Films, cinema Books

Book SynopsisThe Pacific Northwest has a thriving, rich film culture, and it's finally celebrated in a guide as visually arresting and compelling as the films and television themselves. Author David Schmader put in a lot of screen time watching movies and TV shows, and the result is more than 200 entries that feature hilarious and insightful synopses, behind-the-scene facts and trivia, and regional scenic highlights. Sidebars showcase filmmakers like Gus Van Sant and Lynn Shelton, the television shows that shaped the public's perception of the region (such as Twin Peaks, Shrill, and Portlandia!), documentaries, queer cinema, silent films, Vancouver-shot imposters, and more. This is a book for any cinephile, but for those who love and live in the PNW, it's an absolute must-have.Trade Review“Filmlandia is a quick, joyful read that’s as much a love letter to local film and television icons such as Lynn Shelton, Megan Griffiths, and Irene from the Real World as it is to the Pacific Northwest’s (mostly) sparkling scenery. And oh, boy, is this corner of the country filled with weird little treasures.” —The Stranger“David Schmader’s film writing has always been dryly funny and incisive, but it has rarely been this affectionate. This very comprehensive collection of PNW-centric film and TV capsules is for locals or tourists, hardcore cinephiles or casual viewers. Full disclosure: David once called me a "Showgirls truther.” —Matt Lynch, Scarecrow Video, cohost of The Suspense Is Killing Us podcast and YouTube’s Viva Physical Media Table of ContentsCONTENTS Introduction: A Film Lover's Paradise SEATTLE & WASHINGTONWashington Fun Boxes (sidebars to appear throughout)Bruce Lee | Dystopian Futures | Film Festivals | Frasier | Grey’s Anatomy | Kurt Cobain | Lynn Shelton | Megan Griffiths | Movie Houses | Northern Exposure | PNW Film All-Stars | PNW XXX | Queer Cinema | Seattle Verite: Seattle Documentaries | The Real World | Rose Red | Scarecrow Video | Twin Peaks | Vancouver Switcheroo10 Things I Hate About You | 21 & Over | 50 Shades of Gray | American Heart | The Art of Racing in the Rain | Assassins | Battle in Seattle | Beacon Hill Boys | Benny & Joon | A Bit of Bad Luck | Black Widow | The Book of Stars | Boy Culture | Brand Upon the Brain! | Bustin Loose | The Changeling | Cinderella Liberty | Come See the Paradise | Cthulu | Daredreamer | Dear Lemon Lima | The Details | Disclosure | Dogfight | Double Jeopardy | East of the Mountains | Enough | The Fabulous Baker Boys | Fear | Frances | Georgia | Get Carter | Gory Gory Hallelujah | Grassroots | The Hand That Rocks the Cradle | Harry and the Hendersons |Harry in Your Pocket |Highway |Hit! |House of Games |The Immaculate Conception of Little Dizzle | It Happened at the World’s Fair | Karl Krogstad | The Last Mimzy | Late Autumn | Life or Something Like It | Little Buddha | Love Happens | Mad Love | Money Buys Happiness | My Last Year with the Nuns | Officer & a Gentleman | Old Goats | Paper Tigers | The Parallax View | Plain Clothes | Police Beat | Power |Practical Magic | Red Dawn | The Ring | Safety Not Guaranteed | Say Anything | Seven Hours to Judgment | Singles | Slaves to the Underground | Sleepless in Seattle | The Slender Thread | Snow Falling on Cedars | Surviving the Game | This Boy’s Life | Trouble in Mind | True Adolescents | Tugboat Annie | Twice in a Lifetime | Twilight | Unforgettable | The Vanishing | Waiting for the Light | War Games | Where’d You Go, Bernadette? | World’s Greatest DadPORTLAND & OREGONPortland Fun Boxes (sidebars to appear throughout)Astoria! | Behind the Music | Eternal Silents | Film Festivals | The Technicolor Frontier! | Grimm | Gus Van Sant | Jack Nicholson | Kelly Reichardt | LAIKA Studios | Movie Houses | PDX Docs | Portlandia! | Prefontaine vs Prefontaine | The Real World: Portland | Shrill | The Simpsons Animal House | Benji the Hunted | The Black Stallion | Body of Evidence | Captain Fantastic | C.O.G. | Dead Man | The Fog | Foxfire | Free Willy | The Goonies | Hear No Evil | How to Beat the High Cost of Living | I Don’t Feel at Home in This World | The Indian Fighter | Into the Wild | Kindergarten Cop | Lean on Pete | Leave No Trace | Lost Horizon | Maverick | Men of Honor | Mr. Brooks | Mr. Holland’s Opus | My Name is Bruce | Overboard | Pay It Forward | PIG | Point Break | The River Wild | Ring of Fire | Roaring Timber | Rooster Cogburn | Short Circuit | Sometimes a Great Notion | Stand By Me | Swordfish | Thumbsucker | Wild ConclusionViewing ListsAcknowledgmentsSources Index

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Book SynopsisThe memoirs of the pioneering Danish silent film star Asta Nielsen in English translation for the first time, with scholarly introduction and annotations. From her explosive screen debut in The Abyss (1910) through her "scandalous" fourth marriage at age 89, the Danish actress Asta Nielsen (1881-1972) was a darling of fans and the press, a global star without parallel in the silent era. So famous in Germany that she was known simply as "die Asta," during her two decades of active filmmaking Nielsen also published about her career, her impoverished childhood, her breakthrough into film, the price of fame, and her interactions with the German film industry. In 1938 Nielsen returned to Denmark, where she published her memoirs in two volumes in 1945-46, expanding on her earlier writings. This carefully crafted, colorful text offers eyewitness insights into early European film, Nielsen's star persona, and the challenges of stardom in Germany in the tumultuous period before World War II. Yet although they have appeared in multiple Danish, German, and Russian editions, the memoirs have never been published in English until now. Nielsen's work has enduring value for transnational film history, and the recent growth of interest in women's contributions to early film makes the time ripe for this translation. Julie K. Allen accompanies the text with a scholarly introduction and annotations, and a foreword by leading early film scholar Jennifer M. Bean frames the volume.Trade ReviewLively, readable, and engaging, the book also confirms the important creative role of actors in the forging of the new art of cinema. -- Diana Holmes * Modern Language Review *Table of ContentsList of Illustrations Foreword - Jennifer M. Bean Acknowledgments Introduction - Julie K. Allen THE SILENT MUSE Part I: My Path to Film Part II: Film Epilogue Asta Nielsen Filmography Bibliography Index

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Book SynopsisPosits a new, aesthetically and politically radical, transnational German cinema - "transnational" also in the sense of concerns with migration, the movement of capital across borders, and globalization.This book makes a bold claim that, since around 2015, a new, transnational German cinema has arisen that is aesthetically and politically radical. "Transnational" here denotes not merely international co-productions but extends to theme and form in the films' concerns with movements of people and capital across borders and with globalization. The volume analyzes key films ranging in genre and mode from dramas and comedies, including the "New German Discourse Comedy," to documentaries and installations. The essays illuminate a shift beyond neoliberal stasis and a renewed embrace of political filmmaking that confronts realities of the present.Analyzing works by a diverse array of filmmakers - including Fatih Akin, Irene von Alberti, Amel Alzakout and Khaled Abdulwahed, Forensic Architecture, Ruth Beckermann, Nils Bökamp, Susanne Heinrich, Gerd Kroske, Burhan Qurbani, Christian Petzold, Mario Pfeifer, Julian Radlmaier, Maria Speth, Tatjana Turanskyj, and Monika Treut - the contributions provide a broad yet in-depth look at contemporary German film. Through formal innovation as well as explicitly political storytelling, this cinema, the essays argue, points beyond political crises, social precarity, and the impasses of the present, sometimes with imagination and fantasy and often by embracing collectivity and resistance.Edited by Claudia Breger and Olivia Landry. Contributors: Hester Baer, Angelica Fenner, Randall Halle, Lutz Koepnick, Angelos Koutsourakis, Richard Langston, Priscilla Layne, Ervin Malakaj, Gozde Naiboglu, and Fatima Naqvi.

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Book SynopsisShows that while the GDR is generally seen as - and mostly was - an oppressive and unfree country, from late 1989 until autumn 1990 it was the "freest country in the world": the dictatorship had disappeared while the welfare system remained. Stephen Brockmann's new book explores the year 1989/1990 in East Germany, arguing that while the GDR is generally seen as - and was for most of its forty years - an oppressive and unfree country, from autumn 1989 until the autumn of 1990 it was the "freest country in the world," since the dictatorship had disappeared while the welfare system remained. That such freedom existed in the last months of the GDR and was a result of the actions of East Germans themselves has been obscured, Brockmann shows, by the now-standard description of the collapse of the GDR and the reunification of Germany as a triumph of Western democracy and capitalism. Brockmann first addresses the culture of 1989/1990 by looking at various media from that final year, particularly film documentaries. He emphasizes punk culture and the growth of neo-Nazism and the Antifa movement - factors often ignored in accounts of the period. He then analyzes three later semiautobiographical novels about the period. He devotes chapters to dramatic films dealing with German reunification made relatively soon after the event and to more recent film and television depictions of the period, respectively. The final chapter looks at monuments and memorials of the 1989/1990 period, and a conclusion considers the implications of the book's findings for the present day.Trade ReviewThe Freest Country in the World is a richly detailed and analytically acute book about 1989-1990 at the time in the GDR and in the memory of that time among both East and West Germans. I learned so much from every chapter: about novels, films, punks, neo-Nazis, the sausage-making of memorials. -- Donna Harsch, Professor of History, Carnegie Mellon UniversityIt is hard not to get quite dark in reflecting both on the missed opportunities of the 1989 revolutions, and on the way in which Western nations in a way exploited that moment to further impose a narrative of Western triumphalism. But instead of getting dark, I am inspired by this book to continue to think about promises and hope, and to use works of art and literature to inform how we recover possibilities rather than abandon them to the graveyard of history. -- Andreea Ritivoi, William S. Dietrich Professor of English and Department Head, Carnegie Mellon UniversityTable of ContentsAcknowledgments Introduction: The Memory of Freedom 1: Protocols of History: Reunification Documentaries from 1989/1990 2: Anarchy in the GDR 3: The National Liberation Zone 4: Coming of Age as the State Dies: Three Novels and Their Heroes 5: Provincial Theater: Fiction Film Struggles to Address German Reunification in the Early 1990s 6: The Grand Theater of the East and the Imaginary Stasi: The Emergence of the Standard Depiction of German Reunification in Film and on Television 7: Ritual, Repetition, and Memory: Commemorating and Memorializing 1989/1990 Conclusion: The Last GDR Selected Works Cited Filmography Index

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Book SynopsisSurveys the considerable nineteenth-century American discourse on and response to the writings of the German dramatist, critic, art theorist, and theological thinker.Gotthold Ephraim Lessing (1729-1781) was a leading figure in the humanist revival in German culture that culminated in Weimar Classicism. His plays and drama criticism mark the rise of middle-class forms and values and influenced contemporaries and successors alike. His work in art theory still stimulates discussion, while his liberal theological writing has had a perhaps even greater impact. In the US, Lessing first drew major attention during the German craze of the early nineteenth century and achieved his greatest fame during the third quarter of the century. His drama criticism and views on theology and the arts became entrenched in a robust American discourse about those subjects. Many Americans thought of him less as a historical figure than as a virtual contemporary.This book surveys critical commentary on Lessing published in prominent journals and periodicals from 1796 to the end of the nineteenth century, a period before the professionalization of literary scholarship in America, when individuals of varying professional backgrounds routinely assessed foreign writers in the context of their own national experience. Chapters focus on the unfolding of Lessing's presence in the US, on broad assessments of his life and work, and, respectively, on American responses to his fables and epigrams, his plays and drama criticism, his art-historical and -theoretical writing, and his theological work.

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Book SynopsisTraumagenic events—episodes that have caused or are likely to cause trauma—color the experiences of K-12 students and the social studies curriculum they encounter in U.S. schools. At the same time that the global COVID-19 pandemic has heightened educators' awareness of collective trauma, the racial reckoning of 2020 has drawn important attention to historical and transgenerational trauma. At a time when social studies educators can simply no longer ignore "difficult" knowledge, instruction that acknowledges trauma in social studies classrooms is essential.Through employing relational pedagogies and foregrounding voices that are too often silenced, the lessons in Hollywood or History? An Inquiry-Based Strategy for Using Film to Acknowledge Trauma in Social Studies engage students in examining the role of traumatic or traumagenic events in social studies curriculum. The 20 Hollywood or History? lessons are organized by themes such as political trauma and war and genocide. Each lesson presents film clips, instructional strategies, and primary and secondary sources targeted to the identified K-12 grade levels. As a collection, they provide ready-to-teach resources that are perfect for teachers who are committed to acknowledging trauma in their social studies instruction.Table of Contents Introduction to Hollywood or History? An Inquiry-Based Strategy for Using Film to Acknowledge Trauma in Social Studies SECTION I: POLITICAL TRAUMA Voting Rights: Selma to Today - Alicen Brown and Michael Gurlea Us: Viewing Jordan Peele's Film Through a Lens of Systematic Oppression - William Toledo and Fares Karam 10s Across the Board: Paris Is Burning and LGBTQ Political Trauma - Lisa K. Pennington and Matthew Cooney Exploring The Genocidal Continuum in American History X - Bradley Kraft SECTION II: NATURAL DISASTERS AND DISEASE Daniel Tiger: A Storm in the Neighborhood - Stephen Day Depictions of Spanish Influenza and Downton Abbey: An Inquiry-Based Lesson on a Global Pandemic - Jason Allen Dead Ahead: The Exxon Valdez Disaster and the Trauma of Environmental Injustice - Elaine Alvey Building Empathy: Teaching About Refugees With Human Flow - Meghan Kessler and Donna Fortune SECTION III: WAR AND GENOCIDE Rwandan Genocide - Leona Calkins Telling the Story of the Armenian Genocide - Suzanne Shelburne and David Hicks Prisoners of War in the Pacific Theater - Taylor Hawes Between and Beyond Victim and Victimizer - Daniel Osborn SECTION IV: HISTORICAL TRAUMA Examining Roman Gladiator Games to Understand "Painfotainment" in the Societies of Ancient Rome and Modern America - Sara Evers Working to Understand Historical Violence Through Film - Grant Scribner and Taylor Hamblin The Great Gatsby, Income Inequality, Trauma, and a Future Global Depression - Vaughn Wilson Should Jesse Owens Have Boycotted Hitler's Olympics? - Mary Carney and Evan Long SECTION V: TRANSGENERATIONAL TRAUMA Family as an Extension of Place: Finding (and Interrogating) Your Roots - Ariel Cornett What's the Problem With a Little Elbow Room? - Lindsey Belt and Evan Long Mandela's Political Creativity - Zach Bower Just Mercy: Hollywood or History? - Taylor Hawes

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Book SynopsisTraumagenic events—episodes that have caused or are likely to cause trauma—color the experiences of K-12 students and the social studies curriculum they encounter in U.S. schools. At the same time that the global COVID-19 pandemic has heightened educators' awareness of collective trauma, the racial reckoning of 2020 has drawn important attention to historical and transgenerational trauma. At a time when social studies educators can simply no longer ignore "difficult" knowledge, instruction that acknowledges trauma in social studies classrooms is essential.Through employing relational pedagogies and foregrounding voices that are too often silenced, the lessons in Hollywood or History? An Inquiry-Based Strategy for Using Film to Acknowledge Trauma in Social Studies engage students in examining the role of traumatic or traumagenic events in social studies curriculum. The 20 Hollywood or History? lessons are organized by themes such as political trauma and war and genocide. Each lesson presents film clips, instructional strategies, and primary and secondary sources targeted to the identified K-12 grade levels. As a collection, they provide ready-to-teach resources that are perfect for teachers who are committed to acknowledging trauma in their social studies instruction.Table of Contents Introduction to Hollywood or History? An Inquiry-Based Strategy for Using Film to Acknowledge Trauma in Social Studies SECTION I: POLITICAL TRAUMA Voting Rights: Selma to Today - Alicen Brown and Michael Gurlea Us: Viewing Jordan Peele's Film Through a Lens of Systematic Oppression - William Toledo and Fares Karam 10s Across the Board: Paris Is Burning and LGBTQ Political Trauma - Lisa K. Pennington and Matthew Cooney Exploring The Genocidal Continuum in American History X - Bradley Kraft SECTION II: NATURAL DISASTERS AND DISEASE Daniel Tiger: A Storm in the Neighborhood - Stephen Day Depictions of Spanish Influenza and Downton Abbey: An Inquiry-Based Lesson on a Global Pandemic - Jason Allen Dead Ahead: The Exxon Valdez Disaster and the Trauma of Environmental Injustice - Elaine Alvey Building Empathy: Teaching About Refugees With Human Flow - Meghan Kessler and Donna Fortune SECTION III: WAR AND GENOCIDE Rwandan Genocide - Leona Calkins Telling the Story of the Armenian Genocide - Suzanne Shelburne and David Hicks Prisoners of War in the Pacific Theater - Taylor Hawes Between and Beyond Victim and Victimizer - Daniel Osborn SECTION IV: HISTORICAL TRAUMA Examining Roman Gladiator Games to Understand "Painfotainment" in the Societies of Ancient Rome and Modern America - Sara Evers Working to Understand Historical Violence Through Film - Grant Scribner and Taylor Hamblin The Great Gatsby, Income Inequality, Trauma, and a Future Global Depression - Vaughn Wilson Should Jesse Owens Have Boycotted Hitler's Olympics? - Mary Carney and Evan Long SECTION V: TRANSGENERATIONAL TRAUMA Family as an Extension of Place: Finding (and Interrogating) Your Roots - Ariel Cornett What's the Problem With a Little Elbow Room? - Lindsey Belt and Evan Long Mandela's Political Creativity - Zach Bower Just Mercy: Hollywood or History? - Taylor Hawes

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Book SynopsisTeaching with film is not a new approach in the social studies classroom. Different publications, such as Hollywood or History, have bridged the gap with challenges attached to using historical film and engage students through inquiry, not entertainment. To continue with the Hollywood or History strategy, this text uses television shows (sitcoms) to brings issue-centered curriculum to middle and high school classrooms. By exploring issues in specific episodes, students can learn the history behind an issue, relate it to their lives, and develop an informed decision associated with the issue.The College, Career, and Civic Life (C3) framework is an integral part to the exploration of issue-centered curriculum. In each chapter, the students will work through the four dimensions and develop critical thinking, reading, and writing skills. My hope is that this text can play a small role in walking practicing teachers through the C3 framework while allowing students to learn about issues that affect society and the communities where they live.Table of Contents CHAPTER 1: Hollywood or History? The Introduction CHAPTER 2: Hollywood or History? The Inquiry Curriculum CHAPTER 3: Civil Rights CHAPTER 4: Gender CHAPTER 5: Immigration CHAPTER 6: Racism and Prejudice CHAPTER 7: Sectarianism CHAPTER 8: Sexism CHAPTER 9: Voting CHAPTER 10: Conclusion

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Book SynopsisTeaching with film is not a new approach in the social studies classroom. Different publications, such as Hollywood or History, have bridged the gap with challenges attached to using historical film and engage students through inquiry, not entertainment. To continue with the Hollywood or History strategy, this text uses television shows (sitcoms) to brings issue-centered curriculum to middle and high school classrooms. By exploring issues in specific episodes, students can learn the history behind an issue, relate it to their lives, and develop an informed decision associated with the issue.The College, Career, and Civic Life (C3) framework is an integral part to the exploration of issue-centered curriculum. In each chapter, the students will work through the four dimensions and develop critical thinking, reading, and writing skills. My hope is that this text can play a small role in walking practicing teachers through the C3 framework while allowing students to learn about issues that affect society and the communities where they live.Table of Contents CHAPTER 1: Hollywood or History? The Introduction CHAPTER 2: Hollywood or History? The Inquiry Curriculum CHAPTER 3: Civil Rights CHAPTER 4: Gender CHAPTER 5: Immigration CHAPTER 6: Racism and Prejudice CHAPTER 7: Sectarianism CHAPTER 8: Sexism CHAPTER 9: Voting CHAPTER 10: Conclusion

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Book SynopsisAction! Film is a common and powerful element in the social studies classroom and Cinematic Social Studies explores teaching and learning social studies with film. Teaching with film is a prominent teaching strategy utilized by many teachers on a regular basis. Cinematic Social Studies moves readers beyond the traditional perceptions of teaching film and explores the vast array of ideas and strategies related to teaching social studies with film. The contributing authors of this volume seek to explain, through an array of ideas and visions, what cinematic social studies can/should look like, while providing research and rationales for why teaching social studies with film is valuable and important.This volume includes twenty-four scholarly chapters discussing relevant topics of importance to cinematic social studies. The twenty four chapters are divided into three sections. This stellar collection of writings includes contributions from noteworthy scholars like Keith Barton, Wayne Journell, James Damico, Cynthia Tyson, and many more.

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Book SynopsisAction! Film is a common and powerful element in the social studies classroom and Cinematic Social Studies explores teaching and learning social studies with film. Teaching with film is a prominent teaching strategy utilized by many teachers on a regular basis. Cinematic Social Studies moves readers beyond the traditional perceptions of teaching film and explores the vast array of ideas and strategies related to teaching social studies with film. The contributing authors of this volume seek to explain, through an array of ideas and visions, what cinematic social studies can/should look like, while providing research and rationales for why teaching social studies with film is valuable and important.This volume includes twenty-four scholarly chapters discussing relevant topics of importance to cinematic social studies. The twenty four chapters are divided into three sections. This stellar collection of writings includes contributions from noteworthy scholars like Keith Barton, Wayne Journell, James Damico, Cynthia Tyson, and many more.

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Book SynopsisPedro Almodóvar may have helped put queer Iberian cinema on the map, but there are multitudes of LGBTQ filmmakers from Catalonia, Portugal, Castile, Galicia, and the Basque Country who have made the Peninsula one of the world’s most vital sources for queer film. Together, they have produced a cinema whose expressions of queer desire have challenged the region’s conservative religious and family values, while intervening in vital debates about politics, history, and nation. Indiscreet Fantasies is a unique collection that offers in-depth analyses of fifteen different films produced in the region over the past fifty years, each by a different director, from Narciso Ibáñez Serrador’s La residencia (The House That Screamed, 1969) to João Pedro Rodrigues’s O ornitólogo (The Ornithologist, 2016). Contributors examine how queer Iberian cinema has responded to historical trauma—from the AIDS crisis to the repressive and homophobic Franco regime—and explore how these films demonstrate a fluid understanding of sexuality, gender, and national identity. The result will give readers a new appreciation for the cultural diversity of Iberia and the richness of its thought-provoking queer cinema. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review"The editors of Indiscreet Fantasies have compiled a significant collection of essays that will be of interest to film scholars because they analyze cinema that sheds a new light on the representations of Iberian cultures and identities."— Isabel Estrada, author of El documental cinematográfico y televisivo contemporáneoTable of Contents List of Illustrations Introduction Andrés Lema-Hincapié and Conxita Domènech Part I: Into the Realm of Sexual Provocations Chapter 1: The Queer Gothic Regime of Narciso Ibáñez Serrador’s La residencia (1970) Ann Davies Chapter 2: A Queer Path to “Normal”: Pablo Berger’s Torremolinos 73 (2003) Meredith Lyn Jeffers Part II: Queer Intimacy—Within the Household Chapter 3: Turning Around Altogether: Gyrodynamics, Family Fantasies, and Spinnin’ (2007), by Eusebio Pastrana Nina L. Molinaro Chapter 4: Framing Queer Desire: The Construction of Teenage Sexuality in Krámpack (2000), by Cesc Gay Ana Corbalán Chapter 5: Bridging Sexualities: Polyamory, Art, and Temporary Space in Castillos de cartón (2009), by Salvador García Ruiz Jennifer Brady Part III: Queering Iberian Politics Chapter 6: Eloy de la Iglesia’s El diputado (1978): On the Margins of Spanish Democracy Lena Tahmassian Chapter 7: A Blatant Failure in Francoist Censorship: Jaime de Armiñán’s Mi querida señorita (1971) Conxita Domènech Chapter 8: Social Danger and Queer Nationalism in Ignacio Vilar’s A esmorga (2014) Darío Sánchez González Chapter 9: A Basque-Themed Film and the Performativity of Identity in Roberto Castón’s Ander (2009) Ibon Izurieta Part IV: Queer Catalonia—Destroying Essential Representations Chapter 10: The Barbarians’ Inheritance: Memory’s Brittleness and Tragic Lucidity in Ventura Pons’s Amic/Amat (1998) and Forasters (2008) Joan Ramon Resina Chapter 11: Intertextual Representations and Lesbian Desire in Marta Balletbò-Coll’s Sévigné (Júlia Berkowitz) (2004) María Teresa Vera-Rojas Chapter 12: “Com si fóssim la pesta”: Francoism and the Politics of Immunity in Agustí Villaronga’s Pa negre (2010) William Viestenz Part V: Burning Counterpoints with Religiosity Chapter 13: Bound and Cut: João Pedro Rodrigues’ O ornitólogo (2016) Kelly Moore Chapter 14: Queering Lisbon in Paulo Rocha’s A raíz do coração (2000): Santo António Festivities, Politics, and Drag Queens Rui Trindade Oliveira Chapter 15: Entre tinieblas (1983): Pedro Almodóvar, a Reformer of Catholicism? Andrés Lema-Hincapié Acknowledgments Bibliography Index Notes on Contributors

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Book SynopsisThe first behind-the-scenes history of the organization behind the Academy Awards. For all the near-fanatic attention brought each year to the Academy Awards, the organization that dispenses those awards—the Academy of Motion Picture Arts and Sciences—has yet to be understood. To date, no one has ever produced a thorough account of the Academy’s birth and its awkward adolescence, and the few reports on those periods from outside have always had a glancing, cursory quality. Yet the story of the Academy’s creation and development is a critical piece of Hollywood’s history. Now that story is finally being told. Bruce Davis, executive director of the Academy for over twenty years, was given unprecedented access to its archives, and the result is a revealing and compelling story of the men and women, famous and infamous, who shaped one of the best-known organizations in the world. Davis writes about the Academy with as intimate a view of its workings, its awards, and its world-famous membership. Thorough and long overdue, The Academy and the Award fills a crucial gap in Hollywood history.Trade Review"A fond look at the genesis and growing pains of the world’s foremost film organization." * Kirkus *"The story of the first 50 years (1927–77) of the Academy of Motion Picture Arts is fascinating, and the Academy’s former executive director Davis (who worked there for 30 years) is the ideal person to write it… A book of wide appeal, starting but not ending with film buffs." * Library Journal *“Davis, whose book is subtitled ‘The Coming of Age of Oscar and the Academy of Motion Picture Arts and Sciences,’ focuses on the organization’s formative years, ‘an early life that deserves a bildungsroman.’” * New York Times *“In this engrossing behind-the-scenes look at the Academy of Motion Picture Arts and Sciences and the work it does during all five seasons—ahem, including awards—by a former Academy executive director, the real nights and bolts of how the Hollywood machine works is explained in insightful, and sometimes deliciously dishy detail.” * Town and Country *"That this Hollywood institution survived its first tumultuous decade is a tale which Davis recounts with wit and discernment. His erudition is icing on the cake: what could have been dry and academic is instead a highly readable book that can lay claim to being definitive." * Leonard Maltin's blog *"A tremendously in-depth history" * The Hollywood Reporter *"After serving as executive director of the Academy for over 20 years, Bruce Davis has penned the definitive history of the Academy Awards, from their awkward inception to the present. Davis was granted unprecedented access to the Academy archives for this compelling read about the way the Oscars work." * Yahoo News *"Film historians and others digging for a deeper vein of Oscar knowledge than mere trivia will turn up many nuggets in The Academy and the Award, which focuses on the initial three decades in the corporate life of the sword-wielding statuette. Oscar would be lucky to have as keen and even-handed a historian as Davis to explore its next era." * US News & World Report *“[Davis’s] academic background and years at the Academy made him the ideal writer for this invaluable book.” * Variety *“Authoritative doesn’t begin to describe the comprehensive Hollywood history Davis unfolds in The Academy and the Award. Not the usual breezy picture book, this is a meticulously researched and eye-opening account by a veteran member of The Academy of Motion Picture Arts and Sciences which, of course, hands out the Oscars every year. As the Academy nears its first century, surprisingly this is only the first truly in-depth history.” * Boston Herald *“The Academy’s history is inextricable from Hollywood’s, and The Academy and the Award is a vital contribution and necessary step to documenting the organization and the impact of its Academy Awards.” * Media Industries Journal *"If you happen to care about the history of the Academy of Motion Picture Arts and Sciences (at least in its first fifty years), you’ll have no shortage of reasons to read Bruce Davis’ forthcoming book, The Academy and the Award." * Deadline *“With a discerning eye and a wealth of experience, Bruce Davis transforms what could have been dry and academic into an erudite and witty saga. He buries a number of myths and rumors surrounding the Oscars, and reveals how the organization survived its chaotic early years. The Academy and the Award is a major contribution to Hollywood history—and a great read.” -- Leonard Maltin, film critic and historian“Wide ranging in his objective perspective, but always humanly intimate, Davis examines the in-house records of the Board of Governors, memos of its Presidents, and letters from the Academy’s more activist members, with much added flavoring and gossip. Davis’s seminal history of the Academy of Motion Picture Arts and Sciences reads with all the honed stagecraft and drama of an Oscar nominated screenplay.” -- John Bailey, cinematographer; Academy President 2017-2019“In this entertaining, well-researched history, Bruce Davis traces how a marginal organization that teetered on the brink of bankruptcy for years became a major cultural institution that awards a coveted prize.” -- Charles Solomon, author of The Man Who Leapt Through Film“There are few people who know (and can explain) the inner machinations of The Academy of Motion Picture Arts and Sciences, but if anyone can do it, Bruce Davis is that man. I am thrilled that there is finally a serious history of the organization and the people behind it, with names that you'll recognize and those you won't. This is the definitive history of the Academy: it deserves a place on one's shelf, or inside one's Kindle. Mr. Davis’s magnum opus is essential reading for any serious cinephile.” -- Robert Harris, Motion Picture Archivist“With the skill and wit of a great story teller, Bruce Davis transports us into the secret boardrooms filled with powerful moguls and charismatic stars, the screenwriters and directors, the cinematographers and visionary scientists who frame-by-frame crafted the movies into the art form we cherish today. Here is the fascinating tale of how the coveted golden statuette of Oscar almost wasn’t and came to be. How I wish I had known this history when I joined the Academy. Pure magic!” -- Kathy Bates, Oscar recipient, past Academy Governor“I recommend this book to everyone who loves the movies and the Oscars!” -- Walter Mirisch, Academy President 1973-1977“This wonderful book is often funny, sometimes shocking, and always incredibly informative as we get the inside story at the Academy, from its humble beginnings at the Biltmore, to its eventual phenomenal industry success.” -- Ed Begley, Jr., Actor, and three-term Academy Actors branch governor"The real issue for the Oscar telecast, according to the Academy’s 22-year executive director Bruce Davis, author of the just-published—and dead-on accurate—The Academy and the Award: The Coming of Age of Oscar and the Academy of Motion Picture Arts and Sciences, is the disparity between the top box-office movies and the movies that are winning Oscars.” * IndieWire *“This account by a former executive director of the Academy of Motion Picture Arts and Sciences is an interesting and detailed one. . . . How did the Oscar get its name? What exactly are the Jean Hersholt and Irving Thalberg awards? Almost as intriguing are the sections about the extremely short presidential term of Bette Davis (she had a cup of coffee in the role, leading only one board meeting) and an explanation of how the Oscar statuette was designed.” * Seattle Book Review *"An author with a deep affinity for and knowledge of movies and how they’re honored tells us all about Oscar. Davis keeps things both informative and entertaining with plenty of interesting factoids." * The Arts Fuse *“Bruce Davis' new book, The Academy and the Award, provides movie fans, film historians, and all those interested in American arts and culture with the first-ever comprehensive account of the history and evolution of the academy. . . . Davis is not only a supremely confident guide to the Oscars’ history but an engaging and entertaining narrator as well. His prose is consistently colorful and often novelistic in its vivid scene-setting and descriptive detail.” * Washington Examiner *“An erudite and witty look at the Academy’s history, The Academy and the Award is a vital chronicle of film history that will be sought after by American history aficionados and film fanatics alike. Davis has combined meticulous research with a dynamic narrative to reveal the compelling personalities of the actors, writers, directors, and filmmakers who comprised the Academy during its formative era.” * Public Libraries Online *“The text often put me in the moment . . . . Fleshing the early history is difficult from just organization records, but Davis presents an amazingly full picture of each era of the Academy.” * Marketing Movies *Table of ContentsIntroduction1. The Beginning: Unions, Censors and Scandals2. Academies. And Awards? 3. A Little Figure for Cedric Gibbons4. A System Evolves5. The Hays Incursion6. . . . And Sciences7. Academy Washed Up8. Better than Precious Ointment9. Frank Capra’s New Deal10. Honorary Awards11. Bette Davis and the War12. Post-War and Cold War13. Straining at the Leash14. Into the Modern Era15. Oscar Full-BlownEpilogueAcknowledgements

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Book SynopsisBollywood's India explores the nature of mainstream Hindi cinema, now best known as "Bollywood," and its non-realistic depictions of everyday life in India. Rachel Dwyer argues that Hindi cinema's interpretations of India over the last two decades are the most reliable guide to understanding the nation's changing dreams and hopes, fears and anxieties. She shows how escapism and entertainment function in Bollywood cinema, and what that reveals about Indian life and society. Bollywood's India looks at the ways in which Bollywood has imagined and portrayed the unity and diversity of India--what it believes and what it feels; life at home and in public.

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Book SynopsisFrom the fleetingly captured street scenes of the city symphony, to the meticulously reconstructed studio city of musical comedies; from the propagandistic Popular Front documentaries about construction workers, to poetic realism’s bittersweet portraits of populist neighborhoods: Social Architecture explores the construction, representation and experience of spaces and places in documentary and realist films of the French 1930s. In this book, Margaret C. Flinn tracks the relation between the emergent techniques of French sound cinema and its thematic, social and political preoccupations through analysis of discourse in contemporary press, theoretical texts and through readings of films themselves. New light is shed on works of canonical directors such as Renoir, Clair, Vigo and Duvivier by their consideration in relationship to little known documentary films of the era. Flinn argues that film has a readable architecture—a configuration of narrative and representations that informs, explains, and creates social identities, while reflecting upon the position of individuals within their societies.Trade Review'An intellectually ambitious project that brings together film history and architecture ... and a valuable contribution to scholarship on French cinema of the 1930s.' Ginette VincendeauWith a comprehensive bibliography, readable style, and pertinent screengrabs, this book opens up new pathways for understanding and appreciating the complex terrain of 1930s French cinema. French Studies Vol. 69 No. 3'Flinn’s book is a valuable and original contribution to research on one of the most important periods of French film history.'Edward Ousselin, French Review'This is a stimulating and forcefully argued book that clears the ground for future scholarship on the social politicity of art.'Ioana Vartolomei Pribiag, SubStance'Flinn’s book contains outstanding analyses of well-chosen works and productively draws on both early film theory and contemporary criticism. In addition to its scholarly value, the book’s contextual coverage of 1930s French cinema and its exemplary close readings could serve as an excellent pedagogical resource. The broadness of Flinn’s scope sometimes detracts from the coherence of the individual chapters’ arguments. Nevertheless, this wide scope also means that the book is rich, diverse, and a valuable contribution to scholarship.' Benjamin Williams, Symposium'Social Architecture of French Cinema, beautifully and accessibly written, is an important contribution to both film studies and architecture. The book generates numerous ideas that could be employed in other related fields as well.'H. Hazel Hahn, Studies in 20th & 21st Century LiteratureTable of Contents List of Illustrations Acknowledgements Introduction: An Architecture of Social Being 1. The Spatial Constitution of 1930s Documentary 3. René Clair’s City Views: Realism and Studio Paris 3. Intertext and Political Margins in Jean Renoir’s Boudu sauvé des eaux 4. Traversing Built History in Architectural Documentaries 5. Flâneuses and the Unmaking of Place 6. The Crowd as New Monumentality during the Popular Front Epilogue: Poetic Realism as Spatial Fable Notes Bibliography Index

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Book SynopsisIn the last quarter of the twentieth century a considerable number of Spanish films were involved in the task of essaying the nation, that is, of attempting to make it or make it over, of trying to reshape a national identity inexorably dictated by General Francisco Franco up to his death. The book explores four major issues in this regard: 1) the filmic negotiations of the borders of the nation, focusing particularly on the debated and controversial development of Basque cinema vis-à-vis the films produced in the rest of Spain; 2) the persistence of the old obsession with violence, thought of as an inescapable native trait, in a large amount of post-dictatorial films; 3) the newfound insatiable appetite for cinematic travelling, for going out and coming in through all possible variations of the road and travel movie genres; 4) and the vindication of the mother qua a benign emblem of the land and its people, of the nation. There is a narrative in Spanish cinema, taken as a collective discourse, which ties together these four cinematic topoi and proposes a nation whose specificity must be precisely its impurity—difference within as essence—a hybrid nation located in temporal and spatial rendezvous of past and present, tradition and novelty, centre and margin, inside and outside, on and beyond.Trade ReviewReviews 'Zamora's insightful observations and reflections, bolstered by illustrations, further understanding of how many recent Spanish fiction and nonfiction features have fruitfully undertaken the task of “essaying”—his term—the post-Franco nation. The thorough scholarly apparatus includes an extensive bibliography, and the volume was meticulously produced.' D West, CHOICE'Expansive in scope and analytically incisive, Featuring Post-National Spain makes a valuable and dynamic contribution to the fields of Hispanic Studies and Film and Visual Culture.' Fiona Noble, Bulletin of Spanish Visual StudiesTable of ContentsList of FiguresAcknowledgementsPrologue1. Borders (The Exemplary Basque Case)2. Violence (Spanish Eyes)3. Travel (The Transhumant Model)4. Mothers5. Final Remarks (For an Impure Nation)Works CitedIndex of NamesIndex of Film Titles and Directors

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Book SynopsisLove on the Dole (1933), the iconic novel about 1930s British working-class life, has a significant place in British cultural history. Its author, Walter Greenwood, went from unemployed Salford man to best-selling writer, and the novel has never been out of print. The 1935 stage adaptation was said to have been seen by three million people by 1940, including the King and Queen. Greenwood proposed a film adaption in 1936, but the story was pronounced too `sordid' and depressing' by the British Board of Film Censors. However, in 1940 the Ministry of Information decided that this story of pre-war economic and social failure should be filmed as a contribution to the `people's war'. It was widely regarded as one of the best British wartime productions - and all three versions of Love on the Dole were frequently referenced during wartime debate about how a reconstructed post-war society should make a repetition of the 1930s impossible. This study explores in detail what made this important text so influential, analyses the considerable differences between the novel, play and film versions and places the public response to Love on the Dole in its full historical context. It examines Greenwood's whole literary career and his continuing success until the 1960s: casting new light on his subsequent novels, plays and non-fiction works, few of which have received critical attention.Trade Review'A fascinating, comprehensive and vital study. It rehabilitates Greenwood as an artist, it analyses 1930s' culture, and it provides some engaging reflections on the history of Salford.' Dr Claire Warden, Reader in Drama, De Montfort UniversityTable of ContentsAcknowledgements Introduction 1. Love on the Dole: Novel 2. Love on the Dole: Play and Film 3. Walter Greenwood: Life and Writings Conclusion Bibliography Index

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Book SynopsisIn the spring and summer of 1973, a wave of martial arts movies from Hong Kong – epitomized by Bruce Lee’s Enter the Dragon – smashed box-office records for foreign-language films in America, and ignited a ‘kung fu craze’ that swept the world. Fighting without Fighting explores this dramatic phenomenon, and argues that, more than just a cinematic fad, the West’s sudden fascination with – and moral panic about – the Asian fighting arts has left lasting legacies into the present. The book traces the background of the craze in the longer development of Hong Kong’s martial arts cinema. It discusses the key films in detail, as well as their popular reception and the debates they ignited, where kung fu challenged Western identities and raised anxieties about violence, both on and off screen. And it examines the proliferation of ideas and images from these films in fields as diverse as popular music, superhero franchises, children’s cartoons and contemporary art. Illuminating and accessible, Fighting without Fighting draws a vivid bridge between East and West.

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Book SynopsisThis book examines the representation of women in relation to violence in Chinese crime films made on the mainland, and in Hong Kong and Taiwan. It introduces a new trajectory in the investigation of the cinematic representation of female figures in relation to gender issues by interweaving Western feminist and postfeminist critiques with traditional Chinese sociocultural discourse. An in-depth narrative identifies three major representations of women: the female victim, the female perpetrator of violence, and the female professional. Salience to contemporary society shows up in many ways, passive and active, all of which reinforce a sense of male dominance and patriarchal power. Analysis bridges the gap in the field of female representation in Chinese culture/Chinese film studies by systematically examining Chinese crime films as a genre in its own right. The depiction of female victimisation at the hands of men in the selected crime films consolidates the notion of women's vulnerability and inferiority as perceived in Chinese gender discourse. On the other hand, the representation of active female perpetrators of violence, and as professional working women, presents what may be seen as a postfeminist masquerade a cultural strategy that shows an ostensible impression of female empowerment albeit that it reinforces traditional gender hierarchies in the Chinese gender context. While graphic female victimisation is commonly presented, female perpetrators of violence and females in professional roles in crime films are shown to remain under the control of male authority, leading to the conclusion that Chinese crime films are produced in a context of heavy patriarchal power and misogyny.

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Book SynopsisThis film analysis textbook contains sixteen essays on historically significant, artistically superior films released between 1922 and 1982. Written for college, high school, and university students, the essays cover central issues raised in todays cinema courses and provide students with practical models to help them improve their own writing and analytical skills. This film casebook is geographically diverse, with eight countries represented: Italy, France, the United States, Russia, Germany, Great Britain, Japan, and India. The essays, sophisticated yet not overly technical or jargon-heavy, are perfect introductions to their respective films as well as important contributions to the field of film studies in general. The books critical apparatus features credits, images, and bibliographies for all films discussed, filmographies for the directors, a glossary of film terms, the elements of film analysis, a chronology of film theory and criticism, topics for writing and discussion, a bibliography of film criticism, and a comprehensive index. Understanding Film: A Viewers Guide bucks the trend of current film analysis texts (few of which contain actual film analyses) by promoting analysis of the chosen films alongside the methods and techniques of film analysis. It has been prepared as a primary text for courses in film analysis, and a supplementary text for courses such as Introduction to Film or Film Appreciation; History of Film or Survey of Cinema; and Film Directors or Film Style and Imagination.

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Book SynopsisCahiers du Cinema: Interviews with Film Directors, 19531970 brings together eighteen directorsOtto Preminger, Roberto Rossellini, John Ford, Howard Hawks, Max Ophuls, Nicholas Ray, Orson Welles, Fritz Lang, Alain Resnais, Jean-Luc Godard, Francois Truffaut, Michelangelo Antonioni, Carl-Theodor Dreyer, Federico Fellini, Robert Bresson, Joseph L. Mankiewicz, Jean Renoir, and Eric Rohmer -- who are among the leading auteurs in the history of the cinema. The interviews were all commissioned for the legendary movie journal Cahiers du Cinema (the oldest such French-language magazine in continuous publication), the first critical enterprise to treat films, particularly Hollywood films, as a serious art form. Co-founded in 1951 by Andre Bazin, Jacques Doniol-Valcroze, and Joseph-Marie Lo Duca, Cahiers was edited, after 1957, by Rohmer himself, including among its writers (and interviewers) Jacques Rivette, Godard, Claude Chabrol, and Truffaut -- all of whom went on to become highly influential filmmakers. Conducted in Cahiers famously in-depth, critical and engaged style, the interviews in this volume catch each director at a crucial juncture in his development as an artist, and stand as a historical record of the dominance of the Euro-American tradition in cinematic art. This is the first such collection of its kind in English, edited with a contextualizing introduction, critical biographies, career filmographies, and a comprehensive index by the American scholar James R. Russo.

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Book SynopsisDaughters of Darkness (1971) is a vampire film like no other. Heralded as psychological high-Gothic cinema, loved for its art-house and erotic flavors, Harry Kümel's 1971 cult classic is unwrapped in intricate detail by writer Kat Ellinger to unravel the many mysteries surrounding just what makes it so appealing. This book, as part of the Devil’s Advocates series, examines the film in the context of its peers and contemporaries, in order to argue its place an important evolutionary link in the chain of female vampire cinema. The text also explores the film's association with fairy tales, the Gothic genre, and fantastic tradition, as well as delving into aspects of the legend of Countess Bathory, traditional vampire lore, and much more. The book contains new and exclusive interviews with director Harry Kümel and actress and star Danielle Ouimet.

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Book SynopsisUnquestionably the first cinematic phenomenon of the twenty-first century, Peter Jackson's trilogy was a project of enormous artistic vision and financial risk. It is also a rich text for those studying film and media, perhaps for the first time. Studying The Lord of the Rings is the first book to consider the films in these terms, looking in turn at each of the major concepts: their complex origins and narrative structure; issues of representation masculinity, femininity and race; their generic patterns (to which genre do the films belong?) and thematic concerns; their industrial context from theatrical release to DVD extended editions; film language fusing classical mise-en-scène with cutting-edge technological practice. The aim throughout is to highlight critical debates and key terms, to relate these to the texts and to explore their stylistic and cultural impact. This Student Edition (a previously published Instructor's Edition is available) brings the story up to date with reflections on The Hobbit films.Trade Review‘Iconic, beloved, celebrated, acclaimed – all these words can be applied to The Lord of the Rings film trilogy, and Anna Dawson’s book certainly increases one’s appreciation of the masterful adaptations. [...] The book is clearly aimed at those who are early in their studies of the artform and as such, it succeeds admirably as a fascinating and accessible text for one to sink their teeth into the art of studying film.’ Samuel Love, FilmJuice

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Book SynopsisAimed at newcomers to literature and film, this book is a guide for the analysis of Shakespeare on film. Starting with an introduction to the main challenge faced by any director—the early-modern language—there follows exemplars for examining how that challenge is met using as case studies twelve films most often used in classroom teaching, including Romeo and Juliet, Macbeth, and The Tempest.The first chapter explores how a director can tell the story in a setting that embraces the expectations of realism in cinema, but still pays homage to the theatrical origins of the work. The second chapter discusses films in which the setting provides a visual analogy with the preoccupations of the story, but not at the expense of Shakespeare's language. The third chapter extends this to show how some films use recent history as a setting, adding a further layer of meaning to the story from the cultural resonances associated with that historical past. These films also rely on an assumption that Shakespeare is so well-known as to form a distinctive, easily recognized brand in the cinema marketplace. Thus, his work can be reimagined in completely different genres such as those films that are the subject of the final chapter.

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Book SynopsisMuslim Women in French Cinema: Voices of Maghrebi Migrants in France is the first comprehensive study of cinematic representations of first-generation Muslim women from the Maghreb (Algeria, Morocco, Tunisia) in France. Women of this generation migrated to France during the decades preceding and following the end of French colonial rule, and they are generally – though not always accurately – regarded as belonging to a generation of migrants silenced under the weight of poverty, illiteracy, Islamic tradition, and majority ethnic Islamophobia. Situated at the intersection of post-colonial studies, gender studies, and film studies, this book brings together a diverse corpus of over 60 documentaries, short films, téléfilms (made-for-television films), and feature films released in France between 1979 and 2014, and it devotes one chapter to each kind of film. In examining the ways in which the voices, experiences, and points of view of Maghrebi migrant women in France are represented and communicated through a selection of key films, this study offers new perspectives on Maghrebi migrant women in France. It shows that women of this generation, as they are represented in these films, are far more diverse and often more empowered than has generally been thought. The films examined in this book contribute to larger contemporary debates and discussions relating to immigration, integration, and identity in France.Trade Review'Kealhoffer-Kemp’s book is a must-read for anyone interested in the integration of Muslims in contemporary France—a topic that has again become controversial.' Mary Jean Green, French Review'The strength of this book lies not only in the originality of its topic, but also in the unique way it examines a large corpus of films to show the diversity within the representations of first-generation Muslim Maghrebi women.' Mireille Rebeiz, Irish Journal of French Studies'Muslim Women in French Cinema is well-written, well-documented and provides new insight into the subject.' Professor Patricia Geesey, University of North Florida'This study offers a rich compendium of resources and analyses for scholars working on French film and cultural studies across an array of disciplines.' Greta Bliss, L'Esprit Créateur'You will want to read and purchase this important book not only for its contribution to current discussions about French identity and the composition of the Hexagone, but also for its comprehensive overview of the various cinematic representations of this generation of women.' Michael F. O’Riley, H-France‘Through careful examination of a broad corpus of over sixty films produced between 1978 and 2014, Kealhofer-Kemp traces the figure of the Maghrebi woman migrant across multiple genres, whether as documentary subject or as recurrent fictional character. […] This study offers a rich compendium of resources and analyses for scholars working on French film and cultural studies across an array of disciplines.' Greta Bliss, L’Esprit CréateurReviews 'An excellent read for both undergraduate- and graduate-level courses at the intersections of film studies, gender studies, and religion, as well as (im)migration studies. The book also provides a detailed list of films under analysis (pp.195-198) that could be used to guide further research on the topic or to choose films to add to the syllabus.' Shreya Parikh, Journal of Religion & FilmTable of ContentsList of IllustrationsAcknowledgementsIntroduction: Maghrebi Migrant Women in France and French Cinema1 The Voices of Maghrebi Women in Documentary Films: Framing Construction and Transparency2 First-Generation Women in Short Films: Crossing Barriers and Communicating Experiences through Objects3 The Voices of Maghrebi Migrant Women in French Téléfilms: Portraying Agency4 Transmitting the Voices of Maghrebi Women through Feature Films: From Verbal to Non-Verbal Forms of CommunicationConclusionAppendixNotesBibliographyIndex

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Book SynopsisFrom the fleetingly captured street scenes of the city symphony, to the meticulously reconstructed studio city of musical comedies; from the propagandistic Popular Front documentaries about construction workers, to poetic realism’s bittersweet portraits of populist neighborhoods: Social Architecture explores the construction, representation and experience of spaces and places in documentary and realist films of the French 1930s. In this book, Margaret C. Flinn tracks the relation between the emergent techniques of French sound cinema and its thematic, social and political preoccupations through analysis of discourse in contemporary press, theoretical texts and through readings of films themselves. New light is shed on works of canonical directors such as Renoir, Clair, Vigo and Duvivier by their consideration in relationship to little known documentary films of the era. Flinn argues that film has a readable architecture—a configuration of narrative and representations that informs, explains, and creates social identities, while reflecting upon the position of individuals within their societies.Trade Review'An intellectually ambitious project that brings together film history and architecture ... and a valuable contribution to scholarship on French cinema of the 1930s.' Ginette VincendeauWith a comprehensive bibliography, readable style, and pertinent screengrabs, this book opens up new pathways for understanding and appreciating the complex terrain of 1930s French cinema. French Studies Vol. 69 No. 3'Flinn’s book is a valuable and original contribution to research on one of the most important periods of French film history.'Edward Ousselin, French Review'This is a stimulating and forcefully argued book that clears the ground for future scholarship on the social politicity of art.'Ioana Vartolomei Pribiag, SubStance'Flinn’s book contains outstanding analyses of well-chosen works and productively draws on both early film theory and contemporary criticism. In addition to its scholarly value, the book’s contextual coverage of 1930s French cinema and its exemplary close readings could serve as an excellent pedagogical resource. The broadness of Flinn’s scope sometimes detracts from the coherence of the individual chapters’ arguments. Nevertheless, this wide scope also means that the book is rich, diverse, and a valuable contribution to scholarship.' Benjamin Williams, Symposium'Social Architecture of French Cinema, beautifully and accessibly written, is an important contribution to both film studies and architecture. The book generates numerous ideas that could be employed in other related fields as well.'H. Hazel Hahn, Studies in 20th & 21st Century LiteratureTable of Contents List of Illustrations Acknowledgements Introduction: An Architecture of Social Being 1. The Spatial Constitution of 1930s Documentary 3. René Clair’s City Views: Realism and Studio Paris 3. Intertext and Political Margins in Jean Renoir’s Boudu sauvé des eaux 4. Traversing Built History in Architectural Documentaries 5. Flâneuses and the Unmaking of Place 6. The Crowd as New Monumentality during the Popular Front Epilogue: Poetic Realism as Spatial Fable Notes Bibliography Index

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Book SynopsisFrom Wild Tales to Zama, Argentine cinema has produced some of the most visually striking and critically lauded films of the 2000s. Argentina also boasts some of the most exciting contemporary poetry in the Spanish language. What happens when its film and poetry meet on screen? Moving Verses studies the relationship between poetry and cinema in Argentina. Although both the “poetics of cinema” and literary adaptation have become established areas of film scholarship in recent years, the diverse modes of exchange between poetry and cinema have received little critical attention. The book analyses how film and poetry transform each another, and how these two expressive media behave when placed into dialogue. Going beyond theories of adaptation, and engaging critically with concepts around intermediality and interdisciplinarity, Moving Verses offers tools and methods for studying both experimental and mainstream film from Latin America and beyond. The corpus includes some of Argentina’s most exciting and radical contemporary directors (Raúl Perrone, Gustavo Fontán) as well as established modern masters (María Luisa Bemberg, Eliseo Subiela), and seldom studied experimental projects (Narcisa Hirsch, Claudio Caldini). The critical approach draws on recent works on intermediality and “impure” cinema to sketch and assess the many and varied ways in which directors “read” poetry on screen.Trade Review‘Moving Verses: Poetry on Screen in Argentine Cinema breaks new ground in a relatively little-studied interdiscipline sitting at the nexus of poetry and film. It sheds significant light on the many pathways by which the two genres of practice intersect, with particular attention paid to what poetry affords to film.’ Rebecca Kosick, University of Bristol‘This is a thoroughly researched and original work, which presents detailed and persuasive studies of films that have not previously received sufficient attention from scholars. Through its rigorous focus on encounters between poetry and film, Bollig’s book makes a significant contribution to debates on intermediality and experimental cinema both in Latin America and elsewhere.’ Paul Merchant, University of Bristol‘Moving Verses is a thoughtful reflection on the interplay between film and poetry... an excellent read for anyone interested in Argentine cinema and poetry, experimental cinema, and more broadly, in the question of intermediality as it applies to film.’ Eduardo Ledesma, Bulletin of Spanish Studies‘Moving Verses is an excellent and original contribution to the study of cinema and the Argentine poetry of the last fifty years that also offers hermeneutic and methodological tools to those interested in exploring issues of intermediality in Latin America and beyond.’ Ignacio Aguiló, Hispanic Research Journal‘A highlight is Bollig’s discussion of Santiago Loza’s Rosa Patria on the heterodox life and work of Néstor Perlongher, who fiercely resisted identitary and gender/genre categorization… Bollig’s overarching argument, as well as his careful close readings of films, makes for a compelling and much-needed contribution to the field of intermedial studies.’ Erin Graff Zivin, Modern Language ReviewTable of ContentsList of IllustrationsThanks and AcknowledgmentsIntroductionChapter OneExperimental Cinema as Poetic Cinema. The “Grupo Goethe” and the Films of Hirsch and CaldinChapter TwoEliseo Subiela’s Dark Sides of the Heart: Poetry and Performance in “Old Argentine Cinema.”Chapter ThreeRegarding the Lives of Poets. On Biopics and Poetic DocumentariesChapter FourPoetry-Value-Film in the Cinema of Raúl PerroneChapter FiveEyes Already Open: Gustavo Fontán’s El limonero real and La deudaChapter SixThe Poet as Screenwriter: Landscape and Protagonism in Papu Curotto’s EsterosConclusionIntermediality and the Screening of DifferenceFilmographyBibliographyIndex

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Book SynopsisEbook available to libraries exclusively as part of the JSTOR Path to Open initiative. Parisiennes: City Women in French Cinema examines French films that screen women as main characters in the city of Paris from 1957 to the present day.

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Book SynopsisHorror's pleasures fundamentally hinge on looking backward, either on destabilising trauma, or as a period of comfort and happiness which is undermined by threat. However, this stretches beyond the scares on our screens to the consumption and criticism of the monsters of our past. The horror films of our youth can be locations of psychological and social trauma, or the happy place we go back to for comfort when our lives become unsettled. Horror That Haunts Us: Nostalgia, Revisionism, and Trauma in Contemporary American Horror is a collection of essays that brings together multiple theoretical and critical approaches to consider the way popular horror films from the last fifty years communicate, embody, and rework our view of the past. Whether we look at our current relationship to the scary movies of decades ago as personal or cultural memory, the way historical and sociopolitical events and frameworks especially traumas reframe the way we look at our pasts, or even the way recent horror films and video games look back at our past (and the past of the genre itself) through a filter of experience and history, this collection will show the close relationship between nostalgia and popular horror. These essays also demonstrate a range of unique and diverse points of view from both established and emerging scholars on the subject of horror and the past. Edited by seasoned horror experts Karrá Shimabukuro and Wickham Clayton, Horror That Haunts Us is a book with the aim of examining why we return again and again to certain popular horror films, either as remakes or reboots or as the basis for pastiche and homage.

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Book SynopsisThis collection of ten chapters and three original interviews with Québécois filmmakers focuses on the past two decades of Quebec cinema and takes an in-depth look at a (primarily) Montreal-based filmmaking industry whose increasingly diverse productions continue to resist the hegemony of Hollywood and to exist as a visible and successful hub of French-language and ever more multilingual cinema in North America. This volume picks up where Bill Marshall's 2001 Quebec National Cinema ends to investigate the inherently global nature of Quebec's film industry and cinematic output since the beginning of the new millennium. Through their analyses of contemporary films (Une colonie, Avant les rues, Bon cop, bad cop, Les Affamés, Tom à la ferme, Uvanga, among others), directors (including Xavier Dolan, Denis Côté, Sophie Desrape, Chloé Robichaud, Jean-Marc Vallée, and Monia Chokri) and genres (such as the buddy comedy and the zombie film), our authors examine the growing tension between Queb

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Book SynopsisEbook available to libraries exclusively as part of the JSTOR Path to Open initiative. Parisiennes: City Women in French Cinema examines French films that screen women as main characters in the city of Paris from 1957 to the present day.

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Book SynopsisFrom Wild Tales to Zama, Argentine cinema has produced some of the most visually striking and critically lauded films of the 2000s.

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Book SynopsisThis deeply accomplished and lively monograph charts the career of a travelling French actor-manager whose impact and significance have been overlooked.

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Book SynopsisFirst exploration of Jarman's engagement with the medieval, revealing its importance to his work. FINALIST IN THE HISTORIANS OF BRITISH ART BOOK AWARDS 2020 The artist and filmmaker Derek Jarman (1942-1994) had a lifelong appreciation of medieval culture. But with the possible exception of Edward II, Jarman's films have not been identified to date as making a major contribution to the depiction of the Middle Ages in cinema. This book is the first to uncover a rich seam of medievalism in Jarman's art. Taking in major features such as Caravaggio, The Garden and The Last of England, as well as some of the unrealised screenplays and short experimental films, the book proposes an expanded definition of medieval film that includes not just worksset in or about the Middle Ages, but also projects inspired more broadly by the period. It considers Jarman's engagement with Anglo-Saxon poetry (notably The Wanderer); with works by fourteenth-century poets such as Chaucer, Dante and Langland; with saints and mystics from Joan of Arc to Julian of Norwich; and with numerous paintings, buildings and objects from this so-called "middle" time. Organised around several key themes - periodisation,anachronism, ruins and wandering - the book also asks what happens when (with Jarman, but also more broadly) we think the categories "medieval" and "modern" together. As such, it will be of interest to film scholars, art historians and medievalists of all stripes who wish to rattle the temporal cages of their fields. ROBERT MILLS is Professor of Medieval Studies at University College London.Trade ReviewBecause he ranged across media, Jarman can be difficult to pin down and locate in a tidy narrative of contemporary culture, and it is precisely the challenge of that untidiness that is the focus of Robert Mills's brilliant book on the artist. * MEDIEVALLY SPEAKING *Derek Jarman's Medieval Modern makes a major contribution to medieval(ist) studies and demonstrates Mills's astonishing facility with all aspects of the area, embracing history, art history, modernism, queer studies, cinema and music video, manuscript culture, and architecture. * SPECULUM *Table of ContentsIntroduction Derek Jarman Gets Medieval Always Contemporary A Life in Ruins The Wandering Jarman Afterword Notes Bibliography Filmography

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Book SynopsisJan Culik's book analyses the value system constructed by Czech feature films produced since the fall of communism in 1989. It provides an overview of some three hundred Czech feature films made during this period. Over fourteen chapters, the book shows how Czech film makers have dealt with the legacy of communism and other traumatic past experiences, and how they have borne witness to recent political and social developments in the Czech Republic. In Culik's view, Czech feature film constructs an image of society which is still heavily influenced by the so-called "normalisation" regime of the 1970s and 1980s, which was created in Czechoslovakia after the 1968 Soviet invasion. Czech feature films bear witness to a society which suffers from fairly weak social and political structures. Many Czech films highlight the subordinate position of women in Czech society and project an image of impractical, inefficient, and aggressive men. In discussing the films, Culik uses the methodology of Cultural Studies, in which art is seen primarily as a specific kind of social communication within a certain cultural and historical context.Trade Review"Jan Culik's book is an excellent, well-organized, thoughtful, informative, illuminating and thoroughly scholarly work. It is also easily accessible to the general readership. I fully recommend it." -- Josef kvorecky, Novelist. The Late Professor Emeritus of English and Film, University of Toronto"This is a remarkable contribution to the analysis of the value system disseminated by contemporary Czech cinema within Czech society." -- Professor Jiri Holy, Charles University, Prague"Culiks book is invaluable as a source of information on a national cinema that has long since receded from visibility." - Jonathan Owen, Department of Film Studies, University of St Andrews, Slavonic and East European Review (vol. 92, no. 1, January 2014).

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Book SynopsisThis is the first ever international comparative study of the mythologies which popular TV series in Czechoslovakia/Czech Republic, Hungary, Poland and Romania -- made before and after the fall of communism -- disseminate in their societies. Popular television broadcasting has had an enormous impact on the general public's beliefs and values, East and West. From the outset, the communist systems of Central and East Europe used entertainment television programming to instil the regimes' values in the viewer. And indeed popular television still exerts a major impact on these fairly homogeneous societies. Up to date research about current social values and factors in the formation of individual and collective identity has considerable strategic importance for decision making both in Britain and in the EU. If we are to understand how the populations of the Central and East European countries might react in the current relatively unstable political and economic situation, it is necessary to understand the indigenous political, social and cultural discourse in these countries. Comparison of samples of popular television from the 1970s, 1980s and 2000s provides strategically significant material about how these societies think and rationalise, and what their thinking is rooted in. The study proceeds from the premise that popular television series provide a fertile ground of investigation as mass media reflects and shapes social and cultural values.

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Book SynopsisA history of Latin American cinema, with detailed analysis of the twenty-five best films. Latin American cinema has seen major developments in the past half-century, and some of the most exciting work in contemporary film now originates there. This Companion traces its development from the mid 1890s, with particular attention to the early period when it was dominated by foreign film makers (or foreign models such as Hollywood), through the 1960s when as a genre it found its feet - the New Latin American Cinema movement - and beyond. Detailed analysis of the best twenty-five films of Latin America follows: cast and crew, awards, plots, themes and techniques. The 'Guide to Further Reading' includes important books, articles and Internet sites. FILMS:Que viva México Los olvidados Dos tipos de cuidado Orfeu Negro Memorias del subdesarrollo Lucía El chacal de Nahueltoro Yawar Mallku La batalla de Chile La última cena Pixote: a lei do mais fraco El Norte CamilaLa historia oficial Cartas del parque La tarea Yo, la peor de todas La frontera El viaje Fresa y chocolate Como agua para chocolate Central do Brasil Amores perros Y tu mamá también Cidade de Deus. STEPHEN M. HART is Professor of Hispanic Studies, University College London, and Profesor Honorario, Universidad de San Marcos, Lima.Trade ReviewA welcome addition to the study of Latin American film and an essential text for both the study and teaching of undergraduate Latin American film courses. * JILAS~ JOURNAL OF IBERIAN AND LATIN AMERICAN STUDIES *Hart's comments are intelligent and perceptive, and he provides solid information on each film. As a whole, the volume essentially constitutes the base for an excellent year-long introductory course on Latin American film. [...] A masterful contribution to the growing bibliography of monographs and reference works on Latin American film. * MODERN LANGUAGE REVIEW *Table of ContentsIntroduction to Latin American Film ¡Qué viva México! Los olvidados Dos tipos de cuidado Orfeu negro Memorias del subdesarrollo Lucía El chacal de Nahueltoro Yawar Mallku La batalla de Chile La última cena Pixote: a lei do mais fraco El Norte Camila La historia oficial Cartas del parque La tarea Yo, la peor de todas La frontera El viaje Fresa y chocolate Como agua para chocolate Central do Brasil Amores perros Y tu mamá también Cidade de Deus

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Book SynopsisHow should a seventeenth-centry Spanish verse play be presented to a contemporary English-speaking audience? For many reasons, but most usually the lack of playable modern translations, the plays of the seventeenth-century Spanish Comedia have appeared infrequently on the stages of the English-speaking world. Once such translations began to appear in the final decades of the twentieth century, productions followed and audiences were once again given the opportunity of discovering the enormous riches of this theatre. The bringing of Spanish seventeenth-century verse plays to the contemporary English-speaking stage involves a number of fundamental questions. Are verse translations preferable to prose, and if so, what kind of verse? To what degree should translations aim to be "faithful"? Which kinds of plays "work", and which do not? Which values and customs of the past present no difficulties for contemporary audiences, and which need to be decoded in performance? Which kinds of staging are suitable, and which are not? To what degree, if any, should one aim for "authenticity" in staging? And so on. In this volume, a distinguished group of translators, directors, and scholars explores these and related questions in illuminating and thought-provoking essays. EDITORS: Susan Paun de García and Donald Larson are Associate Professors of Spanish at the Universities of Denison and Ohio State respectively. OTHER CONTRIBUTORS: Isaac Benabu, Catherine Boyle, Victor Dixon, Susan Fischer, Michael Halberstam, David Johnston, Catherine Larson, A. Robert Lauer, Dakin Matthews, Anne McNaughton, Barbara Mujica, James Parr, Dawn Smith, Jonathan Thacker, Sharon VorosTrade Review[B]ooks like The Comedia in English will prove indispensible in helping to bridge the gap between comediantes and English-speaking practitioners, audiences, and critics alike. ROMANISCHE FORSCHUNGEN [T]he book's variety of perspectives coupled with the quality of the articles, make this a work worthy of attention by anyone with an interest in the current state of the comedia in the Anglophone world, whether in Spanish or English translation. * BULLETIN OF SPANISH STUDIES *Due to the variety of approaches combined with the expertise, experience and cross-referencing of its contributors, this volume is indispensable for anyone interested in translating, producing, directing, performing, studying or simply viewing the Spanish comedia in English. * THE JOURNAL OF THEATRE RESEARCH INTERNATIONAL *A useful, inspiring collection for students of early modern Spanish drama. Summing Up: Highly recommended. * CHOICE *Table of ContentsThe Comedia in English: An Overview of Translation and Performance Translating Comedias into English Verse for Modern Audiences - Dakin Matthews Translating the Polymetric Comedia for Performance [with Special Ref erence to Lope de Vega's Sonnets] - Victor Dixon Lope de Vega in English: The Historicised Imagination - David Johnston Found in Translation: María de Zaya's Friendship Betrayed and the En glish-Speaking Stage - Catherine Larson Transformation and Fluidity in the Translation of Classical Texts for Perfo rmance: The Case of Cervantes's Entremeses - Dawn L. Smith Translation as Relocation - Ben Gunter Rehearsing Spite for Spite - Michael Halberstam Directing Don Juan, The Trickster Of Seville - Anne McNaughton Directing the Comedia: Notes on a Process - Tirso's Tamar Untamed: A Lesson of the Royal Shakespeare Company's Producti on - Jonathan W. Thacker The Loss of Context and the Traps of Gender in Sor Juana's Los empeños de una casa/House of Desires - Catherine M. Boyle Tirso's Burlador de Sevilla as Playtext in English - James Parr Anne McNaughton's Don Juan: A Rogue for All Seasons - A. Robert Lauer Aspectual, Performative, and "Foreign" Lope/Shakespeare: Staging Capulet s & Montagues and Peribáñez in English and Romeo and Juliet in "Sicilian"I> in "Sicilian" - Susan L. Fischer Zaya's Comic Sense: The First Performance in English of La traición en la amistad - Sharon D Voros María de Zaya's Friendship Betrayed à la Hollywood: Translation, Transculturation, and Production - Barbara Mujica

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Book SynopsisMemory and mourning in Colombia. This book provides the first in-depth examination of a representative range of contemporary Colombian cultural engagements with the conflicts known simply as La Violencia that began in Colombia in the late 1940s. These include Gustavo Alvarez Gardeazábal's now classic revision of the 'novela de la Violencia', the autobiographical cycle of acclaimed author Fernando Vallejo, versions of the testimonio by Alfredo Molano and internationally renowned novelist Laura Restrepo, as well as cinematic works by Carlos Mayolo and Luis Ospina. These cultural icons, many of whom are remarkably understudied, show how the heterogeneity of social and cultural processes condensed in La Violencia demands a deconstruction of 'violence' in Colombian culture. This argument is developed in dialogue with European and Latin American cultural theory and contributes to theoretical debates surrounding issues of memory and mourning developed in other Latin American contexts. The narratives explored in this book provide alternatives to abstract historicism and show us how to imagine ways out of deeply rooted cycles of violence. Yet their insistence on haunting and spectres signals the problems besetting the task of mourning in Colombia, positing history rather than psychology as a remainder that troubles efforts to forge collective memories and enact social reconciliation. RORY O'BRYEN lectures in Latin American literature and culture at the University of Cambridge.Trade ReviewEl logro fundamental de O'Bryen consiste en mostrar que en la aproximación a La Violencia que lleva a cabo cada una de las diferentes producciones culturales, se va construyendo una narrativa nacional necesaria y urgente. * REVISTA DE ESTUDIOS HISPANICOS *Se trata de un libro cuya novedosa perspectiva será de interés para quines trabajan sobre cone y literatura hispanoamericana de los últimos cincuenta años, o investigadores del tema de testimonio en Latinoaméricana, pero será especialmente útil para quienes trabajan temas culturales colombianos en su inevitable relación con la Violencia. * REVISTA IBEROAMERICANO *Table of ContentsTowards a "Hauntology" of la Violencia: Gustavo Alvarez Gardeazábal Writing with Ghosts: Fernando Vallejo's Spectrology Testimonio and the Politics of Truth: Alfredo Molano Post-modern Testimony: Laura Restrepo and la Violencia Rural Perspectives: Postponed Burials and Uncanny Displacements Urban Perspectives: Earthquakes and Landslides Conclusion: Mourning and Counter-mourning

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Book SynopsisAn in-depth study of the presence and representation of Jews in contemporary Argentine film, focusing on films shot since the year 2000. Runner-up for the AHGBI-Spanish Embassy Doctoral Publication Prize for 2017 Notwithstanding the current visual prominence of Jewish life and Jewish culture on the Argentine big screen, surprisingly little has been written about Jewish film characterization in academic scholarship. In order to fill this lacuna, Portrayals of Jews in Contemporary Argentine Cinemaexplores the depiction of the Jews of Argentina in modern Argentine cinema with particular attention to the ways in which Jews and Jewishness interact with issues of national identity. The central aim of the book is to investigate how Argentine cinema negotiates the argentinidad of Jewish Argentines, thereby adding to the mosaic that is the imagined community of Argentina. To this end, key films by both Jewish and non-Jewish directors are scrutinized, shedding light on three main areas: the masculinity of the Jewish gaucho, the effects of the 1994 AMIA bombing and family relations, including fatherhood and the intermarriage between Jews and Gentiles. Organized around these topics, the book comprises four chapters and with the exception of the first, which is a historical exposition of Jewish presence in Argentina and Argentine film, all subsequent ones take a theme-centered approach. Mirna Vohnsen is a faculty member in Spanish and Latin American Studies at Maynooth University.Table of ContentsIntroduction 1- Jews in Argentina, National Cinema and Argentinidad 2 - Jews and Gauchos in Rural Argentina 3 - Trauma and Cultural Memory in the Aftermath of the AMIA Bombing 4 - Family Life and the Jewish-Gentile Marriage Conclusion Filmography

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Book SynopsisWhy has Portugal's vibrant and creative cinema industry not been more commercially successful? This book traces the evolution of Portuguese cinema between the beginning of the New Cinema movement in 1960 and the height of the economic crisis in 2010 from a socio-cultural and economic perspective. It aims to explain why this vibrant and creative industry has not been more commercially successful and pays especial attention to questions of financial viability, domestic consumption, international distribution, and the effects of legislation. It shows how film-makers have responded to historical difficulties and material obstacles and how market conditions have influenced aesthetics. Drawing on quantitative and qualitative data, film theory, and history, the book assesses the place of Portuguese cinema within Portuguese culture as well as the wider film world. While focussed on the case of Portugal, it also sheds light on problems faced by other peripheral film cultures in the international marketplace and on the festival circuit.Table of ContentsIntroduction Chapter I - The 'Unsuccess' of a National Cinema Chapter II - Spectators and Contrasts in Culture Chapter III - Visibility, Artistic Prestige, and Circulation Chapter IV - Portuguese Cinema Laws (1971-2006) General Conclusions Bibliography Appendix 1 Appendix 2

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Book SynopsisIn contemporary society, the cult of celebrity is inescapable. Anyone can be turned into a celebrity, and anything can be made into a celebrity event. Celebrity has become a part of everyday life, a common reference point. But how have people like Elvis Presley, John Lennon, Bill Clinton or Princess Diana impressed themselves so powerfully on the public mind? Do they have unique qualities, or have their images been constructed by the media? And what of the dark side of celebrity why is the hunger to be in the public eye so great that people are prepared to go to any lengths to achieve it, as numerous mass murderers and serial killers have done. Chris Rojek brings together celebrated figures from the arts, sports, politics and other public spheres, from O.J. Simpson and Marilyn Monroe to Hitler and David Bowie, and touches on many movements and fads, including punk, rock-and-roll and fashion. Rojek analyzes the difference between ascribed celebrity, which derives from bloodline, and achieved celebrity, which follows on from personal achievement - the difference between Princess Margaret and, say, Woody Allen. He also shows how there is no parallel in history to today's ubiquitous 'living' form of celebrity, powered by newspapers, PR departments, magazines and electronic mass media.Trade ReviewAccording to a brief but brilliant new book by the British sociologist Chris Rojek, democracy (or capitalism) simply cannot operate properly without celebrity ... Rojek's most original insight is that people have been wanting this ever since the 18th century. He brilliantly rereads Samuel Smiles's Self-Help as a manual on the virtues of the celebrity. The Independent Rojek ranges widely across celebrity culture ... His feel for the topic means that these necessarily bite-sized snippets of the famously famous reveal a shewdly evaluative aesthetic at work, and his critical sense is infallibly strong. The result is a delightful social history of fame - a mix of cultural studies and social theory - that works very well. The Australian illuminating ... New Statesman

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Book SynopsisThis is the first book to concentrate on the visual culture of Indian cinema, specifically Bombay-based cinema since 1913. Cinema is one of India's most vibrant cultural products, as well as a major industry, producing the largest number of films in the world. Drawing on a wide range of sources, Dwyer and Patel examine Bombay cinema's unique styles, genres and themes, tracing its roots in early photography, theatre and chromolithography and its development as a visual regime that dominates Indian popular culture. The authors consider mise-en-scene, looking at sets, locations and costumes crucial to understanding Indian fashion, lifestyle and consumption. They examine the use of hairstyles and make-up in the context of representations of the body in order to explore changing ideas of beauty and sexuality. Other crucial elements that are discussed include ethnicity and Westernization, thus highlighting issues of class, caste, regional variation and religion. Finally the authors look at publicity materials and examine the development of the imagery employed in film-advertising.Trade Reviewwritten in a clear and accessible style ... It is also exceptionally well-illustrated ... In extending their analysis to extra-filmic discourses, Dwyer and Patel show how movie imagery permeates into the wider culture and society. Film International a most welcome book ... full of information and delightful illustrations of Hindi film stars and sets of major, even path-breaking productions, both in color and in black and white, that elicit nostalgic memories ... a must read for Hindi film fans and for students and scholars in film studies and visual studies Journal of Asian Studies a rich and substantive analysis ... informative and interesting Contemporary South Asia

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Book SynopsisIn this illuminating and provocative survey, Stephen Barber examines the historical relationship between film and the urban landscape. "Projected Cities" looks with particular focus at the cinema of Europe and Japan, two closely linked cinematic cultures which have been foremost in the use of urban imagery, to reveal elements of culture, architecture and history. By examining this imagery, especially at moments of turmoil and experimentation, the author reveals how cinema has used images of cities to influence our perception of everything from history to the human body, and how cinematic images of cities have been fundamental to the ways in which the city has been imagined, formulated and remembered. The book goes on to assess the impact of media culture on the status of film and cinema spaces, and concludes by considering digital renderings of the modern city. "Projected Cities" will appeal to all readers engaged with the city, film and contemporary culture.Trade Review'very readable ... A great starting point for thinking about what the city you are fabricating might mean.' - RIBA Journal

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Book SynopsisFrom Salvador Dali to Walt Disney, animals have been a constant yet little-considered presence in film. Indeed, it may come as a surprise to learn that animals were a central inspiration to the development of moving pictures themselves. In "Animals in Film", Jonathan Burt points out that the mobility of animals presented technical and conceptual challenges to early film-makers, the solutions of which were an important factor in advancing photographic technology, accelerating the speed of both film and camera. The early filming of animals also marked one of the most significant and far-reaching changes in the history of animal representation, and has largely determined the way animals have been visualized in the twentieth century. Burt looks at the extraordinary relation-ship between animals, cinema and photography (including the pioneering work of Eadweard Muybridge and Jules-Etienne Marey) and the technological developments and challenges posed by the animal as a specific kind of moving object. "Animals in Film" is a shrewd account of the politics of animals in cinema, of how movies and video have developed as weapons for animal rights activists, and of the roles that animals have played in film, from the avant-garde to Hollywood.Trade Reviewa smart little monograph that ranges across a wide variety of related topics, including the ethics of using animals in entertainment ... Eccentric, but nonetheless intriguing Empire deserves to influence debates about the cultural representation of animals well beyond the bounds of film studies Anthrozoos

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Book SynopsisThis is the first book to examine the troubled relationships between women, Islam and cinema. Film critic and author Gonul Donmez-Colin explores the role of women as spectators, images and image constructors in the cinemas of the countries where Islam is the predominant religion, focusing on Iran and Turkey from the Middle East, drawing parallels from Kazakhstan and Uzbekistan, the two Central Asian Republics of the former Soviet Union, and Pakistan, Bangladesh, Malaysia and Indonesia, the prominently Muslim Asian countries with a challenging film industry. Some of the relevant films made in India by and for Muslim Indians are also explored. Donmez-Colin examines prevalent cinematic archetypes, including the naive country girl who is deceived and dishonoured, or the devious seductress who destroys the sanctity of marriage, and looks well at controversial elements such as screen rape, which, feminist film critics claim, caters to male voyeurism. She also discusses recurring themes, such as the myths of femininity, the endorsement of polygamy and the obsession with male children, as well as the most common stereotypes, depicting women as mothers, wives and daughters. Given the diversity of cultures, rather than viewing national cinemas as aspects of a single development, the author focuses on individual histories, traditions and social and economic circumstances as points of reference, which are examined in the context of social and political evolution and the status of women within Islam. "Women, Islam and Cinema" is a much-needed and timely work that will appeal to the curious reader as well as to the student of film.Trade Review'... presents a fascinating array of film narratives and characterizations. Her critical interpretations reveal how films can reflect socio-political transitions; the voices of filmmakers add authority to the text, as does her personal background in both Islamic and Western cultures. Donmez-Colin shows how cinema may serve either to protect cultural values or to contest them, describing a complex scenario where women's seemingly passive role in perpetuating traditions may be balanced by their courage in defying them ... underscores the dynamic interplay between cinema and real life in countries where, literally in some cases, women were once dying to go to the movies.' - Times Literary Supplement 'This is one of the few film books I actually want to read. A very necessary examination of Islamic cinema which praises its bolder spirits and doesn't hesitate to criticise those who censor and condemn them.' - Derek Malcolm, chief film critic, London Evening Standard 'The reader is referred to the excellent books that will provide some of this information and insights ... Women, Islam and cinema, and Turkish Cinema: Identity, Distance and Belonging, both by Gonul Donmez-Colin, are wonderful resources.' - Javed Mohammed, Culture Wars

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