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Book SynopsisThe works of Shakespeare and Dante or the figures of George Washington and Moses do not often enter into popular conceptions of the silent cinema, yet, between 1907 and 1910, the Vitagraph Company frequently used such material in producing "quality" films that promulgated "respectable" culture. William Uricchio and Roberta Pearson situate these filTrade Review"Vitagraph, the largest of the New York studios during the early part of the century, made numerous films based in literary classics, historical events, and Biblical Lore. The authors make a convincing case that the 'Vitagraph Quality Films' series played an important role in improving the cultural status of the movies."--American CinematographerTable of ContentsList of IllustrationsAcknowledgmentsIntroduction3Ch. 1Responses to Cultural Crisis: Political Domination and Hegemony17Ch. 2The Film Industry's Drive for Respectability41Ch. 3Literary Qualities: Shakespeare and Dante65Ch. 4Historical Qualities: Washington and Napoleon111Ch. 5Biblical Qualities: Moses160Conclusion195Appendix: Vitagraph's Description of the Washington and Napoleon Films201Notes205Index245

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Book SynopsisTable of Contents*Frontmatter, pg. i*Contents, pg. vii*List of Illustrations, pg. ix*Acknowledgments, pg. xi*1. Pre/Texts: An Introduction, pg. 1*2. Mythic Discourse, pg. 32*3. The Lives of Performers: The Actress as Signifier, pg. 63*4. Kiss Me Deadly: Heterosexual Romance, pg. 89*5. Shall We Dance? Woman and the Musical, pg. 132*6. Sisters: The Divided Self, pg. 172*7. Girl Groups: Female Friendship, pg. 216*8. Women in Love: The Theme of Lesbianism, pg. 250*9. Murder, She Wrote: Women Who Kill, pg. 269*10. The Dialogic Text: An Epilogue, pg. 301*Appendix. List of Additional Films and Topics for Teaching, pg. 330*Index, pg. 335

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Book SynopsisBy thoroughly examining T. S. Eliot and Ezra Pound collected and uncollected writings, James Longenbach presents their understandings of the philosophical idea of history and analyzes the strategies of historical interpretation they discussed in their critical prose and embodied in their poems including history." Originally published in 1987. TheTable of Contents*FrontMatter, pg. i*Contents, pg. vii*Preface, pg. ix*Acknowledgments, pg. xiii*Abbreviations, pg. xvii*Introduction. Modernism and Historicism, pg. 1*Chapter One. Pater and Yeats: The Dicta of the Great Critics, pg. 29*Chapter Two. I Gather the Limbs of Osiris, pg. 45*Chapter Three. Canzoni: Toward a Poem Including History, pg. 62*Chapter Four. The Perigord Phantastikon, pg. 79*Chapter Five. Three Cantos and the War Against Philology, pg. 96*Chapter Six. Truth and Calliope, pg. 131*Chapter Seven. Eeldrop and Appleplex: Eliot and Pound, pg. 152*Chapter Eight. F. H. Bradley and the "System" of History, pg. 164*Chapter Nine. The Contrived Corridors of Poems 1920, pg. 177*Chapter Ten. The Waste Land: Beyond the Frontier, pg. 200*Notes, pg. 239*Index, pg. 267

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Book SynopsisSergei Eisenstein's greatness lies not only in his films, such as Potemkin or Ivan the Terrible, or his contributions to the technique and art of the cinema but also in his contributions as a theoretician and philosopher of the art. This edition includes a new translation of Eisenstein's essay on Orozco. Originally published in 1982. The PrincetoTable of Contents*FrontMatter, pg. i*CONTENTS, pg. v*Preface, pg. 1*Foreword, pg. 7*A Personal Statement, pg. 13*The Method of Making Workers' Films, pg. 17*Soviet Cinema, pg. 20*Perspectives, pg. 35*The Dynamic Square, pg. 48*GTK-GIK-VGIK; Past-Present-Future, pg. 66*Lessons from Literature, pg. 77*The Embodiment of a Myth, pg. 84*More Thoughts on Structure, pg. 92*Charlie the Kid, pg. 108*Mr Lincoln by Mr Ford, pg. 139*A Close-Up View, pg. 150*Problems of Composition, pg. 155*Sources and Notes, pg. 184*APPENDIX A. The Published Writings (1922-1982) of Sergei Eisenstein with notes on their English translations, pg. 188*APPENDIX B. The Prometheus of Mexican Painting, pg. 222*Index, pg. 233

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Book SynopsisTable of Contents*FrontMatter, pg. i*Contents, pg. iii*Foreword, pg. v*I. Basic Elements, pg. 1*II. Dialectics, pg. 49*III. Perturbing Factors, pg. 103*IV. Reflections on the Film Subject, pg. 137*Index, pg. 168

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Book SynopsisRoberto Rossellini's ""Il Miracolo"" is deceptively simple: a demented peasant woman is seduced by a stranger she believes to be Saint Joseph, is socially ostracized for becoming pregnant out of wedlock, but is finally redeemed through motherhood. This book explores the unique place that the movies occupy in American culture.

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Book Synopsis

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Book Synopsisaeo This book is a major new assessment of the American movie industry in the 1990s. aeo The author considers Hollywood in its entirety -- home videos, cable tv and other communication technologies. She examines the impact of such technologies in areas such as distribution, production, exhibition, marketing and merchandising.Trade Review'This book is a timely contribution to the debate on the Information Super Highway and the globalization of media markets. Full of up-to-date information, it is essential reading for all those studying current developments in the media.' Nicholas Garnham, University of Westminster 'Looking for a rudder to steer through the shifting currents of moviedom in the information age? Wasko's ... treatise may be just the thing.' Box Office 'Wasko provides a full analysis of the major ways the Hollywood movie business is maintaining its monopoly on film making. This is an important look at the lucrative business of big movie making. Recommended.' The Reader's ReviewTable of Contents1. Introduction: Hollywood and the Culture Industry. 2. The Way We Were: An Historical Look at Hollywood and Technology. 3. Film Production: In the Information Age. 4. The Big Boys: The Hollywood Majors. 5. The Wired Nation and the Electronic Super Highway: Cable Television, Pay Cable, Pay-Per-View and Beyond. 6. Talkin' 'Bout a Revolution: Home Video. 7. The Silver Screen: Theatrical Exhibition in the Information Age. 8. Hollywood Meets Madison Ave: The Commercialization of U. S. Films. 9. Around the World in Nanoseconds: International Markets for Filmed Entertainment. 10. Hooray for Hollywood: Moving into the 21st Century. Index.

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Book SynopsisFilm and Cinema Spectatorship provides a clear and wide-ranging introduction to different debates and traditions of viewing cinema. In this new book, Jan Campbell offers a comprehensive account of the different theoretical perspectives on film and cinema spectatorship, situating these in their cultural and historical contexts. Among the perspectives covered are those of feminism, modernism and cultural studies, with chapters dedicated to important topics such as early film, stars and film aesthetics. Campbell also provides accessible explorations of the importance of key themes to film and cinema spectatorship, such as mimesis, melodrama, performance and time. The timely and comprehensive text will be essential reading for anyone interested in debates on film theory, psychoanalysis and film, and the history of cinema. This book will be of special interest to students of film studies, media studies and cultural studies.Table of ContentsList of Illustrations. Acknowledgements. Introduction. PART I: SEXUAL DIFFERENCE, FILM SPECTATORSHIP AND THE TEXT. Introduction to Part I. 1. Sexual Difference, Melodrama and Film Theory. 2. The Sexual-Difference Spectator in Weimar Cinema. 3. Film Theory and the Visual Body. PART II: THE EARLY FILM SPECTATOR. Introduction to Part II. 4. Perception and Early Film. 5. Early Film Spectatorship. PART III: AUDIENCES, STARS AND AESTHETICS. Introduction to Part III. 6. Cultural Studies, Ethnography and the ‘Real’ Film Spectator. 7. Stars and Melodrama. 8. Film Aesthetics and Cultural Re-Memory. Notes. Index.

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Book SynopsisFilm and Cinema Spectatorship provides a clear and wide--ranging introduction to different debates and traditions of viewing cinema. In this new book, Jan Campbell offers a comprehensive account of the different theoretical perspectives on film and cinema spectatorship, situating these in their cultural and historical contexts.Table of ContentsList of Illustrations. Acknowledgements. Introduction. PART I: SEXUAL DIFFERENCE, FILM SPECTATORSHIP AND THE TEXT. Introduction to Part I. 1. Sexual Difference, Melodrama and Film Theory. 2. The Sexual-Difference Spectator in Weimar Cinema. 3. Film Theory and the Visual Body. PART II: THE EARLY FILM SPECTATOR. Introduction to Part II. 4. Perception and Early Film. 5. Early Film Spectatorship. PART III: AUDIENCES, STARS AND AESTHETICS. Introduction to Part III. 6. Cultural Studies, Ethnography and the ‘Real’ Film Spectator. 7. Stars and Melodrama. 8. Film Aesthetics and Cultural Re-Memory. Notes. Index.

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Book SynopsisThe past fifteen years have witnessed a diverse group of experiments in 'staging' Shakespeare on film. New Wave Shakespeare on Screen introduces and applies the new analytic techniques and language that are required to make sense of this new wave.Trade Review"Tom Cartelli and Katherine Rowe are outstanding guides to the fascinating (and often daunting) cinematic world of ‘New Wave Shakespeare.’ Rich in insight and elegantly argued, this is by far the best book I’ve read about Shakespeare on film." James Shapiro, Columbia University, author of 1599: A Year in the Life of William Shakespeare "In case anyone thought the tide was ebbing on Shakespeare and film, here are Cartelli and Rowe riding the ‘new wave’ like pro surfers. As brilliant as film analysts as in their understanding of Shakespeare and his current cultural contexts, they are expert guides to a fascinating range of film adaptations and to subtle and provocative ways of thinking about the motive to adapt Shakespeare, about the strategies these films use, and about the theoretical models we can use to understand them. I learned much from every chapter – and so will my students as they engage in my courses with all that this book so clearly and helpfully encourages them to consider." Peter Holland, University of Notre Dame "Though now well established as an important branch of Shakespeare research and instruction, the study of Shakespeare on film has to keep moving to keep abreast of technological change, fresh talent and new audiences. By focusing on work that is contemporary, innovative and experimental, Cartelli and Rowe shift the paradigms of Shakespeare on film, and facilitate new interactions between critical, cultural, textual and media studies." Graham Holderness, University of Hertfordshire, author of Visual ShakespeareTable of ContentsPlays and Films Featured in Chapters. List of Illustrations. Preface. Acknowledgements. Preface. Introduction: New Wave Shakespeare on and off Screen. Chapter 1: Beyond Branagh and the BBC. multiplying canons. Chapter 2: Adaptation as a Cultural Process. conceptual and critical resources • revival • recycling. Chapter 3: Hamlet Rewound. anachronism • tradition and “modernity” • remediation and memory • new media • underground cinema. Chapter 4: Colliding Time and Space in Julie Taymor’s Titus. allusion • interpolation • citational environments • conceptual art • ghosting • surrogation. new media • expressionist film. Chapter 5: Vernacular Shakespeare. parody, burlesque, and masquerade,• docudrama • popular culture sound • riffing • sampling. Chapter 6: Channeling Othello. televisuality • surrogation • character function and effect • voiceover • race and performance. Chapter 7: Surviving Shakespeare: Kristian Levring’s The King is Alive. documentary and experimental film • voiceover • cultural memory • character function and effect • subtitles • substitution and translation. Works Cited. Films, Videos, DVDs, Television Cited. Notes. References. Resources. Index

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Book SynopsisThe past fifteen years have witnessed a diverse group of experiments in 'staging' Shakespeare on film. New Wave Shakespeare on Screen introduces and applies the new analytic techniques and language that are required to make sense of this new wave.Trade Review"Tom Cartelli and Katherine Rowe are outstanding guides to the fascinating (and often daunting) cinematic world of ‘New Wave Shakespeare.’ Rich in insight and elegantly argued, this is by far the best book I’ve read about Shakespeare on film." James Shapiro, Columbia University, author of 1599: A Year in the Life of William Shakespeare "In case anyone thought the tide was ebbing on Shakespeare and film, here are Cartelli and Rowe riding the ‘new wave’ like pro surfers. As brilliant as film analysts as in their understanding of Shakespeare and his current cultural contexts, they are expert guides to a fascinating range of film adaptations and to subtle and provocative ways of thinking about the motive to adapt Shakespeare, about the strategies these films use, and about the theoretical models we can use to understand them. I learned much from every chapter – and so will my students as they engage in my courses with all that this book so clearly and helpfully encourages them to consider." Peter Holland, University of Notre Dame "Though now well established as an important branch of Shakespeare research and instruction, the study of Shakespeare on film has to keep moving to keep abreast of technological change, fresh talent and new audiences. By focusing on work that is contemporary, innovative and experimental, Cartelli and Rowe shift the paradigms of Shakespeare on film, and facilitate new interactions between critical, cultural, textual and media studies." Graham Holderness, University of Hertfordshire, author of Visual ShakespeareTable of ContentsPlays and Films Featured in Chapters. List of Illustrations. Preface. Acknowledgements. Preface. Introduction: New Wave Shakespeare on and off Screen. Chapter 1: Beyond Branagh and the BBC. multiplying canons. Chapter 2: Adaptation as a Cultural Process. conceptual and critical resources • revival • recycling. Chapter 3: Hamlet Rewound. anachronism • tradition and “modernity” • remediation and memory • new media • underground cinema. Chapter 4: Colliding Time and Space in Julie Taymor’s Titus. allusion • interpolation • citational environments • conceptual art • ghosting • surrogation. new media • expressionist film. Chapter 5: Vernacular Shakespeare. parody, burlesque, and masquerade,• docudrama • popular culture sound • riffing • sampling. Chapter 6: Channeling Othello. televisuality • surrogation • character function and effect • voiceover • race and performance. Chapter 7: Surviving Shakespeare: Kristian Levring’s The King is Alive. documentary and experimental film • voiceover • cultural memory • character function and effect • subtitles • substitution and translation. Works Cited. Films, Videos, DVDs, Television Cited. Notes. References. Resources. Index

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Book SynopsisDocumentary in Practice provides a unique approach to practical documentary-making. Through fascinating analysis of real-life production situations, Jane Chapman shows the challenges and issues faced during the filmmaking process by a range of both well-known and up-and-coming documentary-makers. She also brings her own personal experience as a seasoned documentary producer and teacher to advise on how students can gain invaluable insight from these projects. Throughout this compelling text, a variety of producers past and present provide their inside project stories and production records, including scripts, fundraising proposals, budgets, diagrams, post-production records and reviews. Across continents, every project and its makers are different whether they are famous names from the canon'', television freelances, art-house directors, documentary-maker activists or first-time filmmakers but they all face a range of challenges: Trade Review"This book, which offers wonderful examples of film-makers reflecting on their practical choices, together with insightful commentary from the author, shows how critical thinking is foundational to the film-making practice." European Journal of Communication "Jane Chapman manages to mix creative enthusiasm and practical advice in equal measure. This engaging book, informed by her experience in television, is a major contribution to teaching documentary production. Its thoughtful commentary and sequence of illuminating case-studies will also be of value to a broader understanding of this area of work and its critical appreciation." John Corner, University of Liverpool Table of ContentsInformation about Case Studies. Acknowledgements. List of Illustrations. Preface. 1. Thinking Creatively. 2. Fundraising and Budgeting. 3. Researching and Planning. 4. Shooting and Collecting. 5. Shaping and Editing. 6. Obtaining Public Reaction. References. Index.

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Book SynopsisSteven Spielberg is known as the most powerful man in New Hollywood and a pioneer of the contemporary blockbuster, America's most successful export. His career began a new chapter in mass culture. At the same time, American post war liberalism was breaking down.Trade Review"Steven Spielberg's America is a tour de force. Frederick Wasser deftly integrates cultural studies, social history, political economy, and reception studies to illuminate relationships between Spielberg and Hollywood, Spielberg's films and audiences, and globalization and America." Eileen Meehan, Southern Illinois University Carbondale "In varied writings, Frederick Wasser has established himself as a trenchant commentator on contemporary movies and the media industry behind them. Now, with his sharp, concise study of Steven Spielberg's complex resonances for America today, Wasser extends his critical reflection in important, new ways. This is a compelling, intelligent take on the director and his social role." Dana Polan, New York University "A masterful case study that illuminates aspects of American politics and culture through the work of one filmmaker. Wasser deftly weaves a sophisticated analysis of Spielberg and his films with a provocative look at corporate Hollywood and capitalist America. A great addition to film and media studies." Janet Wasko, University of Oregon Table of ContentsAcknowledgments vi Introduction: Culture, Politics, Film 1 1. The Formation of Spielberg’s Generation 18 2. Spielberg Gets His Break 39 3. The Shark and the Blockbuster 66 4. E.T. and All Things Private 101 5. Looking to the Past 137 6. The Historical Film 164 7. Spielberg and Dark Visions 193 Coda: Open Questions 215 Appendix 218 Notes 220 Works Cited 224 Index 232

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Book SynopsisThe steady rise of Clint Eastwood s career parallels a pressing desire in American society over the past five decades for a figure and story of purpose, meaning, and redemption. Eastwood has not only told and filmed that story, he has come to embody it for many in his public image and film persona.Trade Review''No other book on Clint Eastwood comes close to what Sam Girgus accomplishes here in assessing Eastwood’s remarkable - and wholly unexpected - maturation as a film-maker and narrative artist, and his increasingly complex and sophisticated treatment of social, ethical, interpersonal, and gender-related issues. Indeed, Girgus builds a case for Eastwood’s emergence since the early 1990s as America’s consummate auteur - a film-maker who has taken far greater risks and has made far more significant and memorable films over the past two decades than any other Hollywood director.'' Thomas G. Schatz, The University of Texas at Austin ''This book marks a long-awaited appreciation of the complexity of Eastwood’s directorial and moral vision. Starting with Unforgiven, Eastwood’s main characters have been engaged in a search for meaning, called upon by the voice of the other to perform a ritual sacrifice on behalf of that other that thereby delivers to the hero a sense of purpose. Invoking Levinas and Kristeva, Girgus demonstrates the evolution of the Eastwood hero from self-sufficient loner to a being entangled in relationships, who challenges the ethical and moral order of thinking and living in today’s uncertain world.'' John Belton, Rutgers University ''Girgus sharpens his ongoing scholarship on cinema and ethics with this thought-provoking analysis of the films of Clint Eastwood. Eastwood has evolved into arguably the most conflicted and divisive icon in American cinema, reflecting an oceanic career that rocks with waves of various social, political, and cultural influences and positions. In a historical moment when Hollywood and American society at large are in the throes of rupture and self-redefinition, Girgus offers us a timely and crucial survey of the ultimate symbol of what is best and worst about a national ideology and its film culture.'' Hunter Vaughan, Oakland UniversityTable of ContentsAcknowledgments viii Abbreviations xii Introduction: Eastwood’s America – From the Self to a World View 1 1 The First Twenty Years: Borderline States of Mind 24 2 Unforgiven: The Search for Redemption 70 3 Mo Cuishle: A New Religion in Million Dollar Baby 116 4 Cries from Mystic River: God, Transcendence, and a Troubled Humanity 172 5 Flags of Our Fathers/Letters from Iwo Jima: History Lessons on Time and the Stranger 231 Notes and References 284 Index 301

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Book SynopsisThe steady rise of Clint Eastwood s career parallels a pressing desire in American society over the past five decades for a figure and story of purpose, meaning, and redemption. Eastwood has not only told and filmed that story, he has come to embody it for many in his public image and film persona.Trade Review''No other book on Clint Eastwood comes close to what Sam Girgus accomplishes here in assessing Eastwood’s remarkable - and wholly unexpected - maturation as a film-maker and narrative artist, and his increasingly complex and sophisticated treatment of social, ethical, interpersonal, and gender-related issues. Indeed, Girgus builds a case for Eastwood’s emergence since the early 1990s as America’s consummate auteur - a film-maker who has taken far greater risks and has made far more significant and memorable films over the past two decades than any other Hollywood director.'' Thomas G. Schatz, The University of Texas at Austin ''This book marks a long-awaited appreciation of the complexity of Eastwood’s directorial and moral vision. Starting with Unforgiven, Eastwood’s main characters have been engaged in a search for meaning, called upon by the voice of the other to perform a ritual sacrifice on behalf of that other that thereby delivers to the hero a sense of purpose. Invoking Levinas and Kristeva, Girgus demonstrates the evolution of the Eastwood hero from self-sufficient loner to a being entangled in relationships, who challenges the ethical and moral order of thinking and living in today’s uncertain world.'' John Belton, Rutgers University ''Girgus sharpens his ongoing scholarship on cinema and ethics with this thought-provoking analysis of the films of Clint Eastwood. Eastwood has evolved into arguably the most conflicted and divisive icon in American cinema, reflecting an oceanic career that rocks with waves of various social, political, and cultural influences and positions. In a historical moment when Hollywood and American society at large are in the throes of rupture and self-redefinition, Girgus offers us a timely and crucial survey of the ultimate symbol of what is best and worst about a national ideology and its film culture.'' Hunter Vaughan, Oakland University Table of ContentsAcknowledgments viii Abbreviations xii Introduction: Eastwood’s America – From the Self to a World View 1 1 The First Twenty Years: Borderline States of Mind 24 2 Unforgiven: The Search for Redemption 70 3 Mo Cuishle: A New Religion in Million Dollar Baby 116 4 Cries from Mystic River: God, Transcendence, and a Troubled Humanity 172 5 Flags of Our Fathers/Letters from Iwo Jima: History Lessons on Time and the Stranger 231 Notes and References 284 Index 301

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Book SynopsisThe National Film Board of Canada is internationally acclaimed as a beacon of non-commercial filmmaking. This book shows that the NFB, born out of a nation-building project, is involved in the discourses of nation, technology, and social scientific knowledge that shape the Canadian cultural landscape.Trade Review"Zoe Druick is one of the promising members of a new generation of scholars whose work will change the direction of Canadian Film Studies." Gene Walz, University of Manitoba "Druick provides a subtle and well-documented critique of the Film Board's role." Seth Feldman, York University, Ontario "This book fills an important gap in the history of culture and media in Canada. Most valuable is Druick's demonstration of the ways in which the Canadian government and its agencies tend to formulate their cultural policy, aims, and practices in terms of a 'liberal nation-building project' as a form of 'middle way' politics." Kevin Dowler, York University, Ontario

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Book SynopsisThis timely book recounts the story of British Columbia's rapid rise from relative obscurity in the film world to its current status as "Hollywood North."Table of Contents1 Cinema in the Age of Globalization2 Cinema As a Medium of Regional Industrial Development: A History of BC Film Production3 The Terms of Inclusion: British Columbia within the Political Economy of North American Film Production4 Promote It and They Will Come: Provincial Film Policy in British Columbia5 Locating British Columbia As Cinematic Place: Contending Regimes of Film Production6 Locating the BC Film IndustryAppendix: Partial List of BC Feature Film Credits, 1976-2000NotesReferencesIndex

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Book SynopsisDuring the six-and-a-half-year occupation of Japan (19451952), U.S. film studiosin close coordination with Douglas MacArthur''s Supreme Command for the Allied Powerslaunched an ambitious campaign to extend their power and influence in a historically rich but challenging film market. In this far-reaching enlightenment campaign, Hollywood studios disseminated more than six hundred films to theaters, earned significant profits, and showcased the American way of life as a political, social, and cultural model for the war-shattered Japanese population. In Screening Enlightenment, Hiroshi Kitamura shows how this expansive attempt at cultural globalization helped transform Japan into one of Hollywood''s key markets. He also demonstrates the prominent role American cinema played in the reeducation and reorientation of the Japanese on behalf of the U.S. government.According to Kitamura, Hollywood achieved widespread results by turning to the support of U.S. government and militTrade ReviewAmerican moviemakers had to tread carefully with the American military and governmental occupation authorities if they were to expect to be able to penetrate the newly opened market for their films in postwar Japan. In sum, filmmakers were secondary players in a game of very serious hardball. Kitamura provides vivid glimpses into what qualities in specific American movies appealed to Japanese critics and audiences. He describes how, as the Japanese spirit revived, lively movie discussion groups sprang up in Japan. Recommended. * Choice *Hiroshi Kitamura has written an excellent overview of the role played by Hollywood films in shaping the cultural reconstruction of Japan during the American occupation. His book reflects wide reading in Japanese sources, the research of film scholars, and current scholarship of American occupation policy.... This fine book will be of value not only to diplomatic and military historians but also to persons interested in the American occupation of Germany, as so many parallels are implicit in it. -- David Culbert * Journal of American History *In addition to his significant contribution to diplomatic history and U.S. relations with Japan, Kitamura adds to our understanding of Japanese history in the critical period after the war.... What he details so carefully through his examination of the Central Motion Picture Exchange (CMPE) and the Eiga no tomo, among other organizations and entities, is how Japanese came to embrace the carefully scripted and edited manner in which American films were reintroduced to Japan during the occupation. -- T. Christopher Jespersen * H-Diplo Roundtable Review *Kitamura shows that Hollywood and SCAP [the occupying authorities led by General Douglas MacArthur] were at loggerheads almost as often as they were in harmony.... SCAP censorship caused problems for American films as various as Frank Capra's political fable, Mr. Smith Goes to Washington, unseen in Japan during the Occupation due to its portrayal of corruption in US politics, to the Tyrone Power swashbuckler, The Mark of Zorro, which in an era when samurai films were practically banned, was criticized for its portrayal of swordplay as a 'fine and fashionable art of killing.'... His book sheds new light on a neglected aspect of Occupation history. -- Alexander Jacoby * Times Literary Supplement *Kitamura's book is a new contribution to the field of cinema in occupied Japan in covering such diverse groups as the American film distributor, the Central Motion Picture Exchange (CMPE); Japanese exhibitors and movie theaters; 'cultural elites’ including critics, journalists, and scholars; and moviegoers. Attention to all these groups allows readers to see the complicated dynamics in which Hollywood films become the icon of democracy and modernity in occupied Japan.... It can be highly recommended to all scholars and students of the US occupation of Japan, film history, and Japanese cultural and intellectual history. -- Yuka Tsuchiya * Social Science Japan Journal *Kitamura's thoroughly researched and immensely readable book mainly combines approaches of historical research and film studies. It is based on an admirable range of both US and Japanese source materials and consists of a concise methodological preface and eight thematically arranged chapters.... The fact that Screening Enlightenment undoubtedly will inspire such future studies that further examine the fascinating issues it raises, may very well be one of its most important merits. -- Harald Salomon * Pacific Affairs *Table of Contents1. Thwarted Ambitions: Hollywood and Japan before the Second World War 2. Renewed Intimacies: Hollywood, War, and Occupation 3. Contested Terrains: Occupation Censorship and Japanese Cinema 4. Corporatist Tensions: Hollywood versus the Occupation 5. Fountains of Culture: Hollywood's Marketing in Defeated Japan 6. Presenting Culture: The Exhibition of American Movies 7. Seeking Enlightenment: The Culture Elites and American Movies 8. Choosing America: Eiga no tomo and the Making of a New Fan Culture ConclusionAppendix: First Forty-Five Films Selected for Distribution in Japan after the War Notes Bibliography Acknowledgments Index Index of Films

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Book SynopsisGilberto Perez draws on his lifelong love of the movies as well as his work as a film scholar to write a lively, wide-ranging, penetrating study of films and filmmakers and the nature of the art form.Trade ReviewFew books of film criticism in the past twenty-five years have been so enjoyable or instructive... [Perez] has excellent things to say about authorship, about documentaries, about popular genres, about cinematic point of view and narrative technique, about actors, and above all about camera style... He never condescends to his audience or sacrifices his intellectual clarity, and most importantly he makes us want to look once more at the remarkable pictures he discusses. The virtues of his writing are quite rare. -- James Naremore Cineaste Strikes an ideal balance between insightful analysis and graceful writing... A model of thoughtful criticism that treats the complexities of film and the sensibilities of readers with equal understanding, consideration, and respect. -- David Sterrit Christian Science Monitor Flaherty's Nanook of the North, Antonioni's Eclipse, Ford's My Darling Clementine, Godard's Breathless. Perez's frame-by-frame analysis of them is always lucid and invigorating, reminding us why these films were considered classics from the first. Even better, Perez takes up lesser known films and filmmakers... The eclectic mixture of films is one the book's strengths, allowing Perez to write on a breadth of topics... Despite holding films to a high standard, Perez never comes off as a film snob; his readings remain rooted in a genuine and communicable love for the cinema. -- Jonathan Vogels The Republic of Letters In recent decades there has been no more cogent a rethinking of the physical and psychological experience of film as it evolved, both as a technology and as an art form. I want to read it again, soon. -- Nick James Sight & Sound Perez's book may strike some readers as anachronistic because it is about nothing but the author's love of movies, its pleasure lying in the sheer intensity of his intelligence. In so far as this wonderfully flexible and expansive thinker has a thesis, it's that the illusionist medium of cinema is endlessly poised between reality and abstraction... Brilliantly polemical in his critique of cynical reason ('the official philosophy of late capitalism'), no less passionate in defending the truth-value of cinema, Perez seems to be the clearest heir to the great humanist critic Andre Bazin. Sight and Sound Dazzling... The sheer intelligence at work in these lucid pages is exhilarating. -- Alfred Guzzetti Boston Book Review [Perez's] early and persistent love of film imbues The Material Ghost: Films and their Medium, which moves gracefully from the documentaries of Robert Flaherty to the revolutionary epics of Alexander Dovzhenko to the pastoralism of Jean Renoir. Chronicle of Higher Education The chapters on Keaton and Renoir are stunning, full of perceptive remarks; the chapter on Godard is a persuasive rehabilitation; none of the chapters is without memorable insights. -- Michael Wood London Review of Books The section on [Iranian director Abbas] Kiarostami in Perez's new book, The Material Ghost, is the best comment I've seen on the subject. -- Stanley Kauffman New Republic Gilberto Perez's book, The Material Ghost: Films and their Medium (*****) ranks with the finest cinematic writing anywhere. -- Tony McKibben The List (Glasgow and Edinburgh) It is as fine a book on film as I have ever encountered, a hypermarche of insight, precise and lovely writing, information, and clear thinking. Page after page elaborates arguments so acute and aptly formulated that I have no doubt I'll be exploiting them in the classroom and in writing for the rest of my career. -- Lesley Brill Criticism Strikes an ideal balance between insightful analysis and graceful writing... A model of thoughtful criticism. -- David Sterritt Christian Science Monitor The chapters on Keaton and Renoir are stunning, full of perceptive remarks; the chapter on Godard is a persuasive rehabilitation; none of the chapters is without memorable insights. -- Michael Wood London Review of BooksTable of ContentsContents: Introduction: Film and Physics Chapter 1: The Documentary Image Chapter 2: The Narrative Sequence Chapter 3: The Bewildered Equilibrist Chapter 4: The Deadly Space Between Chapter 5: The Meaning of Revolution Chapter 6: Landscape and Fiction Chapter 7: American Tragedy Chapter 8: History Lessons Chapter 9: The Signifiers of Tenderness Chapter 10: The Point of View of a Stranger

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Book SynopsisBiesen brings prodigious archival research, accessible prose, and imaginative insights to both well-known films noir of the wartime period-The Maltese Falcon, The Big Sleep, and Double Indemnity-and others often overlooked or underrated-Scarlet Street, Ministry of Fear, Phantom Lady, and Stranger on the Third Floor.Trade ReviewBiesen adds a new perspective that enhances scholarship on the subject and makes this book a must. Choice 2006 Ms Biesen describes too how film noir drew on societal anxieties as Americans faced fear, loss and shortages during the war and viewed ever-more-harrowing newsreel footage. 'As life on the homefront became increasingly hard-boiled,' she writes, 'so too did American film.' -- Nina Ayoub Chronicle of Higher Education 2006 Biesen's book is readable, informative and jargon free... Biesen uses her research into studio archives, the films' attendant publicity and the contemporary press to bring alive the wartime period of film noir and its transformation into a post-war genre for dealing with troubled veterans returning home, the coming of the Cold War, nuclear angst and the effects of McCarthyism on Hollywood and the nation at large. Times Literary Supplement 2006 Readers will come away from Blackout with a fuller understanding of the industrial and historical contexts of wartime film noir. -- Charles Maland Cineaste 2006 This text offers a compelling history of wartime Hollywood and a provocative challenge to current noir scholarship. Southern California Quarterly 2006 An important contribution to the history of film noir. -- Jan-Christopher Horak Screening the Past 2006 A film noir aficionado, Biesen provides the most detailed and thoroughly researched interpretation of this era's American film noir. -- Clayton Koppes American Historical Review 2007 The author is to be congratulated on producing an exemplary study in empirical film history. -- Brian Neve Historical Journal of Film, Radio, and Television 2008Table of ContentsList of IllustrationsAcknowledgmentsChapter 1. IntroductionChapter 2. The Elements of Noir Come TogetherChapter 3. Hollywood in the Aftermath of Pearl HarborChapter 4. Censorship, Hard-Boiled Fiction, and Hollywood's "Red Meat" Crime CycleChapter 5. Rosie the Riveter Goes to HollywoodChapter 6. Hyphenates and Hard-Boiled CrimeChapter 7. Black Film, Red MeatNotesIndex

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Book SynopsisInstead, these movies were infused with the same current of liberalism and popular notion of democracy that flow through the American imagination.Trade ReviewYou cannot but be seduced and even sometimes bedazzled by Bodnar's clear, well-informed and impartial analysis. -- Nicolas Magenham Cercles An uncommonly well balanced account of the political biases of American movies... A fine read for the generalist yet a scholarly achievement. Choice 2003 Bodnar provides a useful provocation. He asks us to think imaginatively about the subtle and complex ways movies communicate ideas and attitudes. -- Robert Brent Toplin Journal of American History 2004 Open minded and even handed, he appreciates the nuances and mixed messages of Hollywood cinema. American Historical Review 2005 Timely, necessary, well-written, and accessible. -- Tony Fonseca Screening the Past 2007 A worthwhile acquisition for an academic library. -- Toma Pospi il Amerikastudien / American Studies 2006Table of ContentsContents:List of Illustrations Acknowledgments Introduction: Mass Culture and American Political Traditions ONE: Political Cross-dressing in the Thirties TWO: The People's War THREE: War and Peace at HomeFOUR: Beyond Containment in the Fifties FIVE: The People in TurmoilLiberalism at the Movies: A ConclusionNotes Sources Index Films Mentioned in Blue-Collar HollywoodAdventure (1945) Air Force (1943) Alamo Bay (1985) Alice Adams (1935) Alice Doesn't Live Here Anymore (1975) All My Sons (1948) All the Right Moves (1983) America, America (1963) American Madness (1932) An American Romance (1944) Angels With Dirty Faces (1938) Anna Lucasta (1949) Baby Face (1933) Bataan (1943) Battle Cry (1955) The Best Years of Our Lives (1946) Black Fury (1935) Black Legion (1937) The Blackboard Jungle (1955) Blue Collar (1978) The Blue Dahlia (1946) Body and Soul (1947) Bonnie and Clyde (1967) Born on the Fourth of July (1989) The Boston Strangler (1968) Boyz N the Hood (1991) Breaking Away (1997) Cabin in the Cotton (1932) Casablanca (1942) The Catered Affair (1956) The Champ (1931) Champion (1949) City Across the River (1949) City for Conquest (1940) Clash By Night (1952) Coal Miner's Daughter (1980) Coming Home (1987) Cool Hand Luke (1967) Crooklyn (1994) Crossfire (1947) Cry of the City (1948) Dead End (1937) Dead Reckoning (1947) Death of a Salesman (1951) Death Wish (1974) The Deer Hunter (1978) Desperate (1947) Dirty Harry (1971) Do the Right Thing (1988) Double Indemnity (1944) Dr. Strangelove (1963) Duck Soup (1933) Duffy's Tavern (1954) Edge of the City (1957) F.I.S.T. (1978) A Face in the Crowd (1957) Fallen Angel (1945) Falling Down (1993) The Farmer's Daughter (1947) The Fighting Sullivans (1944) Five Easy Pieces (1970) Force of Evil (1948) From Here to Eternity (1953) From This Day Forward (1946) Fury (1936) Gabriel Over the White House (1933) The Garment Jungle (1957) Gentlemen's Agreement (1947) The Godfather (1972) The Godfather Part II (1974) Going My Way (1944) Gold Diggers (1933) Golden Boy (1993) The Grapes of Wrath (1940) Guadalcanal Diary (1943) Hail the Conquering Hero (1944) Hangin' with the Homeboys (1991) Happy Land (1943) The Harder They Fall (1965) Heroes for Sale (1933) Home of the Brave (1949) Hoosier Schoolboy (1937) How Green Was My Valley (1941) Human Desire (1954) I Am a Fugitive from a Chain Gang (1932) I Married a Communist (1950) I Remember Mama (1948) I'm No Angel (1938) In the Heat of the Night (1967) Inside Detroit (1955) It Happened One Night (1934) It's a Wonderful Life (1946) Jailhouse Rock (1957) The Jazz Singer (1927) Joe (1970) Joe Smith, American (1942) Johnny Dark (1954) The Jolson Story (1946) Judge Priest (1934) Juke Girl (1942) Jungle Fever (1991) Kid Galahad (1937) The Killers (1946) King's Row (1942) Knock on Any Door (1949) Knute Rockne, All American (1940) The Last American Hero (1973) The Last Exit to Brooklyn (1990) The Last Picture Show (1971) Lifeboat (1944) Little Caesar (1931) Looking for Mr. Goodbar (1977) M*A*S*H (1970) Mannequin (1937) Marked Woman (1937) Marty (1955) Matewan (1987) Mean Streets (1973) Meet John Doe (1941) The Men (1950) Metropolis (1926) Midnight Cowboy (1969) Mildred Pierce (1945) Modern Times (1936) The Molly Maguires (1970) Mr. Deeds Goes to Town (1936) Mr. Smith Goes to Washington (1939) The Naked City (1948) Nashville (1975) Native Land (1942) The Negro Soldier (1944) No Down Payment (1957) No Way Out (1950) Norma Rae (1979) On the Waterfront (1954) Our Daily Bread (1934) Our Town (1940) Our Vines Have Tender Grapes (1945) Paris Blues (1961) The Pawnbroker (1965) Peyton Place (1957) Pin Up Girl (1944) Pinky (1949) Pittsburgh (1942) A Place in the Sun (1951) Places in the Heart (1984) Platoon (1986) The Postman Always Rings Twice (1946) The Power and the Glory (1933) Pride of the Marines (1945) The Prowler (1951) The Public Enemy (1931) Raging Bull (1980) A Raisin in the Sun (1961) Rambo: First Blood Part Two (1985) Rebel Without a Cause (1955) Riff Raff (1963) The River (1984) Rocky (1976) The Rose Tattoo (1955) Rosie the Riveter (1944) Ruggles of Red Gap (1935) Saboteur (1942) Salt of the Earth (1954) The Sands of Iwo Jima (1949) Saturday Night Fever (1977) Saturday's Hero (1951) Scarface (1932) Sergeant York (1941) Shaft (1971) Silkwood (1983) Since You Went Away (1944) So Proudly We Hail (1943) Somebody Up There Likes Me (1956) Sounder (1972) The Southerner (1945) Stagecoach (1939) Stanley and Iris (1989) The State of the Union (1948) Steel Against the Sky (1941) Stella Dallas (1937) Street Scene (1931) A Streetcar Named Desire (1951) Sullivan's Travels (1941) Sunset Boulevard (1950) Superfly (1972) Sweet Sweetback's Baadasssss Song (1971) Talk of the Town (1942) Taxi Driver (1976) Tender Comrade (1943) Tender Mercies (1982) They Drive by Night (1940) They Were Expendable (1945) Three on a Match (1932) Thunder Road (1958) Till the End of Time (1946) The Time of Your Life (1948) To Hell and Back (1958) To Kill a Mockingbird (1962) Tobacco Road (1941) Tortilla Flat (1942) A Tree Grows in Brooklyn (1945) Two Seconds (1932) Valley of Decision (1945) A View from the Bridge (1961) Wake Island (1942) West Side Story (1961) The Whistle at Eaton Falls (1951) White Heat (1949) Who's That Knocking at My Door (1968) Wild Boy's on the Road (1933) Wings of the Eagle (1942) A Woman Under the Influence (1974) You Can't Take It With You (1938) Young Mr. Lincoln (1939)

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Book SynopsisIn Film Narratology, Peter W.J. Verstraten makes film narratives his primary focus, while noting the unexplored and essentially different narrative effects that film can produce with mise-en-scène, cinematography, and editing.Trade Review'Verstraten's book provides an indispensable guide to the narratological analysis of films. Film Narratology is interdisciplinary in the best sense of the word, taking both narrative theory and film analysis seriously and in great detail. Concept-based, Verstraten's lucid dialogues between concepts and an enormous corpus of films, from Hollywood to avant-garde, are inspirational.' -- Mieke Bal, Academy Professor of the Royal Netherlands Academy of Arts and Science and author of Narratology

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Book SynopsisOffers an insightful overview of Native American representation in film. Beginning with the birth of the movie industry, this title traces changes in the cinematic depictions of Native peoples and identifies cultural and historical reasons for those changes. It looks at influential and innovative Native Americans film industry.Trade Review"This is a seminal study of how Native Americans have been portrayed in film since the start of the film industry in this country. . . . This is much more than a book for film buffs; it's about how stereotypes of Native Americans were created. As the book treats the evolution of film images of Native Americans, the reader may begin to appreciate it as a history of how white people have dealt with Native Americans, including how they have created popular stereotypes of them. . . . An elegantly thoughtful book."—Kliatt"Any filmmaker seeking to present images draped in honesty should read this book. It is an absolute must."—E. Donald Two-Rivers, author of Survivor's Medicine

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Book SynopsisIn this first study in English of a master of Polish cinema, Annette Insdorf explores Wojciech Has's thirteen feature films with the same deep insight of her groundbreaking book on Krzysztof Kieslowski, Double Lives, Second Chances (Northwestern, 2013). Intimations: The Cinema of Wojciech Has is the definitive guide in English to his work.Trade ReviewLike most westerners, I came to Wojciech Has by way of The Saragossa Manuscript, a picture I’ve always loved. It was many years before I was able to catch up with other Has films, for instance, The Hourglass Sanatorium, which came as a revelation. Annette Insdorf’s book provides welcome historical context and insight into the achievement of this singular filmmaker. A critical study of Has is long overdue, and no one but Insdorf could have written it." —Martin Scorsese"Has is a completely unrecognized genius, probably the most talented Polish director since the war with his own sensibility and vision." —Pawel Pawlikowski, director of Oscar-winning film Ida"...Wojciech Has's singular films are long overdue for reappraisal inside and outside his native land. Annette Insdorf's new book is a slim but informative survey of all 14 of his features, emphasizing their diverse aesthetics and influences with concise prose... Tantalizing... Insdorf provides scholarship for others to build on." —Film Comment"... we can now welcome the publication of a monograph by a scholar whose knowledge of Polish film history is as thorough as it is intimate... Insdorf never relinquishes her sharp attention to detail... an exemplary monograph on a great filmmaker." —Cineaste"Insdorf is an exemplary critic whose clear, compact analyses are equally insightful on narrative, thematic, and audio visual levels. Almost every page of Intimations reveals something fresh about the 14 features on which Has’s reputation chiefly rests." —Quarterly Review of Film and VideoTable of Contents Chapter 1 - Introduction Chapter 2 - The Noose (Petla, 1957) Chapter 3 - Farewells (Pozegnania, 1958) Chapter 4 - One Room Tenants (WspÓlny pokÓj, 1960) Chapter 5 - Partings (Rosztanie, 1961) Chapter 6 - Gold Dreams (Zloto, 1962) Chapter 7 - How to Be Loved (Jak byc kochana, 1963) Chapter 8 - The Saragossa Manuscript (Rekopis znaleziony w Saragossie, 1964) Chapter 9 - Codes (Szyfry, 1966) Chapter 10 - The Doll (Lalka, 1968) Chapter 11 - The Sandglass (Sanatorium pod klepsydra, 1973) Chapter 12 - An Uneventful Story (Nieciekawa historia, 1983) Chapter 13 - Write and Fight (Pismak, 1985) Chapter 14 - The Memoirs of a Sinner (Osobisty pamietnik grzesznika przez niego samego spisany, 1986) Chapter 15 - The Tribulations of Balthazar Kober (Niezwykla podrÓz Baltazara Kobera, 1988) Chapter 16 - Epilogue: Lodz Film School Appendix: Early Shorts Appendix: Lodz Film School Projects Appendix: The Saragossa Manuscript DVD Liner Notes Notes Photo Captions Filmography Bibliography Index

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Book SynopsisDrawing on a wide range of films, María Pía Lara dissects cinematic images of women's struggles and their oppression. She builds on this analysis, developing a concept of the feminist social imaginary as a broader and more complex space that provides a way of thinking through the possibilities for emancipatory social transformation.Trade ReviewMaría Pía Lara's magnificent book brings an urgent new perspective into old debates about the public sphere: by exploring the potential of the current cinematic imagination, she discloses powerful new tools for feminist critique. A must-read." - Chiara Bottici, author of A Philosophy of Political Myth"Beyond the Public Sphere offers a highly original conceptualization of the feminist cinematic imaginary as a way of thinking through the possibilities for emancipatory social transformation in response to the forms of domination perpetuated by patriarchal capitalism. By foregrounding issues of gender subordination and sexual violence, Lara's book shows brilliantly how critical theory of the Frankfurt School tradition can speak to the political paradoxes and challenges of the #MeToo era." - Amy Allen, author of The End of Progress: Decolonizing the Normative Foundations of Critical Theory"Fighting domination and promoting emancipation is not only a matter of norms and arguments but also of powerful images, creative metaphors and the bold imagination of different lives and other spaces. Reconstructing and recovering an important but often neglected thematic strand in Critical Social Theory and Feminist Philosophy, MarÍa PÍa Lara powerfully advances and exemplifies a view of political and social struggles that highlights the decisive role of images and the imagination." - Martin Saar, author of The Immanence of Power: Political Theory After/According to SpinozaTable of Contents Acknowledgments Introduction: The New Topography of Space 1. The Feminist Imaginary Through the Cinematic Imagination 2. Three Models of Imagination: As Faculty, as Context, and as Imaginal 3. A Genealogy of the Concept/Image of Rape: A Critical Reconstruction of the Patriarchal Social Imaginary 4. Anachronisms and Representations as Tools for a Critical Feminist Social Imaginary 5. The Lost Promise of Feminist Agency in Modern Political Theories Conclusion: The New Road to Visibilities: Overcoming Secrets, Invisibility, and Exclusion Notes Bibliography Index

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Book SynopsisLooking to the extractive frontier as a focal point of Latin American art, literature, music, and film, Jens Andermann asks what emerges at the other end of landscape. This is a sweeping analysis of the lasting effects of neocolonial extractivism in Latin American aesthetic modernity from 1920 to the present.Trade Review“Iberian colonial expansion was central to the creation of a modern regime of extractivism and its aesthetics, including landscape. Entranced Earth marshals exhaustive research into this legacy to undertake dazzling analyses from a capacious archive of Latin American art and literature: from modernist and regionalist works of the early twentieth century, to prescient environmental art of the 1960s, to contemporary interventions. Entranced Earth compellingly explores the ways that modern and contemporary Latin American aesthetics have been singularly and precociously marked by colonial extraction, but have also forever worked against it, “unlandscaping” and embracing trance--a merging of agent and object--to forge arts of survival amidst planetary crisis. Entranced Earth makes a major contribution to a growing body of work on Latin American aesthetics and the environment.” - Rachel Price, author of The Object of the Atlantic: Concrete Aesthetics in Cuba, Brazil, and Spain, 1868–1968 “Working from the crisis of our neo-extractive present, Jens Andermann traces an alternative history of Latin American cultural production in the twentieth and twenty-first centuries, a ‘post-landscape tradition’ that foregrounds complex and often precarious human/nonhuman assemblages. Entranced Earth is a sophisticated, erudite, and theoretically resourceful intervention in the fields of literature, film, art, and landscape criticism. It’s also an engrossing narrative, full of perceptive analyses, surprising juxtapositions, and archival riches.” - Jennifer French, author of Nature, Neo-Colonialism, and the Spanish American Regional Writers “Entranced Earth represents one of the most ambitious and theoretically sophisticated efforts to bring a broad swath of the Latin American cultural archive to bear on emerging discussions around climate crisis and the Anthropocene. It stands out, too, for its mastery over an astonishing variety of aesthetic forms including not only literature and film but also visual art, eco- and bio-art, architecture, gardening, and sonic production.” - Adriana Johnson, author of Sentencing Canudos: Everydayness and Subalternity in the Backlands of Brazil “At the end of the landscape and in the wake of the forces of extractive un-landscaping, Jens Andermann articulates a mode of living in that which others bemoan only as loss. Entranced Earth offers aesthetics as a way of thinking and enacting an ethics and a politics in the inmundo--the unworlding already here. Guiding us deep into not just the violence of extraction but also the modes of survival palpable in the thick, heavy, weighted, and densely implicated and contaminated enmeshment of life in the unworld, Andermann shows us how not to rush for the fantasy of exit. This is the magisterial classic the environmental humanities as re-envisioned from the perspective of the Global South deserves.” - Jill H. Casid, author of Sowing Empire: Landscape and ColonizationTable of Contents Acknowledgments Introduction Chapter 1: Insurgent Natures Chapter 2: The Country and the City Chapter 3: The Matter with Images Chapter 4: The Afterlives of Landscape Coda Notes Bibliography List of Illustrations Index

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Book SynopsisThe technological, economic and social landscape of the consumer society was formed between the 1880s and 1920s. The author of this study shows how cinema played a key role in changing the urban landscape, using Chicago as a model and linking cinema theory with women's studies.Table of ContentsList of Illustrations Acknowledgments Introduction One: Women and Sightseeing Two: Movies and Their Places of Amusement Conclusion Notes Selected Bibliography General Index Film Index

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Book SynopsisHollywood has a long association with scandal - with covering it up, with managing its effects, and, in some cases, with creating and directing it. This text considers some of the famous transgressions that shocked Hollywood and its audiences during the last century.

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Book SynopsisIncludes essays that explore and define how the making of motion pictures flowered into an industry that would finally become the central entertainment institution of the world. Beginning with various early types of pictures that moved, this volume tells the story of invention and consolidation of the various processes that gave rise to 'cinema.'Trade Review"This impressive volume—all of it immensely readable, fascinating, and coherent—leads one to appreciate the breadth and scope of global cinema. Gaudreault and his talented contributors provided a fresh, lively, informative, engaging chronological survey of the first decades of American film. Highly recommended."— CHOICE “There is nothing like this series. Screen Decades firmly situates American cinema in the realms of material culture, popular culture, cultural narrative, reception analysis, and industrial history.” — American Quarterly "This impressive volume—all of it immensely readable, fascinating, and coherent—leads one to appreciate the breadth and scope of global cinema. Gaudreault and his talented contributors provided a fresh, lively, informative, engaging chronological survey of the first decades of American film. Highly recommended."— CHOICE “There is nothing like this series. Screen Decades firmly situates American cinema in the realms of material culture, popular culture, cultural narrative, reception analysis, and industrial history.” — American QuarterlyTable of ContentsAmerican cinema emerges (1890-1909) / Andre Gaudreault, Tom Gunning 1890-1895: movies and the kinetoscope / Paul C. Spehr 1896-1897: movies and the beginnings of cinema / Charles Musser 1898-1899: movies and entrepreneurs / Patrick Loughney 1900-1901: movies, new imperialism, and the new century / Jean-Pierre Sirois-Trahan 1902-1903: movies, stories, and attractions / Tom Gunning 1904-1905: movies and chasing the missing link(s) / Andre Gaudreault 1906: movies and spectacle / Lauren Rabinovitz 1907: movies and the expansion of the audience / Eileen Bowser 1908: movies and other media / Matthew Solomon 1909: movies and progress / Jennifer M. Bean Sources for films

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Book SynopsisIncludes essays that explore the rapid developments of the 1910s that began with D W Griffith's unrivaled one-reelers.Trade Review“There is nothing like this series. Screen Decades firmly situates American cinema in the realms of material culture, popular culture, cultural narrative, reception analysis, and industrial history.” — American Quarterly “There is nothing like this series. Screen Decades firmly situates American cinema in the realms of material culture, popular culture, cultural narrative, reception analysis, and industrial history.” — American QuarterlyTable of ContentsIntroduction : Movies and the 1910s / Ben Singer and Charlie Keil 1910 : Movies, reform, and new women / Scott Simmon 1911 : Movies and the stability of the institution / EIleen Bowser 1912 : Movies, innovative nostalgia, and real-life threats / Richard Abel 1913 : Movies and the beginning of a new era / Charlie Keil 1914 : Movies and cultural hierarchy / Rob King 1915 : Movies and the state of the union / Lee Grieveson 1916 : Movies and the ambiguities of progressivism / Shelley Stamp 1917 : Movies and practical patriotism / Leslie Midkiffe DeBauche 1918 : Movies, propaganda, and entertainment / James Latham 1919 : Movies and righteous Americanism / Ben Singer

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Book SynopsisFor over a century, movies have played an important role in our lives, entertaining us, often provoking conversation and debate. This title examines film culture at the turn of this century, at the precise moment when digital media are altering our historical relationship with the movies.Trade ReviewA superb book that helps us think beyond the grand but sometimes ungrounded digital convergence and user revolution rhetoric. Particularly impressive are the ways that the book marshals historical evidence to fill important gaps in new media "theory".ORA superb book that helps us think beyond the grand but sometimes ungrounded digital convergence and user revolution rhetoric. Particularly impressive are the ways that the book marshals historical evidence to fill important gaps in new media ôtheory,ö connects domestic activities with industrial practice, and shows how ôDIYö (do-it-yourself) vernacular film criticism and analysis (film blogging) is as important as DIY production activities (uploaded videos and ômash-upsö) in spurring participation in contemporary film culture.ENDORSER PREFERS LONGER VERSION, BUT IS OKAY WITH SHORTER ONE IF SPACE IS TIGHT. RUN ANY CHANGES BY HIM. -- John T. Caldwell * author of Production Culture: Industrial Reflexivity and Critical Practice in *Reinventing Cinema represents a significant accomplishment for the way it revisions recent film history, drawing into its account such key questions for the digital age as who actually controls the dissemination of images and who determines their meaning. -- J.P. Telotte * author of The Mouse Machine: Disney and Technology *Expanding film studies beyond traditional boundaries, Tryon explores how cinema affects and is affected by developments in technology and culture that have altered the way movies are consumed, produced, and perceived. The book is readable and well researched, offering students an excellent opportunity to go beyond more traditional film studies. Highly recommended. * Choice *A timely and important book, Reinventing Cinema is a must read for any scholar interested in the current trends in film studies, industry convergence, participatory culture, and digital cinema. * Popular Communication *The book is recommended because it makes an important contribution to our understanding of film and how technology continues to alter the way we perceive and interpret our society. * Film & History *Table of ContentsAcknowledgements Introduction The Rise of the Movie Geek The Screen is Alive Wall-to-Wall Color Desktop Productions Toppling the Gates Hollywood Remixed Conclusion Notes Bibliography Index

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Book Synopsis

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Book SynopsisTrade Review"Finally, in the ongoing series 'Star Decades,' arrives the volume on the delightful and original decade of the 1910s--a book that takes the reader back to yesteryear for the earliest luminaries of the celestial Hollywood heavens, even before Hollywood. Bean wraps up this fascinating study of the historical evolution of these cinematic icons with previews of coming stars. Highly recommended." * Choice *"Finally, in the ongoing series 'Star Decades,' arrives the volume on the delightful and original decade of the 1910s--a book that takes the reader back to yesteryear for the earliest luminaries of the celestial Hollywood heavens, even before Hollywood. Bean wraps up this fascinating study of the historical evolution of these cinematic icons with previews of coming stars. Highly recommended." * Choice *Table of ContentsAcknowledgmentsIntroduction1. G. M.Anderson: “Broncho Billy” among the Early “Picture Personalities”2. Mary Pickford: Icon of Stardom3. Lillian Gish: Clean, and White, and Pure as the Lily4. Sessue Hayakawa:The Mirror, the Racialized Body, and Photogénie5. Theda Bara: Orientalism, Sexual Anarchy, and the Jewish Star6. Geraldine Farrar:A Star from Another Medium7. George Beban: Character of the Picturesque8. Pearl White and Grace Cunard:The Serial Queen’s Volatile Present9. Roscoe “Fatty” Arbuckle: Comedy’s Starring Scapegoat10. Douglas Fairbanks: Icon of Americanism11. Charles Chaplin:The Object Life of Mass CultureIn the WingsWorks CitedContributorsIndex

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Book SynopsisThey are shot on high-definition digital cameras—with computer-generated effects added in postproduction—and transmitted to theatres, websites, and video-on-demand networks worldwide. This introduces readers to these global transformations and describes the decisive roles that Hollywood is playing in determining the digital future for world cinema.Trade Review"A significant and impressive work on the cutting edge of current critical discussion on the digitization of film...the sheer scope of Dixon and Foster's knowledge is dazzling." -- Steven Shaviro * author of Post-Cinematic Affect *"The paradigm shift from analog to digital media has completely changed the way Hollywood produces and distributes its business. 21st-Century Hollywood presents a perfect snapshot of the new digital present." -- Jan-Christopher Horak * Director, UCLA Film & Television Archive *"Dixon and Foster give readers an enjoyable, informative tour through popular productions and the business models and cultures that surround and impact them. The informal prose and diverse subject matter make this volume--in contract to a great deal of film criticism--appealing to a wide-range of audiences. Recommended." * Choice *"A significant and impressive work on the cutting edge of current critical discussion on the digitization of film...the sheer scope of Dixon and Foster's knowledge is dazzling." -- Steven Shaviro * author of Post-Cinematic Affect *"The paradigm shift from analog to digital media has completely changed the way Hollywood produces and distributes its business. 21st-Century Hollywood presents a perfect snapshot of the new digital present." -- Jan-Christopher Horak * Director, UCLA Film & Television Archive *"Dixon and Foster give readers an enjoyable, informative tour through popular productions and the business models and cultures that surround and impact them. The informal prose and diverse subject matter make this volume--in contract to a great deal of film criticism--appealing to a wide-range of audiences. Recommended." * Choice *Table of ContentsAcknowledgments1. The Digital Century2. Constructing an Audience3. The Globalization of the Moving Image4. The New Auteurs5. The Moving Image Is EverywhereBibliographyIndex

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Book Synopsis In the 1990s, American civil society got upended and reordered as many social, cultural, political, and economic institutions were changed forever. Pretty People examines a wide range of Hollywood icons who reflect how stardom in that decade was transformed as the nation itself was signaling significant changes to familiar ideas about gender, race, ethnicity, age, class, sexuality, and nationality. Such actors as Denzel Washington, Andy Garcia, Halle Berry, Angela Bassett, Will Smith, Jennifer Lopez, and Antonio Banderas became bona fide movie stars who carried major films to amazing box-office success. Five of the decade’s top ten films were opened by three women—Julia Roberts, Jodie Foster, and Whoopi Goldberg. “Chick flick” entered the lexicon as Leonardo DiCaprio became the “King of the World,” ushering in the cult of the mega celebrity. Tom Hanks and Tom Cruise defined screen masculinity as stark contrasts between &ldquTrade Review"Everett assembles a coterie of capable scholars to investigate changes in society, popular culture, and stardom during the 1990s. Several chapters shine with insight. Everett's chapter on the talents of the iconoclastic Johnny Depp delights as it instructs. Recommended." * Choice *"Everett assembles a coterie of capable scholars to investigate changes in society, popular culture, and stardom during the 1990s. Several chapters shine with insight. Everett's chapter on the talents of the iconoclastic Johnny Depp delights as it instructs. Recommended." * Choice *Table of ContentsAcknowledgmentsIntroduction1. Arnold Schwarzenegger: Corporeal Charisma 2. Jodie Foster: Feminist Hero?3. Denzel Washington: A Revisionist Black Masculinity4. Julia Roberts: Cultural Phenomenon5. Leonardo DiCaprio: King of the “World”6. Antonio Banderas, Andy Garcia, and Edward James Olmos: Stardom, Masculinity, and “Latinidades” 7. Tom Hanks and Tom Cruise: The Box Office and “True Masculinity”8. Angela Bassett and Halle Berry: African American Leading Ladies9. Michael Douglas: An Ordinary Man10. Pierce Brosnan: Licensed to Sell11. Johnny Depp and Keanu Reeves: Hollywood and the IconoclastsIn the WingsWorks CitedContributorsIndex

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Trade Review"The versatile critic and scholar Murray Pomerance analyzes the complexities, casts light on the enigmas, and celebrates the excitements of screen performance with insight, appreciation, and panache." -- David Sterritt * author of The Cinema of Clint Eastwood: Chronicles of America *"Is acting a cinematic element, inseparable from direction, cinematography, special effects, and design? This book by the prodigious, prolific Pomerance will change how you think about screen acting." -- Dennis Bingham * Indiana University-Purdue University Indianapolis *"Moment of Action magnifies every aspect of the art and craft of filmmaking. Murray Pomerance is a scholar and keen observer, whose passion for the subject is very impressive." -- Elliott Gould * Academy Award-nominated actor *"The versatile critic and scholar Murray Pomerance analyzes the complexities, casts light on the enigmas, and celebrates the excitements of screen performance with insight, appreciation, and panache." -- David Sterritt * author of The Cinema of Clint Eastwood: Chronicles of America *"Is acting a cinematic element, inseparable from direction, cinematography, special effects, and design? This book by the prodigious, prolific Pomerance will change how you think about screen acting." -- Dennis Bingham * Indiana University-Purdue University Indianapolis *"Moment of Action magnifies every aspect of the art and craft of filmmaking. Murray Pomerance is a scholar and keen observer, whose passion for the subject is very impressive." -- Elliott Gould * Academy Award-nominated actor *Table of ContentsAcknowledgmentsPreamble: Saw the Air Thinking about actors and their allure; Natalie Wood in Rebel Without a Cause; viewers’ love of acting; momentary performance; acting, action, and activity; acting, evidence, and biography; Linda Darnell; casting and gatekeeping.1 Fantastic PerformanceThinking about acting style and culture; innocent and scientific watching, and “falling in”; The Edge of Tomorrow; The Last Laugh; With Blood on My Hands: Pusher II; predictive performance and John Wayne; transcendent performance and Katharine Hepburn; Bringing Up Baby; Now, Voyager; El Dorado.2 Beaux Gestes Thinking about language and gesture; The Disorderly Orderly; Anthony Perkins in Psycho; Jeff Goldblum in Le Weekend; Touch of Evil; the flower of the gest; Ralph Richardson and Christophe Lambert in Greystoke: The Legend of Tarzan, Lord of the Apes; effects gesture; Life of Pi and keyframing; animated performance and puppetry; Blithe Spirit; Robert Walker in My Son John; The Stepford Wives; The Musée Grévin; Jacques de Vaucanson’s duck; The Thief of Bagdad; Charlton Heston and Gary Cooper in The Wreck of the Mary Deare; cinematic gesture and The King of Comedy; The Thin Man; Cool Hand Luke; The Red Shoes; hands and handfulness; actors under direction; John Frankenheimer, Burt Lancaster, and The Train; Antony and Cleopatra; Hitchcock, gesture, and “cattle”; Kim Novak, Vertigo, and vertiginous gesture.3 Curtains Thinking about the actor’s multiple selves; Vivian Sobchack and the actor’s four bodies; performance amplification; Alec Guinness and preparation; rehearsal and “downkeying”; curtain calls; Whose Life Is It Anyway?; Murder on the Orient Express; Citizen Kane; The Magnificent Ambersons; The Bad Seed; “behind-the-scenes” musicals; theatrical exhibition spaces; credit-roll “goofing”; Peter O’Toole and Winona Ryder offscreen; Birdman; fans and fan logic; actor-in-the-street stories; acting audiences; the Academy Awards.4 “It’s Not a Man, It’s a Place!” Thinking about setting and the actor’s labor; workplaces under capitalism and factory design; the sound stage environment; Rope; acting and make-up; Technicolor; My Dinner with André; Ian Carmichael; Ingrid Bergman and Under Capricorn; The Wizard of Oz; Grey Gardens; Simon Callow and A Room with a View; Charles Laughton in The Hunchback of Notre Dame; Boris Karloff; 2001: A Space Odyssey; Haruo Nakajima, Godzilla, and body division; Billion Dollar Brain; The French Lieutenant’s Woman; Chinatown; Fred Astaire dancing with Ginger Rogers; the sound boom; the “caffeination schedule”; acting, editing, and lighting; predetermined focus; Suddenly, Last Summer; The Hands of Orlac; The Man Who Shot Liberty Valance; “Instructions for John Howell”; panoptical setting; Laurence Olivier in Sleuth; setting and characters; Bette Davis in The Letter; the character “at home” in Marnie; “hypothetical” performance, Sandra Bullock, and Gravity; Andy Serkis; the actor’s mirror; animation vocalizing; The Member of the Wedding.5 Acting Intimate Thinking about actors’ trade secrecy; Philip Seymour Hoffman in Boogie Nights; Anthony Hopkins and Hannibal Lecter; Colin Farrell and truth-telling; Joaquin Phoenix in The Master; zombie performance; George Herbert Mead; Hud; Bob & Carol & Ted & Alice; onscreen urination and bleeding; Leonardo DiCaprio in Django Unchained; the actor’s voice; acting and musculature; the actor’s touch; interpersonal contact and audience exclusion; The Bourne Identity; anxious interiors; Peter Lorre in Casablanca, The Maltese Falcon, and Hotel Berlin; Richard Burton in The Spy Who Came In from the Cold; the “Doctrine of Natural Expression”; anti-intellectualism, the portrayal of genius, and Jesse Eisenberg; acting the “amnesiac”; forgotten moralities and cathartic awakening.NotesWorks Cited and ConsultedIndex

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Book SynopsisExamines a rich history of gender-bending film roles, enabling readers to appreciate the wide array of masculinities that these actresses performed - from sentimental boyhood to rugged virility to gentlemanly refinement. Taking us on a guided tour through a treasure-trove of vintage images, Girls Will Be Boys helps us view the histories of gender, sexuality, and film through fresh eyes.Trade Review"Laura Horak's Girls Will Be Boys is without peer as a historical contribution to queer scholarship on early film. It is a revisionist work that draws upon a wealth of historical research to completely overturn previous accounts." -- Robert J. King * author of The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture *"Horak has produced a meticulously researched, astutely argued, and highly readable text … her use of archival materials is impeccable and her filmic and historical analyses clearly display a nuanced understanding of her topic." * Publishers Weekly *"Who knew how important were those girls who would be boys? Not only as signs of 'deviancy' but as ideals of red-blooded boyhood itself? This engaging, well-researched book tells more than we ever knew about the many and various reasons 'girls will be boys.'" -- Linda Williams * University of California, Berkeley *"This fascinating and well-written treatise is a laudable addition to film scholarship and a must-purchase for academic collections with concentrations in film or women's and gender studies." -- Library Journal * Starred review *"Drawing on the early archives of American cinema, Horak questions the assumption that cross-dressing actresses were inherently transgressive ... and provides a new lens through which to view gender, sexuality and film." -- Autostraddle * 15 Queer/Feminist Books To Read In Early 2016 *"Fascinating and timely ... As the lesbian subject is being normalised in Hollywood and far beyond, this study of cross-dressing’s early filmic transition from heterosexual ideal to queer deviance is particularly valuable." * Times Higher Education *"Girls Will Be Boys is an excellent work of film scholarship, meticulously researched and expertly presented, while still being an approachable and enjoyable read for the diligent non-academic reader. This is a wonderful book for those cinephiles who take an interest in how gender and sexuality have been presented throughout film history, and for social historians who recognize the important role cinema has played over the last century in shaping popular perspectives on gender and sexuality. Laura Horak has written an informative and necessary book." * Fourth & Sycamore *"Girls Will Be Boys is a good read. It is thoroughly researched, well argued, insightful and readable. Anyone interested in LGBT history, film studies, or the early 20th century will appreciate this recommended book." * Huffington Post *"Horak's exhaustive research turns up many incredible moments in the history of gender shake-ups in the movies. Girls Will Be Boys is a hugely satisfying read, one of those rare books that offer distinct value to scholars while siultaneously being an entertaining read." * The Gay & Lesbian Review Worldwide *"Laura Horak's first monograph, Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema, 1908-1934, is refreshing and invigorating. In a moment when pop culture is ablaze with stories of the 'novelty' of transgender and gender nonconforming people, this historian was delighted to sink into a thoroughly researched book that was ten years in the making." * Film Quarterly *"One rarely comes across works that can recalibrate an entire field the way Horak’s does. This amazing book reconfigures cinematic depictions of cross-dressing and lesbianism … Meticulously researched and accessible, Girls Will Be Boys is a must read for anyone working in GLBT film, gender studies, or early American cinema. Few scholarly arguments as sophisticated as Horak’s are presented in such clear and precise language … Summing Up: Essential. Lower-division undergraduates through faculty; general readers." * Choice *"Girls Will Be Boys expands and complicates the existing studies of androgyny, female masculinity, lesbian representation, and proto-queer identity in the early decades of U.S. film ... The reader may leave the book feeling grateful for Horak’s interpretive and anthropological labors, melancholy for how few of the films have survived on celluloid prints, and eager to pass Horak’s work to anyone—a new student or a senior scholar—who will be likewise surprised and challenged by its findings." * Women's Studies *"Meticulously researched and engagingly-written … Horak's work is solidly interdisciplinary and combines contemporary feminist, queer, gender, and critical-race theory with thorough historical research; she uses media texts as a way to tell a larger story about American culture and succeeds brilliantly." * The Journal of American History *"A thorough and thoughtful look at early cinema's phenomenon of films featuring female boys, mannish women, and cross-dressing girls ... [Horak's] approach changes what we thought we could assume about the history of sexuality and asks us to question how we made such assumptions." * Feminist Media Studies *"Horak’s work is solidly interdisciplinary and combines contemporary feminist, queer, gender, and critical-race theory with thorough historical research; she uses media texts as a way to tell a larger story about American culture and succeeds brilliantly" -- Allison McCracken * The Journal of American History *"With this fascinatingly detailed and thorough study of cross-dressed women in pre-code cinema, Horak puts the light on a seldom studied practice." * French Journal of Media Studies *"By repositioning our perspective within the lens of the films’ initial reception, Horak provides a much-needed new view of what cross-dressing women and lesbians meant within the context of early film." * The Velvet Light Trap *"An edifying study at the crossroads of film history and gender studies, Laura Horak’s Girls Will Be Boys will, one hopes, inspire students and scholars to explore the forgotten films, novels, and plays that Horak recovers and to re-examine the familiar examples on which she sheds new light." * Film and History *Table of ContentsAcknowledgments Introduction Part I Cross-Dressed Women as American Ideals (1908–1921) 1 Moving Picture Uplift and the Female Boy 2 Cowboy Girls, Girl Spies, and the Homoerotic Frontier Intermezzo Codes of Deviance (1892–1914) 3 Cultural Hierarchy and the Detection of Sexual Deviance in A Florida Enchantment (1894 and 1914) Part II The Emergence of Lesbian Legibility (1921–1934) 4 Enter the Lesbian: Cosmopolitanism, Trousers, and Lesbians in the 1920s 5 The Lesbian Vogue and Backlash against Cross-Dressed Women in the 1930s Conclusion Appendix: U.S. Films Featuring Cross-Dressed Women, 1895–1934 Notes Bibliography Index

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Book SynopsisGlobal Cinema Networks brings together internationally acclaimed film scholars to investigate the evolving forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection examines shifting sites of global filmmaking in an era of digital reproduction, amidst new modes of circulation and aesthetic convergence. Trade Review“Assembling an impressive group of internationally recognized scholars, this ambitious volume offers a sustained engagement with cultural infrastructures like film festivals, visual motifs of the global, with a capaciousness that stretches global cinema across a century.” -- Nitin Govil * author of Orienting Hollywood: A Century of Film Culture between Los Angeles and Bombay *Table of ContentsTable of Contents Chapter 1: Introduction: Global Cinemas in a Time of Networks Elena Gorfinkel, King’s College London (U.K.) Part 1: Cartographies, Geopolitics, Aesthetics Chapter 2: Beyond and Beneath the Map of World Cinema Dudley Andrew, Yale University Chapter 3: Frame Adrian Martin, Monash University (Australia) Chapter 4: Abstraction and the Geopolitical: Lessons from Antonioni’s Trip to China John David Rhodes, University of Cambridge Chapter 5: The City of Bits and Urban Rule: Media Archaeology, Urban Space, and Contemporary Chinese Documentary James Tweedie, University of Washington Part 2: Global Ideality, History, Representation Chapter 6: Toward an Archeology of Global Rhythms: Melodie der Welt (Melody of the World, 1929) and its Reception in France Laurent Guido, University of Lille (France) Chapter 7: When Cinema was Humanism Karl Schoonover, University of Warwick Chapter 8: African Cinema: Digital Media and Expanding Frames of Representation N. Frank Ukadike, Tulane University, New Orleans Chapter 9: Changing Circumstances: Global Flows of Lesbian Cinema Patricia White, Swarthmore College Part 3: Kinships, Identifications, Genres Chapter 10: Hermano and La hora cero: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema Luisela Alvaray, DePaul University Chapter 11: Between Love and the Moral Law: The Fatal Mother in Park Chan-wook’s Sympathy for Lady Vengeance Peter Y. Paik, Yonsei University (Korea) Chapter 12: The Queer Mexican Cinema of Julián Hernández Gilberto M. Blasini, University of Wisconsin–Milwaukee Chapter 13: The Gangster Film as World Cinema Jian Xu, University of Wisconsin–Milwaukee Chapter 14: Epilogue: 24 Frames: Regarding the Past and Future of Global Cinema Tami Williams, University of Wisconsin–Milwaukee

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Book SynopsisGlobal Cinema Networks brings together internationally acclaimed film scholars to investigate the evolving forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection examines shifting sites of global filmmaking in an era of digital reproduction, amidst new modes of circulation and aesthetic convergence. Trade Review“Assembling an impressive group of internationally recognized scholars, this ambitious volume offers a sustained engagement with cultural infrastructures like film festivals, visual motifs of the global, with a capaciousness that stretches global cinema across a century.” -- Nitin Govil * author of Orienting Hollywood: A Century of Film Culture between Los Angeles and Bombay *Table of ContentsTable of Contents Chapter 1: Introduction: Global Cinemas in a Time of Networks Elena Gorfinkel, King’s College London (U.K.) Part 1: Cartographies, Geopolitics, Aesthetics Chapter 2: Beyond and Beneath the Map of World Cinema Dudley Andrew, Yale University Chapter 3: Frame Adrian Martin, Monash University (Australia) Chapter 4: Abstraction and the Geopolitical: Lessons from Antonioni’s Trip to China John David Rhodes, University of Cambridge Chapter 5: The City of Bits and Urban Rule: Media Archaeology, Urban Space, and Contemporary Chinese Documentary James Tweedie, University of Washington Part 2: Global Ideality, History, Representation Chapter 6: Toward an Archeology of Global Rhythms: Melodie der Welt (Melody of the World, 1929) and its Reception in France Laurent Guido, University of Lille (France) Chapter 7: When Cinema was Humanism Karl Schoonover, University of Warwick Chapter 8: African Cinema: Digital Media and Expanding Frames of Representation N. Frank Ukadike, Tulane University, New Orleans Chapter 9: Changing Circumstances: Global Flows of Lesbian Cinema Patricia White, Swarthmore College Part 3: Kinships, Identifications, Genres Chapter 10: Hermano and La hora cero: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema Luisela Alvaray, DePaul University Chapter 11: Between Love and the Moral Law: The Fatal Mother in Park Chan-wook’s Sympathy for Lady Vengeance Peter Y. Paik, Yonsei University (Korea) Chapter 12: The Queer Mexican Cinema of Julián Hernández Gilberto M. Blasini, University of Wisconsin–Milwaukee Chapter 13: The Gangster Film as World Cinema Jian Xu, University of Wisconsin–Milwaukee Chapter 14: Epilogue: 24 Frames: Regarding the Past and Future of Global Cinema Tami Williams, University of Wisconsin–Milwaukee

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Book SynopsisThe Movies as a World Force is the first analysis of utopian cinema writing; situating it in its proper intellectual contexts, theology, and political philosophy; and illustrating the ways in which its utopian imagination shapes and is shaped by the era’s most prestigious film genre, the historical crowd epic. Trade Review"The Movies as a World Force is a significant contribution to the historical study of the American cinema of the silent era, charting an expansive but largely unacknowledged utopian discourse about history, social progress, and the massification of culture that was central to the screen practices of early Hollywood and to various middlebrow projects of linking commercialized culture to the progress of democracy. Friedman does an outstanding job of making visible the contours of this expansive and decidedly anti-modern historical tendency, describing how the cinema was its inspiration and a principal site for its articulation. This book challenges us to rethink our understanding of the emergent studio system and the function of public relations in relation to what were undoubtedly widespread beliefs in the cinema as a spiritual force of global transformation." -- Mark Lynn Anderson * author of Twilight of the Idols: Hollywood and the Human Sciences in 1920s America *"Recommended." * Choice *"The Movies as a World Force is a significant contribution to the historical study of the American cinema of the silent era, charting an expansive but largely unacknowledged utopian discourse about history, social progress, and the massification of culture that was central to the screen practices of early Hollywood and to various middlebrow projects of linking commercialized culture to the progress of democracy. Friedman does an outstanding job of making visible the contours of this expansive and decidedly anti-modern historical tendency, describing how the cinema was its inspiration and a principal site for its articulation. This book challenges us to rethink our understanding of the emergent studio system and the function of public relations in relation to what were undoubtedly widespread beliefs in the cinema as a spiritual force of global transformation." -- Mark Lynn Anderson * author of Twilight of the Idols: Hollywood and the Human Sciences in 1920s America *"Recommended." * Choice *Table of ContentsAcknowledgments Introduction: Motion Pictures and Modern Communion 1 Enlightened Public Opinion: Post-Reform Progressivism, Mental Science, and Gerald Stanley Lee’s “Moving-Pictures” 2 “The Occult Elements of Motion and Light”: Vachel Lindsay’s Utopia of the Mirror Screen 3 “The Motion Picture Is War’s Greatest Antidote”: Rescue as Release of Force in D. W. Griffith’s Intolerance 4 “Everything Wooed Everything”: The Triumph of Morale Over Moralism in Rupert Hughes’s Souls for Sale 5 “Little Grains of Sand”: Positive Thinking and Corporate Form in Douglas Fairbanks’s The Thief of Bagdad Conclusion: Universal History and the Historicity of Film Entertainment Notes Index

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Book SynopsisThe Movies as a World Force is the first analysis of utopian cinema writing; situating it in its proper intellectual contexts, theology, and political philosophy; and illustrating the ways in which its utopian imagination shapes and is shaped by the era’s most prestigious film genre, the historical crowd epic. Trade Review"The Movies as a World Force is a significant contribution to the historical study of the American cinema of the silent era, charting an expansive but largely unacknowledged utopian discourse about history, social progress, and the massification of culture that was central to the screen practices of early Hollywood and to various middlebrow projects of linking commercialized culture to the progress of democracy. Friedman does an outstanding job of making visible the contours of this expansive and decidedly anti-modern historical tendency, describing how the cinema was its inspiration and a principal site for its articulation. This book challenges us to rethink our understanding of the emergent studio system and the function of public relations in relation to what were undoubtedly widespread beliefs in the cinema as a spiritual force of global transformation." -- Mark Lynn Anderson * author of Twilight of the Idols: Hollywood and the Human Sciences in 1920s America *"Recommended." * Choice *"The Movies as a World Force is a significant contribution to the historical study of the American cinema of the silent era, charting an expansive but largely unacknowledged utopian discourse about history, social progress, and the massification of culture that was central to the screen practices of early Hollywood and to various middlebrow projects of linking commercialized culture to the progress of democracy. Friedman does an outstanding job of making visible the contours of this expansive and decidedly anti-modern historical tendency, describing how the cinema was its inspiration and a principal site for its articulation. This book challenges us to rethink our understanding of the emergent studio system and the function of public relations in relation to what were undoubtedly widespread beliefs in the cinema as a spiritual force of global transformation." -- Mark Lynn Anderson * author of Twilight of the Idols: Hollywood and the Human Sciences in 1920s America *"Recommended." * Choice *Table of ContentsAcknowledgments Introduction: Motion Pictures and Modern Communion 1 Enlightened Public Opinion: Post-Reform Progressivism, Mental Science, and Gerald Stanley Lee’s “Moving-Pictures” 2 “The Occult Elements of Motion and Light”: Vachel Lindsay’s Utopia of the Mirror Screen 3 “The Motion Picture Is War’s Greatest Antidote”: Rescue as Release of Force in D. W. Griffith’s Intolerance 4 “Everything Wooed Everything”: The Triumph of Morale Over Moralism in Rupert Hughes’s Souls for Sale 5 “Little Grains of Sand”: Positive Thinking and Corporate Form in Douglas Fairbanks’s The Thief of Bagdad Conclusion: Universal History and the Historicity of Film Entertainment Notes Index

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Book SynopsisMarcia Landy has gathered thirty-seven important essays on film and melodrama that have appeared in books and journals over the last two decades. In her introduction to the book, sheexplores the recent interest in the genre in relation to theoretical work in psychoanalysis and semiotics, setting the stage for the essays that follow.Trade ReviewSignificant texts on film and television melodrama from a variety of perspectives-chronological, theoretical, international, and feminist-and their sociological significance."– Back Stage/Shoot

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Book SynopsisTwelve essays analyse performance in post-1950s film, addressing distinct questions about the working relationships between actors and directors and discussing the interplay between performance and cinematic techniques. The book explain the context for performance analysis as they address an international array of film genres, actors, and genres.

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