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1
Gow, Christopher. From Iran to Hollywood and some places in-between : Reframing post-revolutionary Iranian cinema. London : I.B. Tauris, 2011.
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Tröhler, Margrit, et Guido Kirsten, dir. Christian Metz and the Codes of Cinema. NL Amsterdam : Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789089648921.
Texte intégralRésumé :
A pioneering figure in film studies, Christian Metz proposed countless new concepts for reflecting on cinema, rooted in his phenomenological structuralism. He also played a key role in establishing film studies as a scholarly discipline, making major contributions to its institutionalisation in universities worldwide. This book brings together a stellar roster of contributors to present a close analysis of Metz's writings, their theoretical and epistemological positions, and their ongoing influence today.
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Baer, Hester. German Cinema in the Age of Neoliberalism. NL Amsterdam : Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463727334.
Texte intégralRésumé :
This book presents a new history of German film from 1980-2010, a period that witnessed rapid transformations, including intensified globalization, a restructured world economy, geopolitical realignment, and technological change, all of which have affected cinema in fundamental ways. Rethinking the conventional periodization of German film history, Baer posits 1980-rather than 1989-as a crucial turning point for German cinema's embrace of a new market orientation and move away from the state-sponsored film culture that characterized both DEFA and the New German Cinema. Reading films from East, West, and post-unification Germany together, Baer argues that contemporary German cinema is characterized most strongly by its origins in and responses to advanced capitalism. Informed by a feminist approach and in dialogue with prominent theories of contemporary film, the book places a special focus on how German films make visible the neoliberal recasting of gender and national identities around the new millennium.
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Grgic, Ana. Early Cinema, Modernity and Visual Culture. NL Amsterdam : Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728300.
Texte intégralRésumé :
At the end of the nineteenth century, the Balkans were animated by cultural movements and socio-political turmoil with the onset of the collapse of the empires. Around the same period, the proliferation of print media and the arrival of moving images gradually transformed urban life, and played an important role in the creation of national and regional cultures. Based on archival research that explores previously overlooked footage and early press materials, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective. This book investigates how the unique geopolitical positioning of the Balkan space and the multicultural identity of its communities influenced and shaped visual culture and the development of early cinema until World War I. It highlights how early moving images and foreign film productions contributed to the construction of Balkanist and semi-colonial discourses. Building on approaches such as ‘new cinema history’, ‘vernacular modernity’ and ‘polycentric multiculturalism’ to counter Eurocentric modernity paradigms and to reframe hierarchical relations between centres and peripheries, this monograph adopts an alternative methodology for interstitial spaces. Using the notion of the haptic, it examines the relationship between the new medium and regional visual culture. By doing so, it establishes new connections between moving image artefacts and print media, early film practitioners and intellectuals, the socio-cultural context and cultural responses to the new visual medium in the Balkan region.
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Equality Commission for Northern Ireland. Disability Discrimination Act : Your rights when trying to use places like cafes, shops, cinemas, banks, churches, hotels and the doctors. Belfast : ECNI, 2004.
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Spencer-Hall, Alicia. Medieval Saints and Modern Screens. NL Amsterdam : Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982277.
Texte intégralRésumé :
This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.
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The beach in Anglophone literatures and cultures : Reading littoral space. Farnham, Surrey, England : Ashgate Publishing Limited, 2015.
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Luoghi e architetture del cinema in Italia : Cinema houses : places and architectures in Italy. Pisa : ETS, 2010.
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Rybin, Steven, et Will Scheibel. Lonely Places, Dangerous Ground : Nicholas Ray in American Cinema. State University of New York Press, 2014.
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Rybin, Steven, et Will Scheibel. Lonely Places, Dangerous Ground : Nicholas Ray in American Cinema. State University of New York Press, 2015.
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Lonely places, dangerous ground : Nicholas Ray in American cinema. Albany : SUNY Press, 2014.
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Alpert, Robert, Merle Eisenberg et Lee Mordechai. Diseased Cinema : Plagues, Pandemics and Zombies in American Movies. Edinburgh University Press, 2023.
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Westerstahl Stenport, Anna, et Arne Lunde, dir. Nordic Film Cultures and Cinemas of Elsewhere. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.001.0001.
Texte intégralRésumé :
Nordic Film Cultures and Cinemas of Elsewhere proposes a new paradigm for Nordic film studies, as well as for other small national, transnational, and world cinema traditions. This book re-imagines Nordic cinemas as international, cosmopolitan, diasporic, and planet-connected from their beginnings in the early silent period on forward to their present 21st-century dynamics more than a century later. By identifying and engaging with a wide range of unknown, repressed, and overlooked stories (e.g., narratives of movement, mobility, interaction, synthesis, resistance, loss, reclamation, humanistic questing, etc.) inside and outside of established Nordic film traditions, this book introduces a new model of inquiry into a specific Scandinavian cultural lineage and into small nation and pan-regional cinemas more generally. In this way, the book also speaks to a range of traditions in world cinema. Its overarching goal is to breach entrenched structures and to invite more exploratory, rigorous, and unexpected readings. The volume advocates the intellectual and cultural ethos of cinemas of elsewhere, expanding on previous progressive, interpretive traditions such as cinemas of diasporic, exilic, postcolonial, accented, post-industrial, and existential identities. It is therefore not a study of Nordic cinemas comfortably situated within national brackets or self-enclosed borders. Drawing on the specificities, dynamics, and ambitious reach and scope of Scandinavian cinema production, circulation, and influence for over a century, Nordic Film Cultures and Cinemas of Elsewhere navigates and narrates a parallel, alternative history.
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Marchessault, Janine, et Will Straw, dir. The Oxford Handbook of Canadian Cinema. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780190229108.001.0001.
Texte intégralRésumé :
The Oxford Handbook of Canadian Cinema offers an overview of the current state of thinking around Canadian cinema. The volume was conceived to register the variety of voices expressing themselves within Canadian cinema with special attention paid to Indigenous, Quebecois, and diasporic identities. As well, the volume acknowledges that Canadian cinema increasingly finds its place within a broad conception of “screen cultures,” which extend into the divergent realms of small-scale artistic experimentation and large-scale public spectacle. Insofar as these realms have played a vital role in establishing Canada’s presence within international screen culture, they are given special emphasis here. Rather than a straight historical account of cinema in Canada, this Oxford Handbook looks at the technological complexes, geographical spaces, and identity formations in which that cinema has emerged and developed.
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Baschiera, Stefano, et Russ Hunter, dir. Italian Horror Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748693528.001.0001.
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The first book-length academic investigation of Italian horror cinema, from the silent era to the present, this collection brings together for the first time a range of contributions aimed at a new understanding of the genre, investigating the different phases in its history, the peculiarities of the production system, the work of its most representative directors (Mario Bava and Dario Argento) and the wider role it has played within popular culture.
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Community Filmmaking : Diversity, Practices and Places. Taylor & Francis Group, 2017.
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Malik, Sarita, Caroline Chapain et Roberta Comunian. Community Filmmaking : Diversity, Practices and Places. Taylor & Francis Group, 2017.
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Malik, Sarita, Caroline Chapain et Roberta Comunian. Community Filmmaking : Diversity, Practices and Places. Taylor & Francis Group, 2019.
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Dennison, Stephanie, et Rachel Dwyer, dir. Cinema and Soft Power. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456272.001.0001.
Texte intégralRésumé :
The apparent shift in power relations between the developed and developing world, along with the increasing emphasis that national and transnational organisations place on the role of soft power in global foreign policy, has profound implications for global film culture. Focusing primarily on the BRICS countries (Brazil, Russia, India, China and South Africa), this innovative collection examines the diverse and often competing ways the group engages with film as a medium of artistic expression, and as a soft power resource. The contributors explore the wider implications for world cinema of BRICS members’ differing and dynamic positions in the global media landscape, and the book includes a comparative analysis by examining the post-imperial soft power of the UK at the time of Brexit.
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From Iran to Hollywood and some places in-between : Reframing post-revolutionary Iranian cinema. London : I.B. Tauris, 2011.
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21
Orban, Clara. Slow Places in Béla Tarr's Films : The Intersection of Geography, Ecology and Slow Cinema. Rowman & Littlefield Publishers, Incorporated, 2021.
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Orban, Clara Elizabeth. Slow Places in Béla Tarr's Films : The Intersection of Geography, Ecology, and Slow Cinema. Lexington Books/Fortress Academic, 2023.
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23
MacDonald, Scott. The Sublimity of Document. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190052126.001.0001.
Texte intégralRésumé :
The Sublimity of Document: Cinema as Diorama (Avant-Doc 2) is an international collection of in-depth, substantive interviews with moving-image artists working “avant-doc,” that is, making films that explore the territory between documentary and experimental cinema. The Sublimity of Document follows on MacDonald’s earlier Avant-Doc: Intersections of Documentary and Avant-Garde Cinema (Oxford, 2015), though the focus here is on filmmakers who are committed to document itself, willing to go anywhere on the planet (or within film archives or on the internet) to document what they believe we need to see—regardless of whatever political implications the film experiences they create may have for us. The book uses the early history of the museum habitat diorama of animal life, specifically the Akeley Hall of African Mammals at the American Museum of Natural History, as a way of rethinking both early and modern cinema of document—and especially those recent filmmakers and films devoted to providing a panorama of places and events that viewers might never have opportunities to experience in person. The twenty-seven interviews in The Sublimity of Document are organized panoramically within the volume.
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Barker, Thomas. Indonesian Cinema after the New Order. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528073.001.0001.
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In the two decades since the fall of the New Order regime in 1998, Indonesia cinema has become one of the most productive and exciting film industries in Asia. From a position in the 1990s when local films were on the cultural periphery, they are now part of the mainstream with two new films in the cinemas every week. This book traces how the film industry reformed and returned to popularity and conceptualises it as a process of going mainstream. It overturns long held paradigms of national cinema and statism to see the film industry as pop culture in which market mechanisms are determinant. In going mainstream, new independent-minded filmmakers representing new creativity had to accommodate with capital and producers from old production companies. Appeal to audiences has resulting in the reimagining of the horror film and its traumas and the representation of new kinds of piety in a new subgenre Islamic themed films. Yet legacy structures and players remain, as the film industry has struggled to overcome regulation and censorship and the oligopoly of senior producers. In catering to a growing audience, the exhibition sector has become the focus of new investment as it becomes a site for competing local operators and global capital. The book argues for a reconceptualization of Indonesian cinema as pop culture with consequences to how Asian cinema is studied.
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Withall, Keith. Studying Early and Silent Cinema. Liverpool University Press, 2014. http://dx.doi.org/10.3828/liverpool/9781906733704.001.0001.
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In this introduction to early and silent cinema, which is currently enjoying a renaissance, both academically and in the popular imagination thanks to The Artist, the author provides both a comprehensive chronology of the period until the birth of sound and also a series of detailed case studies on the key films from the period—some well-known (including Griffith's The Birth of a Nation, Eisenstein's Strike and Chaplin's The Kid), some perhaps less well familiar (including Murnau's The Last Laugh and Oscar Micheaux's Within Our Gates). As well as covering in detail the major film-making figures and nations of the period, the book also provides insights into the industry in less well-documented areas. Throughout, the films and film-makers are placed in the context of rapid worldwide industrial change.
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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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Collenberg-González, Carrie, et Martin P. Sheehan, dir. Moving Frames : Photographs in German Cinema. Berghahn Books, 2022. http://dx.doi.org/10.3167/9781800733763.
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As the building blocks of moving pictures, photographs have played an integral role in cinema since the dawn of the medium—a relationship that has grown more complexly connected even as the underlying technologies continue to evolve. Moving Frames explores the use of photographs in German films from Expressionism to the Berlin School, addressing the formal and narrative roles that photographs play as well as the cultural and historical contexts out of which these films emerged. Looking beyond and within the canon, the editors gather stimulating new insights into the politics of surveillance, resistance, representation, and collective memory functioning through photographic rupture and affect in German cinema.
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Glasby, Matt. Britpop Cinema : From trainspotting to this Is England. Intellect, 2019. http://dx.doi.org/10.1386/1783209879.
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Featuring exclusive interviews with key players such as Simon Pegg, Irvine Welsh, Michael Winterbottom and Edgar Wright, Britpop Cinema combines eyewitness accounts, close analysis and social history to celebrate a golden age for UK film.
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Strain, Ellen. Public Places, Private Journeys : Ethnography, Entertainment, and the Tourist Gaze. Rutgers University Press, 2004.
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Marrone, Gaetana. The Cinema of Francesco Rosi. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190885632.001.0001.
Texte intégralRésumé :
Francesco Rosi’s work, which includes an impressive number of individually celebrated films, occupies a unique place in postwar Italian, indeed postwar world, cinema. Over the years, Rosi has offered films that trace an intricate path between the real and the fictive, the factual and the imagined. His films show an extraordinarily consistent formal balance while representing historical events as social emblems that examine, shape, and reflect the national self. They rely on a labyrinthine narrative structure, in which the sense of an enigma replaces the unidirectional path leading ineluctably to a designated end and solution. The truth itself, so fragmented and confused, may never be discovered. Rosi’s logical investigations are conducted by an omniscient eye and translated into a cinematic approach that embraces the details of material reality with the panoramic perspective of a dispassionate observer. This study addresses Rosi’s films as mosaics fashioned out of “clips” collected from the various stages of production, most specifically from the director’s own archival materials. It examines Rosi’s creative use of film as document (and as spectacle). This is, inevitably then, a study of the specific cinematic techniques that characterize Rosi’s work and that visually, compositionally, express his vision of history and the elusive “truth” of past and present social and political realities.
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Thomson, C. Claire, Isak Thorsen et Pei-Sze Chow, dir. A History of Danish Cinema. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474461122.001.0001.
Texte intégralRésumé :
The contribution of Denmark to world cinema has been substantial: not just relative to the size of the population, but by any measure. In the silent period, the pioneering work of the company Nordisk Films Kompagni, and the emergence of early film stars such as Asta Nielsen, secured Denmark a place as a leading film nation. The auteur Carl Theodor Dreyer won global renown during his five-decade career. Documentary and educational filmmaking flourished after the Second World War; the late 1980s brought successive Academy Awards for Best Foreign Film; and Dogme 95 aimed to reinvigorate cinema by stripping filmmaking back to basics. The notoriety of arthouse auteur Lars von Trier has been complemented by the emergence of a generation of Danish filmmakers whose work is characterised by compelling stories, high production values and a strong sense of realism. This book covers all these aspects of Danish cinema history, and also encompasses a range of genres, figures and institutions that have received little coverage in English to date, such as children’s films, popular comedies, immigrant filmmakers, women documentarists, and Greenlandic cinema. The contributors situate filmmakers, genres and trends in their cultural and historical context, taking account of the influence of national film institutions and policies. The volume is organised into four parts: i) From the first ‘Golden Age’ to the Occupation; ii) National Genres; iii) Auteurs and Institutions of the New Golden Age; and iv) Decentring and Diversifying Danish Cinema.
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Testa, Carlo. Italian Cinema and Modern European Literatures. Praeger, 2002. http://dx.doi.org/10.5040/9798400673238.
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The history of cinema, and notably that of post-war Italian cinema, can only be understood adequately in the context of other contiguous cultural disciplines. World literature, including that of France, Germany, and Russia, played a key role in the development of post-war Italian film and the cinematic technique it has come to embody. Moving away from the usual modes of defining this period—a trajectory that begins with neorealism and ends with Bertolucci—author Carlo Testa offers proof that coming to terms with literary texts is an essential step toward understanding the motion pictures they influenced. The means of recreating literature for the screen has changed drastically over the last half-century, as has the impact of different national traditions on Italian cinema. Testa's work is the first to explicitly and deliberately link postwar Italian cinema to general intellectual concerns such as the relationship between literary authors and cinematic auteurs. Moreover, his analysis of the impact of French, German, and Russian cultures on Italy brings forth a new reading of Italian cinema, a new paradigm for exploring complex issues of authorship, culture, and art.
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Delveroudi, Eliza Anna. When Iris Skaravaiou Met Iris Barry. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0006.
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This chapter examines the emergence and editorial development of film literature in Greece in the 1920s by drawing two pioneer female film critics, Iris Skaravaiou and Iris Barry, into an “imaginary community” between 1920s Athens and London. It investigates the activities and early professional life of Skaravaiou as well as her links with women critics and cinéphiles of the 1910s and 1920s in France and the United Kingdom in order to relate Greek to West European film literature. It explores how Skaravaiou became involved with film journalism and with developing Greek cinema. It shows that Skaravaiou fought hard to claim a place in Greek journalism and to establish cinema as the newest form of twentieth-century art. The chapter argues that a reconsideration of silent cinema history in Greece, based on neglected but important sources, should welcome Iris Skaravaiou as an important contributor, and that her writings should be placed in the context of a form of modernism that legitimated personal expression and was not aligned with the male canon.
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White, John. British Cinema and a Divided Nation. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481021.001.0001.
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This book examines representations of the nation found within contemporary British cinema against a backdrop of rising political tensions and deepening social divisions following the ‘Brexit’ referendum of 23 June 2016. It offers an exploration of the ways in which the contest of ideologies always at work within media representation have played out post-2016. The focus is on historical and contemporary drama films. Contemporary British Cinema and a Divided Nation analyses a nation’s contested understandings of its past, present and future, probing the various ways recent mainstream films have approached the concept of nationhood. Consideration is given to whether there might be seen to be a new, or renewed, emphasis on the competing ideological perspectives that confront each other around the issue of nationalism. Is what we see, the negotiation of a new relationship with the world for a new age, or simply a re-iteration of a long-standing British, or English, understanding of national identity? A crucial aspect of this approach is necessarily an assessment of the relative importance of this issue in relation to other socio-economic concerns found in the films under discussion. Each of the central focus films considered completed production after the referendum of 2016. Earlier British films act as points of comparison but, generally, will not be analysed in depth.
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Lee, Sangjoon. Cinema and the Cultural Cold War. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.001.0001.
Texte intégralRésumé :
This book explores the ways in which postwar Asian cinema was shaped by transnational collaborations and competitions between newly independent and colonial states at the height of Cold War politics. The book adopts a simultaneously global and regional approach when analyzing the region's film cultures and industries. New economic conditions in the Asian region and shared postwar experiences among the early cinema entrepreneurs were influenced by Cold War politics, US cultural diplomacy, and intensified cultural flows during the 1950s and 1960s. The book reconstructs Asian film history in light of the international relationships forged, broken, and re-established as the influence of the non-aligned movement grew across the Cold War. The book elucidates how motion picture executives, creative personnel, policy makers, and intellectuals in East and Southeast Asia aspired to industrialize their Hollywood-inspired system in order to expand the market and raise the competitiveness of their cultural products. They did this by forming the Federation of Motion Picture Producers in Asia, co-hosting the Asian Film Festival, and co-producing films. The book demonstrates that the emergence of the first intensive postwar film producers' network in Asia was, in large part, the offspring of Cold War cultural politics and the product of American hegemony. Film festivals that took place in cities as diverse as Tokyo, Singapore, Hong Kong, and Kuala Lumpur were annual showcases of cinematic talent as well as opportunities for the Central Intelligence Agency to establish and maintain cultural, political, and institutional linkages between the United States and Asia during the Cold War. This book reanimates this almost-forgotten history of cinema and the film industry in Asia.
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Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.
Texte intégralRésumé :
French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new technology head-on, articulating their responses to these questions both in writing and in their films. Music played an integral role in the debate. Lewis argues that debates about sound film had a powerful effect on French musical culture of the early 1930s, and that diverse French musical styles and traditions—from Les Six, to the opera house, to the popular music-hall—played a crucial role in shaping the cinematic soundscape. Filmmakers experimented with music’s role in sound cinema within a range of genres, including avant-garde surrealist cinema (Luis Buñuel and Jean Cocteau), recorded theater (Marcel Pagnol), early poetic realism (Jean Renoir, Jean Vigo), and the film musical (René Clair). Lewis’s analysis of the experiments undertaken in these few important years in French cinematic history encourages readers to challenge commonly held assumptions of how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.
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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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O'Sullivan, Sean. Interview with Mike Leigh. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036385.003.0002.
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This chapter presents a distillation of a series of interviews conducted by the author. Two of these took place in London in July 2004; the third took place in New York City in October 2004. Topics discussed in these interviews include Mike Leigh's views about generations of film movements based in certain countries, such as Italian cinema during and after World War II, or German cinema in the twenties; three clear clusters in British cinema; whether he has ever felt the urge to be more literal about being a northern filmmaker; how he turns improvisations into a story; how the visual, or cinematic, enters into his process; if there is anything he misses about working in television; and the issue of closure in his films.
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Plaul, Marcus, Anna-Rosa Haumann et Kathleen Kröger, dir. Kino in der DDR. Nomos Verlagsgesellschaft mbH & Co. KG, 2022. http://dx.doi.org/10.5771/9783748912774.
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The contributions in this volume examine cinema in the GDR from an everyday historical perspective, while investigating the role of the cinema for the people of the GDR. They focus on the cinema as a place of leisure and work in the sphere of tension between cinematic entertainment and political instrumentalisation. With contributions by apl. Prof. Dr. Joseph Garncarz, Dr. Ronny Grundig, Anna-Rosa Haumann, Ben Kaden, Kathleen Kröger, Prof. Dr. Christiane Kuller, Merve Lühr, Marcus Plaul, Dr. Luise Poschmann, Prof. Dr. Patrick Rössler, Martin Schlobach, Dr. René Smolarski, Tanja Tröger, Prof. Dr. Dieter Wiedemann and Dr. Dieter Wolf.
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Majumdar, Neepa. Gossip, Labor, and Female Stardom in Pre-Independence Indian Cinema. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0014.
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This chapter examines Shanta Apte's tactical use of the hunger strike to protest Prabhat Film Company's withholding pay for the days in June that she had not come to work. Beginning on the evening of July 17, 1939, Apte, a singing star, sat and remained on the bench a bench outside Prabhat studios in Pune—dressed in men's clothing—for two nights and one day and drank only salted water. Eventually her doctor and her brother succeeded in persuading her to return home. Apte's hunger strike is one of those small events out of which the vaster network of women's film history is constituted. This chapter first considers some tentative details pertaining to the major players in Apte's story, as drawn from various sources, before analyzing her hunger strike in the context of gossip, labor, and female stardom in pre-independence Indian cinema. It shows how labor and work become a breach of etiquette with precisely the moral labor of decorum that seemed to be violated when Apte went on hunger strike.
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Bollig, Ben. Moving Verses. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859784.001.0001.
Texte intégralRésumé :
From Wild Tales to Zama, Argentine cinema has produced some of the most visually striking and critically lauded films of the 2000s. Argentina also boasts some of the most exciting contemporary poetry in the Spanish language. What happens when its film and poetry meet on screen? Moving Verses studies the relationship between poetry and cinema in Argentina. Although both the “poetics of cinema” and literary adaptation have become established areas of film scholarship in recent years, the diverse modes of exchange between poetry and cinema have received little critical attention. This book analyses how film and poetry transform each another, and how these two expressive media behave when placed into dialogue. Going beyond theories of adaptation, and engaging critically with concepts around intermediality and interdisciplinarity, Moving Verses offers tools and methods for studying both experimental and mainstream film from Latin America and beyond. The corpus includes some of Argentina’s most exciting and radical contemporary directors (Raúl Perrone, Gustavo Fontán) as well as established modern masters (María Luisa Bemberg, Eliseo Subiela), and seldom studied experimental projects (Narcisa Hirsch, Claudio Caldini). The critical approach draws on recent works on intermediality and “impure” cinema to sketch and assess the many and varied ways in which directors “read” poetry on screen.
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Fay, Jennifer. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696771.003.0001.
Texte intégralRésumé :
The Anthropocene is the epoch during which humanity began to replace the earth as something given for a disaster humanity created, an artificial planet and an anthropogenic climate. Cinema is a technology roughly as old as the Anthropocene (by some accounts), and its history demonstrates an attraction to artificial worlds and weather and to a larger culture of environmental design. Siegfried Kracauer’s meditation on the film studio has affinities to Hannah Arendt’s analysis of Sputnik. Both are meditations on artificial worlds and the human desire to produce its own environment and to become self-conditioned. Having turned the earth into a laboratory of the Anthropocene, humanity is faced with a less welcoming planet and thus in need of new political theories of hospitality and strategies of accommodation. Kant’s “Perpetual Peace” and theory of hospitality need to be revised in light of the Anthropocene, and cinema can help us with this task.
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Gibbons, William. Allusions of Grandeur. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0005.
Texte intégralRésumé :
This chapter explores how video games can seek to raise their artistic profile by using classical music to allude to cinema history. After describing some of the visual elements that can be incorporated in games to create a cinematic feeling for players, the chapter traces the use of classical compilation scores in games, connecting the practice to early cinema history. It then turns to more specific topics: first, video game versions of the Disney film Fantasia, such as the Atari 2600 title Sorcerer’s Apprentice (1983) and the Sega Genesis platformer Fantasia (1991), followed by the incorporation of Philip Glass’s score to the film Koyaanisqatsi in Grand Theft Auto IV.
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Services, Intermap Production. Town & heritage map : Places of interest, restaurants & pubs, parks & gardens, parking, theatres & cinemas, shopping areas, index, in full colour. Intermap Production Services Ltd, 1986.
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Services, Intermap Production. Town & heritage map : In full colour, places of interest, restaurants & pubs, parks & gardens, parking, theatres & cinemas, shopping areas, index. Intermap Production Services Ltd, 1986.
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Ebner, David, et Larry Langman, dir. Hollywood's Image of the South. Greenwood Publishing Group, Inc., 2001. http://dx.doi.org/10.5040/9798400665912.
Texte intégralRésumé :
From the 1920s and 1930s, when American cinema depicted the South as a demi-paradise populated by wealthy landowners, glamorous belles, and happy slaves, through later, more realistic depictions of the region in films based on works by Erskine Caldwell, Tennessee Williams, William Faulkner, and Robert Penn Warren, Hollywood's view of the South has been as ever-changing as the place itself. This comprehensive reference guide to Southern films offers credits, plot descriptions, and analyses of how the stereotypes and characterizations in each film contribute to our understanding of a most contentious American time and place. Organized by subjects including Economic Conditions, Plantation Life, The Ku Klux Klan, and The New Politics, Hollywood's Image of the South seeks to coin a new genre by describing its conventions and attitudes. Even so, the Southern film crosses all known generic boundaries, including the comedy, the women's film, the noir, and many others. This invaluable guide to an under-recognized category of American cinema illustrates how much there is to learn about a time and place from watching the movies that aim to capture it.
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Doane, Mary Ann. Bigger Than Life. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021780.
Texte intégralRésumé :
In Bigger Than Life Mary Ann Doane examines how the scalar operations of cinema, especially those of the close-up, disturb and reconfigure the spectator's sense of place, space, and orientation. Doane traces the history of scalar transformations from early cinema to the contemporary use of digital technology. In the early years of cinema, audiences regarded the monumental close-up, particularly of the face, as grotesque and often horrifying, even as it sought to expose a character's interiority through its magnification of detail and expression. Today, large-scale technologies such as IMAX and surround sound strive to dissolve the cinematic frame and invade the spectator's space, “immersing” them in image and sound. The notion of immersion, Doane contends, is symptomatic of a crisis of location in technologically mediated space and a reconceptualization of position, scale, and distance. In this way, cinematic scale and its modes of spatialization and despatialization have shaped the modern subject, interpolating them into the incessant expansion of commodification.
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Thomson, C. Claire. We are a Little Land : Informational Film and Small-nation Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0003.
Texte intégralRésumé :
Et lille land’ - a little land - is a trope of Danish identity which recurs in many of the short informational films about Denmark made from the 1930s to the 1960s. This chapter outlines why the notion of Denmark as a small country has historically been fundamental to the nation’s self-understanding as an imagined community, and how and why it has been employed in informational films made for domestic and foreign consumption. The chapter discusses the role of film in the national imagination, and the importance of medium-specific qualities in that process of imagining: for the purposes of this book, such qualities include the films’ shortness, which impacts on narrative as well as distribution and exhibition. The chapter then discusses recent scholarship on ‘small-nation’ cinema, especially in the Nordic region, and the place of informational filmmaking within the small-nation context. A final chapter section outlines a further body of scholarship on cultural diplomacy, soft power, and nation-branding in the Nordic region as a framework for understanding how images (including informational films) move across borders and re-negotiate auto- and xenostereotypes.
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Williams, Tami. Popular Front Activism and Vichy. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0006.
Texte intégralRésumé :
This chapter details the evolution of Dulac's socialist humanist politics under the Popular Front, from her activism and syndicalism or labor union work within the context of the vast cultural movement of Mai '36, to a rather controversial shift that led to her complex political position under the Vichy regime. During this era, from 1936 to 1938, Dulac's activism for the cinema and by way of the cinema blossomed. She undertook several Socialist film projects, and played a major role in restructuring the French film industry and in cultivating a propitious environment for the future of the medium. Her role was central on several fronts, from the nationalization of the industry to the creation of a French cinematheque and a film directors' union.
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Morcom, Anna. The Hindi film orchestra. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0012.
Texte intégralRésumé :
This chapter explores the Hindi film orchestra in historical, social and cinematic contexts. It charts the place, meaning and status of the western orchestra in Indian cinema from the silent era through the post-Independence period to the marked changes that have occurred since India’s liberalization from the 1990s. Although western classical music was not adopted and institutionalized in the mainstream in India (unlike East Asia, for example), this chapter demonstrates how it nevertheless became interwoven with Indian postcolonial modernity in a powerful yet largely background and thus unseen form through the cinema. Recently, with India’s intensive globalization, the orchestra is showing signs of acquiring a more visibly mediated status in Indian film music and in India more generally.