Search results for ""author michael goddard""

Raul Ruiz, while considered one of the world's most significant filmmakers by several film critics, is yet to be the subject of any thorough engagement with his work in English. This volume sets out on this task by mapping, as fully as possible, Ruiz's cinematic trajectory across more than five decades of prolific work, up to his death in 2011; ranging from his earliest work in Chile to high-budget 'European' costume dramas culminating in Mysteries of Lisbon (2010). It does so by treating Ruiz's work-with its surrealist, magic realist, popular cultural, and neo-Baroque sources-as a type of 'impossible' cinematic cartography, mapping real, imaginary, and virtual spaces, and crossing between different cultural contexts, aesthetic strategies, and technical media. It argues that across the different phases of Ruiz's work identified, there are key continuities such as the invention of singular cinematic images and the interrogation of their possible and impossible combinations.

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The radical youth movements of the 1960s and '70s gave rise to both militant political groups ranging from urban guerrilla groups to autonomist counterculture, as well as radical media, including radio, music, film, video, and television. This book is concerned with both of those tendencies considered as bifurcations of radical media ecologies in the 1970s. While some of the forms of media creativity and invention mapped here, such as militant film and video, pirate radio and guerrilla television, fit within conventional definitions of media, others, such as urban guerrilla groups and autonomous movements, do not. Nevertheless what was at stake in all these ventures was the use of available means of expression in order to produce transformative effects, and they were all in different ways responding to ideas and practices of guerrilla struggle and specifically of guerrilla media. This book examines these radical media ecologies as guerrilla networks, emphasising the proximity and inseparability of radical media and political practices.

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This volume introduces a novel treatment of Polish cinema by discussing its international reception, performance, co-productions, and subversive émigré auteurs, such as Andrzej Zulawski and Walerian Borowczyk. The opening up of Poland economically and politically to global influences after the fall of the Berlin Wall in 1989, coupled with the rise of transnational approaches to the study of film, presents ideal conditions for examiningPolish cinema from a transnational vantage point. Yet not only have studies of Polish cinema remained largely within a national framework but Polish cinema, as well as many other Eastern European cinemas, has been virtually excluded from new research in transnational cinema. Polish Cinema in a Transnational Context addresses this lacuna in film studies, offering extended analysis of this national cinema's global influence. Contributors assess the reception of Polish films in Europe and North America, Polish international coproductions, the presence of Polish performers in foreign films, and the works of subversive émigré auteurs like Andrzej Zulawski and Walerian Borowczyk. The collection presents familiar films and filmmakers in a new and revealing light, while also focusing on lesser-known filmmakers and aspects of Polish cinema. The resulting volume moves the discussion beyond the border of Polish national belonging. Contributors: Peter Hames, Darragh O'Donoghue, Helena Goscilo, Dorota Ostrowska, Charlotte Govaert, Eva Näripea, Izabela Kalinowska, Ewa Mazierska, Alison Smith, Lars Kristensen, Jonathan Owen,Michael Goddard, Robert Murphy, Kamila Kuc, Elzbieta Ostrowska Ewa Mazierska is professor of film studies at the University of Central Lancashire. Michael Goddard is senior lecturer in media at the University of Salford.

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