Films, cinema Books

Book SynopsisA collection of fun and glamorous postcards of images from Bollywood Dreams.Table of Contents50 postcards: 2 X 25 images; Each postcard is identified on the back by the scene and place. For more information on each image, please see the extended captions in the Bollywood Dreams book. Clockwise from top left in the Sales Catalogue, the 25 images can be found on the following pages: p. 11, p. 15, pp. 28-9 (cover image on tin box), p. pp. 30-1, pp. 46-7, p. 49, p. 57, p. 59, p. 65, p. 64, p. 67, p. 68, p. 83, p. 84, p. 86-7, p. 94-5, p. 99, 109, p. 111, pp. 114-5, pp. 38-9, pp. 62-3, p. 80, p. 97 and p. 74. Please note, the image on the cover of the tin box features the stars Govinda and Sonali Bendre during a song-and-dance sequence on the set of Jis Desh Mein Ganga Rehta Hai. The caption in the book reads: 'Stars Govinda and Sonali Bendre during a song-and-dance sequence on the set of Jis Desh Mein Ganga Rehta Hai. Locations are an important element of Hindi musical cinema. This was shot in Mahabaleshwar, a hill station in the state of Maharashtra. Songs are typically performed by the hero and heroine with dozens of dancers moving in unison behind them.'

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Book SynopsisThis is the fascinating story of Mary Maguire, a 1930s Australian ingenue who sailed for Hollywood and a fabulous life, only to have her career cut short by scandal and tragedy. Packed with celebrity, history and gossip, AUSTRALIA''S SWEETHEART is perfect for readers of SHEILA and THE RIVIERA SET.Mary Maguire was Australia''s first teenage movie star and she captivated Hollywood in the mid 1930s. Mary lived on three continents and was celebrated in Melbourne, Brisbane, Sydney, Los Angeles and London. Her life was lived in parallel with seminal incidents of the twentieth century: the Spanish Flu; the Great Depression; the Bodyline series; Australia''s early radio, talkies and aviation; Hollywood''s Golden Era; the British aristocracy''s embrace of European fascism; London''s Blitz; and post-war American culture and politics. Mary knew everyone, from Douglas Jardine, Don Bradman, Errol Flynn and Ronald Reagan, to William Randolph Hearst, Maureen O''Sullivan and Judy GarTrade ReviewMichael Adams' book is great fun!fun and informativefast-paced and gripping - BOOKS+PUBLISHING on Michael Adams' SKYFIREtreat yourself to a copy - AUSTRALIAN BOOK REVIEW on Michael Adams' THE LAST GIRL

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Book SynopsisThis is the first overview of the popular genre of American horror film.Trade ReviewHumphries' chapter in Part II on Slashers, Serial Killers and the 'Final Girl' is invaluable as an introduction to horror. It not only presents the author's major themes in a concise manner, it illustrates point of view as an integral part of a film's meaning. Other discussions that seem particularly rewarding are those on Tobe Hooper's The Texas Chainsaw Massacre and on Cronenberg's films. Humphries encourages readers to delve further into issues important to horror by providing a useful filmography and bibliography. The author's passion and respect for the horror film contributes to the energy and force of this study ! Humphries' extensive knowledge of the horror film and his fleeting allusions to hybrid genres, whets one's appetite for a slightly longer discussion of the subject, especially in light of the current emphasis on border crossings [!] by including a discussion of contemporary genre mixing in the concluding chapter, he might help readers to explore more fully whether there is anything beyond Shayamalan's Unbreakable and The Sixth Sense to enlighten an otherwise dimming screen. Humphries' chapter in Part II on Slashers, Serial Killers and the 'Final Girl' is invaluable as an introduction to horror. It not only presents the author's major themes in a concise manner, it illustrates point of view as an integral part of a film's meaning. Other discussions that seem particularly rewarding are those on Tobe Hooper's The Texas Chainsaw Massacre and on Cronenberg's films. Humphries encourages readers to delve further into issues important to horror by providing a useful filmography and bibliography. The author's passion and respect for the horror film contributes to the energy and force of this study ! Humphries' extensive knowledge of the horror film and his fleeting allusions to hybrid genres, whets one's appetite for a slightly longer discussion of the subject, especially in light of the current emphasis on border crossings [!] by including a discussion of contemporary genre mixing in the concluding chapter, he might help readers to explore more fully whether there is anything beyond Shayamalan's Unbreakable and The Sixth Sense to enlighten an otherwise dimming screen.Table of ContentsIntroduction; Part One: The Horror Film, 1930-1960; 1. Figures in a Gothic Landscape; 2. Variations on a Theme; 3. The Contribution of Val Lewton; 4. Nuclear and other Horrors; Part Two: The Horror Film, 1960-2000; 5. The Changing Face of Horror; 6. Directions and Directors; 7. The 'Slasher' Movie and the 'Final Girl'; 8. David Cronenberg and Special Effects; Conclusion; Bibliography.

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Book SynopsisA wide-ranging introduction to film history, this anthology covers the history of film from 1895 to the present day.Trade ReviewWith essays by Tom Gunning, Richard Abel, Douglas Gomery, Tino Balio, Barbara Klinger, etc., this collection assembles some of the best historical writing on cinema, and links them together through a sequence of introductory essays providing an overview and a context for each piece. Together, Film Histories offers its reader a collection of the leading examples of the methodologies available for the construction of the social, economic and cultural history of cinema. -- Richard Maltby, Head of the School of Humanities and Professor of Screen Studies, Flinders University The authors have managed successfully to combine two types of film text book: an all-embracing and succinct history book and an excellent collection of essays which provide a chronological analysis of the development of cinema ! the book is an excellent general history for undergraduate film and media students. With essays by Tom Gunning, Richard Abel, Douglas Gomery, Tino Balio, Barbara Klinger, etc., this collection assembles some of the best historical writing on cinema, and links them together through a sequence of introductory essays providing an overview and a context for each piece. Together, Film Histories offers its reader a collection of the leading examples of the methodologies available for the construction of the social, economic and cultural history of cinema. The authors have managed successfully to combine two types of film text book: an all-embracing and succinct history book and an excellent collection of essays which provide a chronological analysis of the development of cinema ! the book is an excellent general history for undergraduate film and media students.Table of ContentsPreface Part One: Film History from its origins to 1945 1. The Emergence of Cinema 2. Organising Early Film Audiences 3. Nationalism, Trade and Market Domination 4. Establishing Classical Norms 5. The Age of the Dream Palace and the Rise of the Star System 6. Competing with Hollywood: National Film Industries Outside Hollywood 7. The Rise of the Studios and the Coming of Sound 8. Realism, Nationalism and 'Film Culture' 9. Adjustment, Depression and Regulation 10. Totalitarianism, Dictatorship and Propaganda 11. The Common People, Historical Drama and the Preparations for War 12. War-time Unity and Alienation Part Two: Film History from 1946 to the present 13. Post-War Challenges: National Regeneration, HUAC Investigations, Divestiture, and Declining Audiences 14. The Politics of Polarisation: Affluence, Anxiety and the Cold War 15. Cinematic Spectacles and the Rise of the Independents 16. New Waves, Specialist Audiences and Adult Films 17. Radicalism, Revolution and Counter-Cinema 18. Modernism, Nostalgia and the Hollywood Renaissance 19. From Movie Brats to Movie Blockbusters 20. The Exhibitors Strike Back: Multiplexes, Video and the Rise of Home Cinema 21. Postmodernism, High Concept and Eighties Excess 22. Cults, Independents and "Guerrilla" Filmmaking 23. From Cinemas to Theme Parks: Conglomeration, Synergy and Multimedia 24. Globalisation and the New Millennium Bibliography

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Book SynopsisA wide-ranging introduction to film history, this anthology covers the history of film from 1895 to the present day.Trade ReviewWith essays by Tom Gunning, Richard Abel, Douglas Gomery, Tino Balio, Barbara Klinger, etc., this collection assembles some of the best historical writing on cinema, and links them together through a sequence of introductory essays providing an overview and a context for each piece. Together, Film Histories offers its reader a collection of the leading examples of the methodologies available for the construction of the social, economic and cultural history of cinema. -- Richard Maltby, Head of the School of Humanities and Professor of Screen Studies, Flinders University The authors have managed successfully to combine two types of film text book: an all-embracing and succinct history book and an excellent collection of essays which provide a chronological analysis of the development of cinema ! the book is an excellent general history for undergraduate film and media students. This is a substantial book which provides a comprehensive and concise history of film from the late 19th century to the present day. The book has a very user-friendly structure [and] the authors have managed successfully to combine two types of film text book: an all-embracing and succinct history book and an excellent collection of essays which provide a chronological analysis of the development of cinema... the book is an excellent general history for undergraduate film and media students and would also be very useful for those studying popular culture and cultural history. -- Millard Parkinson Art, Design, Media Subject Centre Newsletter With essays by Tom Gunning, Richard Abel, Douglas Gomery, Tino Balio, Barbara Klinger, etc., this collection assembles some of the best historical writing on cinema, and links them together through a sequence of introductory essays providing an overview and a context for each piece. Together, Film Histories offers its reader a collection of the leading examples of the methodologies available for the construction of the social, economic and cultural history of cinema. The authors have managed successfully to combine two types of film text book: an all-embracing and succinct history book and an excellent collection of essays which provide a chronological analysis of the development of cinema ! the book is an excellent general history for undergraduate film and media students. This is a substantial book which provides a comprehensive and concise history of film from the late 19th century to the present day. The book has a very user-friendly structure [and] the authors have managed successfully to combine two types of film text book: an all-embracing and succinct history book and an excellent collection of essays which provide a chronological analysis of the development of cinema... the book is an excellent general history for undergraduate film and media students and would also be very useful for those studying popular culture and cultural history.Table of ContentsPreface Part One: Film History from its origins to 1945 1. The Emergence of Cinema 2. Organising Early Film Audiences 3. Nationalism, Trade and Market Domination 4. Establishing Classical Norms 5. The Age of the Dream Palace and the Rise of the Star System 6. Competing with Hollywood: National Film Industries Outside Hollywood 7. The Rise of the Studios and the Coming of Sound 8. Realism, Nationalism and 'Film Culture' 9. Adjustment, Depression and Regulation 10. Totalitarianism, Dictatorship and Propaganda 11. The Common People, Historical Drama and the Preparations for War 12. War-time Unity and Alienation Part Two: Film History from 1946 to the present 13. Post-War Challenges: National Regeneration, HUAC Investigations, Divestiture, and Declining Audiences 14. The Politics of Polarisation: Affluence, Anxiety and the Cold War 15. Cinematic Spectacles and the Rise of the Independents 16. New Waves, Specialist Audiences and Adult Films 17. Radicalism, Revolution and Counter-Cinema 18. Modernism, Nostalgia and the Hollywood Renaissance 19. From Movie Brats to Movie Blockbusters 20. The Exhibitors Strike Back: Multiplexes, Video and the Rise of Home Cinema 21. Postmodernism, High Concept and Eighties Excess 22. Cults, Independents and "Guerrilla" Filmmaking 23. From Cinemas to Theme Parks: Conglomeration, Synergy and Multimedia 24. Globalisation and the New Millennium Bibliography

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Book SynopsisThis book is the first study in English to examine some of the key themes and traditions of Czech and Slovak cinema, linking inter-war and post-war cinemas together with developments in the post-Communist period. It examines links between theme, genre, and visual style, and looks at the ways in which a range of styles and traditions has extended across different historical periods and political regimes. Czech and Slovak Cinema provides a unique study of areas of Central European film history that have not previously been examined in English.Trade ReviewPeter Hames's monograph is an extremely important publication, providing guidance to the interested reader through the rich history of Czech and Slovak cinema. It will stimulate interest in the cinemas of East-Central Europe in the English-speaking world, undoubtedly becoming a catalyst for heated discussion, as this review has attempted to demonstrate. -- Jan Culik Studies in East European Cinema Peter Hames's monograph is an extremely important publication, providing guidance to the interested reader through the rich history of Czech and Slovak cinema. It will stimulate interest in the cinemas of East-Central Europe in the English-speaking world, undoubtedly becoming a catalyst for heated discussion, as this review has attempted to demonstrate.Table of Contents1. Introduction; 2. The Comic Tradition; 3. Czech Lyricism; 4. The Avant Garde; 5. Surrealism; 6. Animation; 7. Representations of the Holocaust; 8. Realism and the New Wave; 9. Politics and Film; 10. Traditions of the Absurd; 11. Is There a Slovak Style?.

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Book SynopsisThis book is the first study in English to examine some of the key themes and traditions of Czech and Slovak cinema, linking inter-war and post-war cinemas together with developments in the post-Communist period. It examines links between theme, genre, and visual style, and looks at the ways in which a range of styles and traditions has extended across different historical periods and political regimes. Czech and Slovak Cinema provides a unique study of areas of Central European film history that have not previously been examined in English.Trade ReviewDraws on almost the entire corpus of Czech and Slovak cinema! Essential but formerly marginalised talents such as Jiri Trnka and Karel Zeman now rightly enjoy pride of place in the chapter on animation alongside the inevitable Jan Svankmajer! An invaluable book. -- Michael Brooke Sight and Sound A fascinating history of Czechoslovak cinema reveals Czech and Slovak film themes and a discussion of various traditions but it also offers, surprisingly, history seen through the prism of cinema... Innovative and fresh. -- Angela Spindler-Brown British Czech and Slovak Review Peter Hames's monograph is an extremely important publication, providing guidance to the interested reader through the rich history of Czech and Slovak cinema. It will stimulate interest in the cinemas of East-Central Europe in the English-speaking world, undoubtedly becoming a catalyst for heated discussion, as this review has attempted to demonstrate. -- Jan Culik Studies in East European Cinema A comprehensive and exciting look at at Czech and Slovak Cienma. it can be interesting and provocative to veterans of the region's cinemas, but it can also benefit students who are new to this topic. -- Lilla Toke, Rochester Institute of Technology Slavonic and East European Review Draws on almost the entire corpus of Czech and Slovak cinema! Essential but formerly marginalised talents such as Jiri Trnka and Karel Zeman now rightly enjoy pride of place in the chapter on animation alongside the inevitable Jan Svankmajer! An invaluable book. A fascinating history of Czechoslovak cinema reveals Czech and Slovak film themes and a discussion of various traditions but it also offers, surprisingly, history seen through the prism of cinema... Innovative and fresh. Peter Hames's monograph is an extremely important publication, providing guidance to the interested reader through the rich history of Czech and Slovak cinema. It will stimulate interest in the cinemas of East-Central Europe in the English-speaking world, undoubtedly becoming a catalyst for heated discussion, as this review has attempted to demonstrate. A comprehensive and exciting look at at Czech and Slovak Cienma. it can be interesting and provocative to veterans of the region's cinemas, but it can also benefit students who are new to this topic.Table of Contents1. Introduction; 2. The Comic Tradition; 3. Czech Lyricism; 4. The Avant Garde; 5. Surrealism; 6. Animation; 7. Representations of the Holocaust; 8. Realism and the New Wave; 9. Politics and Film; 10. Traditions of the Absurd; 11. Is There a Slovak Style?.

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Book SynopsisAlthough his film career extended from the early days of sound to the British New Wave and beyond, Sir John Mills is nonetheless remembered as the archetypal hero of the Second World War. Regarded as an English ''everyman'', his performances crossed the class divide and, in his easy transition from below decks to above, he came to represent a newly democratic masculine ideal.But what was this exemplary masculinity and what became of it in the aftermath of war? John Mills and British Cinema asks how was it possible for an actor to embody national identity and, by exploring the cultural contexts in which Mills and the nation became synonymous, the book offers a new perspective on 40 years of cinema and social change. Through detailed analysis of a wide range of classic British films, John Mills and British Cinema exposes the shifting constructions of ''national'' masculinity, arguing that the screen persona of the actor is a fundamental, and often overlooked, dimension of British cinema.Table of Contents1.Introduction: Acting English; PART I; 2.A British Cagney? Cinema and self-definition in the 1930s; 3.Mills at War, 1940-1945 - The nation incarnate?; PART II; 4.A Cautionary Note: Great expeditions and the post-war world; PART III; 5.Dead Men, Angry Men and Drunks: Post-traumatic stress and the 1950s; 6.The Spectre of Impotence: Fathers, lovers and defeated authority; 7.Playing the Fool: Comedy and the end of everyman; Filmography; Bibliography.

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Book SynopsisA study of African filmmakingTrade ReviewThis throughly researched study charts the beginnings of film-making in north and francophone west Africa, and it stretches from the post-colonial period to the post-independence generation ! Armes' book covers a broad range of film-making, from the experienced work of Jean Pierre Bekolo (Cameroon) to the fiction of Nabil Ayouch (Morocco), and is essential reading for anyone with an interest in African film. This throughly researched study charts the beginnings of film-making in north and francophone west Africa, and it stretches from the post-colonial period to the post-independence generation ! Armes' book covers a broad range of film-making, from the experienced work of Jean Pierre Bekolo (Cameroon) to the fiction of Nabil Ayouch (Morocco), and is essential reading for anyone with an interest in African film.Table of ContentsINTRODUCTION; 1. The African Experience; PART ONE: CONTEXT; 2. Beginnings; 3. African Initiatives; 4. The French Connection; PART TWO: CONFRONTING REALITY; 5. Liberation and the Postcolonial Society; 6. Individual Struggle; PART THREE: NEW IDENTITIES; 7. Experimental Narratives; 8. Exemplary Tales; PART FOUR: THE NEW MILLENNIUM; 9. The Post-Independence Generation; 10. Mahamat Saleh Haroun (Chad); 11. Dani Kouyate (Burkina Faso); 12. Raja Amari (Tunisia); 13. Faouzi Bensaidi (Morocco); 14. Abderrahmane Sissako (Mauritania); BIBLIOGRAPHY; INDEX.

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Book SynopsisA study of African filmmakingTrade ReviewThis throughly researched study charts the beginnings of film-making in north and francophone west Africa, and it stretches from the post-colonial period to the post-independence generation ! Armes' book covers a broad range of film-making, from the experienced work of Jean Pierre Bekolo (Cameroon) to the fiction of Nabil Ayouch (Morocco), and is essential reading for anyone with an interest in African film. -- Keith Shiri Sight and Sound African Filmmaking is very much a film studies narrative, with only casual references to production structures or audience reception. For classes that cover this terrain, it is supremely useful for students. Not only does Armes canvass enormous territory, succinctly and in elegant prose, but he has also made a judicious selection of directors and films. Most important, he takes an approach that brings together North Africa and Francophone West and Central Africa to draw out insights that might otherwise be blurred... H-Net In the final section, 'The new millennium,' he provides a pivotal update to discussions on African filmmakers with an analysis of 'post-independence' filmmaking... Overall, African Filmmaking: North and South of the Sahara presents a historical analysis of the social, economic, and political factors that have an impact on post-colonial African filmmaking. -- M. M. Oyedeji, SOAS African Affairs Roy Armes's African Filmmaking North and South of the Sahara is an important reference work for films from the African continent. He is well grounded in film theory but frequently offers original and even provocative insights regarding developments in the field. -- Anne Serafin, Newtonville, Mass. International Journal of African Historical Studies An important reference work for films from the African continent. -- Anne Serafin, Newtonville, Mass African Historical Studies This throughly researched study charts the beginnings of film-making in north and francophone west Africa, and it stretches from the post-colonial period to the post-independence generation ! Armes' book covers a broad range of film-making, from the experienced work of Jean Pierre Bekolo (Cameroon) to the fiction of Nabil Ayouch (Morocco), and is essential reading for anyone with an interest in African film. African Filmmaking is very much a film studies narrative, with only casual references to production structures or audience reception. For classes that cover this terrain, it is supremely useful for students. Not only does Armes canvass enormous territory, succinctly and in elegant prose, but he has also made a judicious selection of directors and films. Most important, he takes an approach that brings together North Africa and Francophone West and Central Africa to draw out insights that might otherwise be blurred... In the final section, 'The new millennium,' he provides a pivotal update to discussions on African filmmakers with an analysis of 'post-independence' filmmaking... Overall, African Filmmaking: North and South of the Sahara presents a historical analysis of the social, economic, and political factors that have an impact on post-colonial African filmmaking. Roy Armes's African Filmmaking North and South of the Sahara is an important reference work for films from the African continent. He is well grounded in film theory but frequently offers original and even provocative insights regarding developments in the field. An important reference work for films from the African continent.Table of ContentsINTRODUCTION; 1. The African Experience; PART ONE: CONTEXT; 2. Beginnings; 3. African Initiatives; 4. The French Connection; PART TWO: CONFRONTING REALITY; 5. Liberation and the Postcolonial Society; 6. Individual Struggle; PART THREE: NEW IDENTITIES; 7. Experimental Narratives; 8. Exemplary Tales; PART FOUR: THE NEW MILLENNIUM; 9. The Post-Independence Generation; 10. Mahamat Saleh Haroun (Chad); 11. Dani Kouyate (Burkina Faso); 12. Raja Amari (Tunisia); 13. Faouzi Bensaidi (Morocco); 14. Abderrahmane Sissako (Mauritania); BIBLIOGRAPHY; INDEX.

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Book SynopsisEuropean Cinemas in the Television Age is a radical attempt to rethink the post-war history of European cinemas. The authors approach the subject from the perspective of television''s impact on the culture of cinema''s production, distribution, consumption and reception. Thus they indicate a new direction for the debate about the future of cinema in Europe. In every European country television has transformed economic, technological and aesthetic terms in which the process of cinema production had been conducted. Television''s growing popularity has drastically reshaped cinema''s audiences and forced governments to introduce policies to regulate the interaction between cinema and television in the changing and dynamic audio-visual environment. It is cinematic criticism, which was slowest in coming to terms with the presence of television and therefore most instrumental in perpetuating the view of cinema as an isolated object of aesthetic, critical and academic inquiry. The recognition of the impact of television upon European cinemas offers a more authentic and richer picture of cinemas in Europe, which are part of the complex audiovisual matrix including television and new media.Trade ReviewEuropean Cinema in the Television Age is without doubt a key text. It approaches one of those most important subjects - if not the most important subject - concerning European cinema of the past half century. Covering from the analogue to digital, from industrial context to aesthetics, this book is timely and important. I highly recommend it. -- Professor Graeme Harper, University of Wales, Bangor A compelling and comprehensive contribution to the contemporary discussion of cinema and media relations, precisely because it aims not so much at providing an all-inclusive European cinema/television history, than rather to produce a new understanding of a cine-visual aesthetics. -- Claudia Pummer, University of Iowa H-Net European Cinema in the Television Age is without doubt a key text. It approaches one of those most important subjects - if not the most important subject - concerning European cinema of the past half century. Covering from the analogue to digital, from industrial context to aesthetics, this book is timely and important. I highly recommend it. A compelling and comprehensive contribution to the contemporary discussion of cinema and media relations, precisely because it aims not so much at providing an all-inclusive European cinema/television history, than rather to produce a new understanding of a cine-visual aesthetics.Table of Contents1. INTRODUCTION A cultural ecology of film and television in Europe 2. BRITAIN (Graham Roberts & Heather Wallis) 3. FRANCE (Dorota Ostrowska) 4. ITALY (Luisa Cigognetti and Pierre Sorlin) 5. SPAIN (Valeria Camporesi) 6. GERMANY (Margit Grieb and Will Lehman) 7. DENMARK (Dorota Ostrowska and Gunhild Agger) 8. POLAND (Dorota Ostrowska) 9. Audio-visual production cultures 10. Cinematic forms in the age of television 11. Reproduction Bibliography

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Book SynopsisAn overview of 20th and 21st-century film noir and fatalist film practice from 1945 onwards.Table of ContentsIntroduction; 1. The Dream of Return; 2. The Postwar Bubble; 3. Fifties Death Trip; 4. The Flip Side of the Sixties; 5. The Failure of Culture; 6. Living in Fear; Appendix: A Gallery of Classic Noir 'Heavies'.

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Book SynopsisDeath and the Moving Image provides the first in-depth study of the representation of death and dying in mainstream Western cinema from its earliest to its latest renditions. It explores the impact of gender, race, nation and narration upon death''s dramatics on-screen and isolates how mainstream cinema works to bestow value upon certain lives, and specific socio-cultural identities, in a hierarchical and partisan way. Dedicated to the popular, to the political and ethical implications of mass culture''s themes and imperatives, this book takes mainstream cinema to task for its mortal economies: for its adoration and absolution of some characters and expendability of others. It also ultimately disinters the capacity for film, and film criticism, to engage with life and vulnerability differently.Aimed at the burgeoning field of death studies and explosion of interest in trauma and ethics within film studies, this book charts important new territory for the discipline whilst arguing for the centrality of this subject to the socio-political significance of cinema.Table of ContentsIntroduction: Death and the 'Moving' Image; PART I: BEFORE - FLIRTING WITH DEATH; 1. Narrative Suicide and the Subject of Film; 2. S&M and (or as) Cinema: Sexual Risk and Visible Pleasures; 3. Un/Safe Texts: Apocalypse, Millennial Cinema and the Traumatised Spectator; PART II: DURING - ACTUALISING DEATH; 4. The Language of Pain: Illness, Injury and the Aesthetics of Dying; 5. Who Buys It? Dying and Difference; 6. Murder and Self-Reflexivity: the Implicated Spectator; PART III: AFTER - DEALING WITH DEATH; 7. Medium, Memory and Mortality; 8. Good Grief: Ghosts, Spectres and the Denial of Death; 9. The Unconscious and the Unconscionable: Filming Death and the Complicitous Spectator; Conclusion: The Trauma of Cinema, or the Still 'Moving' Image.

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Book SynopsisThis book introduces the relationship between the American government and the American film industry during the Cold War.Trade Review"'Politically nuanced, historically contextualized, and internationally informed, Hollywood's Cold War is essential reading for anyone interested in this fascinating subject. Tony Shaw's analysis is both penetrating and comprehensive. The broad range of films he studies will greatly expand conventional understandings of the Cold War's impact on American filmmaking.' Christian G. Appy"Table of ContentsIntroduction; 1. Love and defection; 2. The enemy within; 3. Projecting a prophet for profit; 4. Of gods and moguls; 5. Negotiable dissent; 6. Turning a negative into a positive; 7. A cowboy in combats; 8. Secrets and lies; 9. The empires strikes back; Conclusion.

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Book SynopsisThis book introduces the relationship between the American government and the American film industry during the Cold War.Trade Review"'Politically nuanced, historically contextualized, and internationally informed, Hollywood's Cold War is essential reading for anyone interested in this fascinating subject. Tony Shaw's analysis is both penetrating and comprehensive. The broad range of films he studies will greatly expand conventional understandings of the Cold War's impact on American filmmaking.' Christian G. Appy"Table of ContentsIntroduction; 1. Love and defection; 2. The enemy within; 3. Projecting a prophet for profit; 4. Of gods and moguls; 5. Negotiable dissent; 6. Turning a negative into a positive; 7. A cowboy in combats; 8. Secrets and lies; 9. The empires strikes back; Conclusion.

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Book SynopsisA study of sequel production within recent Hollywood and beyond in terms of its industrial, cultural and global implications.Table of ContentsIntroduction - The Age of the $equel: Rethinking the Profit Principle; 1. Origins, New Hollywood, and Originality; 2. Narrative, Genre, and Gender; 3. Interactive Narratives: New Media and Video Game Sequels; 4. Sequels at Sundance: Narrative Franchising, Authorship, and the Avant-Garde; 5. Global Sequels; 6. Sequelization, 9/11, and Secondary Memory; Conclusion: TV, DVD, and the Global Economy.

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Book SynopsisA study of David Mamet's most successful independent film, The Spanish Prisoner (Sony Pictures Classics, 1997)Table of ContentsSeries Preface; Acknowledgements; Introduction; 1. From Independent to 'Indie' Cinema; 2. David Mamet and 'Indie' Cinema; 3. 'Indie' Film at Work: Producing and Distributing 'The Spanish Prisoner'; 'That's what you just think you saw!' Narrative and film Style in 'The Spanish Prisoner'; 5. Playing with Cinema: The Master of the Con game Film; Conclusion; Notes; Bibliography.

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Book SynopsisAn innovative study of the successful indie film Brokeback Mountain.Trade ReviewThis is an attractive volume with an appealing cover and high production values. It offers -- Sandra Burr M/C - Media and Culture The role of this series is significant in adding to the discourse in circulation. -- Rona Murray, De Montfoprt University New Review of Film and Television Studies This is an attractive volume with an appealing cover and high production values. It offers The role of this series is significant in adding to the discourse in circulation.Table of Contents1. Introduction; 2. Genre; 3. Spectatorship and Brokeback Fever; 4. Exhibition and Reception.

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Book SynopsisWe both love and hate our journalists. They are perceived as sexy and glamorous on the one hand, despicable and sleazy on the other. Opinion polls regularly indicate that we experience a kind of cultural schizophrenia in our relationship to journalists and the news media: sometimes they are viewed as heroes, at other times villains. From Watergate to the fabrication scandals of the 2000s, journalists have risen and fallen in public esteem. In this book, leading journalism studies scholar Brian McNair explores how journalists have been represented through the prism of one of our key cultural forms, cinema. Drawing on the history of cinema since the 1930s, and with a focus on the period 1997-2008, McNair explores how journalists have been portrayed in film, and what these images tell us about the role of the journalist in liberal democratic societies. Separate chapters are devoted to the subject of female journalists in film, foreign correspondents, investigative reporters and other categories of news maker who have featured regularly in cinema. The book also discusses the representation of public relations professionals in film.Illustrated throughout and written in an accessible and lively style suitable for academic and lay readers alike, Journalists in Film will be essential reading for students and teachers of journalism, and for all those concerned about the role of the journalist in contemporary society, not least journalists themselves. An appendix contains mini-essays on every film about journalism released in the cinema between 1997 and 2008.Table of ContentsPART I: INTRODUCTION AND OVERVIEWS; Introduction; 1. Journalists in Film: An Overview; PART II: JOURNALISTS IN FILM; 2. His Girl Friday (Howard Hawks, 1940); 3. Citizen Kane (Orson Welles, 1940); 4. Ace In the Hole (Billy Wilder, 1951); 5. Salvador (Oliver Stone, 1984); 6. Welcome To Sarajevo (Michael Winterbottom, 1996); 7. The Sweet Smell of Success (Alexander MacKendrick, 1957); 8. The Accidental Hero (Stephen Frears, 1996); 9. Power (Sydney Lumet, 1986); 10. Natural Born Killers (Oliver Stone, 1996); 11. Shattered Glass (Billy Ray, 2003); 12. Good Night, and Good Luck (George Clooney, 2005); 13. Capote (Bennet Miller, 2005); Conclusion; Filmography.

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Book SynopsisThis series presents diverse and fascinating movements in world cinema. Each volume concentrates on a set of films from a different national, regional or, in some cases, cross-cultural cinema which constitute a particular tradition.Table of Contents1. Beginnings; 2. Neorealism and Realism: Bazin and Zavattini; 3. Neorealism in Literature: Parallels to the Cinema; 4. Roberto Rossellini: Rebuilding the City; 5. Vittorio De Sica: Walking the Postwar City; 6. 'Minor' Neorealist Directors; 7. The Road Beyond and Outside of Italian Neorealism; Filmography; Bibliography.

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Book SynopsisCharts the birth and development of Italian neorealism. Surveying the major creative contributions to and critical receptions of this trend in Italian postwar cinema, this book begins by tracing the roots of neorealist film and drawing parallels to neorealist fiction. It re-considers critical discourses that have emerged over the years.Table of Contents1. Beginnings; 2. Neorealism and Realism: Bazin and Zavattini; 3. Neorealism in Literature: Parallels to the Cinema; 4. Roberto Rossellini: Rebuilding the City; 5. Vittorio De Sica: Walking the Postwar City; 6. 'Minor' Neorealist Directors; 7. The Road Beyond and Outside of Italian Neorealism; Filmography; Bibliography.

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Book SynopsisA critical study of the American indie film Lost in Translation.Trade ReviewIf you love film and celebrate the advent of Indie film you will want to snap up each new title in this collection of little paperbacks with glossy covers and easy-turning high quality paper. They feel nice in the hand, and will sit perkily on the bookshelf to accompany the DVD collection. Lost in Translation is written in a scholarly style which is also, for a good part, accessible to the general reader who loves film. This book especially will provide years of happy browsing and elucidation. -- Di Morris M/C Reviews If you love film and celebrate the advent of Indie film you will want to snap up each new title in this collection of little paperbacks with glossy covers and easy-turning high quality paper. They feel nice in the hand, and will sit perkily on the bookshelf to accompany the DVD collection. Lost in Translation is written in a scholarly style which is also, for a good part, accessible to the general reader who loves film. This book especially will provide years of happy browsing and elucidation.Table of ContentsIntroduction; 1. Industrial contexts: From Indie to Indiewood; 2. Frameworks: Stardom, Authorship, Genre; 3. Form: Narrative, Visual Style, Music; 4. Themes: Alienation, Disconnection and Representation; Afterword; Select bibliography; Index

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Book SynopsisThe book introduces Memento as an important independent film and uses it to explore relationships between indie, arthouse and commercial mainstream cinema, independent film marketing practices and online fan communities. The book also locates Memento within debates around key film studies concepts such as genre, narrative and reception.Table of ContentsIntroduction; 1. Memento as Independent Film; 2. Industry Strategies: Distribution, marketing, and exhibition; 3. Narrative and narration; 4. Genre; 5. Reception; Conclusion.

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Book SynopsisWhat did our Scottish grandparents and great grandparents see at the cinema? What thrilled them on the silver screen? This scholarly work intends to document the cinema habits of early twentieth-century Scots, exploring the growth of early cinema-going and integrating the study of cinema into wider debates in social and economic history.Table of Contents1: The Early Exhibition of Film in Scotland; 2: The Cinema and Morality; 3: Silent Cinema in Scotland: from the First World War to the Coming of Sound; 4: A Scottish Screen: Film Production in Scotland; 5: The Early Sound Era: From The Singing Fool to the Second World War; 6: A Wider Cinema Culture; 7: To the Peak and Beyond: Scottish Cinema in Wartime and Austerity.; Conclusion; Appendices; Bibliography.

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Book SynopsisAt the end of World War II, Hollywood basked in unprecedented prosperity. Since then, numerous challenges and crises have changed the American film industry in ways beyond imagination in 1945. Nonetheless, at the start of a new century Hollywood''s worldwide dominance is intact-indeed, in today''s global economy the products of the American entertainment industry (of which movies are now only one part) are more globally pervasive than ever.How does today''s ''Hollywood''-absorbed into transnational media conglomerates like NewsCorp., Sony and Viacom-differ from the legendary studios of Hollywood''s Golden Age? What are the dominant frameworks and conventions, the historical contexts and the governing attitudes through which films are made, marketed and consumed today? How have these changed across the last seven decades? And how have these evolving contexts helped shape the form, the style and the content of Hollywood movies, from Singin'' in the Rain to Pirates of the Caribbean?Barry Langford explains and interrogates the concept of ''post-classical'' Hollywood cinema-its coherence, its historical justification and how it can help or hinder our understanding of Hollywood from the forties to the present. Integrating film history, discussion of movies'' social and political dimensions, and analysis of Hollywood''s distinctive methods of storytelling, Post-Classical Hollywood charts key critical debates alongside the histories they interpret, while offering its own account of the ''post-classical''. Wide-ranging yet concise, challenging and insightful, Post-Classical Hollywood offers a new perspective on the most enduringly fascinating art form of our ageTrade ReviewThe book's strengths are real strengths: a good deal of original research, smart writing, and interpretative originality that increases as the book progresses. Highly recommended. -- S. C. Dillon, Bates College Choice Langford's study is both comprehensive and detailed, always keeping the different levels of analysis distinct, while allowing them to inform each other and broaden our understanding of the permutations of Hollywood after 1945. -- Steen Christiansen, Aalborg University, Denmark SCOPE: An Online Journal of Film Studies The book's strengths are real strengths: a good deal of original research, smart writing, and interpretative originality that increases as the book progresses. Highly recommended. Langford's study is both comprehensive and detailed, always keeping the different levels of analysis distinct, while allowing them to inform each other and broaden our understanding of the permutations of Hollywood after 1945.Table of ContentsIntroduction; Part I: Hollywood in Transition 1946-1965; Introduction; 1, The Autumn of the Patriarchs; 2, The Communication of Ideas; 3, Modernising Hollywood; Part II: Crisis and Renaissance 1966-1981; Introduction; 4, Changing of the Guard; 5, New Wave Hollywood; 6, Who Lost the Picture Show?; Part III: New Hollywood 1982-2006; Introduction; 7, Corporate Hollywood; 8, Culture Wars; 9, Post-Classical Style?; Conclusion: "Hollywood" Now; Further Reading The Biggest, The Best - case studies; 1946: The Best Years of Our Lives; 1955: Marty, Cinerama Holiday; 1965: The Sound of Music; 1975: One Flew Over the Cuckoo's Nest, Jaws; 1985: Out of Africa, Back to the Future; 1995: Braveheart, Toy Story; 2005: Crash, Star Wars Episode III: Revenge of the Sith

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Book SynopsisThis series presents diverse and fascinating movements in world cinema. Each volume concentrates on a set of films from a different national, regional or, in some cases, cross-cultural cinema which constitute a particular tradition.Table of ContentsAcknowledgements; Preface; 1. Vernacular Magic Realism in Globalising Europe; 2. They Live on Mars: The Magic of the Periphery; 3. Wooden Monsters, Dead Bodies and Things: Embodying the Other; 4. Between Fantasy and Mimesis: Carnival, Children and Cinema; Epilogue: Three Encounters; Filmography; Bibliography; Index.

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Book SynopsisInvestigates the sensuous qualities of narration in the feature-length fiction film. This book provides an account of existing work on film narration and offers an overview of the sensuous aspects of cinematic storytelling as demonstrated through a broad selection of films.Table of ContentsIntroduction; Chapter One: Analysing Film Texturally; Chapter Two: Sensation and Narrative Sense in Amores Perros; Chapter Three: Storytelling Through the Imperfect Image; Chapter Four: Sighs and Sounds: The Materiality of the Voiceover; Chapter Five: The Dramatic Affect of Multiple Casting; Conclusion.

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Book SynopsisThis is the first study of Chinese stars and their transnational stardom, examining the career of Jet Li, probably the best martial arts actor alive.

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Book SynopsisThis book incorporates the Latin America/Hollywood and Indiewood vector of filmmaking into its study of the region's transnationalized filmmaking, using textual analysis and industrial case studies.

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Book SynopsisExplores how film analysis can take account of the presence of digital images in cinema. Not just for digital effects enthusiasts, this book is essential for anyone interested in how to approach film critically: it is a toolbox for contemporary film analysis.

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Book SynopsisA study of the themes of travelling and movement of and in films.Table of ContentsPART I: AESTHETICS OF MOVEMENT; 1. Introduction: movement, cinema and modernity; 2. Theorising movement; 3. Bodies in motion and movements of discovery and revelation; PART II: NARRATIVES OF JOURNEYS AND DISPLACEMENT; 4. The European Cosmopolitan films of the 1950s & 60s; 5. Diasporic Films; 6. The Road Movie; PART III: MOVING AGENTS; 7. Exilic directors; 8. Films abroad; 9. The spectator of the 'foreign film'.

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Book SynopsisThis is a study of popular Indian cinema in the age of globalisation, new media, and metropolitan Hindu fundamentalism, focusing on the period between 1991 and 2004.Table of ContentsSection I: Introduction; 1. Cinematic 'Assemblages': The Nineties and Earlier; 2. The Geo-televisual and Hindi Film in the Age of Information; Section II: Informatics, Sovereignty and the Cinematic City; 3. Allegories of Power/Information; 4. The Music of Intolerable Love: Indian Film Music, Globalization, and the Sound of Partitioned Selves; Section III: Myth and Repetition; 5. Technopolis and the Ramayana: New Temporalities; 6. Repetitions with Difference: Mother India and her Thousand Sons; Epilogue

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Book SynopsisItalian cinemas after the war were filled by audiences who had come to watch domestically produced films of passion and pathos. These highly emotional and consciously theatrical melodramas posed moral questions with stylish flair, redefining popular ways of feeling about romance, family, gender, class, Catholicism, Italy and feeling itself. The Operatic and the Everyday in Postwar Italian Film Melodrama argues for the centrality of melodrama to Italian culture. It uncovers a wealth of films rarely discussed before, including family melodramas, the crime stories of neorealismo popolare and opera films, and provides interpretive frameworks that position them in wider debates on aesthetics and society. The book also considers the well-established topics of realism and arthouse auteurism, and re-thinks film history by investigating the presence of melodrama in neorealism and post-war modernism. It places film within its broader cultural context to trace the connections of canonical melodramatists like Visconti and Matarazzo to traditions of opera, the musical theatre of the sceneggiata, visual arts and magazines. In so doing, it seeks to capture the artistry and emotional experiences found within a truly popular form.An engaging and informative read, The Operatic and the Everyday in Postwar Italian Film Melodrama is an essential resource for students and scholars in both Film Studies and Italian Studies.

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Book SynopsisThe study of globalization in cinema assumes many guises, from the exploration of global cinematic cities to the burgeoning world cinema turn' within film studies, which addresses the global nature of film production, exhibition and distribution. In this ambitious new study, Malini Guha draws together these two distinctly different ways of thinking about the cinema, interrogating representations of global London and Paris as migrant cinematic cities, featuring the arrival, settlement and departure of migrant figures from the decline of imperial rule to the global present. Drawing on a range of case studies from contemporary cinema, including the films of Michael Haneke, Claire Denis, Horace Ové and Stephen Frears, Guha also considers their world cinema status in light of their reconfiguration of established forms of filmmaking, from modernism to social realism. An illuminating analysis of London and Paris in world cinema from the vantage point of migrant mobilities, From Empi

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Book SynopsisUnder-researched and often forgotten, documentary film-making in Hong Kong includes a thriving independent documentary film movement, a large archive of documentaries made by the colonial film units, and a number of classic British Official Films. In this book, case studies from all three categories are examined, including The Battle of Shanghai.

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Book SynopsisFocusing on films from 1998 onwards, this title analyses the development of LGBTQ filmmaking and filmwatching in Spain and places this within the wider cultural context. It investigates how these films are distributed and how audiences react to them.

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Book SynopsisSteven Jacobs' book provides a unique critical intervention into a relatively new area of scholarship - the multidisciplinary topic of film and the visual arts.

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Book SynopsisDid you know that a Turkish remake of The Exorcist replaced the Catholicism with Islam? Or that James Bond and Batman team up together in the 1966 Filipino film James Batman? Or that a Bollywood remake of Memento has become one of the biggest box-office successes in India of all time? The Hollywood Meme is the first comprehensive study of the transnational adaptations of Hollywood movies that have appeared throughout world cinema. With case studies from the film industries of Turkey, India and the Philippines, Iain Robert Smith shows how reworked versions of Hollywood blockbusters like E.T., The Godfather, Spider-man and Star Wars can complicate prevailing accounts of Hollywood''s global impact, and help provide a new model for interrogating transnational flows and exchanges.

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Book SynopsisAmerican Smart Cinema examines a contemporary type of US filmmaking that exists at the intersection of mainstream, art and independent cinema and often gives rise to absurd, darkly comic and nihilistic effects.

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Book SynopsisExplosive images of sex and violence in films by directors such as Catherine Breillat, Gaspar Noé, Michael Haneke and Lars von Trier have attracted media attention for the ways in which they seek to shock and provoke the spectator into powerful affective and visceral responses. This first collection of essays devoted to the new extremism in contemporary European cinema critically interrogates this highly contentious body of work and demonstrates that these films and the controversies they engender are indispensable to the critical task of rethinking the terms of spectatorship. Through critical discussions of key films and directors, this book sheds new light on cutting-edge debates in Film Studies regarding sexuality, violence and spectatorship, affect and ethics, and the political dimensions of extreme cinema.Including important new work from internationally renowned scholars Martin Barker and Martine Beugnet, as well as combining a range of approaches to extreme cinema across audience research andTrade Review"'An excellent source for students of film violence. Highly recommended' (Choice)"Table of Contents1. Introduction, Tanya Horeck and Tina Kendall; 2. Flesh and Blood: Sex and Violence in Recent French Cinema, James Quandt; Part I French Cinema and the New Extremism; 3. The Wounded Screen, Martine Beugnet; 4. Reframing Bataille: On Tacky Spectatorship in the New European Extremism, Tina Kendall; 5. Beyond Anti-Americanism, Beyond Euro-Centrism: Locating Bruno Dumont's Twentynine Palms in the Context of European Cinematic Extremism, Neil Archer; Part II Becoming Animal: Posthumanism and the New Extremism; 6. Shadows of Being in Sombre: Archetypes, Wolf-Men and Bare Life, Jenny Chamarette; 7. Eastern Extreme: The Presentation of Eastern Europe as a Site of Monstrosity in La Vie nouvelle and Import/Export, Michael Goddard; 8. Naked Women, Slaughtered Animals: Ulrich Seidl and the Limits of the Real, Catherine Wheatley; Part III Watching the Extreme: Cultural Reception; 9. Watching Rape, Enjoying Watching Rape...: How does a Study of Audience Cha(lle)nge Film Studies Approaches?', Martin Barker; 10. Censorship, Reception and the Films of Gaspar Noe: The Emergence of the New Extremism in Britain, Daniel Hickin; 11. 'Sex and Violence from a Pair of Furies': The Scandal of Baise-moi, Leila Wimmer; 12. 'Close Your Eyes and Tell Me What You See': Sex and Politics in Lukas Moodysson's Films, Mariah Larsson; Part IV Ethics and Spectatorship in the New Extremism; 13. Lars von Trier's Dogville: A Feel-Bad Film, Nikolaj Lubecker; 14. A 'Passion for the Real': Sex, Affect and Performance in the Films of Andrea Arnold, Tanya Horeck; 15. Interrogating the Obscene: Extremism and Michael Haneke, Lisa Coulthard; 16. On the Unwatchable, Asbjorn Gronstad; Afterword; 17. More Moralism from that 'Wordy Fuck', James Quandt.

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Book SynopsisThis volume draws a map of British film culture in the 1970s and provides a wide-ranging history of the period. It examines the cross-cultural relationship between British cinema and other media, including popular music and television. The analysis covers mainstream and experimental film cultures, identifying their production contexts and the economic, legislative and censorship constraints on British cinema throughout the decade.The essays in Part I contextualise the study and illustrate the diversity of 1970s moving image culture. In Part II, Sue Harper and Justin Smith examine how gender relations and social space were addressed in film. They show how a shared visual manner and performance style characterises this fragmented cinema, and how irony and anxiety suffuse the whole film culture. This volume charts the shifting boundaries of permission in 1970s film culture and changes in audience taste. This book is the culmination of an AHRC-funded project at the University of Portsmouth, For more information about 1970s British Cinema, Film and Video: Mainstream and Counter-Culture (2006-2009) please visit the project website at www.1970sproject.co.uk.Trade Review"'An invigorating read, bold in its scope and imaginative in its organisation and methodology...This is a study of great richness and depth, intellectually risk-taking and provocative' (Journal of British Cinema and Television)"Table of Contents1. Film Policy; 2. Censorship; 3. Artists' film and video and avant-garde practice; 4. Art Direction in British Cinema; 5. Film in Education; 6. Black Britain in film and TV; 7. Television; 8. Popular music film and youth culture; 9. Key players; 10. Boundaries and taboos; 11. Technical Innovation and visual style; 12. Audiences and reception; 13. Social Space; 14. Media crossovers; Conclusion: innovation, film culture and cultural memory.

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Book SynopsisIn the Taiwanese film industry, the dichotomy between arthouse and commercially viable films is heavily emphasized by both scholars and the local media. This book provides a nuanced picture of the Taiwanese film industry since democratization and isolation from the Peoples Republic of China.

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Book SynopsisStudies the significant developments in Japanese genre filmmaking since the turn of the millennium. This book includes detail the ways in which individual films have both drawn and departed from those films that have comprised the key works and trends in these generic categories. It features developments in filmmaking.

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Book SynopsisThis scholarly work documents the cinema habits of early twentieth-century Scots, exploring the growth of cinema-going and integrating the study of cinema into wider debates in social and economic history. It draws on archival resources including documentation kept by cinema managers and the diaries and recollections of cinema-goers.Table of ContentsIntroduction; 1. From Variety Hall to Picture House: The Emergence of Scottish Cinema to 1914; 2. Regulating Scottish Cinema: Censorship and the Child Audience; 3. Through War and Peace: The Changing Fortunes of Scottish Silent Cinema, 1914-29; 4. A Seven-Day Wonder?: Cinema and the Scottish Sabbath; 5. An Essential Social Habit: Cinema-going in the early sound era, c.1927-39; 6. Beyond the Dream Palace: The Role of Non-Commercial Cinema in Scotland; 7. To the Summit and Beyond: Cinema-Going in the 1940s; 8. A Flickering Image: Scottish Film Production; Conclusion; Appendices; Bibliography.

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