Performing arts Books

Book SynopsisTrade Review[Firestorm] will be a popular resource for film students. -- James Clarke Times Higher Education Supplement Prince's impressively thorough and intelligently written book will serve as a guide for some years to this visually indelible episode in American history... Essential. Choice offers a detailed and insightful critical analysis while avoiding jargon...Firestorm isa remarkable achievement as a first look at the impact of 11 September on filmmaking, and lays the groundwork for any number of new approaches. -- Jeffrey Mazo Survival [A] thoughtful and thorough investigation of the celluloid response to that chilling September day. -- Luke Davies The Australian A rich record and accounting of the first decade of responses by both mainstream and marginal American filmmakers. -- Corey K. Creekmur CineasteTable of ContentsAcknowledgments Introduction 1. Theater of Mass Destruction 2. Shadows Once Removed 3. Ground Zero in Focus 4. Battleground Iraq 5. Terrorism on the Small Screen 6. No End in Sight Appendix 1: Historical Timeline Appendix 2: Filmography Notes Bibliography Index

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Book SynopsisTable of ContentsEditor's Introduction Acknowledgments Part 1. Modernity and Postcolonial Ethnicity 1. The Age of the World Target: Atomic Bombs, Alterity, Area Studies 2. The Postcolonial Difference: Lessons in Cultural Legitimation 3. From Writing Diaspora: Introduction: Leading Questions 4. Brushes with the-Other-as-Face: Stereotyping and Cross-Ethnic Representation 5. The Politics of Admittance: Female Sexual Agency, by Miscegenation 6. When Whiteness Feminizes ... : Some Consequences of a Supplementary Logic Part 2. Filmic Visuality and Transcultural Politics 7. Film and Cultural Identity 8. Seeing Modern China: Toward a Theory of Ethnic Spectatorship 9. The Dream of a Butterfly 10. Film as Ethnography; or, by Translation Between Cultures in the Postcolonial World 11. A Filmic Staging of Postwar Geotemporal Politics: On Akira Kurosawa's No Regrets for Our Youth, by Sixty 12. From Sentimental Fabulations, by Contemporary Chinese Films: Attachment in the Age of Global Visibility 13. The Political Economy of Vision in Happy Times and Not One Less; or, by a Different Type of Migration Notes Index

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Book SynopsisTrade ReviewJorg Schweinitz's study of film stereotypes is impressively comprehensive, admirably rigorous, and appropriately international. It will surely invigorate debates on conventionalized shapes in dominant cinema and well-known patterns of recognition in film genre. Schweinitz also revisits classical and contemporary film theory in provocative ways, opening up this field of possibility and offering new points of departure. -- Eric Rentschler, Arthur Kingsley Porter Professor of Germanic Languages and Literatures, Harvard University Offering an unusually sophisticated, exhaustively researched and wide-ranging theoretical analysis as well as a series of deftly argued case studies, Schweinitz brings considerable erudition to bear on a subject that has until now often eluded scholarly attention. Film and Stereotype represents a novel contribution to ongoing debates concerning genre, style, national cinema, and identity. -- Noah Isenberg, editor of Weimar Cinema: An Essential Guide to Classic Films of the Era Film and Stereotype does a masterful job unpacking one of the thorniest concepts in film studies, tracing its multidisciplinary origins with theoretical agility and robust argumentation. This book is indispensable for those interested in the historical, cultural, and industrial utility of stereotypes; Schweinitz's use of theorists such as Bela Balazs and Rudolf Arnheim to reread the stereotype makes an important intervention in the theoretical and textual form of stereotypes. Film and Stereotype offers a rigorous critique of the form, function, and power of stereotypes within both the media industries and the cultural imaginary. -- Alison Griffiths, Baruch College and the Graduate Center, The City University of New YorkTable of ContentsList of Illustrations Introduction Part I. Stereotype Theory: Concepts, Perspectives, and Controversies 1. The Stereotype in Psychology and the Humanities 2. Some Aspects and Levels of Stereotypization in Film 3. The Intellectual Viewpoint Versus the Stereotype in Mass Culture Part II. A Discourse History: The Topic of the "Stereotype" Throughout Film Theory 4. Prelude: Walther Rathenau's Cultural Criticism, Hugo Munsterberg's Euphoric Concept of Film as Art, and the Neglect of the Stereotype 5. Bela Balazs's New Visual Culture, the Tradition of Linguistic Skepticism, and Robert Musil's Notion of the "Formulaic" 6. The Readymade Products of the Fantasy Machine: Rudolf Arnheim, Rene Fulop-Miller, and the Discourse on the "Standardization" of Film 7 The Stereotype as Intelligible Form: Cohen-Seat, Morin, and Semiology 8. Irony and Transf iguration: The Postmodern View of the Stereotype Part III. Film Analysis: Critique and Transfiguration-Three Case Studies 9. McCabe and Buffalo Bill: On the Critical Reflection of Stereotypes in Two Films by Robert Altman 10. Enjoying the Stereotype and Intense Double-Play Acting: The Performance of Jennifer Jason Leigh in The Hudsucker Proxy Epilogue Notes Bibliography Filmography Index

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Book SynopsisTrade ReviewRemarkably wide-ranging and engagingly intricate. Rosalind Galt's argument is bold, its mode of argumentation sure and convincing. This very original take on culturally received and culturally determining ideas and emotions surrounding visual pleasure is long overdue. Galt's book is a necessary contribution to the study of the image in film and visuality studies. -- Brigitte Peucker, author of The Material Image: Art and the Real in Film and Incorporating Images: Film and the Rival Arts One of the most attractive features of Galt's book is her ability to corral so many different iterations of art and film criticism and provide so many examples from world cinema, effecting in the end a general theory of world cinema, of a pretty world cinema. -- Akira Mizuta Lippit, University of Southern California Brilliantly engaging and absolutely knowledgeable. This is a key work... Highly recommended. ChoiceTable of ContentsList of Illustrations Acknowledgments Introduction: The Pretty as Troublesome Image 1. From Aesthetics to Film Aesthetics: Or, Beauty and Truth Redux 2. Colors: Derek Jarman and Queer Aesthetics 3. Ornament and Modernity: From Decorative Art to Cultural Criticism 4. Objects: Oriental Style and the Arabesques of Moulin Rouge! 5. At the Crossroads: Iconoclasm and the Anti-aesthetic in Postwar Film and Theory 6. Forms: Soy Cuba and Revolutionary Beauty 7. Perverse Prettiness: Sexuality, Gender, and Aesthetic Exclusion 8. Bodies: The Sumptuous Charms of Ulrike Ottinger Postscript: Toward a Worldly Image Notes Filmography Bibliography Index

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Book SynopsisTrade Review[An] eye-poppingly informative new book... To paraphrase Frank Loesser's 'Guys and Dolls,' with the publication of American Showman, the question 'What's playing at the Roxy?' can now be answered: 'First-rate cultural history.' -- Mindy Aloff Washington Post [American Showman] provides valuable insight into Roxy's dynamic contemporary moment--one characterized by world military strife, economic downturn, and a blossoming of technological innovation. Publishers Weekly [An] exhaustive biography. -- Ethan Mordden Wall Street Journal Dr. Melnick skillfully captures the substance and durability of Rothafel's prolific life.New York Times -- Sam Roberts New York Times A penetrating, exhaustive contextualized study of Roxy's crucial role in every aspect of the early film industry...highly recommended. Choice American Showman is a fascinating, passionate, and definitive biography of Samuel 'Roxy' Rothafel... Melnick unveils aspects of Rothafel's career that change our understanding of American film history from the late 1910s to the early 1930s. -- Charles Musser Journal of American History For anyone interested in the historical transition from the Nickelodeon era to the classical Hollywood cinema, Ross Melnick's American Showman is a must read. -- Jan-Christopher Horak UCLA Film & Television Archive An impeccably researched and definitive study of Samuel 'Roxy' Rothafel -- Bernard F. Dick American Studies Roxy?'s extraordinary life, as Melnick illustrates, serves as a powerful lens through which to examine a dynamic age of cultural change in American life. -- Josh Glick Business History Review Anyone who cares about the development of film exhibition in the early 20th century should consider it essential reading... even a casual film buff will find much to enjoy... the book is well written and not overly burdened with jargon. -- Leonard Maltin Indiewire With so many greatly exaggerated reports of the death of cinema abroad, what a pleasure to read Ross Melnick's scrupulously researched, exhaustive biography of movie-palace impresario Samuel 'Roxy' Rothafel -- a biography that doubles as a cultural history, looking to a moment when the movies were the upstarts, making vaudeville and live theatre quake in their boots. -- Nick Pinkerton Sight & SoundTable of ContentsList of Illustrations Acknowledgments Introduction Part 1. Roxy and Silent Film Exhibition 1. A New Art for a New Art Form (1908-1913) 2. Broadway Melody (1913-1917) 3. The Movie House as Recruiting Center (1917-1918) 4. "The Man Who Gave the Movies a College Education" (1919-1922) Part 2. Roxy and the Emergence of Convergence 5. A Capitol Idea (1922-1925) 6. "It's the Roxy and I'm Roxy" (1925-1927) 7. It's All Playing in Sheboygan (1928-1931) 8. The Prologue Is Past (1931-1936) Afterword Notes Bibliography Index

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Book SynopsisTrade ReviewA wonderful, insightful, riveting, and entertaining romp. -- Kalpana Rahita Seshadri, Boston College Clearly written...this book could serve...as a core text in a course on women in film. Choice Oliver's convincing conclusion is that in Hollywood films pregnant women may have become objects of desire, but they are not allowed to become desiring subjects... -- Fran Bigman Times Literary SupplementTable of ContentsAcknowledgments Introduction: From Shameful to Sexy-Pregnant Bellies Exploding Onto the Screen 1. Academic Feminism Versus Hollywood Feminism: How Modest Maternity Becomes Pregnant Glam 2. MomCom as RomCom: Pregnancy as a Vehicle for Romance 3. Accident and Excess: The "Choice" to Have a Baby 4. Pregnant Horror: Gestating the Other(s) Within 5. "What's the Worst That Can Happen?" Techno-Pregnancies Versus Real Pregnancies Conclusion: Twilight Family Values Notes Filmography Texts Cited Index

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Book SynopsisThe formal techniques two classic French filmmakers developed to explore cinema’s philosophical potential.Trade ReviewVaughan's brilliant book places him on the cutting edge of contemporary studies that blend film and philosophy. Reconstructing and clarifying how film-philosophy renders fresh insight into the revolutionary potential of the moving film image, Vaughan opens a new dimension to thought and action. -- Sam B. Girgus, Vanderbilt University Where Film Meets Philosophy begs us to think about what we are seeing on the screen and why. Hunter Vaughan compels us to look afresh at Resnais and Godard for the sake of leading film theory in new directions. This book is a rewarding study that brings postwar philosophy into a shared legacy of cinema. -- Tom Conley, Harvard UniversityTable of ContentsList of Illustrations Acknowledgments Introduction: Where Film Meets Philosophy 1. Phenomenology and the Viewing Subject 2. Film Connotation and the Signified Subject 3. Sound, Image, and the Order of Meaning 4. Alain Resnais and the Code of Subjectivity 5. Jean-Luc Godard and the Code of Objectivity Conclusion: Where Film and Philosophy May Lead Notes Bibliography Index

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Book SynopsisTrade ReviewAn excellent snapshot of porn studies as they are today and provides an insight into the range and quality of critical engagement with hardcore pornography in the industry, in the academy, and beyond. -- Laura Ellen Joyce New Review of Film and Television StudiesTable of ContentsNotes on Contributors Introduction: Is Hard-core Hard to Swallow?, by Claire Hines and Darren Kerr Part One. Turned On: Hard-core Screen Cultures 1. Pornography in the Multiplex, by Brian McNair 2. The Dark Side of Hard-core: Critical Documentaries on the Sex Industry, by Karen Boyle 3. Art School Sluts: Authenticity and the Aesthetics of Altporn, by Feona Attwood 4. Pornogogy: Teaching the Titillating, by Mark Jones and Gerry Carlin Part Two. Come Again? Hard-core in History 5. 'White Slavery', Or the Ethnography of 'Sexworkers', by Linda Williams 6. Lost in Damnation: The Progressive Potential of Behind the Green Door, by Darren Kerr 7. The Limits of Pleasure? Max Hardcore and Extreme Porn, by Stephen Maddison 8. Playmates of the Caribbean: Taking Hollywood, Making Hard-core, by Claire Hines Part Three. Fluid Exchanges: Hard-core Forms and Aesthetics 9. Fashionably Laid: The Styling of Hard-core, by Pamela Church Gibson and Neil Kirkham 10. Shortbus: Highbrow Hard-core, by Beth Johnson 11. Homespun: Finnporn and the Meanings of the Local, by Susanna Paasonen 12. Reel Intercourse: Doing Sex on Camera, by Clarissa Smith 13. Power Bottom: Performativity in Commercial Gay Pornographic Video, by John Mercer 14. Interrogating Lesbian Pornography: Gender, Sexual Iconography and Spectatorship , by Rebecca Beirne Selected Filmography Index

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Book SynopsisTrade ReviewOverall, the volume serves as an indispensable 'continuation of this crucial snapshot in time of a twenty-first century cinephilia' -- Nash Petropoulos Media International Australia

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Book SynopsisTable of ContentsIntroduction - Explorations Underground: American Film (Ad)ventures Beneath the Hollywood Rader, by Xavier Mendik and Steven Jay Schneider 1. 'No Sicker Than You Were Before': Theory Economy and Power in Abel Ferrara's The Addiction, by Joan Hawkins 2. Radley Metzger's Elegant Arousal: Cultural Value, Eroticism, and Sexploitation, by Elena Gorfinkel 3. Curtis Harrington and the Underground Roots of the Modern Horror Film, by Stephen R. Bissette 4. 'Special Effects' in the Cutting Room, by Tony Williams 5. Real(ist) Horror: From Execution Videos to Snuff Films, by Joel Black 6. A Report on Bruce Conner's Report, by Martin F. Norden 7. Voyeurism Sadism and Transgression: Screen notes and Observations on Warhol's Blow Job and I, A Man, by Jack Sargeant 8. Doris Wishman Meets the Avant-Garde, by Michael J. Bowen 9. 'You Bled My Mother, You Bled My Father, But You Won't Bleed Me': The Underground Trio of Melvin Van Peebles, by Garrett Chaffin-Quiray 10. Full Throttle on the Highway to Hell: Mavericks, Machismo, and Mayhem in the American Biker Movie, by Bill Osgerby 11. The Ideal Cinema of Harry Smith, by Jonathan L. Crane 12. What Is the Neo-Underground and What Isn't: A First Consideration of Harmony Korine, by Benjamin Halligan 13. Underground America 1999, by Annalee Newitz 14. Phantom Menace: Killer Fans, Consumer Activism, and Digital Filmmakers, by Sara Gwenllian Jones 15. Film Co-ops: Old Soldiers From the Sixties Still Standing in Battle Against Hollywood Commercialism, by Jack Stevenson 16. Gouts of Blood: The Colourful Underground Universe of Herschell Gordon Lewis, by Xavier Mendik 17. Theory of Xenomorphosis, by Nick Zedd 18. Visions of New York: Films from the 1960's Underground", by David Schwartz 19. A Tasteless Art: Waters, Kaufman, and the Pursuit of 'Pure' Gross-Out, by Xavier Mendik & Steven Jay Schneider

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Book SynopsisTrade ReviewSuperb essays that should enlighten both the common reader and the film critic. The European LegacyTable of ContentsAcknowledgements Notes on Contributors Introduction to Volume Two, by Lina Khatib Storytelling and Cultural Politics Stories as Social Critique: The Vision of China in the Films of Jia Zhangke, by Konrad Ng Taonga (cultural treasures): Reflections on Maori Storytelling in the Cinema of Aotearoa/New Zealand, by Hester Joyce The Minjung Cultural Movement and Korean Cinema of the 1980s: The Influence of Minjung Theatre and Art in Lee Jang-ho's Films, by Nam Lee On How to Tell a Revolution: Alsino y el condor, by Robert Dash and Patricia Varas Storytelling and Postcolonialism Telling Stories About Unknown People in Faraway Countries: U.S. Travelogues About Mexico in the 1930s and 1940s, by Isabel Arredondo Memory and Tradition as a Postcolonial Response in the Films of Kyrgyzstan's Aktan Abdykalykov, by Willow Mullins 'Postcolonial Beaux' Stratagem: Singing and Dancing Back with Carmen in African Films, by Yifen T. Beus Telling Women's Stories Heard/Symbolic Voices: The Nouba of the Women of Mont Chenoua and Women's Film in the Maghreb, by Zahia Smail Salhi Women's Stories and Public Space in Iranian New Wave Film, by Anna Dempsey Cinematic Images of Women at a Time of National(ist) Crisis: The Case of Three Yugoslav Films, by Dijana Jelaca History as Science Fiction: Women of Action in Hong Kong Cinema, by Sasa Vojkovic Storytelling and Religio-Cultural Encounters Clouds of Unknowing: Buddhism and Bhutanese Cinema, by Shohini Chaudhuri and Sue Clayton Claiming Space, Time and History in The Journals of Knud Rasmussen, by Darrell Varga Qissa and Popular Hindi Cinema, by Anjali Gera Roy Index

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Book SynopsisThe behind-the-scenes story of Hollywood’s struggle with Nazism before the outbreak of war.Trade ReviewWith a rich blend of art and politics, Doherty brings to light the story of how Hollywood handled Nazism during Hitler's reign. Recommended. Library Journal (starred review) Hollywood and Hitler, 1933-1939 tracks the advance of fascism, and the movie industry's reaction on screen and in private... [A] fascinating work. -- Kate Muir The Times (London) A lively study of Hollywood's relationship to Nazism. -- Emily Greenhouse Culture Desk blog, The New Yorker Wide-ranging and brightly written. -- Dave Kehr The New York Times Book Review A lively, detailed account and a worthy successor to his books Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934 and Hollywood's Censor: Joseph I. Breen and the Production Code Administration. -- Philip Kemp Times Higher Education A remarkable and stimulating account of an important part of movie history and American history. -- Rob Hardy The Commercial Dispatch [Doherty's] books on American cinema from the 1930s to the 1950s are essential reading: Pre-Code Hollywood and Hollywood's Censor: Joseph I. Breen & the Production Code Administration... No one has told this story in as comprehensive or convincing a fashion. As always, Doherty's work is well researched. -- Clayton Koppes Cineaste A witty writer familiar with Hollywood history and manners, Doherty places the studios' craven behavior within a general account of the political culture of the movies in the thirties and forties. -- David Denby The New Yorker [A] riveting read. -- Merve Emre The Millions Mr. Doherty fully understands the studio system and how it juggled interference from its own internal agency, the Production Code Administration. He doesn't deny the greed and fear that motivated studios, but he puts the behavior in context. -- Jeanine Basinger Wall Street Journal Meticulously researched and captivating. -- Noah Isenberg Times Literary Supplement Doherty masterfully describes how the movie industry, mostly headed by Jews, ultimately came together at a time when the nation needed unity... The book is crisply written, well documented. -- Burton Boxerman St. Louis Jewish Light Doherty's well researched Hollywood and Hitler 1933-1939 throws fascinating new light on America and the rise of Nazism. -- Philip French The Observer [A] wide-ranging, scrupulously researched and highly entertaining study. -- Philip French Sight and Sound [A] judicious and comprehensive history of the period. -- Mark Horowitz Tablet Doherty provides a more nuanced and accurate account of Hollywood's relationship with Hitler, and his book should be considered the authority on the subject. -- M. Todd Bennett American Historical Review Hollywood and Hitler is an excellent addition to Doherty's impressive oeuvre, well worth reading for its important insights, strong narrative, and mastery of the period. -- David Welky Journal of American Studies Doherty's book is well documented and brings together a corpus made of lesser-known, yet signifying feature films. -- Yves Laberge Journal of American Culture Thorough and elegantly written. -- Saverio Giovacchini Journal of American History Doherty brings fresh eyes and a witty pen to re-examine the business of US cinema production and distribution in the turbulent pre-war years... A valuable contribution to scholarship on the subject. -- Vincent O'Donnell Media International Australia An important contribution to the history of Hollywood's response to the Nazi efforts to censor US films targeted for export to Germany... Highly recommended. Choice Vividly written, academically unpretentious, and indispensable for historians and students of film. -- Bernard F. Dick American Studies [Hollywood and Hitler, 1933-1939] is painstakingly researched and offers film historians, as well as historians of World War II, a rich, insightful, and engaging portrait of an industry and a world in turmoil. -- Brian Faucette Historical Journal of Film, Radio, and Television Meticulously researched... [Hollywood and Hitler, 1933-1939] provides an informed backdrop to scholars looking to contextualize and analyze individual films from the era. -- Rochelle Miller Film & History A tour de force of film history, deftly weaving together many strands of Hollywood and world history to explain Hollywood's vexed and often vexing relationship to the rise of Nazism. -- Leslie Fishbein American Jewish History Doherty offers a compelling prequel to his own Projections of War: Hollywood,American Culture,and World War II and an indispensible contribution to the emerging body of work on the relationships between Hollywood and Berlin in the 1930s. -- Hannah Graves Film Quarterly Top notch, exhaustively researched film history book by a superb historian. Hollywood ProgressiveTable of ContentsPrologue: Judenfilm! 1. Hollywood-Berlin-Hollywood "The Hitler Anti-Jew Thing" The Aryanization of American Imports The Aryanization of Hollywood's Payroll 2. Hitler, "A Blah Show Subject" The Disappearance of Jews qua Jews The Unmaking of The Mad Dog of Europe "What about the Jews The Story of a Hollywood Girl in Naziland: I Was a Captive of Nazi Germany (1936) 3. The Nazis in the Newsreels "The Swastika Man" "Naziganda" 4. The Hollywood Anti-Nazi League "Unheil Hitler!" The Politics of Celebrity 5. Mussolini Jr. Goes Hollywood 6. The Spanish Civil War in Hollywood "Censored Pap!" Walter Wanger's Blockade (1938) Loyalist Red Screen Propaganda 7. Foreign Imports "German Tongue Talkers" Anti-Nazism in the Arty Theaters "Nazi Scrammers" 8. "The Blight of Radical Propaganda" Trouble from Rome Over Idiot's Delight (1939) Trouble from Berlin Over The Road Back (1937) Trouble from Washington with the Dies Committee 9. Inside Nazi Germany with the March of Time 10. "Grim Reaper Material" History Unreels "The Present Persecutions in Germany" 11. There Is No Room for Leni Riefenstahl in Hollywood 12. "The Only Studio with Any Guts" The Warner Bros. Patriotic Shorts The Activist Moguls "The Picture That Calls a Swastika a Swastika!": Confessions of a Nazi Spy (1939) 13. Hollywood Goes to War Epilogue: The Motion Picture Memory of Nazism Thanks and Acknowledgments Notes Index

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Book SynopsisTable of ContentsAcknowledgements Introduction: Rising Sun and Divided Land Cinematic Japan and Korea: A Long and Turbulent History Im Kwon-taek and the March of Time Film Analysis: Chihwaseon Fukasaku Kinji and Beginning With a Bomb Film Analysis: Battle Royale Lee Chang-dong and the Trauma of History Film Analysis: Secret Sunshine The Legacy of a Violent Man: Kitano Takeshi Film Analysis: Hana-bi Twisted Histories: Park Chan-wook and the Legacy of Personal Trauma Film Analysis: Oldboy The Lone Woman: Kawase Naomi Film Analysis: Shara Bad Guy: Kim Ki-duk Film Analysis: Bad Guy Miike Takashi: Welcome to the Dark Side Film Analysis: Visitor Q Conclusion Bibliography Filmography and Further Viewing Suggestions Key Electronic Resources for Japanese and Korean Film Index

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Book SynopsisTrade ReviewDeftly, Gerd Gemunden combines perceptive close readings of select films with sharp archival investigation to show how some key movies of classical Hollywood came-in often fraught manner-to engage with the evils of fascism. By understanding cinema as a complex negotiation over political meanings, from production to final results onscreen, this volume represents a major contribution to the literature on the Hollywood emigres and their cultural work. -- Dana Polan, New York University Continental Strangers is a necessary and most compelling pendant to Thomas Doherty's Hollywood and Hitler, 1933-1939. Indeed, these two recent releases provide an impressive ensemble. Doherty depicts how American film studios reacted to Nazi terror in both direct and less overt ways. Gemunden fills out the picture in a series of intriguing case studies devoted to filmmakers who fled Hitler and settled in Southern California. Sensitive to the variety of ways in which German film artists experienced emigration and exile, Gemunden's book remains admirably attentive to the historical determinations and textual shapes of Hollywood's anti-Nazi features. -- Eric Rentschler, Harvard University A lucid and comprehensive account of German filmmakers in American exile, this book also offers a poetics of displacement and alienation. It adds another chapter to the story about Hitler and Hollywood and contributes to a deeper historical understanding of political cinema at a moment of crisis. -- Anton Kaes, University of California, Berkeley A welcome and well-researched survey. Cineaste Gemunden's work... makes a valuable contribution to film history... Journal of American History ...a richly contextualized and nuanced reading of exile cinema... American Historcial Review A most important book. -- Clayton Dillard Slant MagazineTable of ContentsAcknowledgments Introduction Part I: Parallel Modernities 1. A History of Horror 2. Tales of Urgency and Authenticity Part II: Hitler in Hollywood 3. Performing Resistance, Resisting Performance 4. History as Propaganda and Parable Part III: You Can't Go Home Again 5. Out of the Past 6. The Failure of Atonement Epilogue Notes Selected Bibliography Index

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Book SynopsisPhilosophers on Film from Bergson to Badiou is an anthology of writings on cinema and film by many of the major thinkers in continental philosophy. The book presents a selection of fundamental texts, each introduced by the editor, Christopher Kul-Want, who places the philosophers within a historical and intellectual framework.Trade ReviewAny film lover in or freshly out of school may just have their life changed with this little diddy. * CriterionCast *Philosophers on Film is an important collection, especially for students first breaking into film studies or scholars who desire quick reference to diverse groundbreaking texts. -- ANDREW KETTLER, University of South Carolina * Historical Journal of Film, Radio, and Television *The contemporary philosophers included in this anthology have been prominent in Anglophone discourse in the humanities over the last twenty years, yet their contributions to film theory have not been addressed in a systematic fashion. Philosophers on Film from Bergson to Badiou offers a coherent framework for approaching this diverse group of philosophers, and the summaries of the arguments of the individual selections are informed, accurate, and accessible. This anthology promises to serve an important function in cinema studies. -- Ronald Bogue, University of GeorgiaAn essential collection that gathers the most important works, both classical and contemporary, on film and philosophy. It covers all of the field’s complex configurations from the continental tradition: philosophy of film, philosophy in film, as well as film as philosophy. No serious film philosopher will be able to leave home without it. -- John Ó Maoilearca, Kingston University, LondonThis important and comprehensive collection offers a complex and carefully chosen series of texts that set out the difficult and urgent relations between film and philosophy, as well as between popular cultures and critical thinking over the last century. Christopher Kul-Want's introduction is a subtle and definitive guide through these crucial issues of modern culture that will enable the reader to find their own place among them. -- Adrian Rifkin, Goldsmiths College, University of LondonTable of ContentsAcknowledgmentsIntroduction1. Creative Evolution, by Henri Bergson2. The Work of Art in the Age of Its Technological Reproducibility, by Walter Benjamin3. The Culture Industry: Enlightenment as Mass Deception, by Theodor W. Adorno and Max Horkheimer4. The Film and the New Psychology, by Maurice Merleau-Ponty5. On Contemporary Alienation or the End of the Pact with the Devil, by Jean Baudrillard6. The Looking Glass, from the Other Side, by Luce Irigaray7. Acinema, by Jean-François Lyotard8. Cinema I: The Movement-Image, by Gilles Deleuze9. Cinema II: The Time-Image, by Gilles Deleuze10. The Malady of Grief: Duras, by Julia Kristeva11. Notes on Gesture, by Giorgio Agamben12. “In His Bold Gaze My Ruin Is Writ Large”, by Slavoj Žižek13. And Life Goes On: Life and Nothing More, by Jean-Luc Nancy14. Contesting Tears, the Hollywood Melodrama of the Unknown Woman, by Stanley Cavell15. From One Manhunt to Another: Fritz Lang Between Two Ages, by Jacques Rancière16. Cinema as Philosophical Experimentation, by Alain Badiou17. Cinematic Time, by Bernard Stiegler18. The Miracle of Analogy: or, The History of Photography, Part 1, by Kaja SilvermanSelected BibliographyIndex

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Book SynopsisJoseph McBride analyzes Ernst Lubitsch’s films in rich detail in the first in-depth critical study to consider the full scope of his work in both his native and adopted lands. McBride explains the “Lubitsch Touch,” shows how the director challenged American attitudes toward romance and sex, and offers revealing insights into his working methods.Trade Review[This] excellent, authoritative book . . . is chockful of cultivated insights. -- Phillip Lopate * New York Review of Books *Named the best silent film book of 2019. * Silent London *McBride delivers his best book yet . . . A nuanced, thorough look at an important artist and his art. * Publishers Weekly (starred review) *In How Did Lubitsch Do It? Joseph McBride has written a love letter to a filmmaker . . . McBride’s detailed appreciations could serve, ideally, as a viewer’s companion to the many layers of Lubitsch’s art. -- Geoffrey O'Brien * Wall Street Journal *Film historian Joseph McBride's tome How Did Lubitsch Do It? makes a comprehensive and enthusiastic . . . case for [Lubitsch]'s importance. * New York Times Book Review *Though some early Lubitsch films are lost, McBride rescues the director's neglected and underrated reputation, securing his legacy with critical insights and sound scholarship in one of the few full-length appreciations of the artist. Highly recommended. * Library Journal *[McBride] reacquaints readers with the director’s genius. . . . Will be a great companion for those interested in underexplored comedies in film history. * Washington Post *There is no better time than now for a comprehensive study of Lubitsch like McBride’s. . . McBride does much-needed work in showing how Lubitsch was one of the consummate artists America was ever lucky enough to claim as her own. * San Francisco Chronicle *How Did Lubitsch Do It? is one of the most indispensable film books I’ve ever read, not only a rigorously researched and considered biography and an illuminating analysis of Lubitsch’s technique but a broader study of how culture affects filmmaking and vice versa. * Filmmaker Magazine *Revered film historian Joseph McBride's new book, How Did Lubitsch Do It?, explores this master of modern comedy in scintillating detail. * LA Weekly *A compelling case for Lubitsch as an unequaled master of elegant, sophisticated entertainments marked by sly innuendo and adult sensibilities that have stood the test of time. * DGA Quarterly *Critical study. * Weekly Standard *A critical study. * Wellesnet *A critical study. * Mass Live *Nine well-informed chapters written in McBride's familiar, accessible style. -- Matthew Sorrento * Film International *[A] fine book. * The Sydney Morning Herald *A book well worth recommending. It is enjoyable, provocative and thorough. * World Socialist Web Site *In this delightfully informative book McBride is unabashedly nostalgic for the urbane art of concealing art that Lubitsch mastered in The Shop around the Corner and in so many of his other films. -- David Weir * Athenaeum Review *How Did Lubitsch Do It? is a critical [and] masterful study. -- Michel Ciment * Positif *Joseph McBride’s study of Lubitsch matches the breadth and range of his incomparable work on Welles and Ford. Reading it, it is impossible not to want to see each of the director’s greatest films again or for the first time – readers will be driven straight to seek out not only the repertory standards but the silents, the musicals, and the German films. It is especially gratifying to see McBride apply his supple understanding of the intricacies of Lubitsch’s sexual politics to the paradoxes lurking for contemporary viewers, exploring how the films play both against and into feminist readings. McBride doesn’t shy from such explorations, but never leaps to premature conclusions. The book is an act of devotion matched to the heart of its subject. -- Jonathan Lethem, author of Motherless BrooklynMcBride subtly and concretely describes the change in cinematic tastes over the course of a century. We who love cinema and Lubitsch should be grateful to have such a book in our lifetime, and it will be the definitive work for years to come. -- Molly Haskell, author of From Reverence to Rape: The Treatment of Women in the MoviesErnst Lubitsch’s work has never needed reappraisal more than it does today, and McBride is just the writer for the job. As usual, he mobilizes formidable research and passionate sympathy to probe a great director’s many sides. We see Lubitsch the ethnic comedian, the exile, the romantic, the sardonic satirist, the sly provocateur, the moralist, the supremely confident master of technique. Above all, we see an artist who poured into film after film his keen sensitivity to the vagaries of love and his tolerant wisdom about the ways of the world. -- David Bordwell, University of Wisconsin-MadisonIt’s a wonderful book on a wonderful picturemaker! The work and detail and time put into it — just extraordinary. Superb! A great service to the public, bringing this unique and brilliant director back to the public's attention. This splendid work does real justice to its subject. -- Peter BogdanovichAlthough Ernst Lubitsch is one of the wittiest, most entertaining, and sexiest of filmmakers, he’s difficult to write about because wit and humor are more resistant to analysis than drama. McBride succeeds admirably in this task, providing a comprehensive, in-depth critical analysis and commentary on the cultural significance of Lubitsch’s work. His book is a joy to read and a gift to anyone who cares about the art of film. -- James Naremore, Indiana UniversityTable of ContentsIntroduction: “How Did Lubitsch Do It?”1. “Herr Ernst Lubitsch”2. “Who Is Ernst Lubitsch?”3. The “Berlin Style” in Hollywood4. Tin Cans in a Warehouse?5. “Give Me a Moment, Please”6. “In Times Like These . . .”7. Master of the Ineffable8. The Aging Master9. The Door ClosesEpilogue: The Importance of Being ErnstAcknowledgments and InfluencesFilmographyNotes on SourcesIndex

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Book SynopsisChinese Film Classics, 1922–1949 is an essential guide to the first golden age of Chinese cinema. Christopher Rea reveals the uniqueness and complexity of Republican China’s cinematic masterworks, from the comedies and melodramas of the silent era to talkies and musicals of the 1930s and 1940s.Trade ReviewA valuable addition to the field that makes early Chinese film history and analysis accessible, and familiarizes general readers with the diverse styles and creative vitality of early Chinese filmmakers. * China Review International *These films represent for me not just the dawn of Chinese cinema but also the visualization of my own cultural roots. They vividly established in my imagination the cinematic awakening of ancient China in a rapidly modernizing world. Rea’s sensitive reading of these films is a fascinating and insightful look into this unique cultural touchstone. -- Ang Lee, Academy Award–winning director of Crouching Tiger, Hidden Dragon and Brokeback MountainWith concise plot summaries, select critical sources, and a fund of historical revelations, Rea provides an impressively coordinated set of studies of Chinese films from the Republican period. His valuable contribution is destined to become a key research and pedagogical resource in the years to come. -- Rey Chow, author of A Face Drawn in Sand: Humanistic Inquiry and Foucault in the PresentChristopher Rea’s Chinese Film Classics, 1922–1949 is a treasure trove for enthusiasts of early Chinese film. Featuring clear plot overviews, fascinating production details, close analyses of key scenes, and incredible detective work that traces the influence of early Hollywood and European cinema, this is the introductory textbook we have been waiting for. -- Michael Berry, author of A History of Pain: Trauma in Modern Chinese Literature and FilmAn excellent work for film studies and for anyone wishing to learn more about China in the first half of the 20th century . . . Highly recommended. * Choice Reviews *Table of ContentsList of FiguresAcknowledgmentsIntroductionPart I. Silent Films1. Laborer’s Love (Laogong zhi aiqing 勞工之愛情), (Zhang Shichuan, director, 1922)2. Playthings (Xiao wanyi 小玩意), (Sun Yu, director, 1933)3. Sports Queen (Tiyu huanghou 體育皇后), (Sun Yu, director, 1934)4. Goddess (Shennü 神女), (Wu Yonggang, director, 1934)5. The Great Road (Dalu 大路), (Sun Yu, director, 1934)6. New Women (Xin nüxing 新女性), (Cai Chusheng, director, 1935)Part II. Sound Films7. Song at Midnight (Yeban gesheng 夜半歌聲), (Ma-Xu Weibang, director, 1937)8. Street Angels (Malu tianshi 馬路天使), (Yuan Muzhi, director, 1937)9. Hua Mu Lan (Mulan congjun 木蘭從軍), (Richard Poh, director, 1939)10. Long Live the Missus! (Taitai wansui 太太萬歲), (Sang Hu, director, 1947)11. Spring River Flows East (Yi jiang chunshui xiang dong liu 一江春水向東流), (Cai Chusheng and Zheng Junli, directors, 1947)12. Spring in a Small Town (Xiaocheng zhi chun 小城之春), (Fei Mu, director, 1948)13. Wanderings of Three-Hairs the Orphan (Sanmao liulang ji 三毛流浪記), (Zhao Ming and Yan Gong, directors, 1949)14. Crows and Sparrows (Wuya yu maque 烏鴉與麻雀), (Zheng Junli, director, 1949)AbbreviationsAppendix 1: Other Significant Extant Chinese Films, 1927–1949Appendix 2: Selective Name List of Film PersonnelFilmographyBibliographyIndex

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Book SynopsisChinese Film Classics, 1922–1949 is an essential guide to the first golden age of Chinese cinema. Christopher Rea reveals the uniqueness and complexity of Republican China’s cinematic masterworks, from the comedies and melodramas of the silent era to talkies and musicals of the 1930s and 1940s.Trade ReviewA valuable addition to the field that makes early Chinese film history and analysis accessible, and familiarizes general readers with the diverse styles and creative vitality of early Chinese filmmakers. * China Review International *These films represent for me not just the dawn of Chinese cinema but also the visualization of my own cultural roots. They vividly established in my imagination the cinematic awakening of ancient China in a rapidly modernizing world. Rea’s sensitive reading of these films is a fascinating and insightful look into this unique cultural touchstone. -- Ang Lee, Academy Award–winning director of Crouching Tiger, Hidden Dragon and Brokeback MountainWith concise plot summaries, select critical sources, and a fund of historical revelations, Rea provides an impressively coordinated set of studies of Chinese films from the Republican period. His valuable contribution is destined to become a key research and pedagogical resource in the years to come. -- Rey Chow, author of A Face Drawn in Sand: Humanistic Inquiry and Foucault in the PresentChristopher Rea’s Chinese Film Classics, 1922–1949 is a treasure trove for enthusiasts of early Chinese film. Featuring clear plot overviews, fascinating production details, close analyses of key scenes, and incredible detective work that traces the influence of early Hollywood and European cinema, this is the introductory textbook we have been waiting for. -- Michael Berry, author of A History of Pain: Trauma in Modern Chinese Literature and FilmAn excellent work for film studies and for anyone wishing to learn more about China in the first half of the 20th century . . . Highly recommended. * Choice Reviews *Table of ContentsList of FiguresAcknowledgmentsIntroductionPart I. Silent Films1. Laborer’s Love (Laogong zhi aiqing 勞工之愛情), (Zhang Shichuan, director, 1922)2. Playthings (Xiao wanyi 小玩意), (Sun Yu, director, 1933)3. Sports Queen (Tiyu huanghou 體育皇后), (Sun Yu, director, 1934)4. Goddess (Shennü 神女), (Wu Yonggang, director, 1934)5. The Great Road (Dalu 大路), (Sun Yu, director, 1934)6. New Women (Xin nüxing 新女性), (Cai Chusheng, director, 1935)Part II. Sound Films7. Song at Midnight (Yeban gesheng 夜半歌聲), (Ma-Xu Weibang, director, 1937)8. Street Angels (Malu tianshi 馬路天使), (Yuan Muzhi, director, 1937)9. Hua Mu Lan (Mulan congjun 木蘭從軍), (Richard Poh, director, 1939)10. Long Live the Missus! (Taitai wansui 太太萬歲), (Sang Hu, director, 1947)11. Spring River Flows East (Yi jiang chunshui xiang dong liu 一江春水向東流), (Cai Chusheng and Zheng Junli, directors, 1947)12. Spring in a Small Town (Xiaocheng zhi chun 小城之春), (Fei Mu, director, 1948)13. Wanderings of Three-Hairs the Orphan (Sanmao liulang ji 三毛流浪記), (Zhao Ming and Yan Gong, directors, 1949)14. Crows and Sparrows (Wuya yu maque 烏鴉與麻雀), (Zheng Junli, director, 1949)AbbreviationsAppendix 1: Other Significant Extant Chinese Films, 1927–1949Appendix 2: Selective Name List of Film PersonnelFilmographyBibliographyIndex

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Book SynopsisHerstories on Screen is a transnational study of feature narrative films from Australia, Canada, the United States, and New Zealand/Aotearoa that deconstruct settler-colonial myths. Kathleen Cummins offers in-depth readings of ten works by a diverse range of women filmmakers, revealing how they skillfully deploy genre tropes.Trade ReviewThis compelling study explores how mainstream narrative films about former white-settler nations, in the hands of an emerging generation of female filmmakers, were reshaped into critiques of dominant frontier myth-histories. Herstories on Screen articulates how these directors explore the contradictions in the project of nation building, bringing to the forefront the roles of women—white, Black, and indigenous—whose stories have long been overlooked. -- Susan White, University of ArizonaHerstories on Screen is a balanced and robust treatment of films by female directors who take up their home countries' national mythologies. Written in lucid prose, it engages with the feminist film theory canon and its revisions via queer, post-colonial and indigenous interrogations. Cummins deftly weaves theory with consistently astute textual analyses, making it an eminently teachable text. Urging the consideration of film as a political tool, this book addresses what these films do for representations of women, the subaltern, the maternal role, and landscape as metaphor, among many others. -- Berkeley Kaite, McGill UniversityTable of ContentsAcknowledgmentsIntroduction: Herstories in the Counter Narrative Tradition1. Women’s Storytelling—Narrative, Genre, and the Female Voice2. Debunking the Cult of True Womanhood/Motherhood on the Frontier3. Feminist Symbolic Frontier Landscapes ConclusionAppendix: The FilmsNotesSelected BibliographyIndex

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Book SynopsisHerstories on Screen is a transnational study of feature narrative films from Australia, Canada, the United States, and New Zealand/Aotearoa that deconstruct settler-colonial myths. Kathleen Cummins offers in-depth readings of ten works by a diverse range of women filmmakers, revealing how they skillfully deploy genre tropes.Trade ReviewThis compelling study explores how mainstream narrative films about former white-settler nations, in the hands of an emerging generation of female filmmakers, were reshaped into critiques of dominant frontier myth-histories. Herstories on Screen articulates how these directors explore the contradictions in the project of nation building, bringing to the forefront the roles of women—white, Black, and indigenous—whose stories have long been overlooked. -- Susan White, University of ArizonaHerstories on Screen is a balanced and robust treatment of films by female directors who take up their home countries' national mythologies. Written in lucid prose, it engages with the feminist film theory canon and its revisions via queer, post-colonial and indigenous interrogations. Cummins deftly weaves theory with consistently astute textual analyses, making it an eminently teachable text. Urging the consideration of film as a political tool, this book addresses what these films do for representations of women, the subaltern, the maternal role, and landscape as metaphor, among many others. -- Berkeley Kaite, McGill UniversityTable of ContentsAcknowledgmentsIntroduction: Herstories in the Counter Narrative Tradition1. Women’s Storytelling—Narrative, Genre, and the Female Voice2. Debunking the Cult of True Womanhood/Motherhood on the Frontier3. Feminist Symbolic Frontier Landscapes ConclusionAppendix: The FilmsNotesSelected BibliographyIndex

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Book SynopsisThe pontianak, a terrifying female vampire ghost, is a powerful figure in Malay cultures. Exploring how and why the pontianak found new life in postcolonial Southeast Asian film and society, Rosalind Galt reveals the importance of cinema to histories and theories of decolonization.Trade ReviewAlluring Monsters is indispensable reading for those interested in how media, folklore, and anticolonial feminism might be explored together. The pontianak, a female ghost of childbirth with queer feminist appeal, is a fascinating fusion of pre-Islamic animism and postindependence aspirations; her influence on transnational vampire lore is decisive but little known. Galt’s deep dive into the political potential of the pontianak moves from colonial misconstruals of indigenous culture to late-colonial studio films and the decolonizing impulses of Malaysian and Singaporean popular cinemas. Across such multiethnic, intercultural flows, Galt explores issues of racialization, ethnonationalism, and environmentalism via an archivally rich exploration of supernatural horror in Southeast Asian and world cinemas. -- Bliss Cua Lim, author of Translating Time: Cinema, the Fantastic, and Temporal CritiqueThe first of its kind and a book like no other, Alluring Monsters brings Southeast Asian cinema and postcoloniality into productive tension through the much-beloved yet much-feared figure of the pontianak. Rosalind Galt has created thrilling new paths for thinking about postcolonial cinema, animism, feminism, queer/trans subjectivities, and decolonial politics. -- Alicia Izharuddin, author of Gender and Islam in Indonesian CinemaAlluring Monsters delivers on all of its ambitious promises. Rosalind Galt elegantly balances the local and the global, the historical and the theoretical, the industrial and the aesthetic, the cultural and the political, the filmic and the related arts. The result is an important new model for imagining world cinema. -- Adam Lowenstein, author of Dreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital MediaAlluring Monsters is an excellent study of the role of the ubiquitous pontianak in the Malay cinema located in Malaysia and Singapore during the cultural processes of the decolonization of both countries. Galt’s scholarship is impressive in its breadth and depth, contributing to our understanding of why we must take the monstrous figure of the pontianak seriously. -- Stephen Teo, author of Chinese Martial Arts Film and the Philosophy of ActionGalt offers a rich and vivid history of the pontianak’s relevance to questions of race, gender, and Islam in the context of decolonization in the Malay peninsula. This book’s entwinement of local historiography with theorizations of the global comprises its bold and welcome intervention. -- Iggy Cortez * Film Quarterly *A history lesson on this understudied cinematic culture and also a nuanced theoretical study that demonstrates the author’s knowledge of Malay cinema and contemporary cultural and cinematic theory. Though Galt centers on Malay cinema, the study will be invaluable for those interested in the horror genre and cinema in non-Western nations in general. -- G. R. Butters Jr. * Choice Reviews *Galt offers new insights for understanding decolonisation discourses in which knowledge categories and identity are questioned. Indeed, this book opens up new ways to study other mythical horror figures that put Western rationalisation at stake. -- Erika Tiburcio-Moreno * Historical Journal of Film, Radio and Television *A truly unique achievement on multiple levels. -- Alicia Izharuddin * Journal of Vampire Studies *Superlative scholarship. . .[Galt’s] research is wide-ranging and thorough, providing a groundbreaking understanding of a popular culture icon through the lens of decolonization. -- Philippe Mather * East Asian Journal of Popular Culture *Alluring Monsters is an insightful and sophisticated piece of work that illuminates how a popular film subgenre that features the most iconic hantu in the region facilitates a theoretical debate about world cinema. In addition, it serves as a conduit for multiple meanings and discourses that reflect colonial legacies and ideologies that continue to haunt postcolonial Malaysian and Singaporean societies. -- Norman Yusoff * Sojourn: Journal of Social Issues in Southeast Asia *Trenchantly argued and eminently readable, Alluring Monsters will be of interest to anyone interested in feminist film criticism, the horror film, histories of world cinemas, and indeed, history as such. -- Sen Meheli * Journal of Religion & Film *[A] very rich decolonial book . . . what makes the book so fascinating and unique is its fertile dalliance with contemporary scholarship in other fields like ecocinema and new animisms, which are gaining some momentum in Southeast Asian cinema. Thus, while providing a rich foundation for students of Southeast Asian cinema, the book also carries a broader appeal beyond Asian studies. -- Gaik Cheng Khoo * Journal of Asian Studies *Undoubtedly an important contribution to Malay cultures and cinema. -- David H.J. Neo * Asian Ethnicity *Engagingly written and impressively well-researched. * Pacific Affairs *Table of ContentsAcknowledgmentsNote on Malay LanguageIntroduction: On the Trail of the Pontianak1. Popular Horror and the Anticolonial Imaginary2. Troubling Gender with the Pontianak3. Race, Religion, and Malay Identities4. Who Owns the Kampung? Heritage, History, and Postcolonial Space5. Animism as Form: A Pontianak Theory of the ForestNotesBibliographyIndex

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Book SynopsisThomas M. Puhr identifies and analyzes the ways that cinema has dealt with the tension between fate and free will. He examines films that express deterministic ideas, including circular narratives of stasis or confinement and fatalistic portraits of external forces dictating characters’ lives.Trade ReviewIn this wholly singular work, Puhr takes a refreshingly innovative and engaging approach to the surprisingly layered concept of determinism in film. Part film studies, part philosophy, Fate in Film is full of gratifying "ah-ha" moments and gasp-worthy "catches." With its conversational tone, limited jargon, and exciting re-readings of recent and classic films, the book reads like a lecture from a favorite professor -- Erica Dymond, East Stroudsburg University[This book] rewards its readers with new perspectives on familiar cinematic texts and thought provoking intertextuality. * Historical Journal of Film, Radio and Television *Table of ContentsAcknowledgmentsIntroduction: “You’ve Always Been the Caretaker”Part I. Mysterious Appearances: The Illusion of Agency in Identity Formation1. Jonathan Glazer’s Identity Trilogy2. The Greek InfluencePart II. Family Swallows Everything: You Are What Preceded You3. On Display4. A New Family EmergesPart III. False Freedom in Society: Breaking the Cycle Only Reinforces It5. Fate Remade6. Goodbye to SymbolsConclusion: Beyond the ScreenNotesBibliographyIndex

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Book SynopsisSpanning the franchise’s entire history, from Sean Connery’s iconic swagger to Daniel Craig’s rougher, more visceral interpretation of the superspy, James Bond Will Return offers both academic readers and fans a comprehensive view of the series’s transformations against the backdrop of real-world geopolitical intrigue and sweeping social changes.Trade ReviewWith a stellar lineup of authors offering sharp, original analysis of every James Bond film to date, this book delivers a fascinating retrospective of the 007 franchise at a critical moment in the extended life of the series. -- Christoph Lindner, editor of The James Bond Phenomenon, Revisioning 007, and Resisting James BondFeaturing established Bond scholars and new voices, this collection offers new and exciting perspectives on the film franchise. While each of the Bond films are a product of the time they were made, these essays tell us that the series has relevance to the world we live in today. Well written and fun to read, James Bond Will Return will excite even the most seasoned Bond scholar and fan. -- Robert G. Weiner, coeditor of James Bond in World and Popular CultureJames Bond Will Return takes a chronological, anthological approach to the study of the cinematic Bond, enabling a totalizing view of the so-called ‘Bond experience.’ This is the most expansive and well-organized coverage of the Bond cinematic universe to date, representing film and cultural history par excellence. -- Ian Kinane, author of Ian Fleming and the Politics of Ambivalence and general editor of the International Journal of James Bond StudiesTable of ContentsAcknowledgmentsIntroduction: James Bond—Agent of Continuity and Change, by Claire Hines, Terence McSweeney, and Stuart Joy1. Bond and the New Elizabethans: Tradition and Modernity in Dr. No (1962), by Laura Crossley2. “A Real Labour of Love, as They Say”: James Bond as a Sexual Plaything in From Russia with Love (1963), by Lucy Bolton3. The Midas Touch: Eastmancolor, the Bond Franchise, and Goldfinger (1964), by Keith M. Johnston4. The Popular Geopolitics of Thunderball (1965): Look Up, Look Down, and Look Everywhere!, by Klaus Dodds5. Bond in the East: Orientalism and the Exotic in You Only Live Twice (1967), by Robert Shail6. The Other Fellow: On Her Majesty’s Secret Service (1969), by James Chapman7. Diamonds Are Forever (1971): 007 and Transatlantic States of Emergency, by Ian Scott8. From Harlem to San Monique: Spatial Dichotomies, Voodoo, and Cultural Identity in Live and Let Die (1973), by Fran Pheasant-Kelly9. “We All Get Our Jollies One Way or Another”: The Perversity and Pleasure of Christopher Lee in The Man with the Golden Gun (1974), by Julie Lobalzo Wright10. The Spy Who Loved Me (1977)—Nobody Does It Better: “Keeping the British End Up” at a Time of National Crisis, by Terence McSweeney11. Moonraker (1979) and the Canvas of Escapism, by Steven Gerrard12. The Spectre of Death: Revenge and Retribution in For Your Eyes Only (1981), by Stuart Joy13. The (Clown) Suited Hero: James Bond, Costume, Gender and Disguise in Octopussy (1983), by Claire Hines14. Scowls and Cowls: Grace Jones, Costume Design, and A View to a Kill (1985), by Randall Stevens15. “A Time When Indiscriminating Bed-Hopping Is Definitely Not Advisable”: Safe-Sex References in the UK Press Reception of The Living Daylights (1987), by Stephanie Jones16. Bond in the New World Orders: Licence to Kill (1989), by Stacey Peebles17. Cold War Nostalgia, (Geo)Political Progress, and James Bond in GoldenEye (1995), by Tatiana Konrad18. Bond by the Numbers: Tomorrow Never Dies (1997), by Llewella Chapman19. Bond at the Crossroads: The World Is Not Enough (1999), by Tobias Hochscherf20. The Digital Domain of Die Another Day (2002), by Christopher Holliday21. What Matters More: Hierarchies of Value in Casino Royale (2006), by Christine Muller22. “Like a Bullet . . .”: Speed, Economy, and Canonical Continuity in Quantum of Solace (2008), by Estella Tincknell23. “Sometimes the Old Ways Are the Best”: Technology and the Body in a Gothic Reading of Sam Mendes’s Skyfall (2012), by Monica Germanà24. “It’s Always Been Me”: Spectrality, Hauntings, and Retcon in Spectre (2015), by James Smith25. No Time to Die (2021) and The Spy Who Loved #MeToo?, by Terence McSweeney and Stuart JoySelected BibliographyContributorsIndex

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Book SynopsisSpanning the franchise’s entire history, from Sean Connery’s iconic swagger to Daniel Craig’s rougher, more visceral interpretation of the superspy, James Bond Will Return offers both academic readers and fans a comprehensive view of the series’s transformations against the backdrop of real-world geopolitical intrigue and sweeping social changes.Trade ReviewWith a stellar lineup of authors offering sharp, original analysis of every James Bond film to date, this book delivers a fascinating retrospective of the 007 franchise at a critical moment in the extended life of the series. -- Christoph Lindner, editor of The James Bond Phenomenon, Revisioning 007, and Resisting James BondFeaturing established Bond scholars and new voices, this collection offers new and exciting perspectives on the film franchise. While each of the Bond films are a product of the time they were made, these essays tell us that the series has relevance to the world we live in today. Well written and fun to read, James Bond Will Return will excite even the most seasoned Bond scholar and fan. -- Robert G. Weiner, coeditor of James Bond in World and Popular CultureJames Bond Will Return takes a chronological, anthological approach to the study of the cinematic Bond, enabling a totalizing view of the so-called ‘Bond experience.’ This is the most expansive and well-organized coverage of the Bond cinematic universe to date, representing film and cultural history par excellence. -- Ian Kinane, author of Ian Fleming and the Politics of Ambivalence and general editor of the International Journal of James Bond StudiesTable of ContentsAcknowledgmentsIntroduction: James Bond—Agent of Continuity and Change, by Claire Hines, Terence McSweeney, and Stuart Joy1. Bond and the New Elizabethans: Tradition and Modernity in Dr. No (1962), by Laura Crossley2. “A Real Labour of Love, as They Say”: James Bond as a Sexual Plaything in From Russia with Love (1963), by Lucy Bolton3. The Midas Touch: Eastmancolor, the Bond Franchise, and Goldfinger (1964), by Keith M. Johnston4. The Popular Geopolitics of Thunderball (1965): Look Up, Look Down, and Look Everywhere!, by Klaus Dodds5. Bond in the East: Orientalism and the Exotic in You Only Live Twice (1967), by Robert Shail6. The Other Fellow: On Her Majesty’s Secret Service (1969), by James Chapman7. Diamonds Are Forever (1971): 007 and Transatlantic States of Emergency, by Ian Scott8. From Harlem to San Monique: Spatial Dichotomies, Voodoo, and Cultural Identity in Live and Let Die (1973), by Fran Pheasant-Kelly9. “We All Get Our Jollies One Way or Another”: The Perversity and Pleasure of Christopher Lee in The Man with the Golden Gun (1974), by Julie Lobalzo Wright10. The Spy Who Loved Me (1977)—Nobody Does It Better: “Keeping the British End Up” at a Time of National Crisis, by Terence McSweeney11. Moonraker (1979) and the Canvas of Escapism, by Steven Gerrard12. The Spectre of Death: Revenge and Retribution in For Your Eyes Only (1981), by Stuart Joy13. The (Clown) Suited Hero: James Bond, Costume, Gender and Disguise in Octopussy (1983), by Claire Hines14. Scowls and Cowls: Grace Jones, Costume Design, and A View to a Kill (1985), by Randall Stevens15. “A Time When Indiscriminating Bed-Hopping Is Definitely Not Advisable”: Safe-Sex References in the UK Press Reception of The Living Daylights (1987), by Stephanie Jones16. Bond in the New World Orders: Licence to Kill (1989), by Stacey Peebles17. Cold War Nostalgia, (Geo)Political Progress, and James Bond in GoldenEye (1995), by Tatiana Konrad18. Bond by the Numbers: Tomorrow Never Dies (1997), by Llewella Chapman19. Bond at the Crossroads: The World Is Not Enough (1999), by Tobias Hochscherf20. The Digital Domain of Die Another Day (2002), by Christopher Holliday21. What Matters More: Hierarchies of Value in Casino Royale (2006), by Christine Muller22. “Like a Bullet . . .”: Speed, Economy, and Canonical Continuity in Quantum of Solace (2008), by Estella Tincknell23. “Sometimes the Old Ways Are the Best”: Technology and the Body in a Gothic Reading of Sam Mendes’s Skyfall (2012), by Monica Germanà24. “It’s Always Been Me”: Spectrality, Hauntings, and Retcon in Spectre (2015), by James Smith25. No Time to Die (2021) and The Spy Who Loved #MeToo?, by Terence McSweeney and Stuart JoySelected BibliographyContributorsIndex

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Book SynopsisHitchcock Annual volume 26 will include essays on Rebecca, and an expanded section of review essays on recent books on such topics as Vertigo and the history of British cinema.

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Book SynopsisTrade ReviewDawn's witty outlook on life will have you laughing * Prima *A must-read to pass on to friends and family of all ages * Women and Home *A manual for how to create your own happiness * Sunday Times *A mellow, gentle read with words of wisdom * Independent *It's beautiful, like Dawn, and stuffed full of goodies -- Jo BrandThis book is inspired!!! -- Nadiya HussainOne brilliant, inspiring woman -- Emma KennedyWho wouldn't want to spend a year in the company of Dawn French? * BEST *A lovely concept . . . it's very intimate -- Matt Baker, BBC The One ShowLovely! -- Jane Garvey, BBC Radio 4 Woman's HourDawn French will get you thinking * Fabulous Magazine *I spent a good 10 minutes snogging it -- Sarah CoxI love it. Lots of my friends are getting sent one now!!! -- Deborah MeadenThis woman is a warm hug in human form - just thinking about her makes me smile. Dawn spreads joy in abundance. She is dazzling -- Lorraine Kelly

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Book SynopsisA postmodern analysis of the Coen brothers' approach to filmmaking.Trade Review"There is as yet only one book length analysis of any note [about the Coen Brothers] by a film scholar: R. Barton Palrmer's Joel and Ethan Coen (2004). . . . This is a book for those who have already made the acquaintance of the Coens through their films and are now ready to think about their work seriously."--Film International Table of ContentsIntroduction: A brief portrait of the artists; A different meaning for the same old song: Blood Simple; The Coen brothers: Postmodern filmmakers; Uncertainty principle: The Man Who Wasn't There; The exotic everyday: Fargo; The artist, mass culture and the common man: Barton Fink and Raising Arizona; Classic Hollywood redivivus: The Hudsucker Proxy and O Brother, Where Art Thou?; The Coen brothers interviewed; Michel Ciment and Hubert Niogret; Filmography

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Book SynopsisAn ethnographic study of the kathak dance form in the San Francisco Bay Area community formed by Pandit Chitresh Das.Trade Review"Novel, original, and impressive. A story of the dance and one of its most important personalities, and an important book for all interested in the diaspora of Indian and Eastern arts."--George E. Ruckert, author of Music in North India: Experiencing Music, Expressing Culture

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Book SynopsisTrade Review"Friedman's passion for Spielberg films is contagious. Reading Citizen Spielberg makes you want to revisit old favorites like Jurassic Park (1993) and less familiar gems like Empire of the Sun (1987), both to appreciate Spielberg's artistry and assess Friedman's arguments. " --Australasian Journal of American Studies"Essential . . . Perhaps Friedman's greatest achievement is deciphering--in remarkably entertaining fashion--why every Spielberg film is vital to understanding his entire career." --The Film Stage"Citizen Spielberg is an indispensable study of outstanding scholarship and criticism about Steven Spielberg's life, work, and place in American film and cultural history. Friedman writes with commitment and conviction, opening new channels of understanding into Spielberg, his films, and his times."--Sam B. Girgus, author of Clint Eastwood's America"Friedman claims to have penned the first comprehensive analysis of [Spielberg's] films, and he may well be right."--Library Journal"Friedman's treatment is an exhaustive and necessary catalog."--American Interest"There is [a lack of] an exhaustive overview of the components of Spielberg's corpus, the issues which animate his most significant works, the roots of his immense popularity amongst audiences, and the influence his vast spectrum of imaginative products exerts on the public consciousness. Friedman fills that void with a systematic analysis of the various genres in which the director has worked and concludes that Spielberg's films present a sustained artistic vision combined with a technical flair matched by few other filmmakers, and makes a compelling case for Spielberg to be considered as a major film artist."--Screening the Past"Citizen Spielberg does a service to a monstrously influential director and an oeuvre whose investigations of emotion -- especially constrained masculine emotions -- have received insufficient book-length study."--Bloomsbury Review"Friedman seeks a more nuanced approach to Spielberg's cinematic output as director; taking readers through an analysis of his films and responding to the critical assessments of others, Friedman asserts that 'Spielberg is a far more complex, sophisticated, and wry filmmaker than most mainstream critics and academic scholars appreciate.’”--Shofar "Encourage your brightest students to investigate Citizen Speilberg. It's the sort of book that by eschewing jargon but employing serious critical analysis could have a profound effect."--Splice"There is [a lack of] an exhaustive overview of the components of Spielberg's corpus, the issues which animate his most significant works, the roots of his immense popularity amongst audiences, and the influence his vast spectrum of imaginative products exerts on the public consciousness. Friedman fills that void with a systematic analysis of the various genres in which the director has worked and concludes that Spielberg's films present a sustained artistic vision combined with a technical flair matched by few other filmmakers, and makes a compelling case for Spielberg to be considered as a major film artist." * Screening the Past *"Citizen Spielberg does a service to a monstrously influential director and an oeuvre whose investigations of emotion--especially constrained masculine emotions--have received insufficient book-length study." * Bloomsbury Review *"Friedman seeks a more nuanced approach to Spielberg's cinematic output as director; taking readers through an analysis of his films and responding to the critical assessments of others, Friedman asserts that 'Spielberg is a far more complex, sophisticated, and wry filmmaker than most mainstream critics and academic scholars appreciate.’” * Shofar *"Encourage your brightest students to investigate Citizen Speilberg. It's the sort of book that by eschewing jargon but employing serious critical analysis could have a profound effect." * Splice *"Friedman's treatment is an exhaustive and necessary catalog." * American Interest *Table of ContentsPreface ixAcknowledgments xxiii1 The Fantasy and Science Fiction Films 12 The Action/Adventure Melodramas 653 The Monster Movies 1174 The War Films 1735 The Social Problem/Ethnic Minority Films 2436 Imagining the Holocaust 311Filmography 341Works Cited 351Index 369

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Book SynopsisFollows Pedro Almodovar's career chronologically as he moves from amateur to international celebrity, and understands the films' complexity in terms of the director's central themes and the Spanish film tradition from which he comes. This work is of interest to new film students and specialists alike.Trade Review"For fans and film students alike, D'Lugo's contribution to the Contemporary Film Directors series celebrates the director's camp aesthetic and artistic sensibilities with insight and elan."--Publishers Weekly "[D'Lugo] significantly extends the critical discourse on Almodovar's work by focusing on the cluster of ambiguities and polarities that sustain the most controversial aspects of Almodovar's authorship."--Screening The Past "Providing a thoroughly researched synthesis of the many years of study of Almodovar's work by other scholars in both Spanish and English, D'Lugo nevertheless makes the narrative his own through contrasting Almodovar's early films to the films that inspired the director and the ones he seemed to revile and react to, and by emphasizing the auteur's own role in the creation of his personality as a celebrity-author ... With such a thorough and well-written book as D'Lugo's, a full appreciation of ... the genius of its creator has become a lot easier and more enjoyable."--European-films.netTable of ContentsAcknowledgments ix PEDRO ALMÓDOVAR AND HIS CINEMA 1 Low-Level Melodrama 1 Pepi, Luci, Bom, and Other Friends of Pedro 16 Migration and Melodrama 29 Thrillers 45 Women on the Verge of a Nervous Breakdown59 Transnational Repositioning after Women on the Verge 67 The Flower of My Secret 85 Live Flesh 93 All about My Mother 99 Talk to Her and Bad Education 105 INTERVIEW WITH PEDRO ALMODÓVAR 131 SELF-INTERVIEW 145 Filmography 153 Bibliography 159 Index 165

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Book SynopsisAn ethnographic study of the kathak dance form in the San Francisco Bay Area community formed by Pandit Chitresh Das.Trade Review"Novel, original, and impressive. A story of the dance and one of its most important personalities, and an important book for all interested in the diaspora of Indian and Eastern arts."--George E. Ruckert, author of Music in North India: Experiencing Music, Expressing Culture

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Book SynopsisTrade Review"A much-needed critical volume. Movie Workers fills a major gap in scholarly and popular film history, presenting a meticulous and engaging analysis of a wealth of fascinating new data and case studies." --Technology and Culture "This is a very important book. It is no exaggeration to say that it totally re-writes the labour history of the British film industry. . . . Methodologically precise." --Historical Journal of Film, Radio and Television "This important study acts as a political weapon, a much-needed act of recovery and a revision of British film history." --Times Literary SupplementTable of ContentsCoverTitleCopyrightContentsAcknowledgmentsIntroduction. Women’s Work in Film Production: Concepts, Materials, and Methods1. Organizing Work: Gender and the Film Trade Union2. The 1930s: Modernizing Production3. The 1940s: Wartime Opportunities4. The 1950s: Rebuilding Britain5. The 1960s: The New Pioneers6. The 1970s and 1980s: Working with FeminismEpilogue: Legacies and New BeginningsAppendix A: Application Form for Membership in the Association of CineTechnicians (circa 1930s)Appendix B: ACT Job Levels, 1947Appendix C: Film Technicians: Numbers and Percentage by Gender, Decade, and Production CategoryNotesSelect GlossaryIndexBack cover

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Book SynopsisTrade Review"Friedman's passion for Spielberg films is contagious. Reading Citizen Spielberg makes you want to revisit old favorites like Jurassic Park (1993) and less familiar gems like Empire of the Sun (1987), both to appreciate Spielberg's artistry and assess Friedman's arguments. " --Australasian Journal of American Studies"Essential . . . Perhaps Friedman's greatest achievement is deciphering--in remarkably entertaining fashion--why every Spielberg film is vital to understanding his entire career." --The Film Stage"Citizen Spielberg is an indispensable study of outstanding scholarship and criticism about Steven Spielberg's life, work, and place in American film and cultural history. Friedman writes with commitment and conviction, opening new channels of understanding into Spielberg, his films, and his times."--Sam B. Girgus, author of Clint Eastwood's America"Friedman claims to have penned the first comprehensive analysis of [Spielberg's] films, and he may well be right."--Library Journal"Friedman's treatment is an exhaustive and necessary catalog."--American Interest"There is [a lack of] an exhaustive overview of the components of Spielberg's corpus, the issues which animate his most significant works, the roots of his immense popularity amongst audiences, and the influence his vast spectrum of imaginative products exerts on the public consciousness. Friedman fills that void with a systematic analysis of the various genres in which the director has worked and concludes that Spielberg's films present a sustained artistic vision combined with a technical flair matched by few other filmmakers, and makes a compelling case for Spielberg to be considered as a major film artist."--Screening the Past"Citizen Spielberg does a service to a monstrously influential director and an oeuvre whose investigations of emotion -- especially constrained masculine emotions -- have received insufficient book-length study."--Bloomsbury Review"Friedman seeks a more nuanced approach to Spielberg's cinematic output as director; taking readers through an analysis of his films and responding to the critical assessments of others, Friedman asserts that 'Spielberg is a far more complex, sophisticated, and wry filmmaker than most mainstream critics and academic scholars appreciate.’”--Shofar "Encourage your brightest students to investigate Citizen Speilberg. It's the sort of book that by eschewing jargon but employing serious critical analysis could have a profound effect."--Splice"There is [a lack of] an exhaustive overview of the components of Spielberg's corpus, the issues which animate his most significant works, the roots of his immense popularity amongst audiences, and the influence his vast spectrum of imaginative products exerts on the public consciousness. Friedman fills that void with a systematic analysis of the various genres in which the director has worked and concludes that Spielberg's films present a sustained artistic vision combined with a technical flair matched by few other filmmakers, and makes a compelling case for Spielberg to be considered as a major film artist." * Screening the Past *"Citizen Spielberg does a service to a monstrously influential director and an oeuvre whose investigations of emotion--especially constrained masculine emotions--have received insufficient book-length study." * Bloomsbury Review *"Friedman seeks a more nuanced approach to Spielberg's cinematic output as director; taking readers through an analysis of his films and responding to the critical assessments of others, Friedman asserts that 'Spielberg is a far more complex, sophisticated, and wry filmmaker than most mainstream critics and academic scholars appreciate.’” * Shofar *"Encourage your brightest students to investigate Citizen Speilberg. It's the sort of book that by eschewing jargon but employing serious critical analysis could have a profound effect." * Splice *"Friedman's treatment is an exhaustive and necessary catalog." * American Interest *Table of ContentsPreface ixAcknowledgments xxiii1 The Fantasy and Science Fiction Films 12 The Action/Adventure Melodramas 653 The Monster Movies 1174 The War Films 1735 The Social Problem/Ethnic Minority Films 2436 Imagining the Holocaust 311Filmography 341Works Cited 351Index 369

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