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1
1949-, Fumerton Richard A. y Jeske Diane 1967-, eds. Introducing philosophy through film: Key texts, discussion, and film selections. Malden, MA: Wiley-Blackwell, 2010.
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2
Commission, Australian Film, ed. Film assistance: Future options : a discussion paper. Sydney: Allen & Unwin, 1987.
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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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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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), Richmond Forum (Va, ed. The Forum files: The stories behind the Richmond Forum. Richmond, Virginia: The Richmond Forum, 2015.
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Heritage, Canada Canadian, ed. A review of Canadian feature film policy: Discussion paper. [Ottawa]: Canadian Heritage, 1998.
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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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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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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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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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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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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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13
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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Ballard, Jason y Ben Woodman. Alpha Youth Film Series Discussion Guide with DVD. Thomas Nelson, 2017.
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16
Gustafsson, Tommy y 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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Chemistry, Royal Society of. Emerging Inorganic Materials in Thin-Film Photovoltaics: Faraday Discussion. Royal Society of Chemistry, The, 2022.
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18
Hanssen, Eirik Frisvold. Silent Ghosts on the Screen. Editado por 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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Perks, Sarah, Isabelle Vanderschelden y 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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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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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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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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Niemi, Robert J. 100 Great War Movies. ABC-CLIO, LLC, 2018. http://dx.doi.org/10.5040/9798400605178.
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This book serves as a fascinating guide to 100 war films from 1930 to the present. Readers interested in war movies will learn surprising anecdotes about these films and will have all their questions about the films’ historical accuracy answered. This cinematic guide to war movies spans 800 years in its analysis of films from those set in the 13th century Scottish Wars of Independence (Braveheart) to those taking place during the 21st-century war in Afghanistan (Lone Survivor). World War II has produced the largest number of war movies and continues to spawn recently released films such as Dunkirk. This book explores those, but also examines films set during such conflicts as the Napoleonic Wars, the American Civil War, World War I, the Vietnam War, and the wars in Afghanistan and Iraq. The book is organized alphabetically by film title, making it easy to navigate. Each entry is divided into five sections: Background (a brief discussion of the film's genesis and financing); Production (information about how, where, and when the film was shot); Synopsis (a detailed plot summary); Reception (how the film did in terms of box office, awards, and reviews) and "Reel History vs. Real History" (a brief analysis of the film's historical accuracy). This book is ideal for readers looking to get a vivid behind-the-scenes look at the greatest war movies ever made.
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Willis, Jim y Mark Miller. The 1960s on Film. ABC-CLIO, 2021. http://dx.doi.org/10.5040/9798400605604.
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The 1960s on Film tells the narrative of the 1960s through the lens of the movie camera, analyzing 10 films that focus on the people, events, and issues of the decade. Films create both an impression of and — at times for younger audiences — a primary definition of events, people, and issues of an era. The 1960s on Film examines the 1960s as the decade was presented in ten films that focused on that decade. Discussion will focus on both what the films have to say about the era and how close they come to accurately depicting it. For example, films such as Mississippi Burning and Selma tell the story of racial conflict and hope for reconciliation in the 1960s. Other films such as The Right Stuff and Hidden Figures show the deep fascination America had at that time with the burgeoning space program and NASA, while Easy Rider analyzes the role of rock music and drugs among young people of the decade. The Deer Hunter studies the controversies surrounding the war in Vietnam. The Graduate, Mad Men, JFK, and Thirteen Days also receive significant treatment in this exciting volume.
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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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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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Booker, M. Keith. Disney, Pixar, and the Hidden Messages of Children's Films. ABC-CLIO, LLC, 2009. http://dx.doi.org/10.5040/9798400641312.
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This work is a wide-ranging survey of American children's film that provides detailed analysis of the political implications of these films, as well as a discussion of how movies intended for children have come to be so persistently charged with meaning. Disney, Pixar, and the Hidden Messages of Children's Films provides wide-ranging scrutiny of one of the most lucrative American entertainment genres. Beyond entertaining children—and parents—and ringing up merchandise sales, are these films attempting to shape the political views of young viewers? M. Keith Booker examines this question with a close reading of dozens of films from Disney, Pixar, Dreamworks, and other studios, debunking some out-there claims—The Ant Bully communist propaganda?—while seriously considering the political content of each film. Disney, Pixar, and the Hidden Messages of Children's Films recaps the entire history of movies for young viewers—from Snow White and the Seven Dwarfs to this year's Up—then focuses on the extraordinary output of children's films in the last two decades. What Booker finds is that by and large, their lessons are decidedly, comfortably mainstream and any political subtext more often than not is inadvertent. Booker also offers some advice to parents for helping children read films in a more sophisticated way.
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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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Hamlet, Janice D., Raymond Blanton, Rekha Sharma y Tewodros Workneh. Films As Rhetorical Texts: Cultivating Discussion about Race, Racism, and Race Relations. Rowman & Littlefield Publishers, Incorporated, 2021.
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Hamlet, Janice, Janice Hamlet, Raymond Blanton, Rekha Sharma y Tewodros Workneh. Films As Rhetorical Texts: Cultivating Discussion about Race, Racism, and Race Relations. Rowman & Littlefield Publishers, Incorporated, 2019.
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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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Tshimenga, Amani. La Personne de Dieu: : Une discussion religieuse au sujet de Dieu et de son fils Yeshuah. Fourth Dimension Publishing, 2005.
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Berry, Michael. Jia Zhangke on Jia Zhangke. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022732.
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Jia Zhangke on Jia Zhangke is an extended dialogue between film scholar Michael Berry and the internationally acclaimed Chinese filmmaker. Drawing from extensive interviews and public talks, this volume offers a portrait of Jia’s life, art, and approach to filmmaking. Jia and Berry’s conversations range from Jia’s childhood and formative years to extensive discussions of his major narrative films, including the classics Xiao Wu, Platform, The World, Still Life, and A Touch of Sin. Jia gives a firsthand account of his influences, analyzes the Chinese film industry, and offers his thoughts on subjects such as film music, working with actors, cinematography, and screenwriting. From industry and economics to art and politics, Jia Zhangke on Jia Zhangke represents the single most comprehensive document of the director’s candid thoughts on the art and challenges of filmmaking.
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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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Hughes, Emily. Studying Talk to Her. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733438.001.0001.
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Talk to Her (2002) is a hugely rich and interesting, though ambiguous, film that met with both popular success and critical acclaim. The film won an Oscar for best original screenplay and has been hailed by some critics as Pedro Almodóvar's masterpiece. Yet like most of Almodóvar's films, little is clear-cut. The characters are complex and our affinity and empathy for them shifts throughout the film. This book provides an in-depth analysis of both the formal elements of the film (its narrative, genre, and auteur study) and the themes and issues it raises, discussing the social context of modern Spain and its old, traditional iconography; shifting attitudes towards gender; and, crucially, the film's uneasy, morally ambiguous depiction of rape and the spectator's reaction to it.
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Chan, Hiu M., ed. Beijing Film Academy Yearbook 2019. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789385984.
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The Beijing Film Academy Yearbook highlights the best academic debates, discussions and research, as published in the highly prestigious Journal of Beijing Film Academy in 2019. This volume brings together specially selected articles, appearing in English for the first time, to bridge the gap in cross-cultural research in cinema and media studies.
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The Ghost Files: Paranormal Encounters, Discussion, and Research from the Vaults of Ghostvillage.com. New Page Books, 2007.
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Kealhofer-Kemp, Leslie. Muslim Women in French Cinema. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781381984.001.0001.
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Muslim Women in French Cinema: Voices of Maghrebi Migrants in France is the first comprehensive study of cinematic representations of first-generation Muslim women from the Maghreb (Algeria, Morocco, Tunisia) in France. Situated at the intersection of post-colonial studies, gender studies, and film studies, this book uses the multi-layered concept of ‘voice’ as an analytical lens through which to examine a diverse corpus of over 60 documentaries, short films, téléfilms (made-for-television films), and feature films released in France between 1979 and 2014. In examining the ways in which the voices, experiences, and points of view of Maghrebi migrant women in France are represented and communicated through a selection of key films, this study offers new perspectives on Maghrebi migrant women in France. It shows that women of this generation, as they are represented in these films, are far more diverse and often more empowered than has generally been thought on the basis of the relatively narrow range of media and cultural productions that have so far reached mainstream audiences. The films examined in this study are part of larger contemporary debates and discussions relating to immigration, integration, and what it means to be French.
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Bury, Rhiannon Catherine. Performing gender on (the) line: A case study of the process of community making among members of a women-only electronic mailing list. 2000.
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Whitehead, Kevin. Play the Way You Feel. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.001.0001.
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This book—both a narrative and a film directory—surveys and analyzes English-language feature films (and a few shorts and TV shows/movies) made between 1927 and 2019 that tell stories about jazz music, its musicians, its history and culture. Play the Way You Feel looks at jazz movies as a narrative tradition with recurring plot points and story tropes, whose roots and development are traced. It also demonstrates how jazz stories cut across diverse genres—biopic, romance, musical, comedy and science fiction, horror, crime and comeback stories, “race movies” and modernized Shakespeare—even as they constitute a genre of their own. The book is also a directory/checklist of such films, 67 of them with extensive credits, plus dozens more shorter/capsule discussions. Where jazz films are based on literary sources, they are examined, and the nature of their adaptation explored: what gets retained, removed, or invented? What do historical films get right and wrong? How does a film’s music, and the style of the filmmaking itself, reinforce or undercut the story?
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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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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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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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Brophy, Philip. Parties in Your Head. Editado por John Richardson, Claudia Gorbman y 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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Arnold, Gordon B. Projecting the End of the American Dream. ABC-CLIO, LLC, 2013. http://dx.doi.org/10.5040/9798216001980.
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This provocative book reveals how Hollywood films reflect our deepest fears and anxieties as a country, often recording our political beliefs and cultural conditions while underscoring the darker side of the American way of life. Long before the war in Iraq and the economic crises of the early 21st century, Hollywood has depicted a grim view of life in the United States, one that belies the prosperity and abundance of the so-called American Dream. While the country emerged from World War II as a world power, collectively our sense of security had been threatened. The result is a cinematic body of work that has America's decline and ruin as a central theme. The author draws from popular films across all genres and six decades to illustrate how the political climate of the times influenced their creation. Projecting the End of the American Dream: Hollywood's Visions of U.S. Decline combines film history, social history, and political history to reveal important themes in the unfolding American narrative. Discussions focus on a wide variety of films, including Rambo, Planet of the Apes, and Easy Rider.
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Mccreadie, Marsha. Women Screenwriters Today. www.praeger.com, 2005. http://dx.doi.org/10.5040/9798216037606.
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The question of whether women write from a unique perspective has been debated since the silent era. McCreadie examines how this female sensibility has been defined and whether, in fact, it exists at all. Such films as Lost in Translation and Monster suggest that women screenwriters are moving in a new direction, heading away from the big-budget action movies that dominate Hollywood today. But action-driven genre films, like the thrillers of Alexandra Seros, seem to belie the perception that women write films that are more dialogue- and character-driven than those of male screenwriters. Whether or not women actually write differently from men and about different topics, the author's unique approach—working with and through the words and lives of the women screenwriters themselves—allows both readers and writers an otherwise unattainable look into the ever-growing and ever more essential world of women in Hollywood. Over the course of cinematic history, women screenwriters have played an essential role in the creation of the films we watch. The question of whether women write from a unique perspective has been debated since the silent era. Marsha McCreadie examines how this female sensibility has been defined and questions whether, in fact, it exists at all. The emergence of such films as Lost in Translation and Monster would seem to suggest that women screenwriters are moving in a new direction, heading away from the big-budget action movies that dominate Hollywood today. But there can always be found an Alexandra Seros, for instance, whose thrillers would seem to prove the opposite case. Working through these contradictions, Marsha McCreadie takes a captivating look at the words and lives of women screenwriters, allowing readers an otherwise unattainable look into the ever-growing and ever more essential world of women in film. Readers interested in film and women's studies will especially enjoy reading Marsha McCreadie's discussions of such films as Little Women, The Thomas Crown Affair, The Piano, Pollock, and Under the Tuscan Sun. Interviews with major women players in the movie business, including Sofia Coppola (Lost in Translation) and Emma Thompson (Sense and Sensibility), allow readers a unique chance to learn firsthand how women are trying to enter the business, how they pursue and approach the topics they love, and how they have managed to survive and prosper in the unforgiving world of modern cinema. By talking with writers working in Hollywood, Australia, New Zealand, and Europe, Marsha McCreadie provides film fans with an international perspective on the increasingly global film industry.
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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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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).