Films, cinema Books
Wayne State University Press Cinema at the Periphery
Book SynopsisHighlights the industries, markets, identities, and histories that distinguish cinema beyond the traditional hubs of mainstream Western cinema. This title not only includes geographic case studies of small national cinemas located at the global margins, like New Zealand and Scotland, but also of filmmaking that comes from peripheral cultures.
£25.56
Wayne State University Press Recollecting Collecting
Book SynopsisThis intriguing volume sheds light on the diverse world of collecting film- and media-related materials. Lucy Fischer''s introduction explores theories of collecting and representations of collecting and collections in film, while arguing that collections of film ephemera and other media-related collections are an important way in to understanding the relationship between material culture and film and media studies; she notes that the collectors have various motivations and types of collections. In the eleven chapters that follow, media studies scholars analyze a variety of fascinating collected materials, from Doris Day magazines to Godzilla action figures and LEGOs. While most contributors discuss their personal collections, some also offer valuable insight into specific collections of others. In many cases, collections that began as informal and personal have been built up, accessioned, and reorganized to create teaching and research materials which have significantly contrib
£27.71
Wayne State University Press Recollecting Collecting
Book SynopsisThis intriguing volume sheds light on the diverse world of collecting film- and media-related materials. Lucy Fischer''s introduction explores theories of collecting and representations of collecting and collections in film, while arguing that collections of film ephemera and other media-related collections are an important way in to understanding the relationship between material culture and film and media studies; she notes that the collectors have various motivations and types of collections. In the eleven chapters that follow, media studies scholars analyze a variety of fascinating collected materials, from Doris Day magazines to Godzilla action figures and LEGOs. While most contributors discuss their personal collections, some also offer valuable insight into specific collections of others. In many cases, collections that began as informal and personal have been built up, accessioned, and reorganized to create teaching and research materials which have significantly contrib
£70.50
Wayne State University Press Will Grace
Book SynopsisPlaces Will & Grace in its historical context of the late 1990s and early 2000s, considering how it contributed to contemporary debates concerning queer life. Tison Pugh demonstrates that while heralding a new age of queer representation, characters were homogenized to normalize queerness for a mainstream US audience.Trade ReviewWill & Grace is a thorough overview of the cultural tensions inherent in gay representation in the ’90s sitcom and in the revival. It is refreshingly open to the possibilities of visual and performative queerness that persist in the series, despite the cultural and generic constraints it faced." - Becca Cragin, Department of Popular Culture, Bowling Green State University"As the twentieth century recedes in the rearview mirror, it becomes difficult to convey the impact of past media milestones in shaping the present. Pugh provides an insightful, comprehensive, and nuanced account that will ensure that the importance of Will & Grace is understood and remembered." - Larry Gross, author of Up from Invisibility: Lesbians, Gay Men, and the Media in America"Pugh persuasively proves that Will & Grace deserves its reputation as a classic sitcom and a milestone for LGBTQ+ representation." - Library Journal
£18.95
New York University Press Global Bollywood
Book SynopsisOrganized thematically, this book examines contestations surrounding the term "Bollywood," changing relations between the state and the film industry, convergence with television and new media, online fan culture, film journalism, and the reception and negotiations of gender and sexuality in diverse socio-cultural contexts.Trade Review"“Engaging, and a rewarding experience. A must-read for all Bollywood enthusiasts as well as others who wish to be informed about this remarkable phenomenon." -- Vijay Mishra,author of Bollywood Cinema: Temples of DesireTable of ContentsIntroduction: Global Bollywood Aswin Punathambekar and Anandam P. KavooriPart I Framing Bollywood 1 Ashish Rajadhyaksha 2 M. Madhava Prasad 3 Tejaswini Ganti 4 Shanti Kumar 5 Daya Kishan ThussuPart II Texts and Audiences 6 Vamsee Juluri 7 Kalyani Chadha and Anandam P. Kavoori 8 Parmesh Shahani 9 Atticus Narain 10 Padma Govindan and Bisakha Dutta 11 Natalie SarazzinPart III Beyond Film: Stars, Fans, and Participatory Culture 12 Jyotika Virdi 13 Rachel Dwyer 14 Ananda Mitra 15 Aswin PunathambekarArvind RajagopalAbout the ContributorsIndex
£59.50
New York University Press Global Bollywood
Book SynopsisOffers a new critical framework for analyzing the institutional, cultural, and political dimensions of Bollywood films and film musicTrade Review"“Engaging, and a rewarding experience. A must-read for all Bollywood enthusiasts as well as others who wish to be informed about this remarkable phenomenon." -- Vijay Mishra,author of Bollywood Cinema: Temples of DesireTable of ContentsIntroduction: Global Bollywood Aswin Punathambekar and Anandam P. KavooriPart I Framing Bollywood 1 Ashish Rajadhyaksha 2 M. Madhava Prasad 3 Tejaswini Ganti 4 Shanti Kumar 5 Daya Kishan ThussuPart II Texts and Audiences 6 Vamsee Juluri 7 Kalyani Chadha and Anandam P. Kavoori 8 Parmesh Shahani 9 Atticus Narain 10 Padma Govindan and Bisakha Dutta 11 Natalie SarazzinPart III Beyond Film: Stars, Fans, and Participatory Culture 12 Jyotika Virdi 13 Rachel Dwyer 14 Ananda Mitra 15 Aswin PunathambekarArvind RajagopalAbout the ContributorsIndex
£23.74
New York University Press Mixed Race Hollywood
Book SynopsisA pioneering compilation of essays on mixed-race romance, individuals, families, and stars in U.S. film and media cultureTrade Review"Mixed Race Hollywood does to race what queer has done to sexualityit challenges binary thinking and the normative categories it creates. This book opens up productive new areas for scholarship on Hollywood representation and the intersections of race, ethnicity, sexuality, gender, and nation." -- Chon A. Noriega,University of California, Los Angeles"A significant step forward in the study of race and media. There are very few academic collections that match this one in timeliness, depth and readability. Mixed Race Hollywood reflects both a theoretical turn in critical race studies and the new representational habits of a culture in which celebrities wear their multiracial status as a badge of pride and sign of demographic pull." -- Diane Negra,University of East Anglia"Each essay stands as an exciting contribution to an open-ended discussion." * Choice *"An interrogation of pop culture’s representations of multi-racial characters and interracial relationships." * Colorlines *"An immensely readable interrogation of contemporary representations of multi-racial characters and inter-racial relationships in film, television, and popular culture." * ColorLines *"An accomplished, well-researched view of race identity in cinema." * M/C Reviews *Table of ContentsIntroduction Mary Beltran and Camilla Fojas Miscegenation Classical Hollywood and the Filmic Writing of Interracial History, 1931-1939 J. E. Smyth Mixed Race Frontiers Camilla Fojas Mixedfolks.com Lisa Nakamura Part II Catching Up with History: Night of the Quarter Moon, the Rhinelander Case, and Interracial Marriage in 1959 Heidi Ardizzone A Window into a Life Uncloseted Robb Hernandez The Biracial Subject as Passive Receptacle for Japanese American Memory in Come See the Paradise Kent A. Ono Part III Race Mixing and the Fantastic: Lineages of Identity and Genre in Contemporary Hollywood Adam Knee Virtual Race Jane Park From Blaxploitation to Mixploitation: Male Leads and Changing Mixed Race Identities Gregory T. Carter Part IV Detecting Difference in Devil in a Blue Dress Aisha D. Bastiaans Mixed Race in Latinowood Mary Beltran Mixed Race on the Disney Channel: From Johnny Tsunami through Lizzie McGuire and Ending with The Cheetah Girls Angharad N. Valdivia The Matrix Trilogy, Keanu Reeves, and Multiraciality at the End of Time LeiLani Nishime* Contributors Index
£23.74
Syracuse University Press Writing Short Scripts
Book SynopsisThis guide to writing short scripts has been updated to include three new original short screenplays and details and photographs of two award-winning short films. The author describes the whole script-writing process, from gathering materials to writing, rewriting and formatting.
£15.26
University of Minnesota Press Retakes
Book SynopsisA sustained theoretical reevaluation of "film languages," both visual and verbal.Table of ContentsContents AcknowledgementsIntroduction1. The Return of Enunciation2. Foreignness and Language in Western CinemaIntermission3. Ousmane Sembene's Xala4. Jorge Sanjines' Coraje del Pueblo NotesWorks CitedIndex
£20.89
University of Minnesota Press Framed
Book Synopsis
£19.79
University of Minnesota Press A Culture of Light
Book SynopsisA groundbreaking exploration of German expressionist cinema and technology.Table of ContentsContents Acknowledgments Introduction 1. The Electrification of Life, Cinema, and Art 2. Bringing Cinema to Life through Light: German Film to World War I 3. Legends of Light and Shadow: The Mythical Past in Algol and Schatten 4. The Spell of Light: Cinema as Modern Magic in Faust, Der Golem, Siegfried, and Metropolis 5. Reformulations of Space through Light in Die Strasse, Jenseits der Strasse, and Am Rande der Welt 6. Dazzled by the Profusion of Lights: Technological Entertainment in Variete and Sylvester Conclusion Notes Index
£18.89
University of Minnesota Press All about Almodovar
Book SynopsisOne of world cinema's most exciting filmmakers, Pedro Almodvar has been delighting, provoking, arousing, shocking, and-above all-entertaining audiences around the globe since he first burst on the international film scene in the early 1980s. All about Almodvar
£17.99
University of Minnesota Press Ferocious Reality
Book SynopsisTrade Review"Werner Herzog has long avowed that he hates documentaries and does not participate in the tradition. Eric Ames’s wonderful book lets us in on an open secret: ‘Herzog has. . . added to the vitality and visibility of documentary cinema internationally for more than four decades.’ I would go further: the best of the films that Herzog has made over his long career have been those that, if not called documentaries, cannot be labeled fictions. Werner Herzog’s challenges to the documentary tradition have inevitably become part of that tradition. This book shows us how." —Linda Williams, University of California, Berkeley"Ferocious Reality is excellent. The book centers on how Herzog consistently undertakes an exploration of the limits of documentary cinema and engages with it as performative behavior, challenging its boundaries. Eric Ames analyzes a broad range of Herzog’s films and engages with an array of important theoreticians of documentary cinema. This book is first-rate and innovative." —Brad Prager, author of The Cinema of Werner Herzog: Aesthetic Ecstasy and TruthTable of ContentsContentsAcknowledgmentsThe Minnesota DeclarationIntroduction: Werner Herzog, Documentary Outsider1. Sensational BodiesGame in the SandHandicapped FutureLand of Silence and DarknessWodaabe2. Moving LandscapesThe Dark Glow of the MountainsFata Morgana, La SoufrièreLessons of DarknessWheel of Time3. Ecstatic JourneysHuie’s SermonBells from the DeepPilgrimage4. Baroque VisionsThe Great Ecstasy of Woodcarver SteinerDeath for Five VoicesGod and the Burdened5. Cultural PoliticsFitzcarraldoBallad of the Little SoldierTen Thousand Years OlderThe White Diamond6. ReenactmentsLittle Dieter Needs to FlyWings of HopeRescue Dawn7. Autobiographical ActsI Am My FilmsPortrait Werner HerzogMy Best FiendGrizzly ManConclusion: Herzog’s VéritéEncounters at the End of the WorldThe Cave of Forgotten DreamsNotesIndex
£19.79
University of Minnesota Press Cinemas Bodily Illusions Flying Floating and
Book SynopsisTrade Review"In laying out his theory of proprioceptive aesthetics in cinema, Cinema’s Bodily Illusions makes a boldly provocative contribution to the study of bodies, film screens, and media technology. Rescuing cinematic illusion from the perjorative sense with which modernist film scholarship disparages it, Scott C. Richmond finds a visceral (rather than cerebral) thematization of the resonance between ordinary perception and cinematic perception."—Jennifer M. Barker, author of The Tactile Eye: Touch and the Cinematic Experience"Richmond’s theory and method offers an important tool for doing some of the critical work that spectator theory cannot. Cinema’s Bodily Illusions may become an influential vein within postmodern phenomenology. It offers a critical method for understanding the aesthetic moment outside of representational blinders."—PopMattersTable of ContentsContents Introduction. Proprioceptive Aesthetics, or the Cinema 1. The Unfinished Business of Modernism: Anémic Cinéma 2. Beyond the Infinite, At Home in Finitude: 2001 3. Ecological Phenomenology: Merleau-Ponty and Gibson 4. Proprioception, the Écart: Koyaanisqatsi 5. The Body, Unbounded: Gravity 6. Aesthetics beyond the Phenomenal: The Flicker Conclusion. The Technicity of the Cinema: Apparatuses and Technics Acknowledgments Notes Index
£66.30
The University of Alabama Press The Great Beyond
Book SynopsisPresents essays from a master critic on how artistic giants from modernism onward confronted mortality - forging unexpected links between Twain, Woolf, Mahler, Wittgenstein, Beckett, Toni Morrison, and more.
£38.66
Ohio University Press Reel Pleasures
Book SynopsisReel Pleasures brings the world of African moviehouses and the publics they engendered to life, revealing how local fans creatively reworked global media—from Indian melodrama to Italian westerns, kung fu, and blaxploitation films—to speak to local dreams and desires.Trade Review“Fair’s superb social history of cinema in Tanzania is rich with keen insights into urban life in East Africa throughout the twentieth century.…[Her] impressive versatility means she is equally at ease discussing midcentury international film distribution networks as she is explaining the local appeal of obscure Indian movies.” * Foreign Affairs *“Reel Pleasures serves as a powerful reminder that African pastimes are not only sources of pleasure and profit, but they also enrich and expand cultural imaginations and transnational affinities … Fair’s book enriches and expands the fields of African cultural history, urban popular culture, and the expressive arts.” * African Studies Review *“Fair masterfully integrates the diverse and complicated elements that define a comprehensive examination of film: economic and business history, political history, and the histories of social change, media, and popular culture. A landmark work in both history and film studies.”“Tanzania had more cinemas and a more cosmopolitan cinematic experience than the whole of French West Africa. With a long urban culture exposed to influences from across the Indian Ocean and the Atlantic, its people saw Indian, Egyptian and western films that cut across racial and gender divides from as early as the 1920s. Laura Fair’s new book is a fascinating and perceptive study of urban popular culture in Tanzania.”“Through copious interviews, Laura Fair recounts the experiences of Tanzanian audiences who flocked to the cinema in greater numbers than anywhere else in East Africa and what it was they loved about the films they saw. She tracks the business of cinema for the entrepreneurs who ran them and how film screenings differed dramatically across the nation. The result is that Reel Pleasures is one of the most comprehensive accounts of the history of cinema we have in African studies.”
£26.09
Duke University Press The Skin of the Film
Book SynopsisHow can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? This book offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world.Trade Review“The promise of Laura Marks’s The Skin of Film is the promise of thinking and living between critical discourses, experiences and cultures: the willingness to explore an embodied response capable of meeting the ‘hybrid microcultures’ of global modernity; the power to transform the memory of images, things, and the senses into ‘sensuous geographies’ of touch, smell and rhythm that inhabit and drift into a world increasingly divided between the policed frontier and the ‘placeless’ metropolis; and finally, the capacity to dwell in the critical interstice that allows thought to articulate itself on the edge of the unthought. - Tollof Nelson, CiNéMAS“[A] fascinating exploration of the ways that diasporic filmmakers have excavated, rediscovered, and reignited cultural memories through appeals to multisensorial forms of recollection that challenge the Western cinematic reliance on visual imagery . . . . [H]ighly informative and will introduce the reader to many intercultural works that have previously gone unnoticed. Marks’s clear exuberance for her work and passion for the films she discusses also shine through. Highly recommended.” - Avi Santo, The Velvet Light Trap"[A]n important document and substantial treatment of many sometimes ephemeral works of intercultural cinema. . . . Marks draws on a rich and somewhat dazzling array of theoretical sources and disciplinary fields. . . . The Skin of the Film also offers a very rich and extensive archive of intercultural cinematic productions of the eighties and nineties. . . . She manages to cover a vast range of work in an elegant, often moving writing style with curatorial detail. . . . [A]n extremely stimulating and original book. It signals a promising and very welcome move in film theory. . . . It has much to contribute to the emerging literature on affect in political and cultural studies. . . . Like the sound of dripping water or an itch that you don’t feel until you scratch, once your attention is drawn to The Skin of the Film, it becomes impossible to ignore it." - Tamara Vukov, Topia: A Canadian Journal of Cultural Studies"[A] rich and rewarding read. . . . The Skin of the Film is quite unique. Offering important contributions to the redefinition of aesthetic scholarship, the author simultaneously conducts close readings of filmic works which are not well known, and presents nuanced readings of their significance, within an original theoretical framework." - Melanie Swalwell, Film-Philosophy“A marvelous interweaving of theory and historiography. This is a book that can interest film theorists, film historians, students of performance art, and scholars of postcoloniality and interculturalism. Marks explains—with rich detail—a whole range of recent cultural productions in film and video and makes those works come to life. The Skin of the Film suggests important ways to extend film theory.”—Dana Polan, University of Southern California“Marks’s nuanced reading of a large number of films and videos is based on her deep engagement with the politics of place and displacement that drives the films. This book is a delightful read.”—Hamid Naficy, Rice University“This is a terrific book! Not only does it have a significant argument to make, but it also works with a variety of little-known film/video examples in such a way as to give the reader both a vivid sense of them and a desire to go out and get hold of them.”—Vivian Sobchack, University of California at Los Angeles“[A] fascinating exploration of the ways that diasporic filmmakers have excavated, rediscovered, and reignited cultural memories through appeals to multisensorial forms of recollection that challenge the Western cinematic reliance on visual imagery . . . . [H]ighly informative and will introduce the reader to many intercultural works that have previously gone unnoticed. Marks’s clear exuberance for her work and passion for the films she discusses also shine through. Highly recommended.” -- Avi Santo * The Velvet Light Trap *“The promise of Laura Marks’s The Skin of Film is the promise of thinking and living between critical discourses, experiences and cultures: the willingness to explore an embodied response capable of meeting the ‘hybrid microcultures’ of global modernity; the power to transform the memory of images, things, and the senses into ‘sensuous geographies’ of touch, smell and rhythm that inhabit and drift into a world increasingly divided between the policed frontier and the ‘placeless’ metropolis; and finally, the capacity to dwell in the critical interstice that allows thought to articulate itself on the edge of the unthought. -- Tollof Nelson * CiNéMAS *"[A] rich and rewarding read. . . . The Skin of the Film is quite unique. Offering important contributions to the redefinition of aesthetic scholarship, the author simultaneously conducts close readings of filmic works which are not well known, and presents nuanced readings of their significance, within an original theoretical framework." -- Melanie Swalwell * Film-Philosophy *"[A]n important document and substantial treatment of many sometimes ephemeral works of intercultural cinema. . . . Marks draws on a rich and somewhat dazzling array of theoretical sources and disciplinary fields. . . . The Skin of the Film also offers a very rich and extensive archive of intercultural cinematic productions of the eighties and nineties. . . . She manages to cover a vast range of work in an elegant, often moving writing style with curatorial detail. . . . [A]n extremely stimulating and original book. It signals a promising and very welcome move in film theory. . . . It has much to contribute to the emerging literature on affect in political and cultural studies. . . . Like the sound of dripping water or an itch that you don’t feel until you scratch, once your attention is drawn to The Skin of the Film, it becomes impossible to ignore it." -- Tamara Vukov * Topia: A Canadian Journal of Cultural Studies *Table of ContentsList of Illustrations Preface Acknowledgements Introduction 1. The Memory of Images 2. The Memory of Things 3. The Memory of Touch 4. The Memory of the Senses Conclusion: The Portable Sensorium Notes Bibliography Filmography/Videography Index
£80.10
Duke University Press Soundtrack Available
Book SynopsisFrom the silent era to the present day, popular music has been a key component of the film experience. This title aims to fill this gap, as its contributors provide detailed analyses of individual films as well as historical overviews of genres, styles of music, and approaches to film scoring.Trade Review“Soundtrack Available represents a great leap forward in the analysis of film soundtracks. It is a smart, lively book that moves nicely between the detailed analysis of individual cases and broader, theoretical issues. The editors are to be commended for a collection which covers so many historical periods and national cinemas, and for staking out exciting new directions for scholarship. At the same time, this is a compelling, refreshingly jargon-free read for the non-specialist interested in film, music, or media.”—Will Straw, McGill University“From Bollywood to Hollywood, Wim Wenders to Wong Kar-Wai, popular music permeates movies. Rigorous scholarship has finally begun to catch up with this phenomenon to make sense of its rich and varied cultural meanings. Wocjik’s and Knight’s first-rate collection is muscular, theoretically informed, historically textured, and full of exciting discoveries for all interested in the confluence of pop music, film, and identity.”—Claudia Gorbman, University of WashingtonTable of ContentsList of Illustrations Acknowledgments Overture / Arthur Knight and Pamela Robertson Wojcik I. Popular vs. “Serious” Cinema and Popular Song: The Lost Tradition / Rick Altman Surreal Symphonies: “L’Age d’or and the Discreet Charms of Classical Music / Priscilla Barlow “The Future’s Not Ours to See”: Song, Singer, and Labryinth in Hitchcock’s The Man Who Knew Too Much / Murray Pomerance “You Think They Call Us Plastic Now . . . “: The Monkees and Head / Paul B. Ramaeker II. Singing Stars Real Men Don’t Sing Ballads: The Radio Crooner in Hollywood, 1929–1933 / Allison McCracken Flower of the Asphalt: The Chanteuse Realiste in 1930s French Cinema / Kelley Conway The Embodied Voice: Song Sequences and Stardom in Popular Hindi Cinema / Neepa Majumdar III. Music as Ethnic Marker Music as Ethnic Marker in Film: The “Jewish” Case / Andrew P. Killick Sounding the American Heart: Cultural Politics, Country Music, and Contemporary American Film / Barbara Ching Crossing Musical Borders: The Soundtrack for Touch of Evil / Jill Leeper Documented/Documentary Asians: Gurinder Chadha’s I’m British But . . . and the Musical Mediation of Sonic and Visual Identities / Nabeel Zuberi IV. African American Identities Class Swings: Music, Race, and Social Mobility in Broken Strings / Adam Knee Borrowing Black Masculinity: The Role of Johnny Hartman in The Bridges of Madison County / Krin Gabbard V. Case Study: Porgy and Bess It Ain’t Necessarily So That It Ain’t Necessarily So: African American Recordings of Porgy and Bess as Film and Cultural Criticism / Arthur Knight “Hollywood Has Taken On a New Color”: The Yiddish Blackface of Samuel Goldwyn’s Porgy and Bess / Jonathan Gill VI. Contemporary Compilations Picturizing American Cinema: Hindi Film Songs and the Last Days of Genre / Corey K. Creekmur Popular Songs and Comic Allusion in Contemporary Cinema / Jeff Smith VII. Gender and Technology The Girl and the Phonograph; or the Vamp and the Machine Revisited / Pamela Robertson Wojcik Bibliography Contributors Index
£27.90
Duke University Press Disintegrating the Musical
Book SynopsisThe history of African Americans in film musicals and their reception by Black audiences and critics.Trade Review“African American influence on American music is legendary, but not until Arthur Knight’s Disintegrating the Musical have African American contributions to the Hollywood musical been put in the spotlight. Finally, we have a first-rate book offering a new slant on everything from blackface and Paul Robeson to the film version of Porgy and Bess.”—Rick Altman, University of Iowa“Knight’s fine book is compelling reading that takes black cinema scholarship into new unmapped issues and territories. Notable is Knight's thoroughly innovative and nuanced discussion of ‘blackface’ (and its ‘whiteface’ counterpoint) and how blacks deployed forms of ‘black blackface,’ to discover pain, pleasure and irony in its complexities. Importantly, Knight charts the power of black musical performance, illuminating the schizophrenic disjuncture between the pervasive influence of the black Jazz sound and the simultaneous erasure, segregation, or devaluation of the African American musician's visual presence in mainstream cinema. Disintegrating The Musical casts its arguments in bold, lucid strokes, standing out as a solid contribution to the fields of cinema and performance studies and Jazz scholarship.”—Ed Guerrero, New York UniversityTable of ContentsAcknowledgments Introduction: Disintegrating the Musical 1. Wearing and Tearing the Mask: Blacks on and in Blackface, Live 2. “Fool Acts”: Cinematic Conjunctions of White Blackface and Black Performance 3. Indefinite Talks: Blacks in Blackface, Filmed 4. Black Folk Sold: Hollywood’s Black-Cast Musicals 5. “Aping” Hollywood: Deformation and Mastery in The Duke is Tops and Swing! 6. Jammin’ the Blues: The Sight of Jazz Coda: Bamboozled? Notes Bibliography Index
£80.10
Duke University Press Memoirs from the Beijing Film Academy
Book SynopsisAfter graduating from the Beijing Film Academy in 1982, directors like Chen Kaige and Zhang Yimou revolutionized Chinese cinema with Red Sorghum, Farewell My Concubine, Yellow Earth, Raise the Red Lantern, and other international successes. This title tells the story of this class of 1982, China's famous "Fifth Generation" of filmmakers.Trade Review“Ni Zhen was himself one of the educators of the Fifth Generation, so he has been able to give a full and accurate account of what happened then on the basis of his own first-hand evidence. He also gives a detailed scholarly analysis of the origins of the Fifth Generation and the particular conditions that produced this art movement. Reading his book not only gave me intellectual pleasure, but also took me back to those unforgettable times.”—Chen Kaige, director of Farewell My Concubine and Yellow Earth“Memoirs from the Beijing Film Academy: The Origins of China’s Fifth Generation Filmmakers brings back memories for me. It tells the true story of how I moved from ignorance to full maturity along with a group of my peers. Everyone faces challenges of some sort in their youth. They become life’s most beautiful memories. That means this is not just a book about film, but also a book about human life. Once youth is over it never returns, and so we treasure it in our hearts. Thank you, Professor Ni Zhen, for writing this inspiring book.”—Zhang Yimou, director of Raise the Red Lantern, Ju Dou, and Not One LessTable of ContentsTable of Contents Translator’s Introduction vii Preface to the English Edition xiii 1. Admission 1 2. Noses to the Grindstone 51 3. First Steps 113 4. Graduation 147 Postscript 192 Character List for Chinese Names 201 Chinese Film Title List 207 Notes 213 Index 225
£25.19
Duke University Press Cinema at the End of Empire
Book SynopsisTraces the history of British and Indian cinema in the late colonial period, revealing how popular film styles and controversial film regulations in the politically linked territories of Britain and India reconfigured imperial relations.Trade Review“Cinema at the End of Empire adds immeasurably to the fields of film, cultural, and colonial studies. Priya Jaikumar produces a whole new set of fascinating insights into the cultural expression of the demise of colonialism.”—Sarah Street, author of British National Cinema“Cinema at the End of Empire offers a sparkling account of the intertwined histories of British imperial and Indian colonial films. Challenging the frame of national cinema, it situates the cinematic representations of both empire and the nation in the conjuncture of late colonialism, and shows how films dealt with the pressures, anxieties, and challenges of decolonization. At once attentive to films and history, this is a truly remarkable book.”—Gyan Prakash, author of Another Reason: Science and the Imagination of Modern India“Extremely insightful and thought provoking . . . . The montage of tantalizing glimpses that Jaikumar offers into a complex and fascinating but underexplored domain of Indian cinema and the creative and significant connections that she makes (between, as well as within, national film cultures) will no doubt catalyze other important and much-needed work on the film cultures of colonial India and, more generally, in comparative film studies.” -- Manashita Dass * Screen *“Jaikumar skillfully navigates treacherous theoretical waters to produce a book that is both historically rigorous and thoughtfully engaged in the study of form. . . . As the first book of a young scholar, Cinema at the End of Empire is impressive and promising. Jaikumar’s self-avowed ambition to “link form and history in a manner that actively resists universalization as well as notions of complete temporal rupture” (p.37) is not merely gestured toward but convincingly deployed.” -- Bulbul P. Tiwari * Journal of Asian Studies *Table of ContentsList of Illustrations xi Acknowledgments xii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 Part One. Imperial Governmentality 2. Acts of Transition: The British Cinematographic Films Acts of 1927 and 1938 41 3. Empire and Embarassment: Colonial Forms of Knowledge about Cinema 65 Part Two. Imperial Redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 Part Three. Colonial Autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313
£999.99
Duke University Press Sessue Hayakawa
Book SynopsisTrade Review“Fascinating . . . an exceptionally rich and provocative study of race and national imagery at the beginnings of the Hollywood film industry.”—Richard Peña, Program Director, Film Society of Lincoln Center, and Professor of Film Studies, Columbia University“Sessue Hayakawa has not received the attention he deserves as one of the most popular and prolific stars of the American silent screen, and this book brings a wealth of material to light. Without replicating existing research, Daisuke Miyao makes an important contribution to three developing areas within film studies: new approaches to the history of early silent film, studies of the impact of Asian Americans on Hollywood, and studies of transnational links among various film industries around the world.”—Gina Marchetti, author of From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989–1997“This is the definitive work on Sessue Hayakawa. It is a work of great originality, a truly unique attempt not only to give a thorough account of the career of one of the first and most unusual stars of silent cinema but also to approach Hayakawa from the perspective of his identity as an ethnic Japanese gaining worldwide stardom. That Daisuke Miyao is able to interrogate not only Japanese sources but the Japanese-language newspapers in the United States makes this perhaps the most thorough—and complex—treatment of the ethnicity of a movie star ever offered by a film historian. And Miyao’s placing of Hayakawa’s stardom within the context of the political and cultural relations between the United States and Japan is nothing less than masterful.”—Tom Gunning, author of The Films of Fritz Lang: Allegories of Vision and Modernity“Sessue Hayakawa: Silent Cinema and Transnational Stardom brings superb research and historical rigor to Hayakawa, an underrated Japanese silent film star, and to transnational film spectatorship during the early years of Hollywood. The book and its bibliography and inspirational for furthering the critical studies on other lesser-known Japanese cosmopolitan figures in early Hollywood. . . .Miyao’s book makes an unparalleled contribution and is an exemplary model for bridging the fields of cinema studies, Asian American studies, and Japanese studies.” -- Sachiko Mizuno * Journal of Asian Studies *“This book is a welcome addition to the literature on Orientalism, romance and the ‘Yellow Peril’ in Hollywood cinema, which has hitherto given scant attention to Hayakawa and his significant role in the silent cinema. The author’s bilingualism, assiduous research and wide-ranging scholarship have enabled a refreshingly comprehensive account and informed analysis of the reception of the star and his films in both Japan and America.” -- Freda Freiberg * Asian Studies Review *Table of ContentsList of Illustration ix List of Abbreviations xi Acknowledgments xiii Introduction 1 PART ONE: Emperor, Buddhist, Spy, or Indian: The Pre-Star Period of Sessue Hayakawa (1914-15) 1. A Star Is Born: The Transnational Success of The Cheat and Its Race and Gender Politics 21 2. Screen Debut: O Mimi San, or The Mikado in Picturesque Japan 50 3. Christianity versus Buddhism: The Melodramatic Imagination in The Wrath of the Gods 57 4. Doubleness: American Images of Japanese Spies in The Typhoon 66 5. The Noble Savage and the Vanishing Race: Japanese Actors in “Indian Films” 76 PART TWO: Villain, Friend, or Lover: Sessue Hayakawa’s Stardom at Lasky-Paramount (1916-18) 6. The Making of an Americanized Japanese Gentleman: The Honorable Friend and Hashimura Togo 87 7. More Americanized than the Mexican: The Melodrama of Self-Sacrifice and the Genteel Tradition in Forbidden Paths 106 8. Sympathetic Villains and Victim-Heroes: The Soul of Kura San and The Call of the East 117 9. Self-Sacrifice in the First World War: The Secret Game 127 10. The Cosmopolitan Way of Life: The Americanization of the Sessue Hayakawa in Magazines 136 PART THREE: “Triple Consciousness”: Sessue Hayakawa’s Stardom at Haworth Pictures Corporation (1918-22) 11. Balancing Japaneseness and Americanization: Authenticity and Patriotism in His Birthright and Banzai 153 12. Return of the Americanized Orientals: Robertson-Cole’s Expansion and Standardization of Sessue Hayakaway’s Star Vehicles 168 13. The Mask: Sessue Hayakawa’s Redefinition of Silent Film Acting 195 14. The Star Falls: Postwar Nativism and the Decline of Sessue Hayakawa’s Stardom 214 PART FOUR: Stardom and Japanese Modernity: Sessue Hayakawa in Japan 15. Americanization and Nationalism: The Japanese Reception of Sessue Hayakawa 235 Epilogue 261 Notes 283 Filmography 333 Bibliography 337 Index 365
£85.50
Duke University Press Masculine Singular
Book SynopsisOffers an interpretation of French New Wave cinema by one of France's leading feminist film scholars. While most criticism of New Wave has concentrated on the film-makers and their films, this book focuses on the social and cultural turbulence of the cinema's formative years, from 1957 to 1962.Trade Review“Thanks to this unwavering translation, Geneviève Sellier’s bracing exposé has stripped the New Wave of its stylish attire to reveal an unappealing male body. Vigilant and determined, she has trolled a sea of French criticism to net her evidence.”—Dudley Andrew, Yale University“This remarkable book will change readers’ view of New Wave cinema. Geneviève Sellier approaches this key movement in French cinema from an original perspective, developing a nuanced yet incisive argument about the links between masculinity, auteurism, and filmic representations.”—Ginette Vincendeau, author of Jean-Pierre Melville: An American in ParisTable of ContentsAcknowledgments vii Introduction: The Aesthetic Doxa on the New Wave 1 1. A New Generation Marked by the Emergence of Women 11 2. Cinephilia in the 1950s 22 3. Auteur Cinema: An Affair of State 34 4. Contrasting Receptions 41 5. The Precursors 70 6. Between Romanticism and Modernism 95 7. Nostalgia for a Heroic Masculinity 128 8. The Women of the New Wave: Between Modern and Archaic 145 9. Jeanne Moreau: Star of the New Wave and Icon of Modernity 184 10. Brigitte Bardot and the New Wave: An Ambivalent Relationship 199 11. The Independent Filmmakers of the Left Bank: A "Feminist" Alternative 210 Conclusion: The New Wave's Legacy: "Auteur Cinema" 221 Appendix One: Box Office Results 225 Appendix Two: The Press 227 Notes 231 Bibliography 245 Index 253
£72.25
Duke University Press Masculine Singular
Book SynopsisPresents an original interpretation of French New Wave cinema by one of France's leading feminist film scholars. This title argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema.Trade Review“Thanks to this unwavering translation, Geneviève Sellier’s bracing exposé has stripped the New Wave of its stylish attire to reveal an unappealing male body. Vigilant and determined, she has trolled a sea of French criticism to net her evidence.”—Dudley Andrew, Yale University“This remarkable book will change readers’ view of New Wave cinema. Geneviève Sellier approaches this key movement in French cinema from an original perspective, developing a nuanced yet incisive argument about the links between masculinity, auteurism, and filmic representations.”—Ginette Vincendeau, author of Jean-Pierre Melville: An American in ParisTable of ContentsAcknowledgments vii Introduction: The Aesthetic Doxa on the New Wave 1 1. A New Generation Marked by the Emergence of Women 11 2. Cinephilia in the 1950s 22 3. Auteur Cinema: An Affair of State 34 4. Contrasting Receptions 41 5. The Precursors 70 6. Between Romanticism and Modernism 95 7. Nostalgia for a Heroic Masculinity 128 8. The Women of the New Wave: Between Modern and Archaic 145 9. Jeanne Moreau: Star of the New Wave and Icon of Modernity 184 10. Brigitte Bardot and the New Wave: An Ambivalent Relationship 199 11. The Independent Filmmakers of the Left Bank: A "Feminist" Alternative 210 Conclusion: The New Wave's Legacy: "Auteur Cinema" 221 Appendix One: Box Office Results 225 Appendix Two: The Press 227 Notes 231 Bibliography 245 Index 253
£19.79
Duke University Press Untimely Bollywood
Book SynopsisAn argument that the fast-paced, multivalent qualities of contemporary Bollywood cinema are emblematic of the changing conditions of media consumption in a globalizing India.Trade Review“Amit S Rai’s Untimely Bollywood is a provocative new addition to the fields of film, new media, and South Asian popular culture studies. . . . The scholarship is innovative in its emphasis on the sensory experiences under Bollywood’s new assemblage and compelling in its take on the politics and potentialities of the nonlinear.” - Madhavi Mallapragada, Popular Communication“What Rai presents is a semiotician’s paradise. . . . Rai’s spotlight on ‘controlled consumption’ is bound to resonate with readers who have given thought to similar exhibition in America. The author deftly ties together the creation of the multiplex and the birth of the blockbuster.” - A. Hirsh, Choice“An excellent study and a look into this slice of the world, this book should be read by all with an interest in the new and old media assemblages of India.” - Badar Shah, South Asia Research“In bold divergence from representation-based studies of social identity in cinema, Amit S. Rai shifts our attention from the spectator’s encounter with a discrete film text to the media event or assemblage generating an ecology of sensations. Packed with original research, a heterodox range of theoretical influences, and innovative explorations in the idea of nonlinearity, Untimely Bollywood goes well beyond a study of globalization’s impact on India’s Hindi-language cinema. What it offers instead is a provocative thesis on affective and embodied experience under globalization’s new regimes of media consumption in India.”—Priya Jaikumar, author of Cinema at the End of Empire: A Politics of Transition in Britain and India“Within a rapidly growing body of sophisticated work on Indian cinema, media, and popular culture, Untimely Bollywood stands out not only for its originality but also for its audacity. Its deft coordination of what at first would seem wildly heterogeneous topics is simply dazzling. There are wonderful discussions throughout that involve themselves in surprising but consistently illuminating topics, including art deco theatres, DJ culture, and Dolby sound in India. The movement through these topics is as often fun as it is enlightening.”—Corey K. Creekmur, co-editor of Cinema, Law, and the State in Asia“Amit S Rai’s Untimely Bollywood is a provocative new addition to the fields of film, new media, and South Asian popular culture studies. . . . The scholarship is innovative in its emphasis on the sensory experiences under Bollywood’s new assemblage and compelling in its take on the politics and potentialities of the nonlinear.” -- Madhavi Mallapragada * Popular Communication *“An excellent study and a look into this slice of the world, this book should be read by all with an interest in the new and old media assemblages of India.” -- Badar Shah * South Asia Research *“What Rai presents is a semiotician’s paradise. . . . Rai’s spotlight on ‘controlled consumption’ is bound to resonate with readers who have given thought to similar exhibition in America. The author deftly ties together the creation of the multiplex and the birth of the blockbuster.” -- A. Hirsh * Choice *Table of ContentsAcknowledgments xi Introduction: India and the New Nonlinear Media Assemblage 1 Part 1. Cinema Becoming New Media 1. “First Day, First Show”: Bollywood Cinemagoing and the New Sensorium 21 2. Contagious Multiplicities and the Nonlinear Life of the New Media 55 Part 2. Toward an Ontology of Media Durations 3. “The Best Quality Cinema Viewing . . . Everywhere. Everytime.”: On the Multipliex Mutagen in India 131 4. "With You Every Moment in Time": On the Emergent Ittafaq (Chance) Assemblage 79 Conclusion: Clinamedia 211 Notes 221 Bibliography 275 Index 289
£25.19
Duke University Press The Apartment Plot
Book SynopsisRethinks films including Pillow Talk and Rear Window by identifying the apartment plot as a distinct genre, one in which the urban apartment figures as a central narrative device.Trade Review“Wojcik’s insightful analysis, supported by thorough research, contrasts privacy and community, sight and sound, urban and suburban, married and single life, white and African American neighborhoods, and upper- and lower-class milieus. . . . Recommended. Upper-division undergraduates and above.” - S. R. Kozloff, Choice“With her volume Wojcik deftly connects the apartment plot to social history.She also offers dozens of close readings of films—readings that oftencontradict (or at the very least complicate) conventional wisdom about thosefilms. . . . Wojcik offers an almost encyclopedic account of apartment-centered films, such that any postwar film and media scholar will find Wojcik’s careful analysis useful.” - Kathy M. Newman, American Quarterly“Pamela Robertson Wojcik's intriguing book takes an original approach to Hollywood cinema. Her subject is the apartment as setting, which, in films of the post-war decades, she claims, became a space where ‘a philosophy of urbanism’ could be dramatized ‘at a time when the meaning and status of urban living were undergoing a sea change.’ Wojcik argues persuasively that the ‘apartment plot’ imbues films with recurrent themes that transcend genre and director.” - Alexander Jacoby, Times Literary Supplement“Exhaustively researched and brimming with insightful observations, The Apartment Plot is a gift for those intent on studying the architecture that amps the plotline.” - Michael Dalton, M/C Reviews“Wojcik . . .succeeds in demonstrating the value of focusing on the apartment, and mise-en-scène more generally, as a heuristic device. Doing so enables her to explore continuities between an otherwise diverse body of films, revealing how cinema both represents and participates in the production of discourses about urban architectures and experiences. As such, the volume makes a valuable contribution to our understandings of the relations among cinematic representations, architecture, and everyday life.” - Hilary Radner, Journal of American History“Working with an admirably wide range of additional materials, including periodical and advice literature, advertising, fiction, television, music, building blueprints, and comics . . . Wojcik balances her many disciplines carefully. The book’s overall argument for the ‘apartment story’ as a distinct and important genre, and Wojcik’s embedding of her case studies in migration trends, cultural and social concerns, and shifting ideas about the city and its alternatives is a fresh and convincing addition to studies of postwar media.” - Miriam G. Reumann, The Sixties“The Apartment Plot is an imaginative, thoroughly researched, closely observed, accomplished interdisciplinary work on the mid-century ‘apartment plot’ in American film and, to a lesser but important degree, TV, design, print, and sociology. It is a lively and engaging book that both breaks new ground and renovates existing critical edifices.”—Patricia White, co-author of The Film Experience: An Introduction“Exhaustively researched and brimming with insightful observations, The Apartment Plot is a gift for those intent on studying the architecture that amps the plotline.” -- Michael Dalton * M/C Reviews *“Pamela Robertson Wojcik's intriguing book takes an original approach to Hollywood cinema. Her subject is the apartment as setting, which, in films of the post-war decades, she claims, became a space where ‘a philosophy of urbanism’ could be dramatized ‘at a time when the meaning and status of urban living were undergoing a sea change.’ Wojcik argues persuasively that the ‘apartment plot’ imbues films with recurrent themes that transcend genre and director.” -- Alexander Jacoby * TLS *“With her volume Wojcik deftly connects the apartment plot to social history. She also offers dozens of close readings of films—readings that often contradict (or at the very least complicate) conventional wisdom about those films. . . . Wojcik offers an almost encyclopedic account of apartment-centered films, such that any postwar film and media scholar will find Wojcik’s careful analysis useful.” -- Kathy M. Newman * American Quarterly *“Wojcik . . .succeeds in demonstrating the value of focusing on the apartment, and mise-en-scène more generally, as a heuristic device. Doing so enables her to explore continuities between an otherwise diverse body of films, revealing how cinema both represents and participates in the production of discourses about urban architectures and experiences. As such, the volume makes a valuable contribution to our understandings of the relations among cinematic representations, architecture, and everyday life.” -- Hilary Radner * Journal of American History *“Wojcik’s insightful analysis, supported by thorough research, contrasts privacy and community, sight and sound, urban and suburban, married and single life, white and African American neighborhoods, and upper- and lower-class milieus. . . . Recommended. Upper-division undergraduates and above.” -- S. R. Kozloff * Choice *“Working with an admirably wide range of additional materials, including periodical and advice literature, advertising, fiction, television, music, building blueprints, and comics . . . Wojcik balances her many disciplines carefully. The book’s overall argument for the ‘apartment story’ as a distinct and important genre, and Wojcik’s embedding of her case studies in migration trends, cultural and social concerns, and shifting ideas about the city and its alternatives is a fresh and convincing addition to studies of postwar media.” -- Miriam G. Reumann * Sixties *Table of ContentsList of Illustrations vii Preface ix Introduction: A Philosophy of Urbanism 1 1. A Primer in Urbanism: Rear Window's Archetypal Apartment Plot 47 2. "We Like Our Apartment": The Playboy Indoors 88 3. The Great Reprieve: Modernity, Femininity, and the Apartment 139 4. The Suburbs in the City: The Housewife and the Apartment 180 5. Movin' On Up: The African American Apartment 220 Epilogue: A New Philosophy for a New Century 267 Notes 279 Bibliography 289 Index 303
£25.19
Duke University Press A Social History of Iranian Cinema Volume 1
Book SynopsisThe first of 4 volumes in the definitive history of Iranian filmTrade Review“While the first two volumes that I have had the pleasure to review here are indeed comprehensive, covering great depth and breadth, I find Naficy to be a very open, collegial scholar whose work certainly does not close down the field. Rather, at times, Naficy openly signals that more research is still to be conducted into certain areas ensuring that the field of Iranian cinema studies may live on with vital and vibrant energy. Graduate students in particular should take heed of these openings in the text, for therein lie great possibilities for future, compelling and original scholarship in the field.... I can only conclude my review by emphasizing what I said in my opening comment: this is rich, compelling, and complex scholarship at its very finest. Thanks Hamid!” - Michelle Langford, Senses of Cinema“These volumes reveal the unspoken side of Iranian culture, society and history within the context of film and cinema. This marvellously detailed account of Iranian cinema is a must-read for anyone who is interested in understanding Iran in the past and present, a true story of a long-term, ongoing revolution in Iranian culture, society and film.” - Arezou Zalipour, Media International Australia“A Social History of Iranian Cinema is an extraordinary achievement, a scholarly, detailed work in which a massive amount of material is handled with the lightest touch. Yet it is Hamid Naficy’s personal experience and investment that give this project a particular distinction. Only a skilled historian, one who is on the inside of his story, could convey so vividly the symbolic significance of cinema for twentieth-century Iran and its deep intertwining with national culture and politics.”—Laura Mulvey, author of Death 24× a Second: Stillness and the Moving Image“Hamid Naficy is already established as the doyen of historians, as well as critics, of Iranian cinema. Based on his deep understanding of modern Iranian political and social history, this detailed critical study of cinema in Iran since its debut more than a century ago is his crowning achievement. To say that it is a must-read for virtually all concerned with modern Iranian history, and not just cinema and the arts, is to state the obvious.”—Homa Katouzian, author of The Persians: Ancient, Mediaeval and Modern Iran“Hamid Naficy seamlessly brings together a century of Iran’s cinematic history, marking its technological advancements and varying genres and storytelling techniques, and perceptively addressing its sociopolitical impact on the formation of Iran’s national identity. A Social History of Iranian Cinema is essential reading not only for the cinephile interested in Iran’s unique and rich cinematic history but also for anyone wanting a deeper understanding of the cataclysmic events and metamorphoses that have shaped Iran, from the pivotal Constitutional Revolution that ushered in the twentieth century, through the Islamic Revolution, and into the twenty-first century.”—Shirin Neshat, visual artist, filmmaker, and director of the film Women Without Men“This magisterial four-volume study of Iranian cinema will be the defining work on the topic for a long time to come. Situating film within its sociopolitical context, Hamid Naficy covers the period leading up to the Constitutional Revolution and continues after the Islamic Revolution, examining questions about modernity, globalization, Islam, and feminism along the way. A Social History of Iranian Cinema is a guide for our thinking about cinema and society and the ways that the creative expression of film should be examined as part of a wider engagement with social issues.”—Annabelle Sreberny, coauthor of Blogistan: The Internet and Politics in Iran“These volumes reveal the unspoken side of Iranian culture, society and history within the context of film and cinema. This marvellously detailed account of Iranian cinema is a must-read for anyone who is interested in understanding Iran in the past and present, a true story of a long-term, ongoing revolution in Iranian culture, society and film.” -- Arezou Zalipour * Media International Australia *“While the first two volumes that I have had the pleasure to review here are indeed comprehensive, covering great depth and breadth, I find Naficy to be a very open, collegial scholar whose work certainly does not close down the field. Rather, at times, Naficy openly signals that more research is still to be conducted into certain areas ensuring that the field of Iranian cinema studies may live on with vital and vibrant energy. Graduate students in particular should take heed of these openings in the text, for therein lie great possibilities for future, compelling and original scholarship in the field.... I can only conclude my review by emphasizing what I said in my opening comment: this is rich, compelling, and complex scholarship at its very finest. Thanks Hamid!” -- Michelle Langford * Senses of Cinema *“The four volumes of A Social History of Iranian Cinema constitute a landmark achievement. . . . For students of Iranian cinema, I can think of no better place to begin than these four volumes. The sheer expansiveness of Naficy’s project is a testimony to the untold narratives, theoretical paradigms, and concepts waiting to be found in the ongoing history of Iranian cinema.” -- Sara Saljoughi * International Journal of Middle East Studies *Table of ContentsList of Illustrations ix Acknowledgments xiii Organization of the Volumes xxi A Word about Illustrations xxvii Preface. How It All Began xxix Introduction. National Cinema, Modernity, and Iranian National Identity 1 1. Artisanal Silent Cinema in the Qajar Period 27 2. Ideological and Spectatorial Formations 71 3. State Formation and Nonfiction Cinema: Syncretic Westernization during the First Pahlavi Period 141 4. A Transitional Cinema: The Feature Film Industry and Sound Cinema 197 5. Modernity's Ambivalent Subjectivity: Dandies and the Dandy Movie Genre 277 Notes 309 Bibliography 343 Index 371
£22.49
Duke University Press Virtual Hallyu
Book SynopsisA textual account of the hallyu (Korean wave) films popular internationally, especially in Asia, from the late 1990s until 200708.Trade Review“A highly informative and imaginative account of the multifaceted powers of virtuality that make up the unique phenomenon of Korean cinema in the early twenty-first century.”—Rey Chow, author of Sentimental Fabulations, Contemporary Chinese Films“Coming close on the heels of The Remasculinization of Korean Cinema, his seminal analysis of the psychic and political foundations of the New Korean Cinema of the 1990s, Kyung Hyun Kim has now produced the essential text on hallyu, the phase of Korean cinema and related forms of popular culture that became a global sensation in the first decade of the new millennium. Bringing key Deleuzian concepts into focus with sensitive and nuanced readings of international blockbusters, including The Host (Bong Joon-ho) and Oldboy (Park Chan-wook), as well as the work of notable art-cinema auteurs, Kim establishes himself as not just the most important Anglophone critic of South Korean cinema but a key figure in film and cultural studies generally.”—David E. James, author of The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles“[A]n impressive work. The book is timely without being trite or merely fashionable and it contains a number of significant theoretical and local insights into the global present without being uselessly obscure to the general reader. Kim’s incisive close readings of widely known South Korean productions (The Host, Old Boy, Secret Sunshine, etc.), as well as the potential to discover new titles, make the book a pleasure to read and to revisit for those inside, outside, or in between Korean studies.” -- Travis Workman * Journal of Asian Studies *“[T]his is a book that needs to be read by anyone who is interested in the field [of Korean Cinema].” -- John Finch * Asian Studies Review *" . . . Kim's book is special in that every effort was exerted to select the most relevant topics and issues for readers in a comprehensive and sophisticated way. I would recommend this book because it is a well-written and detail-oriented account of Korean movies . . . As all chapters are very informative and engage in theoretical arguments that are not just descriptive, this book will be very useful to readers who really love Korean films or are film majors in graduate programs and would like to gain a comprehensive knowledge of Korean cinema." -- Sang Yee Cheon * Korean Studies *Table of ContentsForeword / Martin Scorsese ix Preface xi Introduction: Hallyu's Virtuality 1 1. Virtual Landscapes: Sopyonje, The Power of Kangwon Province, and The Host 23 2. Viral Colony: Spring of Korean Peninsula and Epitaph 55 3. Virtual Dictatorship: The President's Barber and The President's Last Bang 81 4. Mea Culpa: Reading the North Korean as an Ethnic Other 101 5. Hong Sang-soo's Death, Eroticism, and Virtual Nationalism 123 6. Virtual Trauma: Lee Chang-dong's Oasis and Secret Sunshine 152 7. Park Chan-wook's "Unknowable" Oldboy 178 8. The End of History, the Beginning of Historical Films Korea's New Sagük 200 Notes 213 Bibliography 235 Index 243
£25.19
Duke University Press Culture of Class
Book SynopsisFollowing the mass arrival of European immigrants to Argentina in the early years of the twentieth century new forms of entertainment emerged including tango, films, radio and theater. While these forms of culture promoted ethnic integration they also produced a new kind of polarization that helped Juan Peron to build the mass movement that propelled him to power.Trade Review"In Culture of Class, Matthew B. Karush provides a new cultural history of interwar Argentina and the origins of Peronism. His point of departure is the proliferation of new forms of popular mass media, which he argues simultaneously intensified class conflict and bolstered populist forms of respectability. In this outstanding book, Karush also shows how the popular mass media enabled the peripheral 'modernization' of Argentine national culture."—Federico Finchelstein, author of Transatlantic Fascism: Ideology, Violence, and the Sacred in Argentina and Italy, 1919–1945"This is an extremely important study. Matthew B. Karush transforms the way we think about private lives and political conflict by weaving together research on the working-class origins of populism, commoners' understandings of consumption, and representations of social roles on the big screen and over the airwaves. Class identities, he argues, were central to Argentina's deep changes in the lead-up to Perón's triumph. Tracking the fascinating evolution of film and radio gives us a whole new way to think about how culture, politics, and market life intersected to remap Argentine society. Karush has written a tremendous book."—Jeremy Adelman, Princeton University“Karush’s book is a key contribution to the analysis of the deep connections between mass culture and politics in the contexts of Latin American ‘alternative modernity’ at large. To Argentine historiography, it adds a refreshing culturalist view of long-running discussions about the origins of Peronism and, more prominently, it helps expand decisively our knowledge of the heterogeneous popular classes through the lens of their cultural consumptions.” -- Valeria Manzano * Journal of Latin American Studies *“This innovative book builds on and goes beyond recent scholarship on the rise of mass culture in Latin America.” -- Bryan McCann * Hispanic American Historical Review *“The book's strengths lie in Kamsh's careful and compelling accounts of the way media worked in inter-war Buenos Aires…. [T]he book's marvelous rendition of a key moment in Argentine history and its persuasive placement of media at the centre of analysis. It will enjoy broad appeal, for undergraduates and graduate students, for scholars of Latin America and those interested in radio, cinema, and the vagaries of political life.” -- Alejandra Bronfman * Canadian Journal of History *“[Karush’s] rich analysis of tango and cinema shows the tension between melodrama’s inner conservatism and its subversive message regarding the moral superiority of the popular classes.” -- Paula Halperin * American Historical Review *"One of the more impressive publications treating radio and cinema in Latin America." -- Justin Castro * Latin American Research Review *"Culture of Class is composed masterfully. With engaging prose, it forces us to re-examine the causes of Peronism. Published in 2012, it remains a huge contribution to our understanding of the interplay of mass culture and politics in early-twentieth-century Latin America." -- J. Justin Castro * Technology and Culture *Table of ContentsAcknowledgments ix Introduction 1 1. Class Formation in the Barrios 19 2. Competing in the Transnational Marketplace 43 3. Repackaging Popular Melodrama 85 4. Mass-Cultural Nation Building 133 5. Politicizing Populism 177 Epilogue: The Rise of the Middle Class, 1955–1976 215 Notes 225 Bibliography 251 Index 269
£76.50
University of Pittsburgh Press Modernity at the Movies
a huge range and FREE tracked UK delivery on ALL orders.
£52.00
University of Pittsburgh Press Nickelodeon City
Trade Review"It has been a long time since I have so thoroughly enjoyed a work of film history. One of the best local histories of Pittsburgh and western Pennsylvania. Aronson is that rare creature: a prodigious researcher who knows how to write. There is [not] a dull sentence in the entire book." - Pennsylvania Magazine of History and Biography "Pittsburgh was the epicenter of the nickelodeon boom. Until now, accounts of what was often called 'the Pittsburgh Idea' have been more myth and legend dressed up with a few scattered facts than coherent history. Nickelodeon City is a book that was waiting, needing to be written. Who would have guessed it could be done with such perceptiveness and depth?" - Charles Musser, Yale University, author of The Emergence of Cinema"
£42.63
University of Pittsburgh Press Transition Cinema
Book SynopsisDocuments the critical role filmmakers, the film industry, and state regulators played in Argentina’s volatile and unfinished transition from dictatorship to democracy.
£46.10
University of Pittsburgh Press Dancing Identity
Book SynopsisCombining critical analysis with personal history and poetry, Dancing Identity presents a series of interconnected essays composed over a period of fifteen years that explore the role of movement in defining our sense of self.
£42.75
University of Pittsburgh Press After Human Rights
Book SynopsisRosenberg explores Latin American artistic production concerned with the possibility of justice after the establishment, rise, and ebb of the human rights narrative around the turn of the last century.
£38.95
Fordham University Press ApocalypseCinema 2012 and Other Ends of the
Book SynopsisBy analyzing many films, by drawing on the philosophy of Lyotard, Nancy, and Derrida, this book suggest that in the apocalyptic genre, cinema is at work on its limit. Apocalypse-cinema is both the end of the world and the end of the film, the consummation and the (self)consumption of cinema.Trade ReviewArmed with an arsenal of audacious concepts, Peter Szendy confronts the torment of blockbusters with style. Before venturing to spend your next night out at the silver screen, be sure to take this thrilling film survival manual with you." -Philosophie Magazine "In this prodigiously intelligent book, Peter Szendy reflects on the specific nature of apocalyptic cinema. Organized as a series of brief essays on individual films and recurrent cinematic strategies, Apocalypse-Cinema offers brilliant insights on a genre that has yet to receive all the critical attention it deserves." -- -Marie Helene Huet Princeton University "Apocalypse-Cinema is a brilliantly-executed, timely book, a tour-de-force encounter with a major film genre that has been too much neglected by 'serious' film scholars. Szendy's survey of the highs and lows of the 'apo' canon is nuanced and impeccably grounded in contemporary philosophy and film theory." -- -Terry Harpold University of FloridaTable of ContentsTable of Contents 1. Melancholia, or the After-All 2. The Last Man on Earth, or Film as Countdown 3. Cloverfield, or the Holocaust of the Date 4. Terminator, or the Arche-Travelling Shot 5. 2012, or Pyrotechnics 6. A.I., or the Freeze 7. Pause, For Inventory (The "Apo") 8. Watchmen, or the layering of the cineworld 9. Sunshine, or The Black-and-White Radiography 10. Blade Runner, or the Interworlds 11. Twelve Monkeys, or the Pipes of the Apocalypse 12. The Road, or the Language of a Drowned Era 13. The Blob, or the Bubble 14. Postface: Il n'y a pas de hors-film, or cinema and its cinders
£63.00
Fordham University Press ApocalypseCinema 2012 and Other Ends of the
Book SynopsisBy analyzing many films, by drawing on the philosophy of Lyotard, Nancy, and Derrida, this book suggest that in the apocalyptic genre, cinema is at work on its limit. Apocalypse-cinema is both the end of the world and the end of the film, the consummation and the (self)consumption of cinema.Trade ReviewArmed with an arsenal of audacious concepts, Peter Szendy confronts the torment of blockbusters with style. Before venturing to spend your next night out at the silver screen, be sure to take this thrilling film survival manual with you." -Philosophie Magazine "In this prodigiously intelligent book, Peter Szendy reflects on the specific nature of apocalyptic cinema. Organized as a series of brief essays on individual films and recurrent cinematic strategies, Apocalypse-Cinema offers brilliant insights on a genre that has yet to receive all the critical attention it deserves." -- -Marie Helene Huet Princeton University "Apocalypse-Cinema is a brilliantly-executed, timely book, a tour-de-force encounter with a major film genre that has been too much neglected by 'serious' film scholars. Szendy's survey of the highs and lows of the 'apo' canon is nuanced and impeccably grounded in contemporary philosophy and film theory." -- -Terry Harpold University of FloridaTable of ContentsTable of Contents 1. Melancholia, or the After-All 2. The Last Man on Earth, or Film as Countdown 3. Cloverfield, or the Holocaust of the Date 4. Terminator, or the Arche-Travelling Shot 5. 2012, or Pyrotechnics 6. A.I., or the Freeze 7. Pause, For Inventory (The "Apo") 8. Watchmen, or the layering of the cineworld 9. Sunshine, or The Black-and-White Radiography 10. Blade Runner, or the Interworlds 11. Twelve Monkeys, or the Pipes of the Apocalypse 12. The Road, or the Language of a Drowned Era 13. The Blob, or the Bubble 14. Postface: Il n'y a pas de hors-film, or cinema and its cinders
£25.19
Fordham University Press The Techne of Giving Cinema and the Generous
Book SynopsisIn The Techne of Giving, Timothy Campbell elaborates a notion of generosity as way of responding to contemporary biopower. Reading films from Visconti, Rossellini, and Antonioni, he both updates their political lexicon while adopting them as models able to push back against neoliberal forms of gift-giving.Trade Review"A very original, extremely well-researched piece of work that combines theoretical sophistication with depth of literary, cultural, and cinematic knowledge." -- -Rosi Braidotti Utrecht UniversityTable of Contents1. Forms of Life in a Milieu of Biopower 2. Freeing the Apparatus 3. "Dead Weight": Visconti and Forms of Life 4. Playful Falls in a Milieu of Contagion 5. The Tender Lives of Vitti/Vittoria Conclusion: Attention, Not Autopsy Acknowledgments Notes Index
£78.30
University of Hawai'i Press Transnational Chinese Cinemas Identity Nationhood
Book SynopsisWith the growing popularity of Chinese cinema and the large amounts of foreign capital invested in it, this book asks what constitutes Chinese cinema. It discusses national cinema and analyzes the emergence of transnational cinema in Chinese film studies.
£24.76
University of Hawai'i Press Celluloid Comrades Representations of Male
Book SynopsisOffers an introduction to the representation of male homosexuality in Chinese cinemas. This work states that representations of male homosexuality in Chinese film are polyphonic and multifarious, posing a challenge to monolithic and essentialized constructions of both Chineseness and homosexuality.
£42.00
University of Hawai'i Press Women Through the Lens Gender and Nation in a
Book SynopsisThis work raises the question of how gender acts as a visual and discursive sign in the creation of the nation-state in 20th-century China. Shuqin Cui reveals how women have been granted a privileged visibility on screen while being denied discursive positions as subjects.Trade Review"Stands out for its ambition and breadth.... Women Through the Lens not only lays a foundation and road map for other scholars but it should be used as a reference book by anyone interested in Chinese film." - Chinese Literature: Essays, Articles, Reviews "A very fine introduction to Chinese film for students approaching the topic in a feminist film criticism course or in a course in which grounding in film theory cannot be assumed but is absolutely necessary for the students." - China Review International "Women Through the Lens is a theoretically engaged work supported by illuminating textual analysis. Cui's systematic and insightful analysis of the female image and women's films in modern China not only contributes to the growing corpus of Chinese film studies but also provides critical evidence to buttress the concept of a transnational feminism recognizing geopolitical and national differences in the discourses of gender." - Pacific Affairs"
£22.36
University of Hawai'i Press Producing Hiroshima and Nagasaki Literature Film and Transnational Politics
a huge range and FREE tracked UK delivery on ALL orders.
£22.36
University of Hawai'i Press Legacies of the Drunken Master Politics of the
Book SynopsisIn 1978 the films Snake in the Eagle's Shadow and Drunken Master, both starring a young Jackie Chan changed the landscape of martial arts cinema. This first book-length analysis of kung fu comedy interrogates the politics of the films and their representations of the performing body.Trade ReviewThis brilliant book is a breakthrough in several respects. For Hong Kong cinema and martial arts studies alike it offers the first intellectually serious book-length study in English of kung fu comedy. For cultural studies, author Luke White enlists a supple and sophisticated model that considers social and political contexts across a globally popular entertainment genre that does not easily lend itself to an allegorical reading of stories and themes. For the broad field of cultural theory, the book shows how it is possible to bring a European canon of thought to bear on cultural production in post-colonial contexts beyond the West without hollowing the latter out to demonstrate the interpretive power of the former.
£60.00
University of Hawai'i Press Citing China Politics Postmodernism and World
Book SynopsisExplores the role film plays in creating a common ground for the exchange of political and aesthetic ideas between China and the rest of the world. The book does so by examining the depiction of China in contemporary film, looking at how global filmmakers cite China on screen.
£22.36
University of Hawai'i Press Legacies of the Drunken Master
a huge range and FREE tracked UK delivery on ALL orders.
£23.96
University of Hawai'i Press Homesick Blues
Book Synopsis
£22.36
University of Missouri Press Muscles in the Movies
Book SynopsisTells the story of how film-makers use and manipulate the appearance and performances of muscular men and women to enhance the appeal of their productions. The authors show how this practice evolved from the art of photography through magic lantern and stage shows into the motion picture industry.Trade ReviewWill immediately become the definitive treatment of its topic, a subject that no other work has had the ambition to tackle in such detail and range." —John Ibson, California State University, author of Picturing Men: A Century of Male Relationships in Everyday American Photography"Moving from the silent era to the post-Schwarzenegger age, David Chapman and John Fair’s book entertains and informs in equal measure. Few works will be able to touch the breadth and nuance of this work. Nor will they match the authors’ keen eye for detail and flair. In seeking to integrate, and highlight, the importance of muscles in film, Chapman and Fair sweep across national and transnational histories to explore the ongoing human fascination with athleticism. Be they Italians, Germans, Americans or everyone in between, movie goers have long looked to the chiselled body for motivation, information and solace. In exploring this interest, Chapman and Fair have produced a book that will likely serve as the reference work for years to come." —Conor Heffernan, University of Texas at Austin, Trustee of the British Society of Sport History"From Sandow to Schwarzenegger and beyond, Chapman and Fair’s survey is the definitive study of the built physique in film. Ably balancing the fan’s perspective with meticulous research, Muscle in the Movies is an essential contribution to our understanding of bodies in cinema." —Tolga Ozyurtcu, University of Texas at Austin, Historian of Lifestyle Sport"In Muscles in the Movies, John Fair and David Chapman demonstrate in fascinating detail how modernity has produced its own illusory image of the muscular body through photography and movie making. They illuminate for the reader how cinema was born muscled, flexing and fully fleshed such that Hollywood could cash in on images of assertive ideal masculinity by encouraging audiences to gaze in awe upon the human machine. The medium of muscle thus became an inherent part of action movies in the service of spectacle and celebratory culture. As the authors show so convincingly, it was the clever marriage of bodily form and function and the psychic tension it created that perfected this art of illusion for moviegoers and made muscle movies both popular and lucrative." —Patricia Vertinsky, School of Kinesiology, University of British Columbia, coauthor of The Female Tradition in Physical Education: Women First reconsidered
£67.50
Seagull Books London Ltd Montage
Book SynopsisOne of the greatest ambassadors of Indian cinema on the global stage, Mrinal Sen has always seen his life and work as part of the social and political fabric of his time. Considered the enfant terrible of Indian cinema when he broke on the scene in the 1960s and '70s, Sen today is known for his films that capture moments of truth in the ordinary lives of ordinary people. His masterfully subtle and nuanced portraits of urban class tension, leftist politics, and the city of Calcutta itselfwhich Sen has called his El Doradoset his cinema apart from that of his contemporaries. Montage encapsulates half a century of filmmaking. A first-of-its-kind anthology, it includes original writingsmemoirs, letters, musings on politics, literature, theater, and cinema; critiques of contemporaries such as Satyajit Ray and Ritwik Ghatak, as well as inspirations such as Charlie Chaplin and a host of international filmmakers, especially those from Latin Americaand intensive interviews with scholars and critics. The result is a unique montage, revealing both the filmmaker and the man, mapping a unique creative landscape, and offering valuable insights into his acclaimed films.
£19.00
Boydell & Brewer Ltd The Stage as Mirror Civic Theatre in Late
Book SynopsisAspects of medieval theatre examined for reflection of contemporary life.The essays in this volume explore ways in which plays and public spectacles mirrored the beliefs and values of the late medieval world. Topics covered include seasonal festivals, trade gilds, stagecraft, and the role played by themunicipal governments in fostering and controlling dramatic productions. The geographic range takes in all western Europe, with particular consideration of the connections between the various medieval European dramatic traditions. Inter-disciplinary in approach, perspectives range from the history of theatre to cultural and political history and literary criticism. There is particular emphasis on the real advances that can be made in expanding knowledge of medieval theatre through research in local and regional archives. ALAN E. KNIGHT is professor emeritus of French at the Pennsylvania State University. Contributors: ALEXANDRA F. JOHNSTON, LYNETTE R. MUIR, PAMELA SHEINGORN, R.B. DOBSON, GERARD NIJSTEN, CLIFFORD DAVIDSON, WIM HÜSKEN, STEPHEN SPECTOR, ALAN E. KNIGHTTrade ReviewDemonstrates the continuing excellence and vitality of scholarship in this field...the essays are of an extremely high standard. * TIMES HIGHER EDUCATION SUPPLEMENT *Table of Contents`The Stage as Context: Two Late Medieval French Susanna Plays'. - Alexandra F. Johnston `Playing God in Medieval Europe'. - Lynette Muir `The Bodily Embrace or Embracing the Body: Gesture and Gender in Late Medieval Culture'. - Pamela Sheingorn `Craft Guilds and City: The Historical Origins of the York Mystery Plays Reassessed'. - R B Dobson `Feasts and Public Spectacle: Late Medieval Drama and Performance in the Low Countries'. - `Civic Drama for Corpus Christi at Coventry: Some Lost Plays'. - Clifford Davidson `Politics and Drama: The City of Bruges as Organizer of Drama Festivals'. - Wim Husken `Time, Space and Identity in the 'Play of the Sacrament''. - Stephen Spector `The Stage as Context: Two Late Medieval French Susanna Plays'. - Alan E. Knight
£76.00
