Films, cinema Books
Boydell & Brewer Ltd A Descriptive Catalogue of the Medieval
Book SynopsisCollection of 277 litle-known medieval manuscripts, second only in number to Durham; special strengths are scholastic theology, biblical studies and sermons 13c-15c, and early music.Worcester Cathedral Library contains 277 medieval manuscripts, the largest number of any English cathedral except Durham. Most of them belonged to the pre-Reformation Cathedral Priory and date between the eleventh and late fifteenth centuries. The collection has never been adequately catalogued before, and is consequently little known; much of the contents of the books, their physical features and history, is here described for the first time. The libraryis rich in late medieval theology and sermon-literature. Many of the books are important because of their connections with Oxford University, and constitute a valuable source for the history of studies there after c.1300. The Worcester monks tended to annotate and write their names in their books, and some seventy of them are identified. Great treasures are the Worcester Antiphoner, and the fragments of early polyphonic music, some newly-discovered and described for the first time. About half the books are in their medieval bindings, including the second-oldest intact Anglo-Saxon binding. These are described individually, and the history of binding at the Cathedral Priory traced, by Michael Gullick. The rest of the Introduction is devoted to the history of the books and library to the early 1600s. There are indexes of incipits and of manuscripts other than those catalogued, as well as a general index.R.M. THOMSON is Emeritus Professor of History, University of Tasmania; MICHAEL GULLICK..Other Cathedral library catalogues; Catalogue of the Manuscripts of Hereford Cathedral Library and Catalogue of the Manuscripts of Lincoln Cathedral Chapter Library.Trade ReviewAn important addition to scholarship. [...] Thomson brings to light numerous important discoveries and demonstrates the research potential of aspects of a previously understudied collection. * JOURNAL OF ECCLESIASTICAL HISTORY *{Does] the scholarly community an invaluable service by making available and intelligible in such a reliable way this fascinating, little-known collection. They have revealed its enormous potential for illuminating not only the intellectual and spiritual history of the see of Worcester, but also the Oxford book trade, and medieval sermon-craft in general. NOTES AND QUERIES Quite simply superb... this catalogue reveals a fascinating library. EARLY MUSIC Thomson deserves every congratulation. * JNL OF ECCLESIASTICAL HISTORY *Table of ContentsThe manuscripts; the bindings; this catalogue.
£89.10
John Libbey & Co Discussing Disney
Book Synopsis
£22.49
John Libbey & Co The Kinetoscope
Book Synopsis
£20.69
John Libbey & Co Animation Behind the Iron Curtain
Book Synopsis
£22.49
John Libbey & Co Power Misses II
Book Synopsis
£26.99
John Libbey & Co Discovering Lost Films of Georges Méliès in
Book Synopsis
£26.99
John Libbey & Co Richard Demarco
Book Synopsis
£22.49
Peabody Museum of Archaeology & Ethnology,U.S. Human Documents
Book Synopsis
£35.66
The Peterson Institute for International Economics Adjusting to Volatile Energy Prices
Book Synopsis
£12.82
The Peterson Institute for International Economics Real Exchange Rates for the Year 2000 54 Policy
Book Synopsis
£15.29
The Peterson Institute for International Economics The Challenges of Globalization Imbalances and
Book Synopsis
£22.46
The Peterson Institute for International Economics The Euro at Ten The Next Global Currency
Book Synopsis
£21.15
The Peterson Institute for International Economics The Last Shall Be the First The East European
Book Synopsis
£16.65
Columbia University Press Teaching Japanese Popular Culture
Book Synopsis
£20.00
Association for Asian Studies Drinking Bomb and Shooting Meth Alcohol and Drug
Book Synopsis
£14.99
Association for Asian Studies The Dream of East Asia The Rise of China
Book Synopsis
£14.24
Association for Asian Studies Shinto in the History and Culture of Japan
Book Synopsis
£13.29
Liverpool University Press Frightmares
Book SynopsisAn in-depth analysis of the home-grown horror film, each chapter anchored by close studies of key titles, consisting of textual analysis, production history, marketing and receptionTable of ContentsIntroduction 1. 'It's Alive!' The Birth of Home-Grown Horror 2. Hammer-Studio as Auteur 3. The American Invasion-Camp and Cruelty 4. Soft Sex, Hard Gore and the 'Savage Seventies' 5. 'Bloody Foreigners'-New Perspectives 6. Rising from the Grave Conclusion Footnotes Bibliography Index
£29.69
Liverpool University Press Real to Reel A New Approach to Understanding
Book SynopsisMartin Sohn-Rethel brings a lifetime of teaching film and media to bear on developing a new approach to analyzing the "realism" of the moving image
£33.00
Liverpool University Press Studying Hot Fuzz
Book SynopsisNeil Archer considers to what extent a modestly funded film such as this can be considered 'British' at allTable of ContentsIntroduction: Beyond a Joke? 1. Sandford, Hollywood: Hot Fuzz and the Business of British Cinema 2. The Shit Just Got Real: Hot Fuzz and the Uses of Parody 3. I Kinda Like It Here: Hot Fuzz as National Cinema 4. Fanboys in Toyland: Hot Fuzz and Movie Stardom 5. From Hollywood to the End of the World Conclusion: Seriously Good Fun Bibliography Index
£27.96
Liverpool University Press Dead of Night
Book SynopsisThe Ealing Studios horror anthology film Dead of Night featured contributions from some of the finest directors, writers and technicians ever to work in British film; this is the first time a single book has been dedicated to its analysisTrade ReviewCo-authors Jez Conolly and David Owain Bates deliver fascinating anecdotes, fun trivia, historical perspective, and insight into the visual aspects of the film. * Diabolique Magazine *
£21.84
Springer-Verlag New York Inc. The Cinema in Flux
Book SynopsisUnique and essential reading from a lifetime innovator in the field of cinema technology, this engaging and well-illustrated book will appeal to anyone interested in the history and science of cinema, from movie buffs to academics and members of the motion picture industry.Trade Review“The book features a beautiful iconographic apparatus that, together with its author’s wide-ranging knowledge of technology and material- oriented approach to the evolution of the medium, make it particularly well suited as a companion to more traditional cinema histories for teachers of film courses and scholars of film technology in general.” (Sabrina Negri, Technology and Culture, Vol. 63 (4), October, 2022)“If you’re studying computer science with a view to working in animation or movie production, you absolutely should read it. And if you’re not, you will find that the pictures and descriptions of the devices that led to what we see in our cinemas today are absolutely fascinating.” (G. K. Jenkins, Computing Reviews, July 4, 2022)“His point of view is both authoritative and fascinating … . Lenny Lipton's The Cinema in Flux is richly illustrated, and also contains a bibliography, a list of patents, and an index. It is a most pleasurable read, as the author moves joyfully, eruditely, and eloquently between eras, personalities, and systems. An instant classic, no less.” (Laurent Mannoni, Journal of Film Preservation, Issue 105, November, 2021)Table of ContentsIntroduction The Cinema of Real Motion1. Huygens and the Magic Lantern2. The Magic Lanternists3. Lantern Light and GlassApparent Motion: Discovered and Applied4. Plateau Invents the Phenakistoscope5. A Persistent Myth6. The Zoëtrope and the Praxinoscope7. Daguerre’s Photography8. Fox Talbot’s Photography9. Protocinematography10. Muybridge and Anschütz11. Chronophotography: Janssen, Marey, DemenÿThe 35mm Medium12. Edison, Dickson, and the Kineto Project13. The Kinetograph14. The Kinetoscope: Projection’s Inspiration15. Lambda, Mutoscope, and Bitzer16. Jenkins and Armat: American Projection17. The Lumières and the Europeans18. Edison and the Trust19. Porter the Filmmaker20. Porter and the Simplex21. Camera Design before WWII22. Camera Design after WWII23. Ciné Lenses: Part I24. Ciné Lenses: Part II Sound25. Silent Sound26. Synchronizing the Phonograph26. Electronics for Talking Shadows27. The Origins of Sound-on-Film28. One Man Bands: Lauste and Tykociner30. Tri-Ergon31. De Forest and Case32. Phonofilm33. William Fox Hears the Future34. Vitaphone35. Movietone36. RCA vs. ERPI37. William Fox vs. the Industry38. Optical Sound Evolution39. Multichannel, Magnetic, and Digital SoundColor40. Applied Color41. Color Elucidated42. Color Photography before the Movies43. Urban and the Origins of Kinemacolor44. The Rise and Fall of Kinemacolor45. Additive Color after Kinemacolor46. Subtractive Technologies47. Kelly’s Color Microcosm48. TruColor and Cinecolor49. Two-Color Technicolor50. Three-Color Technicolor51. Agfa and Ansco Color52. Eastman ColorSmall Formats53. Early Small Formats54. 16mm55. Kodachrome56. Double 8mm and Super 8The Big Wide Screen57. The Shape of Screens to Come58. Grandeur et al59. Expanded Screen: The Interregnum Ends60. This is Cinerama61. Cinerama after Waller62. CinemaScope63. ‘Scope Variations64. Wide Screen and VistaVision65. Todd-AO66. 65/70mm67. IMAX and PLF ExhibitionThe Stereoscopic Cinema68. Early 3-D69. Polarization Image Selection70. 3-D in the Last Half of the 20th CenturyTelevision71. Vision at a Distance72. Jenkins and Baird73. Farnsworth74. Zworykin75. Broadcasting Begins76. Color Wars: CBS vs. RCA77. High Definition Television78. Film to Video and the VTRElectronic Cinema79. Electronic Cinematography and CGI80. The Origins of Digital Technology81. Post-production and Industry Accommodation82. A Brief History of Electronic Projection83. Digital Projection and 3-D Converge
£44.99
John Wiley and Sons Ltd Classic Questions and Contemporary Film
Book SynopsisFeaturing significant revisions and updates, Classic Questions and Contemporary Film: An Introduction to Philosophy, 2nd Edition uses popular movies as a highly accessible framework for introducing key philosophical concepts Explores 28 films with 18 new to this edition, includingEternal Sunshine of the Spotless Mind, Hotel Rwanda, V for Vendetta,andMemento Discusses numerous philosophical issues not covered in the first edition, including a new chapter covering issues of personal identity, the meaningfulness of life and death, and existentialism Offers a rich pedagogical framework comprised of key classic readings, chapter learning outcomes, jargon-free argument analysis, critical thinking and trivia questions, a glossary of terms, and textboxes with notes on the movies discussed Revised to be even more accessible to beginning philosophers Table of ContentsPreface ix Acknowledgments xii About the Website xiii Philosophy, Rhetoric, and Argument 1 1.1 Historical Setting: Plato, Gorgias 2 1.2 Discussion and Analysis 6 1.3 Films 23 Thank You for Smoking (2005) 23 Minority Report (2002) 27 The Emperor’s Club (2002) 31 1.4 Synthesis, Review, and Going Forward 34 Epistemology and Skepticism 37 2.1 Historical Setting: Descartes, Meditations I and II 38 2.2 Discussion and Analysis 44 2.3 Films 59 The Matrix (1999) 59 Inception (2010) 62 Vanilla Sky (2001) 66 2.4 Synthesis, Review, and Going Forward 69 God, Creation, and Evil 71 3.1 Historical Setting: Paley, The Argument from Design 72 3.2 Discussion and Analysis 74 3.3 Films 91 Bruce Almighty (2003) 91 Creation (2009) 94 Schindler’s List (1993) 98 3.4 Synthesis, Review, and Going Forward 101 Freedom, Fate, and Determinism 104 4.1 Historical Setting: D’Holbach, System of Nature 105 4.2 Discussion and Analysis 109 4.3 Films 121 The Adjustment Bureau (2011) 121 Gattaca (1997) 124 Run, Lola, Run (1998) 128 4.4 Synthesis, Review, and Going Forward 132 Mind, Body, and Consciousness 134 5.1 Historical Setting: Descartes, Meditation VI 135 5.2 Discussion and Analysis 138 5.3 Films 156 Being John Malkovich (1999) 156 Bicentennial Man (1999) 159 Eternal Sunshine of the Spotless Mind (2004) 163 5.4 Synthesis, Review, and Going Forward 166 Ethical Foundations and Moral Truth 169 6.1 Historical Setting: Sumner, Folkways 170 6.2 Discussion and Analysis 173 6.3 Films 190 Hotel Rwanda (2004) 190 Frailty (2001) 194 The Cider House Rules (1999) 197 6.4 Synthesis, Review, and Going Forward 200 Ethics and Values 203 7.1 Historical Setting: Reid, Of the First Principles of Morals 204 7.2 Discussion and Analysis 208 7.3 Films 221 Saving Private Ryan (1998) 221 Horton Hears a Who! (2008) 225 Groundhog Day (1993) 228 7.4 Synthesis, Review, and Going Forward 232 The State, Social Contracts, and Justice 235 8.1 Historical Setting: Hobbes, Leviathan 236 8.2 Discussion and Analysis 240 8.3 Films 256 Star Wars: Revenge of the Sith (2005) 256 V for Vendetta (2005) 259 Serenity (2005) 263 8.4 Synthesis, Review, and Going Forward 266 The Human Condition 269 9.1 H istorical Setting: Russell, The Value of Philosophy 270 9.2 Discussion and Analysis 273 9.3 Films 288 Memento (2000) 288 A.I.: Artificial Intelligence (2001) 292 Crimes and Misdemeanors (1989) 296 9.4 Synthesis, Review, and Going Forward 299 Appendix A.1 A Deductive Logic Primer 302 A.2 Film 312 Monty Python and the Holy Grail (1974) 312 Glossary 316 Index 323
£40.80
John Wiley and Sons Ltd Doctor Strange and Philosophy
Book SynopsisExplore the mind and world of the brilliant neurosurgeon-turned-Sorcerer Supreme Doctor Stephen Strange Marvel Comics legends Stan Lee and Steve Ditko first introduced Doctor Stephen Strange to the world in 1963and his spellbinding adventures have wowed comic book fans ever since. Over fifty years later, the brilliant neurosurgeon-turned-Sorcerer Supreme has finally travelled from the pages of comics to the big screen, introducing a new generation of fans to his mind-bending mysticism and self-sacrificing heroics. InDoctor Strange and Philosophy, Mark D. White takes readers on a tour through some of the most interesting and unusual philosophical questions which surround Stephen Strange and his place in the Marvel Universe. Essays from two-dozen Philosophers Supreme illuminate how essential philosophical concepts, including existentialism, epistemology, metaphysics, and ethics, relate to the world of Doctor Strange. Fans will find answers to all their StraTable of ContentsContributors: The Philosophers Supreme viii Acknowledgments: By the Glorious Grandiloquence of Gratitude! Xiv Introduction: Opening the Book of the Vishanti 1 Part I “You’re Just Another Tiny, Momentary Speck within an Indifferent Universe” 3 1 Bargaining with Eternity and Numbering One’s Days: Medicine, Nietzsche, and Doctor Strange 5 George A. Dunn 2 Death Gives Meaning to Life: Martin Heidegger Meets Stephen Strange 17 Sander H. Lee 3 “Time Will Tell How Much I Love You”: A Nietzschean Übermensch’s Issues with Love and Friendship 25 Skye C. Cleary 4 Existentialism, Nihilism, and the Meaning of Life for Doctor Strange 35 Paul DiGeorgio Part II “Forget Everything That You Think You Know” 47 5 “Through an Orb Darkly”: Doctor Strange and the Journey to Knowledge 49 Armond Boudreaux 6 Forbidden Knowledge and Strange Virtues: It’s Not What You Know, It’s How You Know It 60 Tuomas W. Manninen 7 Doctor Strange, Socratic Hero? 68 Chad William Timm 8 Are We All “Looking at the World Through a Keyhole”?: Knowledge, Ignorance, and Bias 78 Carina Pape 9 Stephen Strange vs. Ayn Rand: A Doesn’t Always Equal A 88 Edwardo Pérez Part III “Reality Is One of Many” 99 10 Astral Bodies and Cartesian Souls: Mind‐Body Dualism in Doctor Strange 101 Dean A. Kowalski 11 Scientists, Metaphysicians, and Sorcerers Supreme 111 Sarah K. Donovan and Nicholas Richardson 12 “This Is Time”: Setting Time in Doctor Strange by Henri Bergson’s Clock 125 Corey Latta Part IV “A Man Looking at the World Through a Keyhole” 137 13 A Strange Case of a Paradigm Shift 139 Brendan Shea 14 Doctor Strange, the Multiverse, and the Measurement Problem 151 Philipp Berghofer 15 The Strange World of Paradox: Science and Belief in Kamar‐Taj 164 Matthew William Brake Part V “It’s Not About You” 175 16 The Otherworldly Burden of Being the Sorcerer Supreme 177 Mark D. White 17 The Ancient One and the Problem of Dirty Hands 191 Michael Lyons 18 They Also Serve Who Only Stand and Wong 197 Daniel P. Malloy 19 Doctor Strange, Master of the Medical and Martial Arts 207 Bruce Wright and E. Paul Zehr Part VI “I’ve Come to Bargain” 217 20 Is Dormammu Evil?: St. Augustine and the Dark Dimension 219 Andrew T. Vink 21 Doctor Strange and Leo Tolstoy: Brothers in Nonviolence? 228 Konstantin Pavliouts 22 Doctor Strange, Moral Responsibility, and the God Question 238 Christopher P. Klofft The Index of the All-Seeing Eye of Agamotto 250
£11.66
Palgrave Macmillan Modern Acting The Lost Chapter of American Film
Book SynopsisIt reveals that Stella Adler, long associated with the Method, is best understood as a Modern acting teacher and that Modern acting, not Method, might be seen as central to American performing arts if the Actors’ Lab in Hollywood (1941-1950) had survived the Cold War.Table of ContentsList of Illustrations.- Acknowledgements.- Introduction.- Part I: Making Modern Acting Visible.- Chapter 1: A Twenty-First-Century Perspective.- Chapter 2: Acting Strategies, Modern Drama, New Stagecraft.- Chapter 3: Modern Acting: A Conscious Approach.- Chapter 4: Modern Acting: Obscured by the Method’s “American” Style.- Part II: Acting and American Performing Arts.- Chapter 5: Developments in Modern Theatre and Modern Acting, 1875-1930.- Chapter 6: Shifting Fortunes in the Performing Arts Business.- Park III: The Creative Labor of Modern Acting.- Chapter 7: The American Academy of Dramatic Arts.- Chapter 8: The Pasadena Playhouse.- Chapter 9: Training in Modern Acting on the Studio Lots.- Chapter 10: The Actors’ Laboratory in Hollywood.- Part IV: Modern and Method Acting.- Chapter 11: Modern Acting: Stage and Screen.- Chapter 12: The Legacy of Modern Acting.- Appendix: Group Theatre, Alfred Lunt, and Katharine Cornell Productions.- Notes.-
£24.99
John Wiley and Sons Ltd World on Film
Book SynopsisThis uniquely engaging and lively textbook provides a comprehensive introduction to international film, from the golden age of European cinema to the contemporary blockbusters of India and Asia, and the post World War II emergence of global film culture. Offers an overview of film culture in European countries such as France, Sweden and Spain,as well as Africa, Hong Kong, China, and India, in a clear andconversational style to engage the student reader Provides a detailed exploration of the impact of globalization on international cinema Includes a comprehensive companion website (www.wiley.com/go/worldonfilm) with an expansive gallery of film stills also found in the text, plus access to sample syllabi for faculty and a detailed FAQ Addresses the differences in visual and narrative strategies between Hollywood-influenced movies and international cinema Table of ContentsAcknowledgments ix How to Use This Book x Part I Nations Make Movies 1 Introduction: Other Languages, Other Stories 2 The Point, So Far 11 Talking about International Film 11 National Film Cultures 14 Questions in the Chapters 18 Summary 19 For Further Thought 21 Projects 21 Further Reading 22 1 France: French Revolutions at the Movies 23 The Movies Are Born in France 28 Case Study: Jean Renoir 31 Renoir’s Peers and the Golden Age of French Cinema 38 For Further Thought 44 Projects 44 The Fourth and Fifth Republics and the Prologue to the New Wave 45 The New Wave 49 Case Study: Jean-Luc Godard 51 Beyond the New Wave 62 For Further Thought: Dogme 95 68 Mini Research Mission 68 Projects 69 Further Reading 69 2 Russia: Utopia and Dystopia 71 The Russian Revolution and the Golden Age of Soviet Cinema 76 Stalinism and the Ebb and Resurgence of Soviet Cinema 89 For Further Thought 91 Projects 92 New Freedoms 93 Case Study: Andrei Tarkovsky 93 Post-Soviet Cinema 101 Mini Research Mission 106 For Further Thought 106 Projects 106 Further Reading 107 3 Germany: From Darkness toward Light 108 Early History 113 For Further Thought 123 Projects 124 Nazi Cinema and Beyond 124 Case Study: Werner Herzog 136 New German Cinema and the International Community 142 Mini Research Mission 143 For Further Thought: East German Cinema 143 Projects 148 Further Reading 149 4 Italy: The Myth of History, Neorealism, and Beyond 150 Italian Cinema and the Risorgimento 154 The Evolution of Neorealism 158 For Further Thought 173 Projects 174 Case Study: Federico Fellini 174 Debating Italian Postwar Recovery 182 Mini Research Mission 193 For Further Thought 193 Projects 194 Further Reading 194 5 Japan: Screening Feudalism and Modernism 195 Early Film in Japan 198 Meiji Era and Taishd Era Japanese Cinema (1896–1926) 202 Film During the Shdwa Era 205 Case Study: Akira Kurosawa 214 For Further Thought 224 Projects 224 The New Wave and Beyond 225 Mini Research Mission 234 For Further Thought 234 Projects 235 Further Reading 236 6 India: Cinema of Combination and Contradiction 237 Film in Colonial India 243 Early Postcolonial Indian Film 247 For Further Thought 256 Projects 257 Bollywood Takes Charge 258 Case Study: Amitabh Bachchan 259 Bollywood and Parallel Cinema 270 Mini Research Mission 275 For Further Thought 276 Projects 277 Further Reading 278 Part II Movie Making in the Global Village 279 Introduction: They Do It Their Way 280 When Is a Film Foreign? 280 Reading Movies in the Global Village 287 Culture under a Microscope: A Modern Muddle or a 288 New Mirror? Mini Research Mission 289 For Further Thought 290 Projects 290 Further Reading 291 7 Spain: Luis Buñuel, Playing with Ideas 292 The Arc of Buñuel's Career 298 Conclusion 306 Mini Research Mission 306 For Further Thought 307 Projects 308 Further Reading 309 8 Sweden: Ingmar Bergman, Being and Nothingness 310 The Arc of Bergman's Career 315 Conclusion 326 Mini Research Mission 327 For Further Thought 327 Projects 329 Further Reading 330 9 Hong Kong: Wong Kar-wai, Now You See It . . . 331 The Arc of Wong’s Career 338 Conclusion 349 Mini Research Mission 350 For Further Thought 351 Projects 352 Further Reading 353 10 Senegal: Ousmane Sembene, Postcolonial Pioneer 354 The Arc of Sembene's Career 359 Conclusion 374 Mini Research Mission 374 For Further Thought 375 Projects 376 Further Reading 377 11 Mainland China: Jia Zhangke, Freedom and the Sixth Generation 378 The Arc of Jia's Career 385 Conclusion 399 Mini Research Mission 399 For Further Thought 400 Projects 401 Further Reading 401 Glossary 402 Index 418
£35.10
John Wiley and Sons Ltd The Hollywood Historical Film
Book SynopsisA comprehensive analysis of the historical film-a popular and controversial genre that's been with us since the early days of cinema-and Hollywood's unique ability to reshape our viewpoints while it sensually recreates the past.Trade Review"The Hollywood Historical Film works well as a historiographical study ... The book most certainly fulfills the editor's goal of furnishing educators and students entertaining and informative looks at major film genres. Burgoyne does a masterful job with the featured films and detailed descriptions of the ways filmmakers used cinematic techniques and imagery to write history." (Quarterly Review of Film and Video, 18 November 2011) "Still, this admirable book lays out the problems, and it does so with a sense of history, and of the specific language of films, that is quite brilliant. Burgoyne enhances filmgoers' enjoyment and deepens their understanding. To use an appalling phrase, The Hollywood Historical Film is a must-read." (Film & History: An Interdisciplinary Journal of Film and Television, Spring 2009) "Burgoyne manages to provide an interesting, easy to understand account of the representation of history in mainstream American cinema." (Screening The Past, April 2010) "For a thorough analysis of a group of key historical film texts and new readings of these popular Hollywood movies Burgoyne ably assists in The Hollywood Historical Film." (Scope, February 2010) "This introduction to the Hollywood historical film is particularly welcome and useful. Specialists and generalists alike will find much to applaud. The chapter on the metahistorical film … is especially valuable. Recommended." (Choice Reviews, October 2008) "The Hollywood Historical Film takes the reader right through the looking-glass, and while he can’t help but employ motives with a political edge, Burgoyne never loses sight of the powerful platform his subjects stand on. The author himself admits the genre is an elastic one, but he manages to find its four corners and frames it perfectly." (Media Culture Reviews, July 2008) "An exceptional study, offering insightful analyses and significant points to illustrate the importance of using film to better appreciate and understand historical eras and events." (RogueCinema.com)Table of ContentsList of Illustrations. Acknowledgments. Introduction. 1. The Cinematic Writing of History: An Overview. 2. The War Film: Saving Private Ryan. 3. The Epic Film: Gladiator and Spartacus. 4. The Biographical Film: Schindler’s List. 5. The Metahistorical Film: JFK. 6. The Topical Historical Film: United 93 and World Trade Center. Index
£80.70
John Wiley and Sons Ltd The Hollywood Historical Film
Book SynopsisA comprehensive analysis of the historical film-a popular and controversial genre that's been with us since the early days of cinema-and Hollywood's unique ability to reshape our viewpoints while it sensually recreates the past.Trade Review""The Hollywood Historical Film works well as a historiographical study ... The book most certainly fulfills the editor's goal of furnishing educators and students entertaining and informative looks at major film genres. Burgoyne does a masterful job with the featured films and detailed descriptions of the ways filmmakers used cinematic techniques and imagery to write history." (Quarterly Review of Film and Video, 18 November 2011) "Still, this admirable book lays out the problems, and it does so with a sense of history, and of the specific language of films, that is quite brilliant. Burgoyne enhances filmgoers' enjoyment and deepens their understanding. To use an appalling phrase, The Hollywood Historical Film is a must-read." (Film & History: An Interdisciplinary Journal of Film and Television, Spring 2009) "Burgoyne manages to provide an interesting, easy to understand account of the representation of history in mainstream American cinema." (Screening The Past, April 2010)"For a thorough analysis of a group of key historical film texts and new readings of these popular Hollywood movies Burgoyne ably assists in The Hollywood Historical Film." (Scope, February 2010) "This introduction to the Hollywood historical film is particularly welcome and useful. Specialists and generalists alike will find much to applaud. The chapter on the metahistorical film … is especially valuable. Recommended." (Choice Reviews, October 2008) "The Hollywood Historical Film takes the reader right through the looking-glass, and while he can’t help but employ motives with a political edge, Burgoyne never loses sight of the powerful platform his subjects stand on. The author himself admits the genre is an elastic one, but he manages to find its four corners and frames it perfectly." (Media Culture Reviews, July 2008) "An exceptional study, offering insightful analyses and significant points to illustrate the importance of using film to better appreciate and understand historical eras and events." (RogueCinema.com)Table of ContentsList of Illustrations. Acknowledgments. Introduction. 1. The Cinematic Writing of History: An Overview. 2. The War Film: Saving Private Ryan. 3. The Epic Film: Gladiator and Spartacus. 4. The Biographical Film: Schindler’s List. 5. The Metahistorical Film: JFK. 6. The Topical Historical Film: United 93 and World Trade Center. Index
£28.45
John Wiley and Sons Ltd Postwar Hollywood
Book SynopsisPostwar Hollywood is a comprehensive history of the American film industry, from 1946-1962. A comprehensive introductory textbook exploring the unique period in the history of the film industry after World War II Examines the cultural history, business practices, new technologies, censorship standards, emerging genres, and styles of post-war cinema Chronicles the restructuring of Hollywood cinema against the backdrop of the major political, economic, and social changes taking place after World War II Features in-depth discussions of important films from Picnic, The Heiress, and From Here to Eternity, to Cat On A Hot Tin Roof and Love Me or Leave Me Illustrates the culture/filmmaking interface, and demonstrates the triumphs and failures of Hollywood''s new methods of business Trade Review“Drew Casper’s volume is a stunning achievement in American film history. Combining love for the films themselves and the creative talent behind them with a sharp attention to contexts – cultural, social, and industrial – Casper offers a comprehensive, sharply argued look at Hollywood cinema in a complex, even vexed, historical moment.” Dana Polan, New York UniversityTable of ContentsIntroduction. Part I: Cultural Overview:The Years of Change in America, 1946--1962:. Introduction. 1. Major Historical Events. Introduction. 1.1 The Cold War. 1.2 Civil Rights. Conclusion. 2. Economic Situation. Introduction. 1.1 Economic Resurgence. 1.2 Post-Industrial Society. Conclusion. 3. Societal Issues. Introduction. 3.1 Consumer Culture and Middle-Classness. 3.2 The American Male. 3.3 The American Female. 3.4 The American Family. 3.5 Juvenile Delinquency. 3.6 Sensuality, Sex, and Violence. 3.7 Social Morality. 3.8 Crime. 3.9 Religion. Conclusion. 4. Other Popular Leisure Activities. Introduction. 4.1 Television. 4.2 Recordings and Radio. 4.3 Theater. 4.4 Adult Popular Fiction. 4.5 Sports, Travel, and Home Improvement. Conclusion. Part II: Business:. Introduction. 5. Production and Distribution. Introduction. 5.1 The Antitrust Suit Wrap-up and Fallout. 5.2 The Loss of the Audience. 5.3 The Decline and Shift in Product. 5.4 Consolidation. 5.5 The Mode of Independent Production. 5.6 Runaway Production. 5.7 Diversification. 5.8 Company Profiles: The Administrative and Financial Picture. 5.9 The Industry and HUAC. 5.10 Distribution Practices. 6. Exhibition. Conclusion. Part III: Technology:. Introduction. 7. Color. 7.1 Ansco Color and Metrocolor. 7.2 Eastman Color, Warnercolor, Color By Deluxe, Columbia Color. 7.3 Trucolor by Consolidated and Cinecolor/Natural Color/Super Cinecolor. 8. Screen Shapes and Accompanying Sound Systems. 8.1 Multi-Camera Systems. 8.2 Anamorphic Systems. 8.3 Widescreen. 8.4 Wide-Frame Systems. 8.5 The 70mm/Wide-Gauge Processes. 9. Three-Dimension, Special Effects, and Film Production Refinements. 9.1 3-D. 9.2 Special Effects. 9.3 Film Production Refinements. Conclusion. Part IV: Censorship:. Introduction. 10. Test Cases. 10.1 The Outlaw (UA, 1946/RKO, 1950). 10.2 The Jane Russell Syndrome: Rita Hayworth, Marilyn Monroe, Cyd Charisse, Sophia Loren, and Gina Lollobrigida. 10.3 The Adaptation of Controversial and Sensational Novels: Double Indemnity (P, 1944), Leave Her To Heaven (TCF, 1945), The Postman Always Rings Twice (MGM, 1946), Duel In the Sun (SRO, 1946), Forever Amber (TCF, 1947), and Flamingo Road (WB, 1949). 10. 4 Racism: Pinky (TCF, 1949) and Curley (UA, 1947). 10.5 The Bicycle Thief (1949). 10.6 Stromboli (1950). 10.7 The Miracle (1950) and the US Supreme Court Decision of 1952. 10.8 Detective Story (P, 1951), Beyond the Forest (WB, 1949), The Doctor and the Girl (MGM, 1949), A Place In the Sun (P, 1951), People Will Talk (TCF, 1952), and Code Amendments of 1951. 10.9 The Moon Is Blue (UA, 1953). 10.10 The French Line (RKO, 1953). 10.11 From Here To Eternity (C, 1953). 10.12 Shurlock’s Reign and Code Readjustments of 1954; La Ronde (1950, 1951) and M (C, 1951). 10.13 Backlash; The Man With the Golden Arm (UA, 1955) and Picnic (C, 1955). 10.14 The Code Revision of 1956. 10.15 Baby Doll (WB, 1956), Tea and Sympathy (MGM, 1956), and The Bad Seed (WB, 1956). 10.16 Giant (WB, 1956), Serenade (WB, 1956), Island In the Sun (TCF, 1957), and Sayonara (WB, 1957). 10.17 Legion Expansion: Peyton Place (TCF, 1957). 10.18 Roth vs. US and The Game of Love (1954); The Garden of Eden (Excelsior Pictures, 1957). 10.19 Vertigo (P, 1958), Bonjour Tristesse (C, 1958), and Cat On A Hot Tin Roof (MGM, 1958). 10.20 Lady Chatterley's Lover (1957), And God Created Woman (1958), Room At the Top (1959), and Never On Sunday (1960). 10.21 Anatomy of a Murder (C, 1959). 10.22 Suddenly Last Summer (C, 1959), Some Like It Hot (UA, 1959), and Pillow Talk (U, 1959). 10.23 Blue Denim (TCF, 1959) and A Summer Place (WB, 1959). 10.24 Happy Anniversary (UA, 1959). 10.25 Elmer Gantry (UA, 1960). 10.27 Sanctuary (TCF, 1961) and Splendor In the Grass (WB, 1961). 10.28 Lolita (MGM, 1962) and the Code Amendment of 1961. 10.29 Don Juan (1959). Conclusion. Part V: Genre:. Introduction. 11. Adventure. 12. Biography. 13. Historical Spectacle. 14. Comedy. 14.1 Social Satire. 14.2 Farce. 14.3 Romantic Comedy. 14.4 Family Comedy. 14.5 Fantasy Comedy. 14.6 Comedian Comedy. 14.7 Black Comedy. 14.8 Parody. 15. Horror, Science Fiction, and Fantasy. 15.1 Horror--Science Fiction. 15.2 AIP Teenage Horror. 15.3 Modern Horror. 15.4 Science Fiction. 15.5 Fantasy. 16. Melodrama. 16.1 Family Melodrama. 16.2 Female Melodrama. 16.3 Male Melodrama. 16.4 Romance Melodrama. 17. Musical. 17.1 Musical Comedy and Musical Drama. 17.2 Musical Biography. 18. Social Problem Film and Courtroom Drama. 18.1 Social Problem Film. 18.2 Courtroom Drama. 19. Suspense Thriller. 19.1 World War II and Cold War Thriller. 19.2 Crime Thriller: Lawmen and Criminals. 19.3 Social Problem Thriller. 20. War. 21. Western. Conclusion. Part VI: Style:. Introduction. 22. Noir. Introduction. 22.1 Determinations and Practitioners. 22.2 Noir and Genre. 22.3 Mode of Representation and Attitude of Mind. 23. Documentary Realism and Psychological-Sociological Realism. Introduction. 23.1 Determinations of a Deeper Realism. 23.2 Documentary Realism: Determinations and Practitioners. 23.3 Psychological-Sociological Realism: Determinations and Practitioners. 23.4 Mode of Representation and Attitude of Mind. 24. Other Stylistic Devices. Conclusion. 25. Coda. Select Bibliography. Appendix: Hierarchical Order of Postwar Hollywood’s Top Ten Box-Office Stars (1946—62). Index
£89.25
John Wiley and Sons Ltd Postwar Hollywood
Book SynopsisPostwar Hollywood is a comprehensive history of the American film industry, from 1946-1962. A comprehensive introductory textbook exploring the unique period in the history of the film industry after World War II Examines the cultural history, business practices, new technologies, censorship standards, emerging genres, and styles of post-war cinema Chronicles the restructuring of Hollywood cinema against the backdrop of the major political, economic, and social changes taking place after World War II Features in-depth discussions of important films from Picnic, The Heiress, and From Here to Eternity, to Cat On A Hot Tin Roof and Love Me or Leave Me Illustrates the culture/filmmaking interface, and demonstrates the triumphs and failures of Hollywood''s new methods of business Trade Review“Drew Casper’s volume is a stunning achievement in American film history. Combining love for the films themselves and the creative talent behind them with a sharp attention to contexts – cultural, social, and industrial – Casper offers a comprehensive, sharply argued look at Hollywood cinema in a complex, even vexed, historical moment.” Dana Polan, New York UniversityTable of ContentsIntroduction. Part I: Cultural Overview:The Years of Change in America, 1946--1962:. Introduction. 1. Major Historical Events. Introduction. 1.1 The Cold War. 1.2 Civil Rights. Conclusion. 2. Economic Situation. Introduction. 1.1 Economic Resurgence. 1.2 Post-Industrial Society. Conclusion. 3. Societal Issues. Introduction. 3.1 Consumer Culture and Middle-Classness. 3.2 The American Male. 3.3 The American Female. 3.4 The American Family. 3.5 Juvenile Delinquency. 3.6 Sensuality, Sex, and Violence. 3.7 Social Morality. 3.8 Crime. 3.9 Religion. Conclusion. 4. Other Popular Leisure Activities. Introduction. 4.1 Television. 4.2 Recordings and Radio. 4.3 Theater. 4.4 Adult Popular Fiction. 4.5 Sports, Travel, and Home Improvement. Conclusion. Part II: Business:. Introduction. 5. Production and Distribution. Introduction. 5.1 The Antitrust Suit Wrap-up and Fallout. 5.2 The Loss of the Audience. 5.3 The Decline and Shift in Product. 5.4 Consolidation. 5.5 The Mode of Independent Production. 5.6 Runaway Production. 5.7 Diversification. 5.8 Company Profiles: The Administrative and Financial Picture. 5.9 The Industry and HUAC. 5.10 Distribution Practices. 6. Exhibition. Conclusion. Part III: Technology:. Introduction. 7. Color. 7.1 Ansco Color and Metrocolor. 7.2 Eastman Color, Warnercolor, Color By Deluxe, Columbia Color. 7.3 Trucolor by Consolidated and Cinecolor/Natural Color/Super Cinecolor. 8. Screen Shapes and Accompanying Sound Systems. 8.1 Multi-Camera Systems. 8.2 Anamorphic Systems. 8.3 Widescreen. 8.4 Wide-Frame Systems. 8.5 The 70mm/Wide-Gauge Processes. 9. Three-Dimension, Special Effects, and Film Production Refinements. 9.1 3-D. 9.2 Special Effects. 9.3 Film Production Refinements. Conclusion. Part IV: Censorship:. Introduction. 10. Test Cases. 10.1 The Outlaw (UA, 1946/RKO, 1950). 10.2 The Jane Russell Syndrome: Rita Hayworth, Marilyn Monroe, Cyd Charisse, Sophia Loren, and Gina Lollobrigida. 10.3 The Adaptation of Controversial and Sensational Novels: Double Indemnity (P, 1944), Leave Her To Heaven (TCF, 1945), The Postman Always Rings Twice (MGM, 1946), Duel In the Sun (SRO, 1946), Forever Amber (TCF, 1947), and Flamingo Road (WB, 1949). 10. 4 Racism: Pinky (TCF, 1949) and Curley (UA, 1947). 10.5 The Bicycle Thief (1949). 10.6 Stromboli (1950). 10.7 The Miracle (1950) and the US Supreme Court Decision of 1952. 10.8 Detective Story (P, 1951), Beyond the Forest (WB, 1949), The Doctor and the Girl (MGM, 1949), A Place In the Sun (P, 1951), People Will Talk (TCF, 1952), and Code Amendments of 1951. 10.9 The Moon Is Blue (UA, 1953). 10.10 The French Line (RKO, 1953). 10.11 From Here To Eternity (C, 1953). 10.12 Shurlock’s Reign and Code Readjustments of 1954; La Ronde (1950, 1951) and M (C, 1951). 10.13 Backlash; The Man With the Golden Arm (UA, 1955) and Picnic (C, 1955). 10.14 The Code Revision of 1956. 10.15 Baby Doll (WB, 1956), Tea and Sympathy (MGM, 1956), and The Bad Seed (WB, 1956). 10.16 Giant (WB, 1956), Serenade (WB, 1956), Island In the Sun (TCF, 1957), and Sayonara (WB, 1957). 10.17 Legion Expansion: Peyton Place (TCF, 1957). 10.18 Roth vs. US and The Game of Love (1954); The Garden of Eden (Excelsior Pictures, 1957). 10.19 Vertigo (P, 1958), Bonjour Tristesse (C, 1958), and Cat On A Hot Tin Roof (MGM, 1958). 10.20 Lady Chatterley's Lover (1957), And God Created Woman (1958), Room At the Top (1959), and Never On Sunday (1960). 10.21 Anatomy of a Murder (C, 1959). 10.22 Suddenly Last Summer (C, 1959), Some Like It Hot (UA, 1959), and Pillow Talk (U, 1959). 10.23 Blue Denim (TCF, 1959) and A Summer Place (WB, 1959). 10.24 Happy Anniversary (UA, 1959). 10.25 Elmer Gantry (UA, 1960). 10.27 Sanctuary (TCF, 1961) and Splendor In the Grass (WB, 1961). 10.28 Lolita (MGM, 1962) and the Code Amendment of 1961. 10.29 Don Juan (1959). Conclusion. Part V: Genre:. Introduction. 11. Adventure. 12. Biography. 13. Historical Spectacle. 14. Comedy. 14.1 Social Satire. 14.2 Farce. 14.3 Romantic Comedy. 14.4 Family Comedy. 14.5 Fantasy Comedy. 14.6 Comedian Comedy. 14.7 Black Comedy. 14.8 Parody. 15. Horror, Science Fiction, and Fantasy. 15.1 Horror--Science Fiction. 15.2 AIP Teenage Horror. 15.3 Modern Horror. 15.4 Science Fiction. 15.5 Fantasy. 16. Melodrama. 16.1 Family Melodrama. 16.2 Female Melodrama. 16.3 Male Melodrama. 16.4 Romance Melodrama. 17. Musical. 17.1 Musical Comedy and Musical Drama. 17.2 Musical Biography. 18. Social Problem Film and Courtroom Drama. 18.1 Social Problem Film. 18.2 Courtroom Drama. 19. Suspense Thriller. 19.1 World War II and Cold War Thriller. 19.2 Crime Thriller: Lawmen and Criminals. 19.3 Social Problem Thriller. 20. War. 21. Western. Conclusion. Part VI: Style:. Introduction. 22. Noir. Introduction. 22.1 Determinations and Practitioners. 22.2 Noir and Genre. 22.3 Mode of Representation and Attitude of Mind. 23. Documentary Realism and Psychological-Sociological Realism. Introduction. 23.1 Determinations of a Deeper Realism. 23.2 Documentary Realism: Determinations and Practitioners. 23.3 Psychological-Sociological Realism: Determinations and Practitioners. 23.4 Mode of Representation and Attitude of Mind. 24. Other Stylistic Devices. Conclusion. 25. Coda. Select Bibliography. Appendix: Hierarchical Order of Postwar Hollywood’s Top Ten Box-Office Stars (1946—62). Index
£37.00
John Wiley and Sons Ltd Auteurs and Authorship
Book SynopsisAuteurs and Authorship: A Film Reader offers students an introductory and comprehensive view of perhaps the most central concept in film studies. This unique anthology addresses the aesthetic and historical debates surrounding auteurship while providing author criticism and analysis in practice.Trade Review"This book is a classroom. One hopes that by reading it, eager young cinephiles may pass through words into the true life of the screen." (Quarterly Review, December 2009) "Presents an arresting, thoughtful procession of ideas about who makes a movie." Afterimage "The question of authorship in cinema remains a crucial area of debate. Barry Keith Grant's excellent reader, which brings together most of the important French, British and American material, looks set to become a required text on the subject." Jim Hillier, University of Reading, England "Without doubt the best collection available on film authorship, which remains the single most challenging issue in film studies and the abiding mystery of cinema. From the groundbreaking polemics of the 1950s and ‘60s to cutting-edge analyses by top contemporary scholars, Auteurs and Authorship examines this endlessly salient topic in a remarkable array of essays that, taken together, provide the most comprehensive, in-depth treatment available." Tom Schatz, University of Texas, Austin “Deep and fulfilling examination of the theory ... [and] inclusion of virtually every valuable essay on cinema auteurism makes [it] an indispensable book.” RogueCinema.comTable of ContentsDedication. Acknowledgments. Figures and Captions. Preface: How to Use this Book. Introduction. Part I: Classic Auteur Theory. Introduction. 1. Francois Truffaut: A Certain Tendency of the French Cinema (1954). 2. André Bazin: La Politique des Auteurs (1957). 3. Ian Cameron: Films, Directors and Auteurs (1962). 4. Andrew Sarris: Notes on the Auteur Theory in 1962 (1962). 5. Pauline Kael: Circles and Squares (1963). 6. Peter Wollen: The Auteur Theory (1969) (excerpt). 7. V.F. Perkins: Direction and Authorship (1972) (excerpt). 8. Edward Buscombe: Ideas of Authorship (1973). 9. Robin Wood: Ideology, Genre, Auteur (1977). Bibliography. Part II: The Contexts of Authorship. Introduction. 10. Roland Barthes: The Death of the Author (1968). 11. Charles Eckert: The English Cine-Structuralists (1973). 12. Graham Petrie: Alternatives to Auteurs (1973). 13. Claire Johnston: Women’s Cinema as Counter-Cinema (1973). 14. Angela Martin: Refocusing Authorship in Women's Cinema (2003). 15. Richard Kosarzski: The Men with the Movie Cameras (1972). 16. Richard Corliss: Notes on a Screenwriter's Theory, 1973 (1974). 17. Gore Vidal: Who Makes the Movies? (1976). 18. Peter Lehman: Script/Performance/Text: Performance Theory and Auteur Theory (1978). 19. Jerome Christensen: Studio Authorship (2006) (excerpt). 20. Matthew Bernstein: The Producer as Auteur (2006). 21. Bruce Kawin: Authorship, Design, and Execution (1987). Bibliography. Part III: Close Readings. Introduction. 22. Maurice Yacowar: Hitchcock's Imagery and Art (1977). 23. Editors of Cahiers du Cinema: John Ford’s Young Mr. Lincoln (1970). 24. Paul Willeman: Towards an Analysis of the Sirkian System (1972). 25. Paul Kerr: My Name is Joseph H. Lewis (1983). 26. Michael Budd: Authorship as a Commodity: The Art Cinema and The Cabinet of Dr.Caligari (1984). 27. Claire Johnston and Pam Cook: The Place of Women in the Cinema of Raoul Walsh (1974). 28. Judith Mayne: Female Authorship Reconsidered (The Case of Dorothy Arzner) (1990). 29. Barry Keith Grant: Man’s Favorite Sport?: The Action Films of Kathryn Bigelow (2004). 30. Michael DeAngelis: Todd Haynes and Queer Authorship (2006). 31. J. Ronald Green: Twoness' in the Style of Oscar Micheaux (1993). 32. S. Craig Watkins: Spike’s Joint (1998) (excerpt). Bibliography
£89.25
John Wiley and Sons Ltd Auteurs and Authorship
Book SynopsisAuteurs and Authorship: A Film Reader offers students an introductory and comprehensive view of perhaps the most central concept in film studies. This unique anthology addresses the aesthetic and historical debates surrounding auteurship while providing author criticism and analysis in practice.Trade Review"This book is a classroom. One hopes that by reading it, eager young cinephiles may pass through words into the true life of the screen." (Quarterly Review, December 2009) "Presents an arresting, thoughtful procession of ideas about who makes a movie." Afterimage "The question of authorship in cinema remains a crucial area of debate. Barry Keith Grant's excellent reader, which brings together most of the important French, British and American material, looks set to become a required text on the subject." Jim Hillier, University of Reading, England "Without doubt the best collection available on film authorship, which remains the single most challenging issue in film studies and the abiding mystery of cinema. From the groundbreaking polemics of the 1950s and ‘60s to cutting-edge analyses by top contemporary scholars, Auteurs and Authorship examines this endlessly salient topic in a remarkable array of essays that, taken together, provide the most comprehensive, in-depth treatment available." Tom Schatz, University of Texas, Austin “Deep and fulfilling examination of the theory ... [and] inclusion of virtually every valuable essay on cinema auteurism makes [it] an indispensable book.” RogueCinema.comTable of ContentsList of Illustrations vii Preface: How to Use This Book xi Acknowledgments xiii Introduction 1 Part I: Classic Auteur Theory 7 1 A Certain Tendency of the French Cinema (1954) François Truffaut 9 2 De la Politique des Auteurs (1957) André Bazin 19 3 Films, Directors and Critics (1962) Ian Cameron 29 4 Notes on the Auteur Theory in 1962 (1962) Andrew Sarris 35 5 Circles and Squares (1963) (excerpt) Pauline Kael 46 6 The Auteur Theory (1969) (excerpt) Peter Wollen 55 7 Direction and Authorship (1972) (excerpt) V.F. Perkins 65 8 Ideas of Authorship (1973) Edward Buscombe 76 9 Ideology, Genre, Auteur (1977) Robin Wood 84 Further Reading 93 Part II: The Contexts of Authorship 95 10 The Death of the Author (1968) Roland Barthes 97 11 The English Cine-Structuralists (1973) Charles W. Eckert 101 12 Alternatives to Auteurs (1973) Graham Petrie 110 13 Women’s Cinema as Counter-Cinema (1973) Claire Johnston 119 14 Refocusing Authorship in Women’s Filmmaking (2003) Angela Martin 127 15 The Men with the Movie Cameras (1972) Richard Koszarski 135 16 Notes on a Screenwriter’s Theory 1973 (1974) Richard Corliss 140 17 Who Makes the Movies? (1976) Gore Vidal 148 18 Script/Performance/Text: Performance Theory and Auteur Theory (1978) Peter Lehman 158 19 Studio Authorship, Corporate Art (2006) Jerome Christensen 167 20 The Producer as Auteur (2006) Matthew Bernstein 180 21 Authorship, Design, and Execution (1987) Bruce Kawin 190 Further Reading 200 Part III: Close Readings 201 22 Hitchcock’s Imagery and Art (1977) Maurice Yacowar 203 23 John Ford’s Young Mr Lincoln (1970) (excerpt) Editors of Cahiers du Cinéma 212 24 Towards an Analysis of the Sirkian System (1972) Paul Willemen 228 25 My Name is Joseph H. Lewis (1983) Paul Kerr 234 26 Authorship as a Commodity: The Art Cinema and The Cabinet of Dr Caligari (1984) Michael Budd 249 27 The Place of Women in the Cinema of Raoul Walsh (1974) Pam Cook and Claire Johnston 255 28 Female Authorship Reconsidered (The Case of Dorothy Arzner) (1990) (excerpt) Judith Mayne 263 29 Man’s Favorite Sport?: The Action Films of Kathryn Bigelow (2004) Barry Keith Grant 280 30 Authorship and New Queer Cinema: The Case of Todd Haynes (2006) Michael DeAngelis 292 31 Twoness and the Film Style of Oscar Micheaux (1993) J. Ronald Green 304 32 Spike’s Joint (1998) (excerpt) S. Craig Watkins 317 Further Reading 323
£35.10
John Wiley and Sons Ltd Cinema Genre
Book SynopsisGenre - or 'type' - is a core concept in both film production and the history of film. Genres play a key role in how moviegoers perceive and rate films, and is likely to determine a film's production values and costs.Trade Review“This is a sharp and incisive book on film genre … .Moine brings a great deal of fresh insight to her discussion of the mechanics of genre movies in this tight, ably translated little volume, which includes a deft introduction from Janet Staiger. Moine has something absolutely new to say, and her book stands out in a crowded field. It is accessible yet elegantly theoretical, and superbly written and researched. Highly recommended.” (Choice Reviews, December 2008)Table of ContentsTranslators’ Note. Foreword by Janet Staiger. Introduction. 1. In the Genre Jungle. Cinematic Genre. An Empirical Category. Every Use Has Its Own Typology. An Impossible Typology?. 2. Looking for the Rules of Genre. Looking for Genre’s Formal Rules. Genre: An Intertextual Phenomenon. In Search of the Structures of Genre. Semantic-Syntactic Definitions of Genre. 3. What Is the Purpose of Genres?. A Production Tool. The Social Functions of Genre. The Communicative Function of Genre. 4. The Generic Identities of a Film. The Relations Between Film and Genre. The Uses of Generic Identity. The Mixing of Genres: Pluri-generic Attributes. 5. How to Conceptualize the History of a Genre?. To Put an End to the Theory of Generic Evolution. The Birth of a Cinematic Genre. Hybridization and Mutation of Genres. 6. Genres in Context. Cultural Identity and the Circulation of Genres. Generic Regimes. Conclusion. Select Bibliography. Filmography. Index
£31.30
John Wiley and Sons Ltd Cinema and Modernism
Book SynopsisThis study revolutionises our understanding of both literary modernism and early cinema. Trotter draws on the most recent scholarship in English and film studies to demonstrate how central cinema as a recording medium was to Joyce, Eliot and Woolf, and how modernist were the concerns of Chaplin and Griffith.Trade Review"The great success of Cinema and Modernism derives from the author's constant methodological insistence on how cinema and literature matter for each other in modernism, and his methodology demands that he deal rigorously with both film and literature on their own terms and as mutually constitutive in their will-to-automatism. " (James Joyce Quarterly, Summer 2008) “Trotter conducts his enquiry with admirable historical rigor, rightly castigating approaches which have proved anachronistic in relation to the film-making of the period. He also wisely avoids simplistic models of causality and influence, in favor of subtler aesthetic ‘convergences’ and ‘parallelism’. This grounds his case for interdependency: that we can’t fully understand cinema without literary Modernism, and vice-versa.” (The Review of English Studies, April 2009)Table of ContentsIntroduction. Chapter 1. The literature of cinema. Chapter 2. D.W. Griffith. Chapter 3. James Joyce and the Automatism of the Photographic Image. Chapter 4. T.S. Eliot. Chapter 5. Virginia Woolf. Chapter 6. Charlie Chaplin.
£18.76
John Wiley and Sons Ltd The Golden Age of Cinema
Book SynopsisThis comprehensive book illuminates the most fertile and exciting period in American film, a time when the studio system was at its peak and movies played a critical role in elevating the spirits of the public. Richard B. Jewell offers a highly readable yet deeply informed account of the economics, technology, censorship, style, genres, stars and history of Hollywood during its classical era. A major introductory textbook covering what is arguably the most fertile and exciting period in film, 1929-1945 Analyzes many of the seminal films from the period, from The Wizard of Oz to Grand Hotel to Gone with the Wind, considering the impact they had then and still have today Tackles the shaping forces of the period: the business practices of the industry, technological developments, censorship restraints, narrative strategies, evolution of genres, and the stars and the star systemTrade Review"Rick Jewell has been teaching a course on classical Hollywood moviemaking at USC for some years but has never found a textbook that suited his needs. As a result he has written one, and it’s excellent. Jewell has taken on the daunting task of surveying the social history of the period, the business side of Hollywood , changes and advancement in technology, censorship, narrative and style, genres, and the star system. Whew! I can’t imagine a better introduction to this subject matter. The book is scrupulously well organized and uses specific examples whenever possible instead of dealing in generalities." Leonard Maltin's Movie Crazy (www.leonardmaltin.com) “Some believe that American film peaked between the Stock Market Crash and the end of World War II. Richard B. Jewell’s The Golden Age of Cinema sharply delineates how the film industry worked during the period, casting light on the movies as business, technology, social document, and popular art.” Charles J. Maland, University of Tennessee Table of ContentsTitle Page. Table of Contents. Figures and Captions. Acknowledgements. Dedication. Introduction. 1. Major Historical Events. 1.1. Economic Situation. 1.2. Societal Issues. 1.3. Hollywood Responds to the Crises. 1.4. Other Leisure Activities. 2. Film Business. 2.1. The Studios. 2.2. Production. 2.3. Distribution. 2.4. Exhibition. 3. Technology. 3.1. The Sound Revolution. 3.2. Color Film Production. 3.3. Wide-Screen Experiments of 1929-1931. 3.4. Special Effects. 4. Censorship. 4.1. Silent Era Background. 4.2. The Production Code. 4.3. “Pre-Code” Hollywood. 4.4. The Production Code Administration. 4.5. “Exploitation” Films and Foreign Imports. 4.6. Politics and the PCA. 4.7. The Outlaw. 4.8. The Office of War Information Bureau of Motion Pictures. 4.9. The PCA During the War. 5. Narrative and Style. 5.1. Narrative Strategies. 5.2. Stylistic Techniques. 5.3. Narrative in Stagecoach. 5.4. Style in Stagecoach. 5.5. A Note on “Studio” Style. 5.6. A Note on Genre Style. 5.7. A Note on Film Noir. 5.8. A Note on Directorial Style. 6. Genres. 6.1. The Western. 6.2. The Gangster Film. 6.3. The Adventure Film. 6.4. The Horror Film. 6.5. The Detective Film. 6.6. The War Film. 6.7. Comedy. 6.8. The Musical. 6.9. The Woman’s Film. 6.10. Other Genres. 7. Stars and the Star System. 7.1. The Star as Business Commodity. 7.2. The Multiplicity of Stars. 7.3. The Star as Actor. 7.4. The Most Popular Stars. 8. Conclusion. Index
£87.35
John Wiley and Sons Ltd The Golden Age of Cinema
Book SynopsisThis comprehensive book illuminates the most fertile and exciting period in American film, a time when the studio system was at its peak and movies played a critical role in elevating the spirits of the public. Richard B. Jewell offers a highly readable yet deeply informed account of the economics, technology, censorship, style, genres, stars and history of Hollywood during its classical era. A major introductory textbook covering what is arguably the most fertile and exciting period in film, 1929-1945 Analyzes many of the seminal films from the period, from The Wizard of Oz to Grand Hotel to Gone with the Wind, considering the impact they had then and still have today Tackles the shaping forces of the period: the business practices of the industry, technological developments, censorship restraints, narrative strategies, evolution of genres, and the stars and the star systemTrade Review"Rick Jewell has been teaching a course on classical Hollywood moviemaking at USC for some years but has never found a textbook that suited his needs. As a result he has written one, and it’s excellent. Jewell has taken on the daunting task of surveying the social history of the period, the business side of Hollywood , changes and advancement in technology, censorship, narrative and style, genres, and the star system. Whew! I can’t imagine a better introduction to this subject matter. The book is scrupulously well organized and uses specific examples whenever possible instead of dealing in generalities." Leonard Maltin's Movie Crazy (www.leonardmaltin.com) “Some believe that American film peaked between the Stock Market Crash and the end of World War II. Richard B. Jewell’s The Golden Age of Cinema sharply delineates how the film industry worked during the period, casting light on the movies as business, technology, social document, and popular art.” Charles J. Maland, University of Tennessee Table of ContentsTitle Page. Table of Contents. Figures and Captions. Acknowledgements. Dedication. Introduction. 1. Major Historical Events. 1.1. Economic Situation. 1.2. Societal Issues. 1.3. Hollywood Responds to the Crises. 1.4. Other Leisure Activities. 2. Film Business. 2.1. The Studios. 2.2. Production. 2.3. Distribution. 2.4. Exhibition. 3. Technology. 3.1. The Sound Revolution. 3.2. Color Film Production. 3.3. Wide-Screen Experiments of 1929-1931. 3.4. Special Effects. 4. Censorship. 4.1. Silent Era Background. 4.2. The Production Code. 4.3. “Pre-Code” Hollywood. 4.4. The Production Code Administration. 4.5. “Exploitation” Films and Foreign Imports. 4.6. Politics and the PCA. 4.7. The Outlaw. 4.8. The Office of War Information Bureau of Motion Pictures. 4.9. The PCA During the War. 5. Narrative and Style. 5.1. Narrative Strategies. 5.2. Stylistic Techniques. 5.3. Narrative in Stagecoach. 5.4. Style in Stagecoach. 5.5. A Note on “Studio” Style. 5.6. A Note on Genre Style. 5.7. A Note on Film Noir. 5.8. A Note on Directorial Style. 6. Genres. 6.1. The Western. 6.2. The Gangster Film. 6.3. The Adventure Film. 6.4. The Horror Film. 6.5. The Detective Film. 6.6. The War Film. 6.7. Comedy. 6.8. The Musical. 6.9. The Woman’s Film. 6.10. Other Genres. 7. Stars and the Star System. 7.1. The Star as Business Commodity. 7.2. The Multiplicity of Stars. 7.3. The Star as Actor. 7.4. The Most Popular Stars. 8. Conclusion. Index
£31.30
John Wiley and Sons Ltd Hollywood Speaks Out
Book SynopsisHollywood Speaks Out explores that rare Hollywood feature that dared to tackle red-hot, social issues whilst American society was gripped by the convulsion and controversy they generated. Explores why Hollywood has always been risk-adverse, and how most feature flms deal with controversial issues long after the controversy is past Organized around such important issues as poverty, racism, sexism, war, anti-Semitism, and homophobia Discusses the relevance and the impact of feature films from Modern Times to WALL-E Table of ContentsList of Figures ix Foreword x Introduction 1 1 Overview 8 But who will come to see it? 2 War 26 Hell for whom? 3 Anti-Semitism 49 Some of my best friends . . . 4 Prison and Justice Systems 63 Not separate but unequal 5 Labor–Management 82 Whose side are you on? 6 Poverty 102 Anyone can play 7 Racism 124 Recipe for superiority 8 Politics 152 The good and the bad 9 Homophobia 183 Who’s a bigot? 10 Technology 205 Can we beat the machine? 11 Sexism 219 Protecting old boys’ egos 12 Hide or Seek 234 Other genres: Will Hollywood shut up or speak up? Selected Readings 248 Index 250
£84.50
John Wiley and Sons Ltd 100 Years of Spanish Cinema
Book SynopsisFrom the silent era to the present day, 100 Years of Spanish Cinema provides an in-depth look at the most important movements, films, and directors in twentieth-century Spain.Trade Review"However, 100 Years of Spanish Cinema is a much needed and comprehensive survey of Spanish cinema, and provides enough information on the history and context of this national cinema to encourage further inquiry and in fact, encourages the use of the book as a springboard for future reading." (Scope Book Reviews, 1 February 2011) "An excellent resource for students of Spanish film and/or contemporary Spanish culture. Summing Up: Highly recommended.” (Choice Reviews, May 2009)Table of ContentsList of Figures vii About the Authors viii Acknowledgments x Preface xi 1 Silent Cinema and its Pioneers (1906–1930) 1 El ciego de aldea, Ángel García Cardona 8 Amor que mata, Fructuós Gelabert 10 Don Pedro el Cruel, Ricardo Baños, Albert Marro 12 La aldea maldita, Florián Rey 15 2 Surrealism (1924–1930) and the Advent of Sound (the Second Republic: 1931–1936) 21 Un chien andalou, Luis Buñuel 26 Tierra sin pan, Luis Buñuel 30 3 Spanish Civil War (1936–1939) 39 Suspiros de España, Benito Perojo 46 Canciones para después de una guerra, Basilio Martín Patino 52 4 The Autarky: Papier-Mâché Cinema (1939–1950) 61 Raza, José Luis Sáenz de Heredia 66 Locura de amor, Juan de Orduña 74 5 Neorealism: Status Quo and Dissent (1951–1961) 81 El cochecito, Marco Ferreri 89 Viridiana, Luis Buñuel 96 6 The “Liberal” Dictatorship and its Agony (1962–1975) 104 El verdugo, Luis García Berlanga 113 El jardín de las delicias, Carlos Saura 120 7 Cinema of the Transition: The Period of Disenchantment (1975–1979) 127 El desencanto, Jaime Chávarri 140 El crimen de Cuenca, Pilar Miró 145 8 Post-Franco Spain: The Pedro Almodóvar Phenomenon (1980–1991) 152 Pepi, Luci, Bom y otras chicas del montón, Pedro Almodóvar 161 ¿Qué he hecho yo para merecer esto!, Pedro Almodóvar 169 9 Contemporary Trends (1992 to the Present) 180 Vacas, Julio Medem 194 Carícies, Ventura Pons 203 Flores de otro mundo, Icíar Bollaín 211 The Secret Life of Words (La vida secreta de las palabras), Isabel Coixet 218 Glossary of Film Terms 226 Historical Chronology 232 Notes 246 Bibliography 257 Index 263
£37.00
John Wiley and Sons Ltd Searching for New Frontiers
Book SynopsisSearching For New Frontiers offers film students and general readers a survey of popular movies of the 1960s. The author explores the most important modes of filmmaking in times that were at once hopeful, exhilarating, and daunting. The text combines discussion of American social and political history and Hollywood industry changes with analysis of some of the era's most expressive movies. The book covers significant genres and evolving thematic trends, highlighting a variety of movies that confronted the era's major social issues. It notes the stylistic confluence and exchanges between three forms: the traditional studio movie based on the combination of stars and genres, low-budget exploitation movies, and the international art cinema. As the author reveals, this complex period of American filmmaking was neither random nor the product of unique talents working in a vacuum. The filmmakers met head-on with an evolving American social conscience to create a Hollywood ciTable of ContentsAcknowledgments vii Introduction: Changing Times 1 Part I Postwar Hollywood and a Changing America 13 1 Hollywood, Hitchcock, and the Postwar Era 15 “The Vital Center” … Cannot Hold 17 Postwar Film Production and Exhibition 21 New Looks at Mothers, Genres, and Style 26 2 Domestic Relations, 1953–1967: Bachelor Pads, Nervous Dads, and Marriages on the Rocks 39 Bachelor Pads 41 Nervous Dads (and Moms) 58 Marriages on the Rocks 66 Welcoming The Graduate 71 3 Negotiating the Civil Rights Movement: Message Movies, To Kill a Mockingbird, and the Rise of Sidney Poitier 83 It’s a Sin 85 An American Story 94 Poitier, ’67 99 Part II The New Hollywood, Vietnam, and the Schism 111 4 Art Cinema and Counter‐Culture: Dr. Strangelove, A Hard Day’s Night, Blow Up, Bonnie and Clyde, and Weekend 113 General Ripper Exceeds His Authority 118 Meet the Beatles (and the New European Cinema) 125 Quiet Enigma in Swinging London 129 “We Rob Banks” 137 Coda: “Battleship Potemkin Calling the Searchers” 146 5 Nowhere to Run: One-Eyed Jacks, The Man who Shot Liberty Valance, A Fistful of Dollars, and The Wild Bunch 153 The Frontier Myth and the Classical Western 155 California – or Maybe Oregon 158 “Who Was Tom Doniphon?” 162 No Name, Sudden Impact 169 “Those Days Are Closing Fast” 175 Destroying and Saving the Village 181 6 The War: From The Longest Day to The Green Berets 191 “The Good War” Refought and Rethought 192 Unconventional Warfare 201 Art of War 208 The Only War We’ve Got 211 7 Far Out: 2001: A Space Odyssey and Easy Rider 225 Beyond the Infinite 226 Marketing and Reception 237 From Hell’s Angels to Easy Riders 239 They Blew It, But … 248 Afterword 259 Bibliography 265 Index 275
£27.50
John Wiley and Sons Ltd Contemporary Cinema of Africa and the Diaspora
Book SynopsisThe unique analysis of art house alongside discussion of commercial films from the African continent and the African diaspora presented here offer a fresh perspective on viewers experiences that highlights aesthetic and political issues.Table of ContentsAcknowledgments ix 1 AfricaWatch: Parameters and Contexts 1 Part I Space 33 2 The Postcolonial City: Education of the Spectator in Harrikrisna Anenden's The Cathedral 35 3 Framing the City: Africanizing Viewer and Viewed through Angle, Distance, Genre, and Movement 55 Part II Character 77 4 Models of African Femininity 79 5 African Masculinity: "We Don't Need Another Hero" 113 6 Revolutionary Personhood: Revolutionize the Spectator, or Stop,Thief! 133 Part III Narrative 155 7 Documentary Film: Situating a Style 157 8 African Narration: Narration of Africa 172 9 Jean-Marie Teno: Creating an African Repertoire 187 10 Conclusion: Inside/Outside or How to Make a Film about Africa Today 216 Filmography 234 References 238 Glossary 246 Index 251
£68.35
John Wiley and Sons Ltd A Companion to German Cinema
Book SynopsisA Companion to German Cinema offers a wide-ranging collection of essays, distinctive for the way it reorients the field to the global twenty-first century, that demonstrate state-of-play scholarship on German cinema at a time during which German cinema has once again begun to flourish.Trade Review“Any academic library that has students that might get the merest whiff of cinema as part of their curriculum should ensure this work is available to them.” (Reference Reviews, 1 December 2012) "[T]he carefully constructed essays in [this volume] contribute to elevating this reference book so much more than its component parts could have achieved - much like German cinema itself. It is a volume that contributes significantly to reference works on German cinema, European cinema, and cinematic history. Any academic library that has students that might get the merest whiff of cinema as part of their curriculum should ensure this work is available to them." - Matt Borg, Sheffield Hallam University, Reference ReviewsTable of ContentsNotes on Editors and Contributors vii Acknowledgments xii Abbreviations xiii Introduction 1 Terri Ginsberg and Andrea Mensch First Movement: Destabilization 23 1 Have Dialectic, Will Travel: The GDR Indianerfilme as Critique and Radical Imaginary 27 Dennis Broe 2 Coming Out into Socialism: Heiner Carow’s Third Way 55 David Brandon Dennis 3 German Identity, Myth, and Documentary Film 82 Julia Knight 4 Post-Reunification Cinema: Horror, Nostalgia, Redemption 110 Anthony Enns 5 “Capitalism Has No More Natural Enemies”: The Berlin School 134 David Clarke 6 Projecting Heimat: On the Regional and the Urban in Recent Cinema 155 Jennifer Ruth Hosek 7 No Happily Ever After: Disembodying Gender, Destabilizing Nation in Angelina Maccarone’s Unveiled 175 Gayatri Devi Second Movement: Dislocation 193 8 Views across the Rhine: Border Poetics in Straub–Huillet’s Machorka-Muff (1962) and Lothringen! (1994) 197 Claudia Pummer 9 Contested Spaces: Kamal Aljafari’s Transnational Palestinian Films 218 Peter Limbrick 10 Fatih Akın’s Homecomings 249 Savaş Arslan 11 Lessons in Liberation: Fassbinder’s Whity at the Crossroads of Hollywood Melodrama and Blaxploitation 260 Priscilla Layne 12 Sexploitation Film from West Germany 287 Harald Steinwender and Alexander Zahlten 13 A Documentarist at the Limits of Queer: The Films of Jochen Hick 318 Robert M. Gillett 14 Models of Masculinity in Postwar Germany: The Sissi Films and the West German Wiederbewaffnungsdebatte 341 Nadja Krämer 15 Crossdressing, Remakes, and National Stereotypes: The Germany–Hollywood Connection 379 Silke Arnold-de Simine Third Movement: Disidentification 405 16 The Aesthetics of Ethnic Cleansing: A Historiographic and Filmic Analysis of Andres Veiel’s Balagan 409 Domenica Vilhotti 17 Margarethe von Trotta’s Rosenstrasse: “Feminist Re-Visions” of a Historical Controversy 429 Sally Winkle 18 The Baader Oedipus Complex 462 Vojin Saša Vukadinović 19 Dislocations: Videograms of a Revolution and the Search for Images 483 Frances Guerin 20 Germany Welcomes Back Its Jews: Go for Zucker! and the Women in German Debate (aka Wiggie-leaks: A Polemical Analysis) 507 Terri Ginsberg 21 Screening the German Social Divide: Aelrun Goette’s Die Kinder sind tot 526 David James Prickett 22 A Negative Utopia: Michael Haneke’s Fragmentary Cinema 553 Tara Forrest Index 573
£37.00
John Wiley and Sons Ltd Explorations in New Cinema History
Book SynopsisExplorations in New Cinema History brings together cutting-edge research by the leading scholars in the field to identify new approaches to writing and understanding the social and cultural history of cinema, focusing on cinema's audiences, the experience of cinema, and the cinema as a site of social and cultural exchange. Includes contributions from Robert Allen, Annette Kuhn, John Sedwick, Mark Jancovich, Peter Sanfield, and Kathryn Fuller-Seeley among others Develops the original argument that the social history of cinema-going and of the experience of cinema should take precedence over production- and text-based analyses Explores the cinema as a site of social and cultural exchange, including patterns of popularity and taste, the role of individual movie theatres in creating and sustaining their audiences, and the commercial, political and legal aspects of film exhibition and distribution Prompts readers to reassess their understanding ofTrade Review"Recommended. Upper-division undergraduates through faculty." (Choice, 1 November 2011)Table of ContentsNotes on Contributors. Acknowledgements. Part 1 Mapping Cinema Experiences. 1 New Cinema Histories (Richard Maltby). 2 Reimagining the History of the Experience of Cinema in a Post-Moviegoing Age (Robert C. Allen). 3 Putting Cinema History on the Map: Using GIS to Explore the Spatiality of Cinema (Jeffrey Klenotic). 4 What to do with Cinema Memory? (Annette Kuhn). Part 2 Distribution, Programming and Audiences. 5 Social Class, Experiences of Distinction and Cinema in Postwar Ghent (Daniel Biltereyst, Philippe Meers and Lies Van de Vijver). 6 Distribution and Exhibition in The Netherlands, 1934–1936 (Clara Pafort-Overduin). 7 Patterns in First-Run and Suburban Filmgoing in Sydney in the mid-1930s (John Sedgwick). 8 From Hollywood to the Garden Suburb (and Back to Hollywood): Exhibition and Distribution in Australia (Mike Walsh). 9 Hollywood and its Global Audiences: A Comparative Study of the Biggest Box Office Hits in the United States and Outside the United States Since the 1970s (Peter Krämer). 10 Blindsiding: Theatre Owners, Political Action and Industrial Change in Hollywood, 1975–1985 (Deron Overpeck). Part 3 Venues and their Publics. 11 ‘No Hits, No Runs, Just Terrors’: Exhibition, Cultural Distinctions and Cult Audiences at the Rialto Cinema in the 1930s and 1940s (Tim Snelson and Mark Jancovich). 12 Going Underground with Manny Farber and Jonas Mekas: New York’s Subterranean Film Culture in the 1950s and 1960s (Peter Stanfield). 13 Searching for the Apollo: Black Moviegoing and its Contexts in the Small-Town US South (Arthur Knight). 14 Film Distribution in the Diaspora: Temporality, Community and National Cinema (Deb Verhoeven). Part 4 Cinema, Modernity and the Local. 15 The Social Biograph: Newspapers as Archives of the Regional Mass Market for Movies (Paul S. Moore). 16 Modernity for Small Town Tastes: Movies at the 1907 Cooperstown, New York, Centennial (Kathryn Fuller-Seeley). 17 Silent Film Genre, Exhibition and Audiences in South India (Stephen Putnam Hughes). 18 The Last Bemboka Picture Show: 16 mm Cinema as Rural Community Fundraiser in the 1950s (Kate Bowles). Index.
£76.90
John Wiley and Sons Ltd Explorations in New Cinema History
Book SynopsisExplorations in New Cinema History brings together cutting-edge research by the leading scholars in the field to identify new approaches to writing and understanding the social and cultural history of cinema, focusing on cinema's audiences, the experience of cinema, and the cinema as a site of social and cultural exchange. Includes contributions from Robert Allen, Annette Kuhn, John Sedwick, Mark Jancovich, Peter Sanfield, and Kathryn Fuller-Seeley among others Develops the original argument that the social history of cinema-going and of the experience of cinema should take precedence over production- and text-based analyses Explores the cinema as a site of social and cultural exchange, including patterns of popularity and taste, the role of individual movie theatres in creating and sustaining their audiences, and the commercial, political and legal aspects of film exhibition and distribution Prompts readers to reassess their understanding ofTrade Review"Recommended. Upper-division undergraduates through faculty." (Choice, 1 November 2011)Table of ContentsNotes on Contributors. Acknowledgements. Part 1 Mapping Cinema Experiences. 1 New Cinema Histories (Richard Maltby). 2 Reimagining the History of the Experience of Cinema in a Post-Moviegoing Age (Robert C. Allen). 3 Putting Cinema History on the Map: Using GIS to Explore the Spatiality of Cinema (Jeffrey Klenotic). 4 What to do with Cinema Memory? (Annette Kuhn). Part 2 Distribution, Programming and Audiences. 5 Social Class, Experiences of Distinction and Cinema in Postwar Ghent (Daniel Biltereyst, Philippe Meers and Lies Van de Vijver). 6 Distribution and Exhibition in The Netherlands, 1934–1936 (Clara Pafort-Overduin). 7 Patterns in First-Run and Suburban Filmgoing in Sydney in the mid-1930s (John Sedgwick). 8 From Hollywood to the Garden Suburb (and Back to Hollywood): Exhibition and Distribution in Australia (Mike Walsh). 9 Hollywood and its Global Audiences: A Comparative Study of the Biggest Box Office Hits in the United States and Outside the United States Since the 1970s (Peter Krämer). 10 Blindsiding: Theatre Owners, Political Action and Industrial Change in Hollywood, 1975–1985 (Deron Overpeck). Part 3 Venues and their Publics. 11 ‘No Hits, No Runs, Just Terrors’: Exhibition, Cultural Distinctions and Cult Audiences at the Rialto Cinema in the 1930s and 1940s (Tim Snelson and Mark Jancovich). 12 Going Underground with Manny Farber and Jonas Mekas: New York’s Subterranean Film Culture in the 1950s and 1960s (Peter Stanfield). 13 Searching for the Apollo: Black Moviegoing and its Contexts in the Small-Town US South (Arthur Knight). 14 Film Distribution in the Diaspora: Temporality, Community and National Cinema (Deb Verhoeven). Part 4 Cinema, Modernity and the Local. 15 The Social Biograph: Newspapers as Archives of the Regional Mass Market for Movies (Paul S. Moore). 16 Modernity for Small Town Tastes: Movies at the 1907 Cooperstown, New York, Centennial (Kathryn Fuller-Seeley). 17 Silent Film Genre, Exhibition and Audiences in South India (Stephen Putnam Hughes). 18 The Last Bemboka Picture Show: 16 mm Cinema as Rural Community Fundraiser in the 1950s (Kate Bowles). Index.
£31.30
Temple University Press,U.S. Treacherous Subjects
Book SynopsisHow gender shapes cultural production in Viet Nam and its diasporaTrade Review"[The book] makes a considerable and commendable contribution to the interdisciplinary fields of Asian-American literary studies, Southeast Asian-American studies, and American cultural studies... Treacherous Subjects confirms and extends the field's multidisciplinary vistas by way of Vietnamese and Vietnamese-American cultural production, which include film, literature, and popular culture... [It] skillfully juxtaposes the divergent critical receptions of such work vis-a-vis domestic and internationalist politics." - College LiteratureTable of ContentsIntroduction; Manufacturing Feminine Virtue for the Diaspora: The Films of Tony Bui; and Tran Anh Hung; Colonial Histories, Postcolonial Narratives: Traitors and Collaborators; in Vietnamese Women's Diasporic Literature; Heroines and Traitors: The Gendered Fictions of ??ng Nh?t Minh and; D??ng Th? H??ng; Traitors and Translators: Reframing Trinh T. Minh-ha's Surname Viet; Given Name Nam and A Tale of Love; Betraying Feminine Virtue: Collaborative Effects and the Transnational Circuits; of Vietnamese Popular Culture; Family Politics and the Art of Collaboration; Works Cited; Notes.
£60.30
Temple University Press,U.S. Dream Machine
Book SynopsisPopular Hindi films offer varied cinematic representations ranging from realistic portraits of patriotic heroes to complex fantasies that go beyond escapism. In Dream Machine, Samir Dayal provides a history of Hindi cinema starting with films made after India's independence in 1947. He constructs a decade-by-decade consideration of Hindi cinema's role as a site for the construction of Indianness.Dayal suggests that Hindi cinema functions as both mirror and lamp, reflecting and illuminating new and possible representations of national and personal identity, beginning with early postcolonial films including Awaara and Mother India, a classic of the Golden Age. More recent films address critical social issues, such as My Name is Khan and Fire, which concern terrorism and sexuality, respectively. Dayalalso chronicles changes in the industry and in audience reception, and the influence of globalization, considering such films as Slumdog Millionaire. Dream Machine analyzes the social and aesTrade Review“Dayal does an excellent job of bringing together diverse films, theorists, and critics on such issues as cosmopolitanism, secularism, terrorism, gender, and sexuality, often linking his analyses with contemporaneous historical events to provide fuller context. The most exciting aspect of Dream Machine is its new engagement of psychoanalytic theories of fantasy and the production of ‘Indianness’ in transnational Bollywood cinema. This is a fascinating book.”—Kavita Daiya, Associate Professor of English at George Washington University “Dayal’s writing is bright and supple, and his reading of films is consistently interesting and entertaining. The meshing of realism and fantasy in prominent Bollywood films and genres argues that the fantasy elements are integral to imagining ‘Indianness’ over a range of interruptions that trouble a coherent national identity. Dayal avers that fantastic imagination is far more than mere escapism. A very engaging, rewarding project and a solid scholarly book, Dream Machine is also an interesting read for the non-expert cinephile.”— Henry Schwarz, Professor of English at Georgetown UniversityTable of ContentsAcknowledgments Introduction • Mirror and LampI Postcolonial Hindi Cinema: Bad Subjects and Good Citizens1 The Wish to Belong, the Desire to Desire: The Emergent Citizen and the Hindi “Social” in Raj Kapoor’s Awaara2 A Bad Son and a Good Enough Mother? The Paradoxical Maternal Romance in Mehboob Khan’s Mother India3 Sexploitation or Consciousness Raising? The Angry Man, the Avenging Woman, and the LawII Reimagining the Secular State4 Terrorism or Seduction5 Patriot Games, Unpatriotic FantasiesIII Diasporic Cinema and Fantasy Space: Nonresident Indian Aliens and Alienated Signifiers of Indianness6 The Powers of the False: Fantasy Spaces for Same-Sex Love?7 The New Cosmopolitanism and Diasporic Dilemmas: Rehabilitating the “NRI”8 Poverty Porn and Mediated Fantasy in Danny Boyle’s Slumdog Millionaire Conclusion • Transnational Translations: Mobile Indianness Notes Bibliography Index
£24.29
University of Toronto Press OuterSpeares
Book SynopsisOuterSpearesis the first book to examine the full spectrum of past and present adaptations, and one that offers a unique perspective on the transcultural and transdisciplinary aspects of Shakespeare in the contemporary world.Trade Review'OuterSpears enriches the remarkable tradition of Shakespeare scholarship in Canada... The book is highly interdisciplinary in character, making it an important contribution to the study of Shakespeare, adaptation, media, and contemporary culture.' -- Aneta Mancewicz English Studies in Canada vol 41:03:2015Table of ContentsIntroduction: OuterSpeares: Shakespeare, Intermedia, and the Limits of Adaptation (Daniel Fischlin) Section 1: "Strange Invention": Shakespeare in the New Media YouTube Shakespeare and the Rhetorics of Invention (Christy Desmet) "Is there an app for that?": Mobile Shakespeare on the Phone and in the Cloud (Jennifer Ailles) Section 2: "These violent delights have violent ends": Shakespearean Adaptation and Film Intermedia Melted into Media: Understanding Julie Taymor's Film Adaptation of The Tempest in the Wake of 9/11 and the War on Terror (Don Moore) Transgression and Transformation: Mickey B and the Dramaturgy of Adaptation - An Interview with Tom Magill (Daniel Fischlin, Tom Magill, and Jessica Riley) Section 3: "All the Uses of this World": TV, Radio, Popular Music, Theatre and the Uses of Intermedia Slings & Arrows: Pedagogical Theory and Practice in an Intermediated Shakespeare (Kim Fedderson and Michael Richardson) Your Master's Voice: The Shakespearean Narrator as Intermedial Authority on 1930s American Radio (Andrew Bretz) Sounding Shakespeare: Intermedia Adaptation and Popular Music (Daniel Fischlin) "Playing the Race Bard": How Shakespeare and Harlem Duet Sold (at) the 2006 Stratford Festival (James McKinnon) Section 4: "Give No Limits to My Tongue ... I am Privileged to Speak": The Limits of Adaptation? Patchwork Shakespeare: Community Events at the American Shakespeare Tercentenary (1916) (Monika Smialkowska) Upcycling Shakespeare: Crafting Cultural Capital (Sujata Iyengar) Beyond Adaptation (Mark Fortier)
£28.80
University of Toronto Press Schooling in Modernity
Book SynopsisBetween 1948 and the end of the 1950s, Italian and American government agencies and corporations commissioned hundreds of short films for domestic and foreign consumption on topics such as the fight against unemployment, the transformation of rural and urban spaces, and the re-establishment of democratic regimes in Italy and throughout Europe. In Schooling in Modernity, Paola Bonifazio investigates the ways in which these sponsored films promoted a particular vision of modernization and industry and functioned as tools to govern the Italian people.The author uses extensive archival research and various theoretical approaches to examine the politics of sponsored filmmaking in postwar Italy. Among the many topics explored are target audiences and audience response, sources of funding, censorship, debates on cinematic realism, and the connections and differences between American and Italian strategies and styles of documentary filmmaking. Insightful and richly detailed,Trade Review'This important empirically rich and theoretically nuanced book is certainly of great interest to researchers in modern Italian history as well as to scholars studying propaganda.' -- Gianluca Fantoni H-Italy October 2016 'Schooling in Modernity is a fascinating account of short films sponsored by Italian and American governments... It makes a convincing argument about the significance of sponsored cinema in negotiating the transition between Fascism and post-war democracy.' -- Norma Bouchard Journal of Italian Cinema and Media Studies - vol 5:1:2017Table of ContentsAcknowledgments Introduction Chapter 1: Work, Welfare, Neorealism Chapter 2: Sneaky Sponsors Chapter 3: Filming the Housing Revolution Chapter 4: South Like North Chapter 5: United Europe Starts in School Chapter 6: Histories Through Tabloids Filmography Bibliography
£28.80
University of Toronto Press Migration Italy
Book SynopsisThese definitions and the complexities inherent in the different cultural, legal, and political positions of Italy's people are at the heart of Migration Italy, a unique work of immense importance for understanding society in both modern-day Italy and, indeed, the entire European continent.Trade Review'Highly readable and thought provoking.' -- Anne Urbancic Quaderni d'italianistica 'This book will be valuable to readers interested in contemporary Italy and the diversity of its voices in literature and film ... Recommended.' -- S. Vander Closter CHOICE 'Migration Italy stands as the first monograph in English genuinely dedicated to Italian migrant literature and cinema, and it achieves impressively its author's objective.' -- Jennifer Burns Modern ItalyTable of ContentsAcknowledgments Introduction * Strategies of 'Talking Back' * Minor Literature, 'Minor Italy' * Cinema and Migration: 'What' and 'Who' Is a Migrant * The Laws of Migration * Conclusion Notes Bibliography Index
£26.99
