Books on the topic 'Films within films'
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1
Barritt, Greg J. Communication within animal cells. Oxford: Oxford University Press, 1991.
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2
Bliss, Michael. Dreams within a dream: The films of Peter Weir. Carbondale, Ill: Southern Illinois University Press, 2000.
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3
Alan, Gevinson, ed. Within our gates: Ethnicity in American feature films, 1911-1960. Berkeley, Ca: University of California Press, 1997.
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4
Vatnsdal, Caelum. They came from within: A history of Canadian horror cinema. Winnipeg, MB, Canada: Arbeiter Ring Pub., 2004.
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5
Iaccino, James F. Jungian reflections within the cinema: A psychological analysis of sci-fi and fantasy archetypes. Westport, Conn: Praeger, 1998.
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6
Hicks, Neill D. Writing the thriller film: The terror within. Studio City, CA: M. Wiese Productions, 2002.
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Hicks, Neill D. Writing the thriller film: The terror within. Studio City, Calif: M. Wiese Productions, 2002.
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8
Kitses, Jim. Horizons west: Anthony Mann, Budd Boetticher, Sam Peckinpah : studies of authorship within the western. Ann Arbor: ProQuest, 2002.
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9
Dias, Magan. A critique of race within the films 'Flame in the Streets' and 'Sapphire': Understanding the portrayal of black identity within British society. London: LCP, 1999.
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10
Hendershot, Cynthia. The animal within: Masculinity and the Gothic. Ann Arbor: University of Michigan Press, 1998.
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11
Lodge, Marc. Within the bounds. New York: Berkley Books, 1994.
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12
The enemy within: The films of Mrinal Sen. Trowbrige, Wiltshire: Flicks Books, 2000.
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13
Takinami, Yuki. Modernity, Shoshimin Films, and the Proletarian-Film Movement. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0009.
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This chapter resituates the question of modernity in Ozu’s shoshimin eiga within the cultural and political context of proletarian-film movement in the 1930s. This chapter first focuses on the writings by leftist film critics. While, as is today, the term “shoshimin” designated the subject depicted in films, the same term was further used to underline the political attitude of the director. Consequently, “shoshimin eiga” acquired an implication quite opposite to that of today: the politically weak films taken from the shoshimin standpoint. The chapter further develops this other implication of shoshimin eiga, analyzing the film-within-film scene of I Was Born, But . . . with reference to Dziga Vertov’s Man with a Movie Camera. By foregrounding the fact that Man with a Movie Camera was released in Japan in March 1932 when Ozu took I Was Born, But . . . , this chapter makes explicit the lack of the cinema politics of revolutionary awaking in Ozu’s films.
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Tulloch, John, and Belinda Middleweek. Real Sex Films. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.001.0001.
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Within the domain of film studies, the recent surge in films depicting graphic and high-impact sex and sexualized violence has been variously classified under the terms transgressive, brutal, provocative, real sex, and extreme cinema. These classifications, however, tend to underplay the films’ sociohistorical contexts and reflexive struggle for meaning. We argue that the similarities and differences between these real or simulated sex films are determined and mediated within geographical space and historical time. But every film book has its own personal historical starting point: in our case, this is the coming together as intertexts of the real sex film Intimacy with a major academic text, The Transformation of Intimacy, and as authorial agents of a television and documentary film producer and a media academic. This book argues that the meanings we attach to “real sex” cinema are discursively constructed not only by academic experts but by filmmakers, performers, audiences, and film reviewers. Debates about the meaning of real sex cinema are best understood in dialogue, and for the first time in interdisciplinary studies, we foster “mutual understanding” and “critical extension” among new risk sociology, feminist mapping theory, feminist film studies, and film reviewers, while also embracing film/media studies concepts of production, social audiences and spectators, genre, narrative, authorship, and stars. Above all, this is an interdisciplinary book, which engages with, supports, critiques, and extends each of these professional fields of discourse, each with its own schema of filmic understanding.
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Kozma, Alicia, and Finley Freibert, eds. ReFocus: The Films of Doris Wishman. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474482349.001.0001.
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This volume—the first ever devoted to director Doris Wishman—covers her vast filmography, and is inclusive of her less discussed later films, hardcore films, and nudist films. By situating Wishman within larger contexts and movements in film history including women’s filmmaking, avant- garde and experimental cinema, and genre film, the volume considers the cultural, historical, and industrial significance of Wishman. Special focus is paid to gender studies, genre studies, film narrative, feminist history, queer history, and adult film history.
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Broughton, Lee, ed. Reappraising Cult Horror Films. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781501387548.
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Identifies key – and in some cases previously overlooked – cult horror films from around the world and reappraises them by approaching and interrogating them in new ways. New productions in the horror genre occupy a prominent space within the cinematic landscape of the 21st century, but the genre’s back catalogue of older films refuses to be consigned to the motion picture graveyard just yet. Interest in older horror films remains high, and an ever-increasing number of these films have enjoyed an afterlife as cult movies thanks to regular film festival screenings, television broadcasts and home video releases. Similarly, academic interest in the horror genre has remained high. The frameworks applied by contributors to the collection include genre studies, narrative theory, socio-political readings, aspects of cultural studies, gendered readings, archival research, fan culture work, interviews with filmmakers, aspects of film historiography, spatial theory and cult film theory. Covering a corpus of films that ranges from recognised cult horror classics such as The Wicker Man, The Shining and Candyman to more obscure films like Daughters of Darkness, The Legend of the 7 Golden Vampires, Shivers, Howling III: The Marsupials and Inside, Broughton has curated an international selection of case studies that show the diverse nature of the cult horror subgenre. Be they star-laden, stylish, violent, bizarre or simply little heard-of obscurities, this book offers a multitude of new critical insights into a truly eclectic selection of cult horror films.
17
Chen, Shu-Hsing. Investigation on ball skidding and traction within el- astohydrodynamic films. 1989.
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18
Levy, Edward. The Beast Within. Authors Choice Press, 2000.
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19
Vatnsdal, Caelum. They Came from Within: A History of Canadian Horror Cinema. Arbeiter Ring, 2014.
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20
Chakravarty, Sumita S. The Enemy Within: The Films of Mrinal Sen (Cinema Voices Series). Flicks Books, 1998.
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21
Iaccino, James F. Jungian Reflections within the Cinema. Greenwood Publishing Group, Inc., 1998. http://dx.doi.org/10.5040/9798400675218.
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Exploring the relevance of Jungian theory as it applies to science fiction, horror and fantasy films, this text demonstrates the remarkable correlation existing between Jung's major archetypes and recurring themes in various film genres. An introduction acquaints readers with basic Jungian theory archetypes before proceeding to film analysis. A diverse selection of movie and television summaries illustrate the relationship between a particular Jungian image and the examined films. Among the various Jungian patterns studied are the father archetype, the split between persona and shadow, the search for the grail, the alchemist traveler, and the development of the child archetype. From Star Wars and Planet of the Apes to Back to the Future and Indiana Jones, the interdependence of Jungian theory and film themes and contents unfold. Creative and innovative, this text unearths new Jungian territory that will appeal not only to psychology and film studies scholars and researchers, but also to those studying communication and literature.
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O'Sullivan, Carol, and Jean-François Cornu, eds. The Translation of Films, 1900-1950. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.001.0001.
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This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century. This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Europe and beyond. It shows how audiovisual translation practices were closely tied to their commercial, technological, and industrial contexts. The Translation of Films, 1900–1950 draws extensively on archival sources and expertise, and revisits and challenges some of the established narratives around film languages and the coming of sound. For instance, the volume shows how silent films, far from being straightforward to translate, went through a complex process of editing for international distribution. It also closely tracks the ferment of experiments in film translation during the transition to sound from 1927 to 1934 and later, as markets adjusted to the demands of synchronised film. The Translation of Films, 1900–1950 argues for a broader understanding of film translation: far from being limited to language transfer, it encompasses editing, localisation, censorship, paratextual framing, and other factors. It advocates for film translation to be considered as a crucial contribution not only to the worldwide circulation of films, but also to the art of cinema.
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Kent, Miriam. Women in Marvel Films. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474448826.001.0001.
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The concept of identity in superhero narratives has become a burgeoning field in academic studies of this increasingly popular cinematic genre. Women in Marvel Films provides the first rigorous analysis of the portrayals of women, heroic and otherwise, in films based on Marvel comics from the 1980s to the present. It explores the relationships between this cultural phenomenon and wider issues of gender equality, considering the cultural moments in which Marvel films are made and incorporating complex histories of the comic book and Hollywood industries. Highlighting characterisations of women, narratives and cinematic elements such as music and mise-en-scène, and questioning how these elements collectively engage with gendered discourses, the discussion also positions previous iterations of women in Marvel comic book narratives as highly relevant. Women in Marvel Films thereby considers how feminist issues surface within superhero adaptations and how they are dealt with via Hollywood and comic book conventions. This book ultimately shows how the Marvel superhero film taps into political complexities regarding gender and related identity issues, such as women’s roles in society and their relation to men, and provides a fascinating insight into gendered power dynamics in contemporary American popular culture. The films discussed include The Punisher (1989), Blade (1998), the X-Men series (2000–2020), Elektra (2005), and the films of the Marvel Cinematic Universe, including Black Panther (2018) and Captain Marvel (2019).
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Barradas Jorge, Nuno. ReFocus: The Films of Pedro Costa. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444538.001.0001.
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This is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and video installations. It situates Costa’s filmmaking within the contexts of Portuguese, European and global art film, looking into his working practices alongside the impact of digital video, forms of collaborative authorship, and the intricate dialogue between modes of production and aesthetics. Considering the exhibition, circulation and reception of Costa’s creative output in settings such as film festivals, the art gallery circuit and the home video market, ReFocus: The Films of Pedro Costa provides an essential critical analysis of this major filmmaker – as well as of the multifaceted production and consumption practices that surround contemporary art cinema.
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Badmington, Neil. Alien Chic: Posthumanism and the Other Within. Taylor & Francis Group, 2004.
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Badmington, Neil. Alien Chic: Posthumanism and the Other Within. Taylor & Francis Group, 2004.
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Badmington, Neil. Alien Chic: Posthumanism and the Other Within. Taylor & Francis Group, 2004.
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28
Vogan, Travis. The Shakespeares of Sports Films. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0005.
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This chapter examines how NFL Films' engagements with aesthetic traditions, the discourses surrounding the company, and its selective incorporation of positive critical reception into its publicity materials separate the organization from other sports media outlets and, by extension, distinguish the National Football League (NFL) from competing sports organizations. Throughout its history, NFL Films has taken great pains to emphasize its distinction within sports media and in the broader contexts of art and media culture. The company places its productions in dialogue with established aesthetic traditions, reinforces its producers' status as legitimate artists, advertises the various accolades it has received, and distances itself from NFL's commercial motives. This chapter explains NFL Films' use of aesthetic traditions and discourses to craft its image and position the company as part of an artworld—a status that is remarkably rare in sports television and in sports media more generally. It also considers how NFL Films situates Ed and Steve Sabol as artistic visionaries who play central roles in reinforcing its efforts to claim status as a site that produces art.
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Barrett, Kyle, ed. ReFocus: The Films of Mary Harron. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474494410.001.0001.
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Mary Harron's diverse career includes cult films such as I Shot Andy Warhol, American Psycho and The Notorious Bettie Page, as well as a range of network and cable television episodes in innovative shows including Homicide: Life on the Street and Six Feet Under. This is the first book to examine an overlooked filmmaker in relation to feminist cinema, discussing the dialectical dynamics within her wide-ranging body of work. It is argued that Harron has fostered a distinctive career through her stylistic and aesthetic choices prompted by cultural contexts, controversial subject matter and production limitations. Each chapter provides an in-depth study on Harron's creative approaches to film and television production, with essays offering close readings of her 5 narrative features, television work, and promotional films. The book offers a robust examination, with scholarly approaches from the fields of cinema, television, gender, fashion, death and celebrity studies. This is a long-awaited and crucial introduction to a ground-breaking figure in contemporary cinema.`
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Bacon, Henry, Kimmo Laine, and Jaakko Seppälä. ReFocus: The Films of Teuvo Tulio. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474442152.001.0001.
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Teuvo Tulio (1912–2000) was one of the most original directors in Finnish film history. Growing up in the newly independent Finland, he lived most of his life in the Finnish cultural and social context, yet he always remained something of an outsider and ended up as a total recluse. This is the first English-language study on this innovative director, exploring Tulio’s unique style and the extent and effect of his obsessive recirculation of story elements and stylistic patterns. The authors analyse how Tulio created his own brand of excessive melodrama, and follow the strange trajectory of his career from within the studio system to the outsider status of an independent producer-director
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Williams, Tami. The Great War and Dulac’s First Films. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0002.
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This chapter focuses on Dulac's wartime activism and literary writings, as well as the debut of her film career—from her first activities as a film producer for Pathé (La Lumière du coeur, 1916) to her first directorial efforts (Soeurs ennemies to Le Bonheur des autres, 1917–18)—and evaluates the historical significance of her incursion into and negotiated course within the French film industry as a female artist and entrepreneur. A close examination of archival sources documenting Dulac's early professional activities provides insight into her humanist egalitarianism, universalism, and her strong belief in the emancipatory potential of art, as well as her early rhetorical strategies.
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Alien chic: Posthumanism and the other within. London: Routledge, 2004.
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33
Vogan, Travis. Cable, NFL Media, and NFL Films’ Dinosaur Television. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0007.
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This chapter examines how the development of cable television and NFL Media enhanced the production and circulation of NFL Films content. As NFL Films' programming set the stage for the development of twenty-four-hour sports channels like ESPN, it established a starting point from which the National Football League (NFL) formed its own network, the NFL Network. In 2004 NFL Films was designated part of NFL Media, a multiplatform subsidiary run by former ESPN president Steve Bornstein that now includes the NFL Network, NFL.com, and offshoots like the RedZone specialty seasonal cable channel and the NFL Mobile smartphone application. This chapter explores how NFL Films, which established a foundation for the development of cable sports television and the transformation of the NFL into a multiplatform media institution, has been constrained to adjust its practices to maintain a place within the contemporary sports media landscape and league it helped create. It also considers how the Internet created new opportunities for the NFL to build and circulate its image.
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Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.
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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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Diffrient, David Scott. Hands, Fingers and Fists: ‘Grasping’ Hong Kong Horror Films. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0008.
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The cultural imaginary of kung-fu cinema has been codified as a physically balletic and graceful, if also violently bloody and brutal, genre defined in part by the persistent presence of deadly, thrusting hands. Of course, hands are also central to another type of cultural production, one that has often incorporated kung-fu action and iconography. This chapter assesses a broad range of motion pictures that showcase hands in thematically complex and symptomatically relevant ways, be they the severed anatomical remnants of long- departed souls sprung back to life in Witch from Nepal (1986) or the skeletal appendages that comically grab the protagonist’s crotch in Encounters of the Spooky Kind (1980). This chapter strives to pin down the powerful forces that lay dormant within the genre, including its tendency to dredge up and display moments of excessive, otherwordly violence for which there is seemingly no “rational” explanation.
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Forrest, David. Kes. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781839025679.
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Ken Loach’s 1969 drama Kes, considered one of the finest examples of British social realism, tells the story of Billy, a working class boy who finds escape and meaning when he takes a fledgling kestrel from its nest. David Forrest’s study of the film examines the genesis of the original novel, Barry Hines’ A Kestrel for a Knave (1968), the eventual collaboration that brought it to the screen, and the film's funding and production processes. He provides an in depth analysis of key scenes and draws on archival sources to shed new light on the film’s most celebrated moments. He goes on to consider the film’s lasting legacy, having influenced films like Ratcatcher (1999) and This is England (2006), both in terms of its contribution to film history and as a document of political and cultural value. He makes a case for the film's renewed relevance in our present era of systemic economic (and regional) inequality, alienated labour, increasingly narrow educational systems, toxic masculinity, and ecological crisis. Kes endures, he argues, because it points towards the possibility for emancipation and fulfilment through a more responsive and nurturing approach to education, a more delicate and symbiotic relationship with landscape and the non-human, and an emotional articulacy and sensitivity shorn of the rigid expectations of gender.
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Institute, American Film. The American Film Institute Catalog of Motion Pictures Produced in the United States: Within Our Gates: Ethnicity in American Feature Films, 1911-1960 ... Pictures Produced in the United States). University of California Press, 1997.
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38
Lamberti, Edward. Performing Ethics Through Film Style. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.001.0001.
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Emmanuel Levinas’s ethical philosophy has had a significant influence on film theory in recent years. This book proposes a relationship between Levinasian ethics and film style. It argues that films can convey Levinasian ethics not just through their subject matter but also through their use of style. The book brings this relationship between ethics and style into a productive dialogue with theories of performativity, such as J. L. Austin’s speech-act theory, Jacques Derrida’s notion of originary performativity and Judith Butler’s reconfiguration of performativity within the socio-political sphere. It explores Levinas’s influence on film through the study of three directorial bodies of work: those of the Dardenne brothers, Barbet Schroeder and Paul Schrader. The book focuses on a range of films, including the Dardennes’ Je Pense à Vous (1992), La Promesse (1996), Le Fils (2002) and The Kid with a Bike (2011), Schroeder’s Maîtresse (1975), Reversal of Fortune (1990), Terror’s Advocate (2007) and Our Lady of the Assassins (2000) and Schrader’s American Gigolo (1980), Mishima: A Life in Four Chapters (1985), The Comfort of Strangers (1990), Dominion: Prequel to the Exorcist (2005) and Adam Resurrected (2008). In doing so, it demonstrates how films can perform a Levinasian ethics through different styles.
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Mazur, Eric Michael, ed. Encyclopedia of Religion and Film. ABC-CLIO, LLC, 2011. http://dx.doi.org/10.5040/9798216006916.
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Comprising 91 A–Z entries, this encyclopedia provides a broad and comprehensive introduction to the topic of religion within film. Technology has enabled films to reach much wider audiences, enabling today's viewers to access a dizzying number of films that employ diverse symbolism and communicate a vast array of viewpoints. Encyclopedia of Religion and Film will provide such an audience with the tools to begin their own exploration of the deeper meanings of these films and grasp the religious significance within. Organized alphabetically, this encyclopedia provides more than 90 entries on the larger religious traditions, the major film-producing regions of the globe, the films that have stirred controversy, the most significant religious symbols, and the more important filmmakers. The included topics provide substantially more information on the intersection of religion and film than any of the similar volumes currently available. While the emphasis is on the English-speaking world and the films produced therein, there is also substantial representation of non-English, non-Western film and filmmakers, providing significant intercultural coverage to the topic.
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Freeman, Mark. Discerning the History Inscribed Within. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190230814.003.0004.
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How do the various phenomena that we encounter in the world—from concrete historical events to mediated representations, as may be found in books and films and other “second-hand” sources—permeate us and become inscribed in memory? Where does all of this information “go” after we have encountered it, and how is it metabolized? Some dimensions of such experiences no doubt dissipate or disappear, whereas others seep into our psyches often in ways unbeknownst to us, thus becoming part of what is called the narrative unconscious. The narrative unconscious thus refers to those culturally rooted aspects of our histories that have yet to become an explicit part of our life stories, and it includes not only those events and encounters that occur in our lifetime but also those that precede us. By exploring some significant sites of the narrative unconscious, we may more readily discern the deep historical roots of our own psychological formation.
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Jackson, Robert. Pruning Knife Busy. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190660178.003.0008.
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Chapter 7 addresses film censorship in the South, and places this history in the larger context of the American film industry as a whole. From early boxing films such as the Johnson-Jeffries fight of 1910, which led southern politicians to ban interracial boxing films (and, in some cases, all boxing films) to the prodigious work of individual southern censors including Lloyd T. Binford of Memphis and Evan R. Chesterman of the State of Virginia, this history reveals the embeddedness of Jim Crow ideology within all sorts of film institutions. In the years after World War II, when film censorship practices came under greater scrutiny and legal threat, the work of southern film censors largely petered out, anticipating some of the coming confrontations of the Civil Rights Movement.
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Jin, Dal Yong. Cultural Globalization in Korean Cinema. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0004.
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This chapter examines the swift change experienced by the Korean film industry in conjunction with the Korean Wave. It investigates the primary causes of the roller coaster-like shifts within Korean cinema, including government cultural policies due to the significant role of the government in the midst of neoliberal globalization. It then maps out the nature of cultural hybridity in domestic films by comparing hybridized films between the Hallyu 1.0 era and the Hallyu 2.0 era. By textually analyzing film genres and themes of 240 films produced domestically between 1989 and 2012, the chapter explores not only the ways in which Korean cinema develops hybridity in domestic films, but also whether hybridity has generated new possible cultures that are free from Western influence. This eventually leads us to determine the major characteristics of hybrid Korean cinema in the Hallyu 2.0 era and its future direction in the global film market.
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Kazemi, Farshid. A Girl Walks Home Alone at Night. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859203.001.0001.
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A Girl Walks Home Alone at Night analyses the eponymous film within three theoretical coordinates: vampire cinema, psychoanalytic (film) theory and German Idealism. The book situates the film in the history of the vampire genre through the spectral vampire in early German expressionist cinema (Murnau’s Nosferatu, 1922) and theorizes it as part of a transnational movement in Iranian films that represents ‘the uncanny’ between the two modes of ‘the weird and the eerie,’ theorized by Mark Fisher. The film is situated in relation to the history of Iranian horror films, as well as the female vampire’s evocation of the figure of the Nightmare in Iranian myth-folklore, and the cinematic vampire’s relation to Islamicate occult sciences. The book provides an intervention in second-wave psychoanalytic film theory (Joan Copjec, Slavoj Žižek) through a Lacanian reading of the film that analyzes the female vampire as ‘the return of the repressed’ of feminine sexuality, and as the Lacanian (traumatic) Real in female sexuality for the Shi’ite clerical order in Iran. The romantic love story at the heart of the film is theorized through ideas of central figures in German Idealism, such as Hegel and Schelling. The book establishes a relation between the female vampire and the spectral vampire by linking German Idealism and its deployment of metaphors such as phantasmagoria in early magic lantern projections. The book’s central theoretical intervention is an enactment of Freudo-Lacanian psychoanalytic theory and Hegelian dialectics that brings out what is hidden on the surface of the film’s textual unconscious.
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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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Blasi, Gabriella. The Work of Terrence Malick. Amsterdam University Press B.V., 2020. http://dx.doi.org/10.5040/9789048561506.
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The Work of Terrence Malick: Time-Based Ecocinema develops a timely ecocinema approach to film analysis illuminated by Benjamin's notion of the turn of time. Current work on Malick's films emphasizes the spatial dynamics of his cinema, particularly as it pertains, from within a phenomenological framework, to the viewer's experience of films. This book redirects scholarly attention to the way Malick's directorial work shapes time and duration, laying new groundwork for the analysis of how films unsettle nature-culture binaries in modernity. The study performs this intervention through a rigorous engagement with Walter Benjamin's work on time, violence and technologies and the emergent figural approach to aesthetics in film studies. Each of these methods has important precedents in film studies and other fields. The combination of methods performed in this book contributes to understanding the relevance of a time-based approach to Malick's films and the practical implications of a time-based relation to history in contemporary ecocinema discourses.
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Murray Levine, Alison J. Vivre Ici. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940414.001.0001.
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Vivre Ici analyzes a selection of films from the vast viewing landscape of contemporary French documentary film, a genre that has experienced a renaissance in the past twenty years. The films are connected not just by a general interest in engaging the “real,” but by a particular attention to French space and place. From farms and wild places to roads, schools, and urban edgelands, these films explore the spaces of the everyday and the human and non-human experiences that unfold within them. Through a critical approach that integrates phenomenology, film theory, eco-criticism and cultural history, Levine investigates the notion of documentary as experience. She asks how and why, in the contemporary media landscape, these films seek to avoid argumentation and instead, give the viewer a feeling of “being there.” As a diverse collection of filmmakers, both well-known and less so, explore the limits and possibilities of these places, a collage-like, incomplete, and fragmented vision of France as seen and felt through documentary cameras comes into view. Venturing beyond film analysis to examine the production climate for these films and their circulation in contemporary France, Levine explores the social and political consequences of these “films that matter” for the viewers who come into contact with them.
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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.
Full textAbstract:
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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Tracey, Grant. Filmography of American History. Greenwood Publishing Group, Inc., 2001. http://dx.doi.org/10.5040/9798400651076.
Full textAbstract:
Containing over 200 films, this resource is ideal for students, teachers, and other viewers who are interested in using films to enhance their knowledge of American historical events and periods. Along with traditional historical categories, such as the two World Wars, the Civil War, and the Great Depression, the book emphasizes immigrant, multicultural, and women-centered films to portray the fullness of the American experience. It also analyzes representations of people and events across different films for a variety of viewpoints, and considers how films reconfigure a past era through the issues of the day in which they were produced. For ease of use, the book is organized into time periods. Each entry contains: • the setting • director • cast • credits • the year of production • distributor Ratings are supplied to identify audience-appropriateness. The detailed narrative supplies a brief plot summary along with a thesis supported by strong examples from the film, such as excerpts of dialogue and factual details from history. The entries encourage readers to view the film through the lens of history and to consider it within the larger nexus of films listed in that particular chapter. Frequently, the historical focus considers both the time period depicted in the film and the time period in which it was made. The running times provide readers with a quick access to key scenes for further study. Each entry also concludes with sources for further reading, and indexes identify those films with multicultural and women's themes.
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Jennings, Jennifer, Ravi Sarathy, Kimberly Eddleston, and P. Jennings. Firms within Families. Edward Elgar Publishing, 2015. http://dx.doi.org/10.4337/9781782546528.
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Padmanabhan, Mekala. Orchestra and song. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0011.
Full textAbstract:
Orchestras have played a seminal role in creating a vibrant soundscape in Indian films since inception. From the earliest skeletal complement comprising violin, tabla and harmonium in silent films to the dynamic and expansive orchestral colour, timbre and styles of the twenty-first century, Tamil film orchestral sonorities have drawn global attention to the ‘Kollywood sound’. Music directors have adopted a cross-cultural approach to musical composition, enriching film background scores and song interludes while establishing film music’s distinctiveness as a musical genre. This chapter explores the logistical, artistic and creative processes employed by Tamil film music directors to create memorable musical narratives within the cinematic context.