Films, cinema Books

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Book SynopsisThis study is devoted to the work of two early British filmmakers, George Albert Smith and James Williamson, and the films that they made around 1900. Internationally, they are known collectively as the ‘Brighton School’ and are positioned as being at the forefront of Britain’s contribution to the birth of film. The book focuses on the years 1896 to 1903, as it was during this short period that film emerged as a new technology, a new enterprise and a new form of entertainment. Beginning with a historiography of the Brighton School, the study goes on to examine the arrival of the first 35mm films in Britain, the first film exhibitions in Brighton and the first projection of film in Brighton. Both Smith and Williamson’s work features a progression from the production of single shot unedited films to multi-shot edited films. Their subject matter was inspired by a knowledge of contemporary pantomime, humour, literature, theatre, mesmerism, the magic lantern and current affairs and their practices were underpinned by active involvement in the new film trade. Through the exploration of how these filmmakers cultivated a new way of understanding film and its commercial potential, this book establishes them as key figures in the development of British film culture. Table of Contents1. Introduction.- 2. Investigating the Brighton School.- 3. Invention and Wonder: The Arrival of Film in Britain and Brighton, 1894-96.- 4. Wonders and Marvels - Smith’s Early Years.- 5. 1897: Smith Turns to Film.- 6. Smith’s Visions and Transformations: the Films of 1898.- 7. Smith’s Edited Films, 1899-1903.- 8. Williamson’s Kinematograph Films.- 9. Williamson’s Picture Stories.- 10. Transitions, Chains and Flows.

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Book SynopsisInsurgent Skin: Body, Gender, and Sexuality in Latin American Cinema argues that twenty-first century Latin American cinema about lesbian, feminist, intersex, and transgender themes is revolutionary because it disrupts heteronormative and binary representation and explores new, queer signifying modes.Grounded in feminist and queer theory, Insurgent Skin conjugates film phenomenology and theories of affect and embodiment to analyze a spectrum of Latin American films.The first chapters explore queer signifying in Argentinean director Lucrecia Martel’s Salta trilogy and the lesbian utopia of Albertina Carri’s Las hijas del fuego (2018). Next, the book discusses the female body as uncanny absence in Tatiana Huezo’s documentary Tempestad (2016), a film about gendered violence in Mexico. Chapter Five focuses on intersex films and the establishing of queer solidarity and an intersex gaze. The last chapter examines transgender embodiment in the Chilean film Una mujer fantástica (2017) and Brazilian documentary Bixa Travesty (2018).Table of Contents1. Introduction: The Naked Truth: Body, Gender and Sexuality in Twenty-First Century Latin American Cinema2. Lesbian Pathology and Monstrous Maternity in Lucrecia Martel’s Salta Trilogy 3. The Lesbian Utopia of Albertina Carri’s Las hijas del fuego (2018)4. Non-Binary: Gender Trouble and Intersex Bodies in Latin American Cinema5. The Female Body as Absence: Tempestad by Tatiana Huezo (2016) and Ayer maravilla fui by Gabriel Mariño (2017) 6. Embodied Existence as Resistance: The Transgender Body as Political Protest7. Nudity and Social Protest in Latin America: Artivism’s Filmed Effects8. Conclusion

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Book Synopsis1. Introduction. - Adaptation in the East-West Bridge Seda Öz.-PART 1.-TRANSNATIONAL ADAPTATIONS.-2. Early Turkish Cinema: A Hi/story of Localization, Turkification, and Adaptation Savas Arslan.-3. The Domestic Transformations of Bram Stoker's Dracula in The Formative Years of the Turkish Republic Ceylan Kösker-Bevington???????.-4. The Bard Sings in Turkish: Music Adaptations of Shakespeare's Sonnet 66 in Türkiye Murat Ögütçü???????.-5. Appropriating, Modernizing, or Localizing?.- Adaptations of Pride and Prejudice on Turkish TV Defne Ersin-Tutan???????.-PART 2.-POPULAR CULTURE ADAPTATIONS???????.-6. Kara Murat, Dracula, and Ali Baba.-Adapting Turkish Historical Adventure Comics to the Big Screen Kaya Özkaracalar???????.-7. Literary Adaptation on Turkish Television: The Interplay of Commerciality, Nationality, and Culture in Adapting Canonical Texts M. Mert Örsler???????.-8. Cem Yilmaz, Telecinematic Genre Revival and Ideology of the Turkish Film Remakes Murat Akser???????.-PART 3.-CULTURE, THEORY, AND ADAPTATION???????.-9. From Text to Screen and Screen to Text.-Orhan Pamuk's Secret Face as a Fluid Text Taner Can???????.-10. Relational Geometries in Our Grand Despair (2011) and Jules et Jim (1962) Colleen Kennedy-Karpat???????.-11. Documentary Theatre as a Countermemory Practice on the Turkish Stage: Adaptation of History in Bilgesu Erenus's Çagri and Genco Erkal's Sivas'93 Özlem Özmen-Akdogan???????.-12. Navigating Intermedial Adaptation through Translation: Dear Shameless Death Dirmit Naciye Saglam???????.-13. A Discussion on Yesilçam's Adaptive Strategies with Cem Kaya Taner Can and Seda Öz.

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Book SynopsisChapter 1: Identity.- Chapter 2: Economics.- Chapter 3: Politics.- Chapter 4: Memory.- Chapter 5: Utilisation.- Chapter 6: Technotrauma.- Chapter 7: Screening Eternity.- Chapter 8: Sex Internal.

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Book SynopsisChapter 1: Introduction.- Chapter 2: Towards a nonhuman account of Greek cinema.- Chapter 3: One or several wolf men, little foxes and young Aphrodites.- Chapter 4: Furry-tales: narratives of therianthropy and queerness; the cases of Panos Koutras and Elina Psykou.- Chapter 5: Birds of a feather.- Chapter 6: Dying like dogs.- Chapter 7: All creatures great and small: Dimos Avdeliodis's theistic posthumanism.- Chapter 8 : Shooting animality: Menelaos Karamaghiolis's cinema of transspecies poetics.- PART II: The Animal People.- Chapter 9 : Small lives.- Chapter 10: Dressing animals; or: the calculated banality of nonhuman film logistics.- Chapter 11: Olga Malea's malleable animals.- Chapter 12: Getting their goats.

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Book SynopsisChapter 1: Introduction Cinema Television Transmedia.- Chapter 2: Inarritu as Career Director in Advertising Radio and TV.- Chapter 3: Ruizpalacios as Festival Director in Film and TV Trilogies.- Chapter 4: Projection and Reflection in the Bioseries Silvia Pinal frente a ti This Is Silvia Pinal Televisa 2019.- Chapter 5: Proximity and Cosmopolitanism in the Remake of Los ricos tambien lloran The Rich Also Cry Televisa 2022.- Chapter 6: Festival Film and Social Media Sueno en otro idioma I Dream in Another Language 2017 and YouTubes Pepe y Teo 2012.- Chapter 7: Mexicans in Madrid Ozores and Almodovar Camus and Caro.- Chapter 8: Conclusion Mexican Waves.- Chapter 9: Epilogue Interview with Michel Franco Director of Nuevo orden New Order 2020.

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Book SynopsisChapter 1: Creaturely Fear: An Introduction.- Part 1: Animal Traces.- Chapter 2: Surrealism and Creaturely Holocaust Killing in Juraj Herz’s The Cremator.- Chapter 3: Jordan Peele’s Animals: Zoological Horror, Afropessimist Allegory and the Alien Superstar.- Chapter 4: The Animal-Image: On the Uses of Animals in Claire Denis’ Horror Films.- Part 2: The Multi-Sensorial Animal.- Chapter 5: A Horror Multiplied by the Eyes of Every House Fly: Compound Misconceptions and Prejudices on Filmic Insects.- Chapter 6: Killer Wail: Colouring Nonhuman Trauma in Orca: The Killer Whale.- Chapter 7: Sound, Silence, Horror, and the Hare.- Part 3: True Story Monstrosities.- Chapter 8: Animal Agency and Animal Sovereignties in Roar.- Chapter 9: Living with Saltwater Crocodiles: Respectful and Reverential Eco-Fear in Dark Age.- Chapter 10: “The Touch of his Hairy Hand Offended You”: The Epistemological Indeterminacy of Ted Kotcheff’s Wake in Fright.- Part 4: Meat, Sacrifice and Sympathy.- Chapter 11: Made in the Harming: Julia Ducournau’s Raw and the Cutting Continuities of Animal Montage.- Chapter 12: Flesh & Negation: Vegan Aesthetics and Sympathetic Action in David Lynch’s Eraserhead.

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Book SynopsisIntroduction: Who Is Entitled to Study Film Music?.- PART 1: Pars Destruens.- Chapter 1: The Not-So-Fantastical Gap between Music Studies and Film Studies.- Chapter 2: Some Recent Attempts to Bridge the Gap.- PART 2: Pars Construens.- Chapter 3: The Neoformalist Proposal.- Chapter 4: Film/Music Analysis I: Music, Gestalt, and Audiovisual Isomorphism.- Chapter 5: Film/Music Analysis II: Functions and Motivations of Music.- Chapter 6: Film/Music Analysis III: Historiography and Film-Music Styles.- PART 3: Pars Demonstrans.- Chapter 7: A Few Illustrations of Film/Music Analysis.- Chapter 8: Close Encounters of the Third Kind and E.T. The Extraterrestrial. The Bonding Power of Music.- Recapitulation and Final Thoughts.- References.- Filmography.

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Book Synopsis.- Chapter 1. “The Slime of All My Yesterdays”: Or Putting the “Crud” in Fungal Recrudescence in William Lustig’s Maniac.- Chapter 2 “Some Things in Their Most Natural State Have the Most Vivid Colors”: Folk Horror and Fungal Overgrowth in the “Unholy Trinity”.- Chapter 3   “Evil against Evil”: Parable and Behavior-Altering Parasitism in William Friedkin’s The Exorcist.- Chapter 4 “Of One Mysterious Household”: Endoparasites and Embodiment in Dario Argento’s “Three Mothers” Trilogy.- Chapter 5 “Sometimes It’s More of a Trade”: Blackness, Bacterial Infection, and Iain Softley’s The Skeleton Key.- Chapter 6 “See You Later, Alligator”: Natural Disasters and Necrotizing Bacterial Disease in Alexandre Aja’s Crawl.- Chapter 7  “Danger! Do Not Touch Anything!”: Viral Transmission, Tactile Object Disrecognition, and the Annabelle Series.- Chapter 8 “New Faces, Other Minds”: Viral Vectors, Fusiform Gyrus Dysregulation, and Leo Gabriadze’s Unfriended.

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Book SynopsisChapter 01: Introduction: Bringing Youth into Contemporary Italian Television.- Section 1: Trends.- Chapter 02: From Tre metri sopra il cielo to Summertime: The Evolution of the “filone giovanilistico” Through Time and Screens.- Chapter 03: Fashioning Identity in Contemporary Italian Youth Television Series.- Chapter 04: “Talkin’ ‘bout my Generation” The Role of Music in Italian Youth Television Series.- Chapter 05: “Teen” Sense of Place: The Representation of Italian Locations in Teen Television Series.- Chapter 06: Not Another Teen Drama: Rai, Platformization, and New Representations of Teenagers.- Chapter 07: Rai Fiction Teen Series for Mainstream Channels: Programming and Production.- Chapter 08: “Ma che stai dicendo?” A Linguistic Overview of Teen Representation in Italian Television Series.- Chapter 09: Baby... One More Time: Netflix Italia’s Original First Teen Dramas and the Struggle to Build a New Genre.- Chapter 10: A Girls’ Eye-view: Exploring Television Representations of Italian Girlhood through the Lens of Italian Female Adolescence.- Section 2: Texts.- Chapter 11: Queer Identifications, Activism, and Desire in SKAM Italia.- Chapter 12: “Vedo che siamo moderni, eh?” Representations of Social Media Use in SKAM Italia.- Chapter 13: Musica, Maestro! Notes on La Compagnia del Cigno’s Teen Cast.- Chapter 14: “Is This Italian TV?” How My Brilliant Friend Has Attained Success in Mainland China.- Chapter 15: Casa Surace’s Engagement with Southern Youth and National Success Amongst Young Italians.- Chapter 16: The Transmedia Universe of Mare Fuori.- Section 3: Close-ups.- Chapter 17: Male Bonding and Narrative Afterlives in Suburra: Blood on Rome.- Chapter 18: Incredible Casting: My Brilliant Friend.- Chapter 19: The Horrors of History in Netflix’s Curon.- Chapter 20: The Beach in Summertime.- Chapter 21: Wrecking the Lagoon: Reading Waste in We Are Who We Are’s Queer Adolescence.- Chapter 22: We Are Who We Are or Queerness as Atmospheric.- Chapter 23: Visualising the Invisible: Zero and Afro-Italian Urban Utopias.- Chapter 24: A Tale of Three Teenagers and a City: Romulus, or the Foundation of Rome According to Sky Italia.- Chapter 25: The Pathos of Transnationalism: Exploring the Tourist Gaze in Anna.- Chapter 26: Generazione 56K: Nostalgia as a Way to Convergence Media Practices.- Chapter 27: An Astrological Guide for Broken Hearts, or Emily in Paris in Turin.- Chapter 28: Luna Park: La dolce vita and Retro History.- Chapter 29: Coming of Age in Naples in The Lying Life of Adults.- Chapter 30: Prisma: Building a Game of Mirrors.- Chapter 31: Teens in Prison: Control and Redemption in Mare fuori.- Section 4: Interview.- Chapter 32: Putting Your Own Stamp on the Writing of Others: A Conversation with Ivan Silvestrini, Director of Mare Fuori.- Chapter 33: Youth Culture, Diversity, and Italianness on Television: An Interview with Ludovico Bessegato.- Chapter 34: Desperately Seeking Diversity: Challenges and Breakthroughs in the Casting of Netflix’s Zero.- Chapter 35: “Indeed there is magic in casting”: An Interview with Sara Casani and Laura Muccino.

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Book Synopsis.- 1 Comparing Film Policies in Europe (1945–1980): An Introduction.- 2 Patterns of Corporatism: The Italian Way to Film Policy (1945–1965).- 3 French Cinema Cultural Policy since the 1940s: A National and Transnational Issue.- 4 The Commerce of Culture: British Film Policy and the Films Branch of the Board of Trade (1945–1979).- 5 Swedish Film Policy in the Era of the Twentieth-Century Welfare State.- 6 Road to Modernity: Negotiating Spanish Cinema under the Dictatorship.- 7 A Period of Open Opportunities. The Development of Czech Film Policy in the Second Half of the 1940s.- 8 Navigating Ideology, Education and Market Forces in Hungarian Film Policy during the Late 1960s.- 9 Chasing its Own Tail: Film Distribution in a State-Governed Cinema Culture—The Case of the People’s Republic of Poland (1960-1975).- 10 From Nationalism to Liberalism: Co-production Policies and the Construction of a (Trans)National Cinema in Flanders (1960s–1980s).- 11 The State and the Film Industry in the Self-Management System (The Example of Socialist Yugoslavia Cinematography).- 12 Film Policies in Turkey in the 1950–1980 Period through the Regional Management Model: The Case of the Adana Management Region.

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Book Synopsis

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Book Synopsis

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Book Synopsisn the past decade, spanning from the aftermath of the 2008 financial crisis to the beginning of the Covid-19 pandemic, rural poverty in the United States has risen dramatically. The impact of the pandemic is set to intensify these inequalities as the decades of neoliberal dismantling of public healthcare and other social institutions leave inhabitants of impoverished rural areas particularly vulnerable.Even before this current exacerbation, representations of rural landscape in American cinema have sought to spatially visualize the country’s social inequalities and focus on the victims of poverty and marginalization. The films discussed in this monograph, Ballast (2008), Winter’s Bone (2010), Beasts of the Southern Wild (2012), and Leave No Trace (2018), address deep rural poverty in a complex manner and facilitate an interactive, social understanding of landscape.New Rural Cinema suggest a novel way of looking at landscape in cinema that responds to and guides its readers through this recent development in American Independent film. It views the chosen films as expressions of a growing awareness of the dire inequality caused by neoliberal capitalism in the United States and the role landscape plays both in its mechanisms of social exclusion as well as in its collective contestation.

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