervention in current debates. An intelligent blending of formal and historical analysis, it should become essential reading for every serious student of film, whether beginner or advanced.” James Naremore, Indiana University "In its first edition, Hollywood Cinema quickly became a ‘must-have’ volume for anyone interested in film. Beautifully reorganized, expanded, and updated with features that enhance its usefulness for research and teaching, this revised edition shows how truly indispensable Maltby’s work on Hollywood is to media studies." Barbara Klinger, Indiana UniversityTable of ContentsAcknowledgments xii List of Boxes xiv Introduction 1 Part I The Commercial Aesthetic 1 Taking Hollywood Seriously 5 “Metropolis of Make-Believe” 5 Art and Business 7 The Commercial Aesthetic of Titanic 10 A Classical Cinema? 14 Hollywood and its Audiences 19 Ratings and Franchises 22 Hollywood’s World 28 Summary 30 Further Reading 31 2 Entertainment 1 33 Escape 33 Money on the Screen 40 The Multiple Logics of Hollywood Cinema 46 Summary 52 Further Reading 53 3 Entertainment 2 54 The Play of Emotions 54 Regulated Difference 59 Singin’ in the Rain: How to Take Gene Kelly Seriously 66 Summary 71 Further Reading 72 4 Genre 74 Genre Criticism 83 Genre Recognition 86 The Empire of Genres: Pat Garrett and Billy the Kid 93 Genre and Gender 101 Summary 107 Further Reading 108 Part II Histories 5 Industry 1: To 1948 113 Industry 113 Distribution and Exhibition 114 Exporting America 126 Divorcement 128 The Studio System 130 The Star System 141 How Stars are Made: A Star is Born 146 Summary 154 Further Reading 156 6 Industry 2: From 1948 to 1980 159 The Effects of Divorcement 161 Roadshows and Teenpix 165 Independents, Agents, and Television 170 Corporate Consolidation and the “New Hollywood” 173 Ratings 177 Hollywood in the Multiplex 181 Summary 186 Further Reading 187 7 Industry 3: Since 1980 189 Video and New Markets 191 The Pursuit of Synergy 205 Globalization 212 Independence 217 Summary 224 Further Reading 225 8 Technology 227 Realism and the Myth of Total Cinema 229 Sound 238 Sunny Side Up 241 Color 248 Widescreen 251 Technology and Power 255 The Triumph of the Digital 259 Summary 264 Further Reading 265 9 Politics 268 The Politics of Regulation 270 Hollywood Goes to Washington 276 Washington Goes to Hollywood 280 Representing the Political Machine 287 Controversy with Class: The Social Problem Movie 292 Ideology 300 Summary 306 Further Reading 307 Part III Conventions 10 Space 1 311 The Best View 312 Making the Picture Speak: Representation and Expression 313 The Optics of Expressive Space 319 Deep Space: Three-Dimensionality on a Flat Screen 326 Mise-en-Scène 328 Editing 332 Summary 339 Further Reading 340 11 Space 2 343 The Three “Looks” of Cinema 343 Points of View 346 Safe and Unsafe Space 353 Ordinary People 358 Summary 365 Further Reading 365 12 Performance 1 368 The Spectacle of Movement 372 The Movement of Narrative 375 Acting as Impersonation 377 The Actor’s Two Bodies 380 Star Performance 384 Summary 390 Further Reading 391 13 Performance 2 393 The Method 393 Acting as a Signifying System 398 Valentino 401 The Son of the Sheik 406 Summary 410 Further Reading 411 14 Time 413 Time Out 414 Film Time 419 Movie Time 423 Deadlines and Coincidences: Madigan 426 Mise-en-Temps 429 Tense 432 Back to the Present: History as a Production Value 436 The Politics of History: Forrest Gump 440 The Lessons of History: Juárez 443 Summary 449 Further Reading 450 15 Narrative 1 452 Narrative and Other Pleasures 452 Show and Tell 454 Theories of Narration 458 Plot, Story, Narration 462 Clarity: Transparency and Motivation 465 Summary 469 Further Reading 470 16 Narrative 2 471 Regulating Meaning: The Production Code 471 Clarity and Ambiguity in Casablanca 475 Narrative Pressure 484 Summary 488 Further Reading 489 Part IV Approaches 17 Criticism 493 From Reviewing to Criticism 494 Early Theory and Criticism in America 496 From Criticism to Theory 501 Criticism in Practice: Only Angels Have Wings 511 Summary 521 Further Reading 523 18 Theories 526 Entering the Academy 526 Structuralism and Semiology 528 Cinema, Ideology, Apparatus 531 Psychoanalysis and Cinema 535 The Spectator 537 Feminist Theory 540 Poststructuralism and Cultural Studies 542 Neoformalism and Cognitivism 546 From Reception to History 549 Summary 553 Further Reading 555 Chronology 557 Glossary 578 Appendices 593 1 The Motion Picture Production Code 593 2 The Code and Rating System, 1968 598 3 The Classification and Rating System: “What the Ratings Mean” 601 Notes 603 Bibliography 644 Index 666
£36.05
Harvard University Press Storytelling in Film and Television
Book SynopsisDerided as simple, dismissed as inferior to film, characterized as a vast wasteland, television nonetheless exerts an undeniable, apparently inescapable power. The secret of television's success may lie in the narrative complexities underlying its seeming simplicity, complexities the author unmasks in her analysis here.Trade ReviewRemarkably little work (scholarly or otherwise) has been done on television. These four essays provide what may be the most cogent and systematic study of the subject currently available. Thompson is an extremely solid writer with a keen intellect and exceptional analytical skills, and all of these qualities are in evidence here. Simply stated, there is at present no book quite like this one, despite the pressing need for such a book. -- Thomas Schatz, Professor of Radio, Television & Film, University of Texas at AustinI quite enjoyed reading this book. What I like most about it is its interdisciplinary approach. It shows the insights that an intellectually mature media scholar can have when she crosses disciplinary boundaries--applying analytical principles of one medium to another. I feel strongly that this sort of work should be encouraged. -- Jeremy Butler, Professor of Telecommunications and Film, University of AlabamaTable of ContentsPreface 1. Go with the Flow? Analyzing Television 2. What Do They Think They're Doing? Theory and Practice in Screenwriting 3. The Dispersal of Narrative: Adaptations, Sequels, Serials, Spin-offs, and Sagas 4. The Strange Cases of David Lynch Notes Index
£27.86
Harvard University, Asia Center The Naked Gaze
Book SynopsisRojas focuses on visuality and gender tropes to reflect on shifting understandings of the significance of Chineseness, modernity, and Chinese modernity. Through detailed readings of narrative works, the study identifies three distinct constellations of visual concerns corresponding to the late imperial, mid-20th century, and contemporary periods.
£32.26
Harvard University Press The Collaboration
Book SynopsisTo continue doing business in Germany, Hollywood studios agreed not to make films attacking Nazis or condemning persecution of Jews. Ben Urwand reveals this collaboration and the cast of characters it drew in, ranging from Goebbels to Louis B. Mayer. At the center was Hitler himself—obsessed with movies and their power to shape public opinion.Trade ReviewUrwand draws on a wealth of previously uncited documents to argue that Hollywood studios, in an effort to protect the German market for their movies, not only acquiesced to Nazi censorship but also actively and enthusiastically cooperated with that regime’s global propaganda effort. -- Jennifer Schuessler * New York Times *[An] eye-opening study of Hollywood and the Nazi elite… The Collaboration unfolds a story that rather knocks the shine off the golden age of cinema… Urwand has done some energetic digging in the archives, quoting letters, memos and newspaper reports to uncover a shameful policy of compromise and kowtowing on the part of the studio bosses. And what lends the story its peculiar irony is that those bosses who did their utmost to appease the crazed ideology of Nazism were by and large Jews themselves. -- Anthony Quinn * The Guardian *Urwand…sheds new light on the way the studio bosses responded to Nazi pressure, from 1933, when Hitler assumed power, to 1941, when the United States entered the war… Drawing on American and German archival material, the author shows that Hollywood began working with the Nazis in 1933. The collaboration was not passive, but voluntary: part of a strategy necessary in order for the studios to maintain their market in Germany—which had more movie theaters than any other country in Europe… Urwand describes how the Nazis tried to shape the very content of American films—and often succeeded. -- Samuel Blumenfeld * Le Monde *Urwand’s book uncovers important material about the relationship between the American film industry and the Nazi regime… Readers may or may not agree with Urwand’s conclusion about the perils of Jewish self-denial. But in highlighting it, he provides a useful reminder that scholarship on the Nazi era continues to serve as a mirror in which Jews view themselves. -- Gavriel Rosemfeld * Forward *Urwand…presents explosive new evidence about the shocking extent of the partnership between the Nazis and major Hollywood producers… [A] riveting book… As you turn its pages you realize with dismay that collaboration is the only fitting word for the relationship between Hitler and Hollywood in the 1930s. Using new archival discoveries, Urwand alleges that some of the Hollywood studio heads, nearly all of whom were Jewish, cast their lot with Hitler almost from the moment he took power, and that they did so eagerly—not reluctantly. What they wanted was access to German audiences. What Hitler wanted was the ability to shape the content of Hollywood movies—and he got it… What is shocking and new about Urwand’s account is its blow-by-blow description of Hollywood executives tailoring their product to meet the demands of the Nazi regime. -- David Mikics * Tablet Magazine *Hard-hitting… Urwand has dug deep…and come up with some genuine revelations… The story is quite dramatic, and shameful. -- Philip Kemp * Times Higher Education *Urwand’s book about how Hollywood conducted business with and within Germany after Hitler’s ascent to power is a fascinating examination of capitalist amorality in the face of evil. Urwand does a good job of cataloging the ways Hollywood studios—largely headed by immigrant Jewish entrepreneurs—took measures to placate the Nazis so they could continue to show films in Germany throughout the 1930s, until the Nazi invasion of Poland… Urwand has uncovered a very interesting, heretofore unknown, true Hollywood story. -- Philip Martin * Arkansas Democrat-Gazette *[A] provocative book. -- Rosemary Neill * The Australian *The Collaboration expertly dismantles Hollywood’s rose-tinted view of history, proving it wasn’t standing up to fascism as it has claimed, but eagerly appeasing the Nazis so long as the money was coming in. -- Kyle Ryan * A.V. Club *[The] revelations in Ben Urwand’s controversial exposé, The Collaboration, are nothing short of astonishing, going well beyond what was known about Hollywood’s timidity during that era. With damning archival evidence, Urwand argues that the studios, motivated by profits, were reluctant to abandon the German market, where American films were popular and Hitler himself was a fan… Urwand’s finely documented account is even more chilling—in large part because the ‘collaborators’ to whom he points were American, and in many cases also Jewish. -- Julia M. Klein * Boston Globe *[Urwand] has revealed in terrifying detail how Hollywood was at the whim of the Nazis throughout the 1930s—censoring films and dropping others in a sinister collaboration with Hitler. * Daily Mail *Impeccably researched and impressively argued, Ben Urwand’s gripping volume systematically reveals the way major Hollywood studios were willing to protect their financial interests in the German market by appeasing the Nazi regime. Urwand has unearthed remarkable evidence from archives in Germany and America, confirming that the road to hell was paved with a thousand concessions. Hollywood studios went to astonishing lengths not to offend or upset the Nazi regime. What began with minor adjustments to scripts eventually reached a point where projects that were unsympathetic to Germany’s past or critical of the Nazis were simply never made… The studios didn’t just follow a policy of accommodation they became willing partners with the Nazis to reach an understanding of what could be mutually beneficial to both parties. The book is such a revelation because it goes against the grain of commonly held assumptions… Urwand is particularly good at marshalling hard facts and solid evidence that builds into a horrifying indictment of studios that continued to operate in Germany throughout the first eight years of Hitler’s rule… Even as the full horrors of the Nazi regime became apparent to the world, Hollywood continued to offer the hand of collaboration, a fact all the more ironic considering that many of the studio bosses were Jewish… This is a book that challenges every rose-tinted view of Hollywood’s Golden Age. It sheds a piercing light on dark deeds and is an invaluable work of political history that has all the page-turning urgency of a thriller. -- Allan Hunter * Herald (Scotland) *The Collaboration felt genuinely original and eye-opening as Ben Urwand systematically revealed the way major Hollywood studios were willing to protect their financial interest in the German market of the 1930s by appeasing the Nazi regime. The road to hell was paved by a thousand concessions. -- Allan Hunter * Herald (Scotland) *The book is a fascinating take on the shady politics of Hollywood and should be read by anyone interested in going behind the glamour of 1930s cinema. -- Taylor Downing * History Today *Urwand has dug deep in the German archives and found evidence that the Nazis’ business dealings with some of the studios were much closer than previously realized. He also draws attention to the flagrant lobbying of the Nazi emissary to Hollywood. -- J. Hoberman * London Review of Books *Urwand’s investigation of this dark chapter in the history of the American film industry is as intriguing as it is compellingly told. -- Theis Duelund * Los Angeles magazine *Urwand’s book details in sometimes shocking fashion how the Hollywood film industry, including studios run by legendary Jewish film moguls such as Louis B. Mayer, were willing to pre-screen their films for Nazi officials and remove content they found objectionable. -- Andy Goldberg * Military.com *In Urwand’s account of the relationship between the American film industry and the government of Germany in the 1930s, he shows that Hollywood studios put profits ahead of scruples in their dealings with the Nazis. -- Lisa Jarvinen * Philadelphia Inquirer *Urwand is tearing down the popular impression that the 1930s Hollywood community stood united in efforts to combat the Nazi regime. Quite the contrary, says Urwand, whose research reveals a shocking level of collaboration (or Zusammenarbeit, i.e. ‘working together’) between the German government and Tinseltown’s studios—many of which were famously headed by Jews… The Collaboration depicts a studio system in which films were submitted for approval to aggressive German propaganda officials, who demanded cuts and changes to material deemed ‘detrimental to German prestige’—not only to film versions created for the German market, but for the U.S. and countries around the world. -- Lesley M. M. Blume * Vanity Fair online *With great attention to detail, Urwand describes multiple contacts between the studios and German officials, and he apparently breaks some new ground with his descriptions of Georg Gyssling, who became a Hollywood fixture after Hitler came to power in 1933. -- Roger Currie * Winnipeg Free Press *A welcome addition to understanding Hollywood’s response to the rise of Nazism. -- J. Fischel * Choice *Offers a keen, unsettling look at the unholy alliance Hollywood made with the Nazis, which allowed both to keep packing movie theaters in Germany up until the outbreak of war… There was pressure on the studios to censor defense of Jews in certain films and suppress films that portrayed Nazis in an unflattering light (The Mad Dog of Europe). The result of this complicated and slippery relationship, as Urwand depicts with subtlety, was the absolute disappearance from film of Nazis and Jews until the end of the decade. * Kirkus Reviews *This eminently accessible, often riveting account of a little-understood chapter in American cinema history should appeal to a wide general readership. -- Roy Liebman * Library Journal *Urwand keeps the jaw-dropping revelations coming in this damning indictment of the complicity of the major Hollywood studios—and their mostly Jewish heads—in the Nazis’ campaign to exterminate Europe’s Jews… Urwand deserves immense credit for this groundbreaking—and truly unique—take on the WWII era. * Publishers Weekly (starred review) *A tremendous piece of work, fully sustained, building momentum charged by thrillingly detailed storytelling, increasing suspense, and a consistent movement from outrages to atrocities, with a stunning conclusion of heroism and tragedy—and it is as well a devastating RIP to what we’ve been told, all down these years, about ‘the genius of the system.’ -- Greil MarcusFull of startling and surprising revelations, presented in exemplary fashion, without any moralizing or sensationalism. The Collaboration shows how Hollywood and especially the big studios went along with German demands to censor movies not only before but especially after the Nazi seizure of power. -- Richard J. Evans
£24.26
Princeton University Press French Film Theory and Criticism A History
Book SynopsisThe recipient of the Jay Leyda Prize in Cinema Studies from the US Anthology Film Archives, this two-volume work explores the emergence of French film theory before the essays of Andre Bazin. The anthology contains selections from 150 texts, many published in English for the first time.Trade Review"Constitutes an excellent research tool for scholars of French cinema but also, importantly, for those concerned with the development of film theory and criticism generally."--Ginette Vincendeau, Screen "[Richard Abel] has put all interested in French cinema deeply in his debt."--D. J. Wenden, English Historical Review
£40.50
Princeton University Press The Theater and Cinema of Buster Keaton
Book SynopsisFamous for their stunts, gags, and images, Buster Keaton's silent films have enticed everyone from Hollywood movie fans to the surrealists, such as Dali and Bunuel. This book looks at the appeal of Keaton's genius, considering his vaudeville roots and his ability to integrate this aesthetic into the techniques of classical Hollywood cinema.Trade Review"Knopf offers a timely, academic appreciation of the great stoneface, examining why Keaton's films intrigued surrealists and intellectuals... Knopf also does an excellent job of tracing the vaudevillian roots of Keaton's stunts and gags."--Library Journal "The remarkable thing about Buster Keaton is that within the world of film he could do anything. [The book] is a concise synthesis of critical opinions on Keaton which is most useful and insightful in its attention to the tension between vaudeville-based gags and classical narrative structure in Keaton's films."--Marc A. Mamigonian, The Boston Book Review "With apt photographs, complete filmography, and heuristic bibliography, Knopf reanimates the delightfully improvised cinema of a truly great comic film artist."--ChoiceTable of ContentsList of Illustrations ix Acknowledgments Xi Introduction 3 The Lens of Classical Hollywood Cinema 4 The Lens of Vaudeville 10 The Lens of Surrealism 15 1. The Evolution of Keaton's Vaudeville 19 2. From Stage to Film: The Transformation of Keaton's Vaudeville 36 3. Keaton Re-Viewed: Beyond Keaton's Classicism 76 Keaton in Context: Keaton, Chaplin, and Lloyd 79 The Gag-Narrative Relationship in Keaton's Films 83 4. From Vaudeville to Surrealism 112 The Surrealists Claim Keaton 113 Keaton's Affinities with Surrealism 121 5. Beyond Surrealism: Keaton's Legacy 134 Gerald Potterton's The Railrodder 135 Samuel Beckett's Film 143 Afterlife: New Vaudeville, Jackie Chan, and Coming Attractions 148 Motes 157 Filmography 179 Bibliography 203 Index 213
£33.25
Princeton University Press Landscapes of Loss The National Past in Postwar
Book SynopsisMakes fresh sense of the rich variety of postwar French films by exploring the obsession with the national past that has characterized French cinema since the late 1960s. This book examines the ways in which French cinema has represented traumatic and defining moments of the nation's past: the political battles of the 1930s and the Vichy era.Table of ContentsAcknowledgments vii I. Introduction 3 II. Alain Resnais: The Ghosts of History 31 III. Battles for Memory: Vichy Revisited 64 IV. Bertrand Tavernier: History in the Present Tense 98 V. Memory and Its Losses: Troubled Dreams of Empire 130 VI. A la recherche du temps perdu: The Specter of Populism 159 Epilogue 190 Notes 195 Index 227
£999.99
Princeton University Press The Japanese Film Art and Industry Expanded
Book SynopsisTrade Review"[F]ar and away the most important text in its field, and the additions to the pioneering work have greatly increased its value."--Audie Bock, Film Quarterly
£999.99
Princeton University Press Joyless Streets Women and Melodramatic
Book SynopsisChallenges the conventional assessment of German film history, which sees classical films as responding solely to male anxieties and fears. Exploring the address made to women in melodramatic films and in illustrated magazines, this work she shows how Weimar Germany had a commercially viable female audience.
£40.50
Princeton University Press The Gaze and the Labyrinth The Cinema of Liliana Cavani
Book SynopsisPresents Liliana Cavani's work as a cinema of ideas, showing how it takes pleasure in the telling of a story and ultimately revolts against all binding ideological and commercial codes. This book explores the rich visual language in which Cavani expresses thought, and the cultural icons that constitute her style and images.Trade ReviewWinner of the 2000 Aldo and Jeanne Scaglione Prize, Italian Literary Studies "Marrone provides detailed analyses of Cavani's films within the framework of the history of ideas and convincingly argues for the depth and seriousness of the director's art... Informed by interviews with Cavani and materials from the director's own archives, this title is recommended for all readers."--ChoiceTable of ContentsList of Photographic ReproductionsPrefaceAcknowledgmentsIntroduction3Pt. 1The Labyrinth: Cognition and Tragic Imagination151Francesco di Assisi: The Medieval Chronicle and the Establishing of Physical Reality172Realism against Illusion: The Ceremonial Divestiture of Power in Galileo373Metaphors of Revolt: The Dialogic Silence in I cannibali57Pt. 2The Transgressive Gaze: Style as Tension794Toward a Negative Mythopoeia: Spectacle Memory, and Representation in The Night Porter815Staging the Gaze: Beyond Good and Evil1166Theatricality and Reflexivity in The Berlin Affair140Pt. 3Metaphors of Vision1597The Architectonics of Form: Francesco and Milarepa1618The Essential Solitude: A Conclusion188Notes195Filmography251Bibliography259Index305
£49.50
Princeton University Press The Address of the Eye
Book SynopsisCinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. This title challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus.
£40.50
Princeton University Press Passions and Deceptions The Early Films of Ernst
Book SynopsisA collaborator with Warner Brothers and Paramount in the early days of sound film, the German film director Ernst Lubitsch (1892-1947) is famous for his sense of ironic detachment. This title focuses on the visual strategies Lubitsch used to convey irony and analyzes his contribution to the rise of classical narrative cinema.Table of ContentsList of IllustrationsIntroduction3Pt. IThe Early Lubitsch - An Overview1From Comic Actor to Film Director, 1914-1918252The German Feature Films, 1918-1922373Hollywood - The Silent Films, 1923-1929584The American Sound Films, 1929-193270Pt. IIFilm Analyses5Wayward Women: The Oyster Princess, The Doll, and The Mountain Cat816The Period Film as Palimpsest: On Passion and Deception1147The Tyranny of Vision: So This Is Paris and Others1398Exploring the Boundaries of Sound: Monte Carlo1599The Object, the Image, the Cinema: Trouble in Paradise175Afterword200Select Bibliography207Index211
£40.50
Princeton University Press Mists of Regret Culture and Sensibility in
Book SynopsisBeyond giving a view of the life and worth of cinema in France, this book contributes to our knowledge of how films are dealt with in history. It stresses the dialogue of culture and cinema.Trade Review"A perceptive, subtle account of French 'poetic realist' cinema in the 1930s."--Choice "Essential reading, this work makes a valuable contribution to scholarly research published on 1930's French cinema, [Well}-researched and informative without being over-scholarly, Andrew's evident enthusiasm for the topic cannot fail to inspire interest and enthusiasm."--French Cultural StudiesTable of ContentsPrefaceAcknowledgmentsCh. 1Introduction: A Compass in the Mist of Poetic Realism2Ch. 2Impressionism and Surrealism: The Origins of an Optique24Ch. 3Adolescents in an Adolescent Industry52Ch. 4French Cinema and the Sonic Boom88Ch. 5Theatrical Models for French Films114Ch. 6The Literary and Artistic Sources of Poetic Realism148Ch. 7Demands of Realism194Ch. 8Figures of the Poetic232Ch. 9Jean Renoir: Adaptation, Institution, Auteur274Ch. 10The Myth of Poetic Realism318Ch. 11Epilogue: Le Temps des cerises and the Fruit of Regret334Appendix: Chronology of French Films Mentioned351Notes359Bibliography391Index of Film Titles397General Index401
£51.00
Princeton University Press The Films of Theo Angelopoulos A Cinema of Contemplation
Book SynopsisGreek film director Theo Angelopoulos is one of the most influential and widely respected filmmakers in the world, yet his films are still largely unknown to the American public. This title provides a contextual study that attempts to demonstrate the quintessentially Greek nature of the director's work.Trade Review"Andrew Horton anatomizes a unique aesthetic sensibility, investigating the power of these images with his own impressive powers of observation and learning."--Jack Granath, Rain Taxi "[A] thorough study of Angelopoulos... This is the first book on Angelopoulos in English... Horton comments knowledgeably on the many directors who have influenced Angelopoulos...and on the artistic influences of the Greek Orthodox church and Byzantine and classical Greek culture."--Choice "This [book] ... could not have come at a better time or from a more qualified critic... Andrew Horton opens the door to a complex body of work and will do much to correct the notion that Angelopoulos is simply an eccentric individualist or a director overly infatuated with technique."--Dan Georgakas, Film QuarterlyTable of ContentsPrefaceAcknowledgmentsIntroduction: The Voyage beyond the Borders3Ch. 1Cinema and the Borders of Greek Culture25Ch. 2The Moving Pattern of Images: Greek History and Individual Perspectives55Ch. 3Angelopoulos, the Continuous Image, and Cinema73Ch. 4Reconstruction: "Help Me, I'm Lost"91Ch. 5The Travelling Players: Figures in the Landscape of Myth and History102Ch. 6Voyage to Cythera: "One ... Two ... Oh, My God. I'm Out of Step"127Ch. 7Landscape in the Mist: A Documentary Fairy Tale144Ch. 8The Suspended Step of the Stork: "If I Take One More Step, I Will Be Somewhere Else"161Ch. 9Ulysses' Gaze: "We Are Dying People"181Conclusions: From the Cinematic Gaze to a Culture of Links202Filmography211Bibliography217Index223
£28.50
Princeton University Press Creating the Couple Love Marriage and Hollywood
Book SynopsisWho decides how, when, and where Americans fall in love and get married? This book shows that Hollywood has often had the most powerful voice in demonstrating socially sanctioned ways of becoming a couple.Trade Review"The pages are bursting with discussions of classics such as The Maltese Falcon, The Big Sleep, Sunset Boulevard, On the Waterfront and Nashville. The book explores not only the relationships between men and women in these movies but also the specific acting techniques of the stars and their lives off screen."--The Washington TimesTable of ContentsPrefacePt. IIntroduction: The Movies as Social Ritual1Romantic Love, Changing Marriage Norms, and Stars as Behavioral Models3Pt. IIPatriarchal Marriage and Traditional Gender Identities2Star and Auteur: The Griffith-Gish Collaboration and the Struggle over Patriarchal Marriage393Star and Genre: John Wayne, the Western, and the American Dream of the Family on the Land67Pt. IIICompanionate Marriage and Changing Constructions of Gender and Sexuality4The Love Goddess: Contradictions in the Myth of Glamour1335Masculinity in Crisis: Method Acting in Hollywood160Pt. IVEpilogue: Beyond the Couple6The Destabilization of Gender Norms and Acting as Performance183Notes221Bibliography249Index277
£40.50
Princeton University Press Black White and in Color
Book SynopsisExamines the representation of blackness on television at the height of the southern civil rights movement and again in the aftermath of the Reagan-Bush years. This book looks at how television's ideological projects with respect to race have supported or conflicted with the industry's incentive to maximize profits or consolidate power.Trade Review"Lucid and accessible in both argument and style, this book offers perhaps the most theoretically sophisticated treatment to date of the historical relationship between the civil rights movement and network television, as well as of the complexities of representations of race in contemporary television. It embraces a wide academic audience, opening a conversation across disciplines that too often fail to take each other's accomplishments into account."—Sharon Willis, University of Rochester"This book is distinguished by a rare combination of critical acumen and historical insight. Torres is characteristically incisive, presenting an argument that appears both incontrovertibly correct and wholly original."—Phillip Brian Harper, New York UniversityTable of ContentsList of Illustrations ix Acknowledgments xi INTRODUCTION 1 The Vicissitudes of the Stereotype 1 Issues and Some Answers 4 Television and Conservative Racial Projects after the '60s 8 CHAPTER ONE "In a crisis we must have a sense of drama": Civil Rights and Televisual Information 13 The Burden of Liveness 13 "Pictures are the point of television news" 15 "We have shut ourselves off from the rest of the world" 20 "That cycle of violence and publicity" 23 "The vehemence of a dream" 33 CHAPTER TWO The Double Life of "Sit-In" 36 "Sit-In"'s Industrial Context 36 "Sit-In" Flashes Back 39 "Sit-In" as a Movement Text 41 "Sit-In" and Black Idiom 44 CHAPTER THREE King TV 48 Rodney King Live 48 Liveness: An Ideology of Television and Race 49 L.A. Law and Televisual Justice 52 Doogie Howser, M.D., and Televisual Instruction 60 Rodney King Dead 68 CHAPTER FOUR Giuliani Time: Urban Policing and Brooklyn South 70 Cops and Cop Shows 70 Giuliani Time 71 How to Identify with the Cops 77 Good Cop, Bad Cop 83 CHAPTER FIVE Civil Rights, Done and Undone 86 "A virtual whitewash in programming" 86 Malcom X on TV 91 The Nick Styles Show 97 Video Surveillance and Counterspectatorship 103 NOTES 109 SELECTED BIBLIOGRAPHY 131 INDEX 137
£33.25
Princeton University Press Streetwalking on a Ruined Map
Book SynopsisEmphasizing the importance of cultural theory for film history, this book guides readers on a series of "inferential walks" through Italian culture in the first decades of the 21st century. It draws a cultural history that persuasively argues for a spatial, corporal interpretation of film language.Trade Review"In the expanding field of cinema studies, this work stands out in its rare imaginative force."—Annette Michelson, New York UniversityTable of ContentsAcknowledgmentsMapping Out Discourse: An Introduction3Pt. ISuppressed Knowledge of Elvira Coda Notari and Neapolitan Film: A Historical Panorama1Questions of History and Film in Italian Culture112Film Journals and Film Historiography24Pt. IIFilm in the Cityscape: A Topoanalysis of Spectatorship3Streetwalking around Plato's Cave, or The Unconscious Is Housed354Spectatorial Embodiments: Anatomies of the Visible and the Female Bodyscape58Pt. IIIManufacturing Film Culture5Dora Film: An Urban Production House796Women at Work: Manufacturing Movies1057Dora Film of America: Women and Immigrants in the American Dream1228Censorship: A Cut on the Wings of Desire137Pt. IVThe Metropolitan Texture9Fragments of an Analyst's Discourse: Lacunae14710The Architecture of Public Melodrama: A Corporeality of the Street16111Between the Feast and the Law: The Carnivalization of Narration18712City Views: Filmic Cityscape, Artistic Perspective, and Touristic Travel201Pt. VFemale Geographies13Anatomy of an Analysis: The Authorial Noir23314Popular Cinema and Women's Literature: The Transito of Female Discourse24115Medical Figures: Hysteria and the Anatomy Lesson25516Topographies of Dark Female Pleasures27817Written on the Body: Eroticism, Death, and Hagiography309Notes329Filmography391List of Illustrations399Index405
£40.50
Princeton University Press MovieStruck Girls Women and Motion Picture Culture after the Nickelodeon
Book SynopsisExamines women's films and filmgoing in the 1910s, a period when female patronage was energetically courted by the industry for the first time. This title looks closely at how women were invited to participate in movie culture, the films they were offered, and the visual pleasures they enjoyed.Trade ReviewOne of Choice's Outstanding Academic Titles for 2000 Finalist for the 2000 Theatre Library Association Award "A delightful and informative read and destined to be a classic in the field of film studies, this book is bound to attract a broad audience of scholars and movie buffs interested in learning more about the connections between movies and women in the early years of the film industry."--ChoiceTable of ContentsAcknowledgments Introduction 1. Spare Us One Evening: Cultivating Cinema's Female Audience Playing to the Ladies Added Attractions: Women in the Audience 2. Is Any Girl Safe? Motion Pictures, Women's Leisure, and the White Slavery Scare The White Slavery Scare White Slavery and Motion Picture Audiences White Slavery on the Screen Female Spectators at the White Slave Films 3. Ready-Made Customers: Female Movie Fans and the Serial Craze Promoting Pauline The Biggest Thrills Are Yet to Come: Serial Desire and the Heterogeneous Text An Awful Struggle between Love and Ambition: Serial Heroines and Modern Femininity What Sort of Fellow Is Pearl White? Serial Queens and Their Female Fans 4. Civic Housekeeping: Women's Suffrage, Female Viewers, and the Body Politic Defining Female Citizenship in Suffrage Comedies Recruiting Female Viewers Civic Housekeeping and the Conservative Appeal Conclusion Notes Selected Bibliography Index
£49.50
Princeton University Press Siegfried Kracauer
a huge range and FREE tracked UK delivery on ALL orders.
£33.25
Princeton University Press A Certain Tendency of the Hollywood Cinema 19301980
Book SynopsisAn analysis of the ideologies and artistic conventions of American movies includes examinations of films such as Casablanca, Taxi Driver, and The Godfather.Trade Review"An informative and stimulating book that explores our popular mythology through illuminating discussions of commercially successful films ranging from Casablanca to Taxi Driver."--New York Times Book Review
£40.50
Princeton University Press Hollywood Fantasies of Miscegenation Spectacular
Book SynopsisAnalyzes white fantasies of interracial desire in the history of popular American film. With readings of films like D W Griffith's 1915, "The Birth of a Nation" and of key forgotten films and censorship documents, this book argues that dominant fantasies of miscegenation have had a profound impact on the form and content of American cinema.Trade Review"With Hollywood Fantasies of Miscegenation: Spectacular Narratives of Gender and Race, 1903-1967, Susan Courtney offers an important work that should serve as the starting point for any analysis of the depiction of race and gender in film... Simply put, Hollywood Fantasies of Miscegenation belongs on the bookshelf of every serious scholar and student of film."--Richard John Ascarate, MEDIEN
£40.50
Princeton University Press Readings in Contemporary Chinese Cinema A
Book SynopsisMost Chinese-language textbooks cater to beginners and intermediate-level students, but virtually none address the unique needs of advanced students. This work fills this gap through the use of critically acclaimed Chinese films to teach students Chinese while also broadening their knowledge about China.Trade Review"An entirely new and different type of advanced reader. The ten selected movies deal with an array of political, social, economic, and historical issues that are extremely important in China today. Most of the learning comes when students can conduct discussions on the subjects raised in the films. The lessons are structured to facilitate this process, as are the exercises that follow the extensive vocabulary lists."—James M. Hargett, State University of New York, Albany"An excellent textbook. The innovative design and format, the broad range of collection, the glossary, and exercises are all expertly presented. This textbook should win the trust of both Chinese-language teachers and students."—Baozhang He, College of the Holy Cross
£49.30
