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1
1949-, Fumerton Richard A., and Jeske Diane 1967-, eds. Introducing philosophy through film: Key texts, discussion, and film selections. Malden, MA: Wiley-Blackwell, 2010.
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2
Harold, Augenbraum, ed. How to organize a Steinbeck book or film discussion group. San Jose, CA: Center for Steinbeck Studies, San Jose State University, 2002.
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3
Branch, Canada Cultural Industries. A review of Canadian feature film policy : discussion paper =: Examen de la politique cinématographique canadienne : document de discussion. Ottawa, Ont: Canadian Heritage = Patrimoine canadien, 1998.
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4
UCLA Entertainment Symposium (12th 1987). Reel of fortune: A discussion of the critical business and legal issues affecting film and television today. [Los Angeles?]: Regents of the University of California, 1987.
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5
Canada, Canadian Heritage Film Video and Sound Recording. Canadian content in the 21st century: A discussion paper about Canadian content in film and television productions. Hull, Quebec: Dept. of Canadian Heritage, Film, Video, and Sound Recording, 2002.
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Heritage, Canada Canadian. Canadian content in the 21st century: A discussion paper about Canadian content in film and television productions March 2002. Ottawa: Canadian Heritage, 2002.
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7
Printing, London College of. The cabinet of Dr Calligri: A discussion of the film and dits reputation : design history dissertation forBA MPD 1987. London: LCP, 1987.
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Heritage, Canada Canadian. Canadian content in the 21st century : a discussion paper about Canadian content in film and television productions =: Le contenu canadien au 21e siècle : un document de discussion sur le contenu canadien des productions cinématographiques et télévisuelles. Hull, Qué: Canadian Heritage = Patrimoine canadien, 2002.
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9
Pollacchi, Elena. Wang Bing's Filmmaking of the China Dream. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463721837.
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This volume offers an organic discussion of Wang Bing's filmmaking across China’s marginal spaces and against the backdrop of the state-sanctioned 'China Dream'. Wang Bing's cinema gives voice to the subaltern. Focusing on contemporary China, his work testifies to a set of issues dealing with inequality, labour, and migration. His internationally awarded documentaries are considered masterpieces with unique aesthetics that bear reference to global film masters. Therefore, this investigation goes beyond the divides between Western and non-Western film traditions and between fiction and documentary cinema. Each chapter takes a different articulation of space (spaces of labour, history, and memory) as its entry point, bringing together film and documentary studies, Chinese studies, and globalization studies. This volume benefits from the author's extensive conversations with Wang Bing and insider observations of film production and the film festival circuit.
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Ayyām al-Fīsbūk: Masāʼil wāqiʻīyah fī ʻālam iftirāḍī. al-Qāhirah: al-Hayʼah al-Miṣrīyah al-ʻĀmmah lil-Kitāb, 2012.
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Dawlatī ʻalá al-fīsbūk. [al-Qāhirah]: al-Hayʼah al-Miṣrīyah al-ʻĀmmah lil-Kitāb, 2012.
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12
Vadim, Moroz. Andrei Tarkovsky About His Film Art in His Own Words: CONVERSATIONS AND DISCUSSIONS in COLLEGE GLIENICKE, BERLIN. Petersburg, VA: Frost Publishing, 2008.
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Ẓurafāʼ al-fīs būk. al-Qāhirah: Dār al-ʻAyn lil-Nashr, 2012.
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al-Fīs būk wa-al-thawrah al-Miṣrīyah. [Cairo]: Dār al-Jumhūrīyah lil-Ṣiḥāfah, 2013.
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al-Intirnit & facebook: Thawrat 25 Yanāyir namūdhajan. al-Qāhirah: al-Dār al-Miṣrīyah al-Lubnānīyah, 2012.
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Damiano, Cesare. Dopo lunghe e cordiali discussioni: La storia della contrattazione sindacale alla FIAT in 600 accordi dal 1921 al 2003. Roma: Ediesse, 2003.
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17
Alpha Youth Film Series Discussion Guide. Thomas Nelson, 2017.
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18
Commission, Australian Film, ed. Film assistance: Future options : a discussion paper. Sydney: Allen & Unwin, 1987.
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19
Heritage, Canada Canadian, ed. Review of Canadian feature film policy: Discussion paper. [Ottawa]: Minister of Public Works and Government Services Canada, 1998.
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20
Ballard, Jason, and Ben Woodman. Alpha Youth Film Series Discussion Guide with DVD. Thomas Nelson, 2017.
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21
Heritage, Canada Canadian, ed. A review of Canadian feature film policy: Discussion paper. [Ottawa]: Canadian Heritage, 1998.
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22
Chemistry, Royal Society of. Emerging Inorganic Materials in Thin-Film Photovoltaics: Faraday Discussion. Royal Society of Chemistry, The, 2022.
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23
Gustafsson, Tommy, and Pietari Kääpä, eds. Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.001.0001.
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Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. It discusses a range of internationally renowned examples, from Nordic noir such as the television show The Bridge and films like Insomnia (1997) to high concept ‘video generation’ productions such as Iron Sky (2012). Yet, genre, at least in this context, indicates both a complex strategy for domestic and international competition as well as an analytical means to identify the Nordic film cultures’ relationships to international trends. Conceptualizing Nordic genre film as an industrial and cultural phenomenon, other contributions focus on road movies, the horror film, autobiographical films, the quirky comedy, musicals, historical epics and pornography. These are contextualized by discussion of their place in their respective national film and media histories as well as their influence on other Nordic countries and beyond. By highlighting similarities and differences between the countries, as well as the often diverse production modes of each country, as well as the connections that have historically existed, the book works at the intersections of film and cultural studies and combines industrial perspectives and in depth discussion of specific films, while also offering historical perspectives on each genre as it comes to production, distribution and reception of popular contemporary genre film.
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Halle, Randall. The Film Apparatus. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038457.003.0002.
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This chapter illustrates how the discussion of cinematic apparatus was international and in many instances foundational for the establishment of film studies as a discipline. Apparatus offered a means to consider precisely the study of film as more than formal analysis of the projected image; it sought to arrive at a more comprehensive discussion of cinema. The production of the image was understood not simply as an industrial tale, but as a matter of signification, social relations, modes of production, methods of projection, space of reception, and subjective effects on spectators. In the 1960s, the discourse on the apparatus was connected to the quest for revolutionary forms. By the 1980s, the debates regarding apparatus theory became bogged down by considerations of ideology and an overwhelming focus on psychoanalytic models.
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Mysteries, clues to how we think: A selected bibliography prepared for a lecture/film/discussion series. Baltimore: Montgomery County Department of Public Libraries, 1989.
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26
Owens, Rebekah. Studying Shakespeare on Film. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348547.001.0001.
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Aimed at newcomers to the subject, this book is a guide for the analysis of Shakespeare on film. Starting with an introduction to the main challenge faced by any director — the early-modern language of the plays — there follows exemplars for examining how that challenge is met using as case studies twelve Shakespeare films, including Romeo and Juliet, Macbeth, and The Tempest. The reader is invited to explore different critical approaches such as how a director can tell the story of the play in a setting that embraces the expectations of realism in cinema, but still pays homage to the theatrical origins of the work. There is a discussion of those films in which the setting provides a visual analogy with the preoccupations of the story, but not at the expense of Shakespeare's language which is extended to show how some films use recent history as a setting, adding a further layer of meaning to the story from the cultural resonances associated with that historical past. These films also rely on an assumption that Shakespeare is so well-known as to form a distinctive, easily recognized brand in the cinema marketplace. Thus, his work can be reimagined in completely different genres such as the teenpic. In considering the latter films the reader will be invited to reflect upon wider issues relevant to the study of Shakespeare on film, principally how, and if, these adaptations of the plays can be recognised as part of the extended canon of Shakespeare in performance.
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Rascaroli, Laura. How the Essay Film Thinks. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.001.0001.
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Less than a decade ago the expression "essay film" was still encountered only sporadically; today, the term has been widely integrated into film criticism, and is increasingly adopted by filmmakers and artists worldwide to characterize their work-while continuing to offer a precious margin of resistance to closed definitions. Eschewing essentialist notions of genre and form, and bringing issues of practice and praxis to the fore, this book offers a novel understanding of the epistemological strategies that are mobilized by the essay film, and of where such strategies operate. On the backdrop of Theodor W. Adorno’s discussion of the essay form’s anachronistic, anti-systematic and disjunctive mode of resistance, and capitalizing on the centrality of the interstice in Gilles Deleuze’s understanding of the cinema as image of thought, the book discusses the essay film as future philosophy-as a contrarian, political cinema whose argumentation engages with us in a space beyond the verbal. A diverse range of case studies discloses how the essay can be a medium of thought on the basis of its dialectic use of audiovisual interstitiality. The book shows how the essay film’s disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing-all of these emerging as interstitial spaces of intelligence that illustrate how essayistic meaning can be sustained, often in contexts of political, historical or cultural extremity. The essayistic urge is not to be identified with a fixed generic form, but is rather situated within processes of filmic thinking that thrive in gaps.
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Stevens, Kyle, ed. The Oxford Handbook of Film Theory. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190873929.001.0001.
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Abstract Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what “a movie” or “the cinematic” are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the twenty-first century was preoccupied, understandably, by digital technology’s permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film’s materiality toward timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, this collection narrows in on the subject of film, not with a nostalgic sensibility but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-theory; Film Theory’s Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close Is Close Reading?; and The Turn to Experience.
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Thomson, C. Claire. A Free Hand: The Art Film versus the Art of Documentary. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0009.
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This chapter focuses on the short art film, a genre which emerged around 1950 to mediate the visual and plastic arts, often for international exchange. Danish films about national cultural heritage and the applied arts were the focus for state-sponsored film. These often circulated very widely: the production and distribution of Shaped by Danish Hands (Hagen Hasselbalch, 1948) and Thorvaldsen (Carl Th. Dreyer, 1949) are detailed as examples of Danish films seen by millions of international viewers. The chapter also highlights the artistry of the informational filmmakers themselves, as institutional practice: the principle that the director should have a ‘free hand’ to interpret the brief. An example of an alternative circuit for the screening of art films in Denmark is detailed: art film screening series at Thorvaldsen’s Museum. Debate about the extent to which state-sponsored filmmaking should pursue art and to what extent documentary itself was an art form marks the late 1950s, as changes in leadership and funding shift practice and priorities within Dansk Kulturfilm. The chapter ends with a discussion of one of the agency’s final productions, Herning 65, which captures a site-specific artwork in a factory in the town of Herning.
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Hanaway-Oakley, Cleo. James Joyce and the Phenomenology of Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.001.0001.
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James Joyce and the Phenomenology of Film reappraises the lines of influence said to exist between Joyce’s writing and early cinema and provides an alternative to previous psychoanalytic readings of Joyce and film. Through a compelling combination of historical research and critical analysis, Cleo Hanaway-Oakley demonstrates that Joyce, early film-makers, and phenomenologists (Maurice Merleau-Ponty, in particular) share a common enterprise: all are concerned with showing, rather than explaining, the ‘inherence of the self in the world’. Instead of portraying an objective, neutral world, bereft of human input, Joyce, the film-makers, and the phenomenologists present embodied, conscious engagement with the environment and others: they are interested in the world-as-it-is-lived and transcend the seemingly rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. This book re-evaluates the history of body- and spectator-focused film theories, placing Merleau-Ponty at the centre of the discussion, and considers the ways in which Joyce may have encountered such theories. In a wealth of close analyses, Joyce’s fiction is read alongside the work of early film-makers such as Charlie Chaplin, Georges Méliès, and Mitchell and Kenyon, and in relation to the philosophical dimensions of early cinematic devices such as the Mutoscope, the stereoscope, and the panorama. By putting Joyce’s literary work—Ulysses above all—into dialogue with both early cinema and phenomenology, this book elucidates and enlivens literature, film, and philosophy.
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Thomson, C. Claire. Mapping Messiness: The Informational Film Archive and Actor-Network Theory. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0004.
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This chapter offers Actor-Network Theory (ANT) as a toolkit for analysing the often messy and complex networks and relationships involved in the production and distribution of useful cinema. Stressing that ANT is employed in the book as a way of thinking rather than as an explicit framework, the chapter briefly outlines the key principles of ANT and relates them to documentary and informational filmmaking. In particular, the chapter discusses the potential of ANT for rendering visible or audible the many non-human actors in any instance of filmmaking, and for revealing how facts are constructed in documentary and related genres. The institutions, individuals, networks, technologies and other actors involved in mid-twentieth-century Danish informational filmmaking are then mapped. The chapter concludes with a discussion of the role of the archive and the researcher in the network of any given film, explaining how contemporary archival practices, especially digital technologies, are creating new dispositifs for historical informational film.
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Hanaway-Oakley, Cleo. Tactile Vision and Enworlded Being. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0005.
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Stephen’s musings on the pre-cinematic ‘stereoscope’ are discussed in relation to Bloom’s contemplation of parallax and his mention of the ‘Mutoscope’. The three-dimensionality, tangibility, and tactility of stereoscopic perception is analysed alongside Bloom’s and Gerty’s encounter in ‘Nausicaa’ and the Merleau-Pontian concepts of ‘flesh’ and ‘intercorporeity’. The bodily effects of projected cinema—achieved through virtual film worlds, virtual film bodies, and the intercorporeity of film and spectator—are discussed through reference to panorama, phantom ride, and crash films. The dizzying effects of some of these films are compared to the vertiginous nature of the ‘Wandering Rocks’ episode of Ulysses; these cinematic and literary vestibular disturbances are elucidated through gestalt theory and the phenomenological concepts of ‘intention’, ‘attention’, and the ‘phenomenal field’. Finally, the relationship between the self and the other is considered, through a discussion of cinematic mirroring in Ulysses and in Mitchell and Kenyon’s fin de siècle Living Dublin films.
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Waddell, Calum. Cannibal Holocaust. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325116.001.0001.
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This book is one of the most controversial horror films ever made. Despite not achieving huge success when it was first released, the Italian production found an audience on home video in the 1980s and became a 'must-see' for connoisseurs of extreme cinema. Indeed, Cannibal Holocaust's foremost legacy is in the United Kingdom, where it obtained its reputation as one of the most harrowing and offensive 'video nasties' — a term used to refer to a group of films deemed to be 'obscene' by the Department of Public Prosecutions. However, as the years have progressed, Cannibal Holocaust has been re-evaluated, mainly as the forefather of the 'found footage' film, and recent home video re-releases have added some valuable perspective to the onscreen violence with extensive cast and crew interviews. What is missing from this contemporary activity is contextualization of Cannibal Holocaust's style, affirmation and discussion of its locations and any extensive discourse about its representation of third world inhabitants (i.e. as 'primitives'). In addition, and also amiss from previous dialogue on the production, is that Cannibal Holocaust can be seen as one of the key post-Vietnam films. It is the spectre of war — and an explicit warning about Western involvement in civil conflict — which progresses Deodato's story of jungle adventurers in peril. By approaching the film from a more formalist position, this book provides an insightful discussion of this groundbreaking film.
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Filimon, Monica. Interview with Cristi Puiu. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040764.003.0002.
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This extended interview with Cristi Puiu tries to intertwine several thematic threads: Puiu’s biography, including his experience with his different films; his involvement in, and reaction to, historical events; and his artistic credo. It includes a discussion of important moments such as the 1989 uprising against the communist regime, the 1990 protest against the neo-communists taking hold of power, or the different confrontations between the young and old generations within the film industry. It also gives ample space to Puiu’s discussion of his religious views of the sacred and the role cinema can play in building bridges among people
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Kelly, Catriona. Soviet Art House. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.001.0001.
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This book examines cinema in the Brezhnev era from the perspective of one of the USSR’s largest studios, Lenfilm. Producing around thirty feature films per year, the studio had over three thousand employees working in every area of film production. The discussion covers the period from 1961 to the collapse of centralized state facilities in 1986. The book focuses particularly on the younger directors at Lenfilm, those who joined the studio in the recruiting drive that followed Khrushchev’s decision to expand film production. Drawing on documents from archives, the analysis portrays film production “in the round” and shows that the term “censorship” is less appropriate than the description preferred in the Soviet film industry itself, “control,” which referred to a no less exigent but far more complex and sophisticated process. The book opens with four framing chapters that examine the overall context in which films were produced: the various crises that beset film production between 1961 and 1969 (chapter 1) and 1970 and 1985 (chapter 2), the working life of the studio, and particularly the technical aspects of production (chapter 3), and the studio aesthetic (chapter 4). The second part of the book comprises close analyses of fifteen films that are typical of the studio’s production. The book concludes with a brief survey of Lenfilm’s history after the Fifth Congress of the Filmmakers’ Union in 1986, which swept away the old management structures and, in due course, the entire system of filmmaking in the USSR.
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Buhler, James. Narratology and the Soundtrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0006.
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Chapter 6 focuses on narrative theories of film. It opens with a discussion of film narratology in general. The second section then covers narratological theories of the soundtrack, especially music, which was one of the first subsystems of film to have its theory rewritten in explicitly narratological terms. It considers contributions by Claudia Gorbman, Michel Chion, Sarah Kozoloff, Giorgi Biancorosso, Robynn Stilwell, Jeff Smith, and Ben Winters and traces how the basic conceptual distinction of diegetic and nondiegetic music has evolved. The next section examines the important narratological concept of focalization as it applies to music in film, drawing on the work of Guido Heldt and concludes with a brief discussion of focalization in Casablanca.
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Hanssen, Eirik Frisvold. Silent Ghosts on the Screen. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.9.
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During the 1910s and early 1920s, some thirty known film adaptations of works by Henrik Ibsen were produced in a number of countries. Chapter 9 examines the four American silent film Ibsen adaptations still known to exist: The Pillars of Society (1911), Peer Gynt (1915), Ghosts (1915), and Pillars of Society (1916). Drawing on extant film material, contemporary film reviews, and trade press articles, it approaches these films, through their various adaptation strategies and their trade press reception, in terms of broader discourses about what is often characterized as the transitional period in US film history, focusing in particular on discussions throughout the 1910s concerning medium specificity and media borders. The essay emphasizes stylistic and narrative strategies in the four films, in particular those connected to space, narrative, and performance, as well as ethical and moral considerations associated with the Ibsen film, including their contemporaneous reception.
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Brophy, Philip. Parties in Your Head. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0021.
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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. The sound of nightclubs and club music has transformed spatial scale, frequency range, and volume levels in film soundtracks for the past twenty-five years. Across this period, spatialization is intensified, the soundtrack gets noiser, and characterization favors unbalanced psychological states. Consequently, an aural “Other” becomes progressively encoded and registered. The texture of recorded sound on film becomes affected by non-cinematic aurality, responding to approaches to microphone placement in pop music, and the role that psycho-acoustics play in shaping psychological drama. Discussion ensues to audit the noise inside the addled heads of characters in a selection of films which exemplify this transformative audiovision in cinema:Scorpio Rising, Vinyl, Scarface, Blue Velvet, La Vie Nouvelle, andIrréversible.
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Badley, Linda. Interviews with Lars von Trier. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252035913.003.0002.
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This chapter presents excerpts from two interviews conducted by the author. The first took place on September 19, 2006, two days before the premiere of Lars von Trier's The Boss of It All at the Copenhagen International Film Festival. The second took place on October 3, 2007, which followed up the discussion of The Boss of It All begun in the first interview. Topics covered in these interviews include Trier's interest in Japanese horror movies; how he feels about opening The Boss of It All at the Copenhagen International Film Festival; his sources of inspiration; some of the jokes about Denmark, Iceland that Americans might not get, given that The Boss of It All is one of his most Danish films; and differences between European and American capitalism.
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Fox, Alistair. Confronting Domestic Violence and Familial Abuse: Once Were Warriors (Lee Tamahori, 1994). Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0010.
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This chapter points to the presence of three often-overlooked coming-of-age narrative strands in Lee Tamahori’s Once Were Warriors, in what is ostensibly a social problem film. A comparison with Alan Duff’s autobiographical novel from which the film was adapted, reveals strategies that Tamahori adopted to invest the story with a more standardized generic complexion that relates it to the Hollywood action films of filmmakers like Robert Aldrich and Sam Peckinpah and Sergio Leone’s spaghetti westerns for the sake of enlarging its box office appeal for an international audience. Finally, the discussion shows how Tamahori changed the ideological underpinnings of the story by converting Duff’s neoliberal vision of self-help into an assumption that a return to the values of traditional Māori culture is the remedy for the ills of socio-economically deprived Māori who have migrated to the city.
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Atakav, Eylem. Feminism and Women’s Film History in 1980s Turkey. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0010.
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This chapter explores the relationship between feminism and women's film history in the context of 1980s Turkey. In discussing women's film history, the chapter includes not only the history of women filmmakers and the films they have made but also the link between the history of Turkish film industry and feminism. It begins with a historical overview of the feminist movement in Turkey and then examines its visible traces in film texts produced during the 1980s in order to argue that those films can be most productively understood as explorations of gendered power relations. The chapter then considers how the enforced depoliticization introduced in Turkey after the 1980 coup opened up a space for feminist concerns to be expressed within commercial cinema. It also shows how this political context gave rise to the newly humanized, more independent heroine that characterized Turkish cinema during the period, but suggests that the films were nevertheless made largely within the structures of a patriarchal commercial cinema.
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Rascaroli, Laura. Temporality. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0005.
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Opening with a discussion of the diptych form in film, seen as a dialogic structure activated in a spatiotemporal in-betweenness, this chapter focuses on films constructed around an interstice between incommensurable temporalities. In particular, it looks at filmic practices that spatialize time and at films that articulate the road as a palimpsest through which a diachronic way of thinking develops. The first case study is a diptych by Cynthia Beatt, Cycling the Frame (1988) and The Invisible Frame (2009), which follow the actor Tilda Swinton while she cycles the route along the Berlin Wall, before and after its fall, respectively. The second example, Davide Ferrario’s La strada di Levi (Primo Levi’s Journey, 2007), retraces the route traveled by the writer Primo Levi on his return to Italy after his release from Auschwitz. The temporal gaps carved and exploited by these films are at once material, historical, and ideological.
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Platte, Nathan. In the Selznick Family Tradition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0002.
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This chapter begins with David Selznick’s apprenticeship in silent cinema under his father, Lewis J. Selznick, in New York. As with other directors and producers who learned film in the silent era, Selznick’s early experiences shaped his attitude to cinema, even long after the introduction of sound. This chapter argues that musical traces from Lewis J. Selznick’s films, such as sheet-music tie-ins from War Brides (directed by Herbert Brenon, 1916), and the father’s tense relationship with New York’s musically effusive exhibitor, Samuel “Roxy” Rothafel, are critical for understanding David Selznick’s use of music in later films as means for reconciling aesthetic and commercial aims. The chapter concludes with Selznick’s work at Paramount, the studio at which Selznick gleaned many important lessons concerning music in early sound films. A discussion of Selznick’s Four Feathers and The Dance of Life prepares the stage for the producer’s bolder musical operations at RKO.
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Perks, Sarah, Isabelle Vanderschelden, and Andy Willis. Studying French Cinema. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733162.001.0001.
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Taking a text-led approach, with the emphasis on more recent popular films, Studying French Cinema is directed at non-specialists such as students of French, film studies, and the general reader with an interest in post-war French cinema. Each of the chapters focuses on one or more key films from the ground-breaking films of the nouvelle vague (Les 400 coups, 1959) to contemporary documentary (Etre et avoir, 2002) and puts them into their relevant contexts. Depending on the individual film, these include explorations of childhood, adolescence and coming of age (Les 400 coups, L'Argent de poche); auteur ideology and individual style (the films of Jean-Luc Godard and Agnes Varda); the representation of recent French history (Lacombe Lucien and Au revoir les enfants); transnational production practices (Le Pacte des loups); and popular cinema, comedy and gender issues (e.g. Le Diner de cons). Each film is embedded in its cultural and political context. Together, the historical discussions provide an overview of post-war French history to the present. Useful suggestions are made as to studies of related films, both those discussed within the book and outside.
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Meis, Morgan, and J. M. Tyree. Wonder, Horror, Mystery: Letters on Cinema and Religion in Malick, Von Trier, and Kieślowski. punctum books, 2021. http://dx.doi.org/10.53288/0359.1.00.
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Wonder, Horror, Mystery is a dialogue between two friends, both notable arts critics, that takes the form of a series of letters about movies and religion. One of the friends, J.M. Tyree, is a film critic, creative writer, and agnostic, while the other, Morgan Meis, is a philosophy PhD, art critic, and practicing Catholic. The question of cinema is raised here in a spirit of friendly friction that binds the personal with the critical and the spiritual. What is film? What’s it for? What does it do? Why do we so intensely love or hate films that dare to broach the subjects of the divine and the diabolical? These questions stimulate further thoughts about life, meaning, philosophy, absurdity, friendship, tragedy, humor, death, and God. The letters focus on three filmmakers who challenged secular assumptions in the late 20th century and early 21st century through various modes of cinematic re-enchantment: Terrence Malick, Lars von Trier, and Krzysztof Kieślowski. The book works backwards in time, giving intensive analysis to Malick’s To The Wonder (2012), Von Trier’s Antichrist (2009), and Kieślowski’s Dekalog (1988), respectively, in each of the book’s three sections. Meis and Tyree discuss the filmmakers and films as well as related ideas about philosophy, theology, and film theory in an accessible but illuminating way. The discussion ranges from the shamelessly intellectual to the embarrassingly personal. Spoiler alert: No conclusions are reached either about God or the movies. Nonetheless, it is a fun ride.
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Grafius, Brandon. The Witch. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348356.001.0001.
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The book offers an overview of the religious history, generic background, and folklore influences on Robert Eggers’ film The Witch (2015). In addition, it provides close readings of the film and the individual characters which argues for the film as a critique of patriarchal family structures. The religious background of the film’s Puritan context is explored, including a discussion of some of the documents which Eggers used for his screenplay. The film is placed in the context of 21st century horror cinema, with an argument for its place in the context of the current wave of folk horror.
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Veg, Sebastian, ed. Popular Memories of the Mao Era. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888390762.001.0001.
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Over the past 10 or 15 years in China, there has been unprecedented critical public discussion of key episodes in PRC history, in particular the Great Famine of 1959-1961, the Anti-Rightist movement of 1957, and the Cultural Revolution, with the wave of Red Guard apologies. These discussions are quite different from previous expressions of traumatic or nostalgic memories of the Mao era, respectively in the 1980s and 1990s. They reflect both growing dissatisfaction with the authoritarian control over history exercised by the Chinese state, and the new spaces provided for counter-hegemonic narratives by social media and the growing private economy in the 2000s. Unofficial or independent journals, self-published books, social media groups, independent documentary films, private museums, oral history projects, and archival research by amateur historians have all contributed to embryonic public or semi-public discussion. The present volume provides an overview of these new forms of popular memory, in particular critical memory, of the Mao era. Focusing on the processes of private production, public dissemination, and social sanctioning of narratives of the past in contemporary China, it examines the relation between popular memories and their social construction as historical knowledge. The three parts of the book are devoted to the shifting boundary between private and public in the press and media, the reconfiguration of elite and popular discourses in cultural productions (film, visual art, literature), and the emergence of new discourses of knowledge in popular history.
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Brown, Noel, ed. The Oxford Handbook of Children's Film. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190939359.001.0001.
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The Oxford Handbook of Children’s Film is the most comprehensive study of international children’s cinema published to date. Overturning common prejudices that films for children are unworthy of serious attention, it presents nuanced and wide-ranging discussions of iconic and neglected productions alike, from Hollywood, Britain, France, Germany, Sweden, Norway, Hungary, Australia, China, Japan, South Korea, India, Iran, Kenya, and several other countries. Featuring contributions by leading scholars in the field, the volume considers a range of issues central to the study of children’s film, including questions of form and definition; representations of childhood and growing up; music, stardom, and performance; how children’s films reflect national identity or serve as vehicles of state ideology and propaganda; the phenomenon of Hollywood “family entertainment,” especially the role of the Disney company; and how children and young people (as well as older audiences) engage with children’s film culture. As a whole, the handbook makes a substantial contribution to the emerging field of children’s film studies and will be of interest to scholars of children’s media and culture more broadly.
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Buhler, James. Language, Semiotics, and Deleuze. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0004.
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Chapter 4 opens with the issue of the “film language” and examines how the concept served to ground film semiotics. Both film and music have been called universal languages, and this languagelike quality meant that both areas were inviting objects to the emerging academic field of semiotics. After a general overview of “film language,” this chapter considers the contributions of Jean Mitry and Christian Metz to the field of film semiotics and what film semiotics contributes to the theory of the soundtrack. The chapter closes with a discussion of Gilles Deleuze, whose philosophy of cinema draws extensively from the semiotic tradition of Charles S. Peirce. Deleuze himself offers mostly cryptic comments about the soundtrack, and this chapter uses the typology Deleuze developed for the movement-image and seeks analogues in the treatment of the soundtrack.
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Schmeink, Lars. Science, Family, and the Monstrous Progeny. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781781383766.003.0004.
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Chapter 4 reflects on the creation of the posthuman, concentrating on the genetic manufacture of life in Vincenzo Natali's film Splice (2009). In shifting the medium of the discussion, the more private perspectives of posthuman creation and especially the creature itself are foregrounded by foregoing the larger, social discussion of the consequences provided in chapter 3. Instead, the chapter analyzes liquid modern realities and the loss of stability in its personal dimension, such as love, sex, and procreation. The film, as a biopunk adaptation of the classic Frankenstein-story, makes elaborate use of the metaphor of the monstrous to characterize contemporary society and its desire to liquefy personal bonds and relations. The posthuman becomes monstrous allegory for the liquid modern wish to forego social commitment, especially and most frighteningly reflected in concepts of love and motherhood, where the film warns about the interpersonal consequences of relegating procreation to science and extracting it from stable, secure social relations.