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1
Bo mo tai yang dian chi guan jian ke xue he ji shu: Key science and technology of thin film solar cells. Shanghai: Shanghai ke xue ji shu chu ban she, 2013.
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Herzogenrath, Bernd, red. The Films of Bill Morrison. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089649966.
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Avant-garde filmmaker Bill Morrison has been making films that combine archival footage and contemporary music for decades, and he has recently begun to receive substantial recognition: he was the subject of a retrospective at the Museum of Modern Art, and his 2002 film Decasia was selected for the National Film Registry by the Library of Congress. This is the first book-length study of Morrison's work, covering the whole of his career. It gathers specialists throughout film studies to explore Morrison's "aesthetics of the archive"-his creative play with archival footage and his focus on the materiality of the medium of film.
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Tröhler, Margrit, i Guido Kirsten, red. Christian Metz and the Codes of Cinema. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789089648921.
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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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Buckland, Warren, i Daniel Fairfax, red. Conversations with Christian Metz. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089648259.
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From 1968 to 1991 the acclaimed film theorist Christian Metz wrote several remarkable books on film theory: Essais sur la signifi cation au cinéma, tome1 et 2; Langage et cinéma; Le signifiant imaginaire; and L’Enonciation impersonnelle. These books set the agenda of academic film studies during its formative period. Metz’s ideas were taken up, digested, refined,reinterpreted, criticized and sometimes dismissed, but rarely ignored. This volume collects and translates into English for the first time a series of interviews with Metz, who offers readable summaries,elaborations, and explanations of his sometimes complex and demanding theories of film. He speaks informally of the most fundamental concepts that constitute the heart of film theory as an academic discipline — concepts borrowed from linguistics, semiotics, rhetoric, narratology, and psychoanalysis. Within the colloquial language of the interview, we witness Metz’s initial formation and development of his film theory. The interviewers act as curious readers who pose probing questions to Metz about his books, and seek clarification and elaboration of his key concepts. We also discover the contents of his unpublished manuscript on jokes, his relation to Roland Barthes, and the social networks operative in the French intellectual community during the 1970s and 1980s.
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Pollack, Howard. Film Work. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0015.
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Latouche had a side career in film. This included writing songs for two avant-garde films by Hans Richter, Dreams That Money Can Buy and 8 x 8. He also wrote the narration for a Herbert Matter film about Alexander Calder, and began his own film company, Aries Productions, which produced Maya Deren’s last completed film, The Very Eye of Night, and an animated film based on his poem “The Peppermint Tree.” In one instance, he started to direct his own short, Presenting Jane, in conjunction with his friendship with the New York poets, but the film was never completed.
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Fisher, Jaimey. Interview with Christian Petzold. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037986.003.0002.
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This chapter presents an interview with Christian Petzold, which mainly took place in July 2011, with a shorter followup in October 2012, at Petzold's office in Berlin. Topics covered include where Petzold grew up; the first film he can remember seeing in a movie theater; the atmosphere in Berlin when he arrived to study literature; his decision to transfer to the German Film and Television Academy in Berlin; his collaborations Harun Farocki; how he finds Farocki's nonfiction films; the impression left by the fall of the Berlin Wall in 1989 and the reunification of Germany in 1990; and the influence of genre films such as Detour on Cuba Libre, Near Dark on The State I Am In, and Driver on Wolfsburg on his own films.
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Schilt, Thibaut. An Interview with François Ozon. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036002.003.0002.
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This chapter presents a interview with François Ozon that took place on October 6, 2009. Topics covered include whether his latest film, Le refuge [Hideaway, 2009], was the third part of a “trilogy on mourning” of which Sous le sable and Le temps qui reste were the first two installments; the recurrent themes of mourning, death, and parent–child relations in his films; his screenwriting collaborations; his lack of regret for any of the films he made during his career; his documentary film Jospin s'éclaire; whether he believes that there is a link between someone's identity and the films that he or she directs; and his next project, Potiche, an adaptation of a play by Pierre Barillet and Jean-Pierre Grédy.
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Keane, Adrian, i Paul McKeown. 9. Visual and voice identification. Oxford University Press, 2018. http://dx.doi.org/10.1093/he/9780198811855.003.0009.
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This chapter considers the risk of mistaken identification, and the law and procedure relating to evidence of visual and voice identification. In respect of evidence of visual identification, the chapter addresses: the Turnbull guidelines, including when a judge should stop a case and the direction to be given to the jury; visual recognition, including recognition by the jury themselves from a film, photograph or other image; evidence of analysis of films, photographs or other images; pre-trial procedure, including procedure relating to recognition by a witness from viewing films, photographs, either formally or informally; and admissibility where there have been breaches of pre-trial procedure. In respect of evidence of voice identification, the chapter addresses: pre -trial procedure; voice comparison by the jury with the assistance of experts or lay listeners’; and the warning to be given to the jury (essentially an adaption of the Turnbull warning, but with particular focus on the factors which might affect the reliability of voice identification).
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LoBrutto, Vincent. Ridley Scott. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.001.0001.
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This, the first biography of film director Ridley Scott, investigates the life and moving-image work of a major cinema artist. Ridley Scott is a supreme visualist who applies artistry to telling motion picture narratives. The influence of his early work in commercials, television projects, short films, and music videos is explored. The arc of his life experience is examined to provide a total picture of the man, with emphasis on the look and content of his films. Each Ridley Scott film is presented from a series of views: conception, production, postproduction, critical and social reactions, box office results, and impact on his long and continuing career. Scott’s ability to make and release feature films on a regular timetable and run a multifaceted production company at the same time reveals his stamina and work ethic. Thematic patterns in Ridley Scott’s filmography give further insight into his artistic personality; he repeatedly examines subjects such as war, the nature of the male of the species, and the strength of women. Scott deals with these themes through hands-on collaboration with screenwriters and film craft artists such as the director of photography, production designer, and editor. The book embraces the concept that Ridley Scott is a complex artist driven to apply his art in a constant flow of projects. This biography will fill in many gaps of the life and films of this British-born director, who is known and respected by audiences, film critics, and scholars all over the globe.
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Berrettini, Mark L. Interviews with Hal Hartley. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252035951.003.0002.
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This chapter presents two interviews of Hal Hartley. The first, conducted by Justin Wyatt, was originally published in the fall 1998 issue of Film Quarterly. The second, conducted by Robert Avila in 2007, originally appeared on SF360.org, the San Francisco Film Society's online magazine. Topics covered in these interviews include the darker tone of the film Henry Fool; Hartley's views about the label “independent” after being heralded as one of the most important voices in American independent cinema; whether the conflicted attitude toward technology and the corporate world seen in his films reflect his own ambivalence in these areas; whether he is concerned that his films may be straying too far to the side of self-consciousness and self-reflexivity; whether he sees a of Hollywood movies; and whether there are times when he finds writing difficult.
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Nieland, Justus. Interviews with David Lynch. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036934.003.0002.
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This chapter presents interviews with David Lynch. Specifically, an interview by Kathrin Spohr published in form 158, no. 2 (1997): 44–45, and another by Mike Figgis published in Sight and Sound 17, no. 3 (2007). Topics discussed include Lynch's interest in furniture design; the role of architecture in his movies; how the notion of time as out of control was expressed in the set design of the Lost Highway; his use of his private spaces in his films; Inland Empre as his longest film; whether he had the complete film in mind when he began filming; and the reasons why he decided to concentrate on film rather than painting or writing.
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Caps, John. Frustration. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0014.
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This chapter focuses on Mancini's work on the large-scale space alien film Lifeforce (1985). Mancini's handwritten sketches for his score to the film reveals how important the job was to him, coming at this stage of his career. At last someone was offering him the kind of blockbuster science fiction epic that John Williams, Jerry Goldsmith, and even the young guys like James Horner (Brainstorm [1984]) and Alan Silvestri (The Abyss [1989]) were getting. With Lifeforce he might join the new ruling class of film composers on its own terms. However, the film was being supervised by Cannon Pictures, part of the infamous movie brokerage firm the Cannon Group. They had made their money by funding quick and cheap genre films on a one-time basis, turning a profit by almost immediately handing them over to their video-release branch. It was decided that Lifeforce would be chopped down to a more manageable length and into a form where most of the long reflective or descriptive visual sequences would be truncated. Along with them, their music had to go.
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Robinson, Harlow. Lewis Milestone. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178332.001.0001.
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This book tells the remarkable personal and professional story of Lewis Milestone (1895-1980), one of the most prolific, creative and respected film directors of Hollywood’s Golden Age. Among his many films are the classics All Quiet on the Western Front, Of Mice and Men, A Walk in the Sun, Pork Chop Hill, the original Ocean’s Eleven and Mutiny on the Bounty, starring Marlon Brando. Born in Ukraine, he came to America as a teenager and learned about film in the U.S. Army in World War I. By the early 1920s he was editing silent films in Hollywood, and soon graduated to shooting his own features. His films were nominated for 28 different Academy Awards during a career that lasted 40 years. Among the many stars whom he directed were Barbara Stanwyck, Ingrid Bergman, Gregory Peck, Errol Flynn, Gary Cooper, Frank Sinatra, Joan Crawford and Kirk Douglas. Providing biographical information, production history and critical analysis, this first major scholarly study of Milestone places his films in a political, cultural and cinematic context. Also discussed in depth, using newly available archival material, is Milestone’s experience during the Hollywood Blacklist period, when he was one of the first prominent Hollywood figures to fall under suspicion for his alleged Communist sympathies. Drawing on his personal papers at the AMPAS library, my book gives Milestone the honored place herichly deserves in the American film canon.
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Beattie, Keith. Performing the Real. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036590.003.0001.
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This chapter analyzes the film career of D. A. Pennebaker. Pennebaker's key word is “interesting.” In numerous interviews, he has referred to events, subjects, and topics that have a certain “attractive” quality, in the sense that they demand attention, as interesting. In this way, he has insisted that a filmmaker “must shoot only what interests you.” His diversity of interesting films encompasses hybrid forms in which components of “documentary” mix with heightened dramatic elements associated with fiction film. These films include Daybreak Express (1953–57), an avant-gardist look at New York City; Jane (1962), a study of the actress Jane Fonda; Depeche Mode 101 (1989), and Only the Strong Survive (2002).
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Mckernan, Luke. Searching for Mary Murillo. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0007.
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In this chapter, the author highlights the value of online newspaper archives and digitized census, family history, and other sources that he consulted in his research about little-known scriptwriter from the silent era, Mary Murillo. He begins with a background on Murillo, a screenwriter in American cinema for ten years, then worked in British films for six or more years, and moved to work in French films at the start of the talkies. The fact that she had almost disappeared from dominant film history narratives says much about how women filmmakers have been allowed to slip out of the history of early film and about the low status of scriptwriters generally. The author traces the journey he took in trying to know more about Murillo, from typing her name into Google and sifting through family history sources, shipping records, databases, census records, newspapers, contemporary movie guides, trade papers, archives, and asking people. In a postscript, he talks about additional information that has emerged about Murillo since he first investigated her in 2009.
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Rohdie, Sam. Fellini Lexicon. British Film Institute, 2002. http://dx.doi.org/10.5040/9781838710811.
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Federico Fellini (1920-93) was one of the most inventive of film-makers and he remains one of the best loved. Director of a whole series of celebrated films - among them La Strada (1954) The Nights of Cabiria (1957), La Dolce Vita (1960), Otto e Mezzo (1963) and Amarcord (1973) - he created melancholy, magical worlds peopled by clowns, dreamers, conmen, trumpeters and werewolves. Fellini Lexicon explores the forms and substances, significances and insignificances, objects and shadows in Fellini’s work - the dance and music of his characters, the colour, light, and movement in his images. The Lexicon accompanies Fellini’s films, rather than seeking to possess them, taking pleasure in their incongruities, exaggerations, absurdities and surprises. The entries are reversible, overlapping, often unlikely, combining careful analysis of the films with a celebration of their richness. Fellini Lexicon is an original, delightful approach to Fellini’s work and to the practice of film criticism.
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Yoshida, Junji. Laughing in the Shadows of Empire. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0010.
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Ozu Yasujiro’s apprenticeship coincided with the steady rise of comedy in Japanese film. Before he developed his signature “urban petit bourgeois genre” films (shōshimin geki), he was influenced by the work of Charlie Chaplin, Harold Lloyd, and Ernst Lubitsch. It is widely believed, however, that Ozu’s interest in comedy had dissipated during World War II. The idea of a polarization between early and late Ozu is bolstered by his wartime production of two so-called national policy films. The chapter aims to critique this by recalling the way in which the rising tide of nativist xenophobia impinged on Ozu’s caricature of anti-mobo/moga jingoists. He began to employ a range of humorous strategies to recalibrate shōshimin geki for the requirements of patriotic war efforts. His film projected and made visible not only the society at war but the very structure and process of embodied fascist vision.
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Radner, Hilary, i Alistair Fox. Film Analysis and the Symbolic. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0007.
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Raymond Bellour explains the difference between Christian Metz’s semiological approach and his own approach to film analysis, and the degrees by which he became disenchanted with psychoanalysis, despite his debt to Lacan’s notion of the imaginary, the real, and the symbolic. With reference to his analysis of Alfred Hitchcock’s North by Northwest, he proceeds to comment on how he evolved such key notions as “symbolic blockage” (“le blocage symbolique”) and “the undiscoverable text” (also referred to as “the unattainable text” or “le texte introuvable”). He then describes the influence of Anti-Oedipus by Gilles Deleuze and Félix Guattari, and his interest in American cinema and filmmakers like Alfred Hitchcock, Michael Curtiz, and Fritz Lang.
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Sandon, Emma. Law and Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190272654.003.0026.
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This chapter reflects on Professor William Schabas’s use of film in teaching human rights from a session he runs entitled: ‘The Universal Declaration of Human Rights: A Cinematographic Perspective’, at the annual Cinema and Human Rights Summer School. It contextualises Schabas’s approach within legal pedagogy as well as in relation to legal and cultural studies scholarship on law and film. It covers some of the relevant debates on the interdisciplinary encounter of law and film, which point to both its discursive limitations and epistemological insights. The chapter argues that Schabas’s practice of mobilising film to frame legal considerations of the Universal Declaration of Human Rights can be recognised as curatorial. His engagement encourages his students to think about not only law in film, but also about a jurisprudence that uses cinema to engage in the imaginative and utopian dimensions of justice.
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DeBlasio, Alyssa. The Filmmaker's Philosopher. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444484.001.0001.
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Known as the 'Georgian Socrates' of Soviet philosophy, Merab Mamardashvili was a defining personality of the late-Soviet intelligentsia. In the 1970s and 1980s, he taught required courses in philosophy at Russia's two leading film schools, helping to educate a generation of internationally prolific directors. Exploring Mamardashvili's extensive philosophical output, as well as a range of recent Russian films, Alyssa DeBlasio reveals the intellectual affinities amongst directors of the Mamardashvili generation - including Alexander Sokurov, Andrey Zvyagintsev and Alexei Balabanov. This multidisciplinary study offers an innovative way to think about film, philosophy and the philosophical potential of the moving image.
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McGowan, Todd. Interview with Spike Lee. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038143.003.0002.
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This chapter presents an interview with Spike Lee. Topics covered include what he thinks about the love/hate relationship between Italian Americans and black Americans in the 1970s and 1980s; whether he feels that he played a part in helping create images of black male leadership and strength; whether he thinks that Miracle at St. Anna's (2009) “look” at World War II's atrocities helps provide a window into seeing how far people can take violence and cruelty past the edge of reason; what the thinks about the fact that some of his best films have been overlooked by the Oscars; his use of multiracial production teams; and his film projects.
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Callahan, Dan. The Camera Lies. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197515327.001.0001.
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Though he was known for saying, “Actors are cattle,” Alfred Hitchcock had highly specific ideas about film acting, which he saw in terms of contrast and counterpoint. Hitchcock was a theorist of acting, which he proved in some of his lesser-known 1930s interviews, and he has not been given his due as a director of actors. He felt that the camera was duplicitous and that it could be made to lie, and so he loved his actors to look one way and to be another, or to do one thing and suggest another. The best Hitchcock actor was one, the Master said, who could “do nothing well,” to which he always added that this was actually difficult to do. This book will analyze actors in Hitchcock films, exploring what acting for Hitchcock entailed and what acting is and can be in the cinema.
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Franco, Susanne. Rudolf Laban’s Dance Film Projects. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0005.
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Rudolf Laban was one of the leaders of Ausdruckstanz, and he has been studied as a thoughtful writer and theoretician, a talented choreographer, an inspired teacher, and a tireless organizer of schools, associations, and festivals. Less known are his mostly unrealized film projects, conceptualized for different purposes on different occasions. This chapter considers how film offered Laban yet another arena within which to promote his distinctive vision of dance. Laban was interested in using cinema as a tool to disseminate his ideas and to expand the potential audience for modern dance, ensuring its position as a respectable social practice, as a form of high art, and as a professional field. He understood the great economic potential that cinema, as a popular medium, could give to dance in supporting his enterprises. The chapter also wonders whether Laban's apparent turn away from film in the mid-1930s reflected his engagement with the National Socialist cultural bureaucracy and the opportunities it offered for his vision of mass dance.
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McFarlane, Brian. The Films of Fred Schepisi. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835352.001.0001.
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Fred Schepisi is a crucial name associated with the ‘revival’ of the Australian film industry in the 1970s. This book traces the lead-up to Schepisi’s critical successes in feature-filmmaking via his earlier award-winning success as a producer in advertising commercials in the 1960s and the setting up of his own company. A minor biographical element considers Schepisi’s early education in a Catholic seminary, which he drew on in his semi-autobiographical film, The Devil’s Playground, the success of which launched him as an exciting new feature director. The book then charts Schepisi’s development as a director in demand in other countries, notably in the US and the UK, as well as continuing to make major films in Australia. His career is in this way symptomatic of Australian directors who have made their presence felt on the international stage. What follows here is a critical account of Schepisi’s film output and the context in which it has taken place, with the co-operation of Schepisi and some of his key collaborators. The book details production histories, an account of the finished films, and a sense of how the films were received (both critically and popularly). Author Brian McFarlane explores the recurring thematic, narrative, and visual elements that have helped to characterize Schepisi as artist and craftsman.
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Riddle, Nick. The Damned. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325529.001.0001.
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The Damned (1963) is the most intriguing of director Joseph Losey's British “journeyman” films. A sci-fi film by a director who hated sci-fi; a Hammer production that sat on the shelf for over two years before being released with almost no publicity as the second half of a double bill. Losey was a director vocal in his dislike of depictions of physical violence, but he often made films that radiate an energy produced by a violent clash of elements. The Damned catches a series of collisions — some of them inadvertent — and traps them as if in amber. Its volatile elements include Losey, the blacklisted director; Hammer, the erratic British studio, Oliver Reed, the 'dangerous' young actor, and radioactive children. This book concentrates on historical and cultural context, place, genre, and other themes in order to try to make sense of a fascinating, underappreciated film.
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Caps, John. Back to Television? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0011.
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This chapter details Mancini's return to television. Mancini was offered his own TV series, to be called The Mancini Generation, on which he would discuss and demonstrate film music to a syndicated audience. Undertaking the series was a colossal commitment. The music materials were drawn from his whole backlog of arrangements alongside some new charts, but in addition to the musical rehearsals there were camera rehearsals and host-segment preparations all of which were shot together during one four-week period and then sliced up for insertion into the shows. Unique to each show was a sequence during which Mancini invited one college student enrolled in a film course at some university across the country to take a past Mancini recording and conceive, shoot, and edit an experimental film based on the music. The short films, then, were shown on the program, and Mancini used the opportunity to push support for film and film-scoring study courses in schools of the future. The Mancini Generation was eventually seen on 150 stations nationwide and also led to an RCA album sporting the series title, his first jazz-pop album since the 1960s.
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Walden, Kiri Bloom. Peeping Tom. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348370.001.0001.
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Reviled on it’s release, Peeping Tom all-but ended the career of celebrated director Michael Powell. The story of a murderous cameraman and his compulsion to record his killings, Powell’s film stunned the same critics who had acclaimed him for work he had made with Emeric Pressburger (as ‘The Archers’) in the years before. Luckily Peeping Tom was rediscovered and saved, largely due to the efforts of Martin Scorsese, and it is now considered a masterpiece of the Horror genre. In this Devil’s Advocate, published in the wake of the film’s 60th Anniversary, Kiri Bloom Walden charts the origins, production, and devastating critical reception of Peeping Tom, comparing it to another key film released in 1960, Alfred Hitchcock’s Psycho. The author has interviewed people close to Powell to gain new insight into how he approached making the films and reacted to the way it was initially rejected.
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Badley, Linda. Making the Waves. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252035913.003.0001.
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This chapter presents a commentary on Lars von Trier's film career. It argues that unlike auteurs shaped by existing conditions, trends, or movements within or outside the mainstream industry, Trier is self-authorized, his career “a prototype auteurist initiative,” a project “not primarily to make films but to construct Lars von Trier, the auteur filmmaker.” If his films are identified by auteurist trademarks as trilogies and movements, he systematically violates commandments like the lynchpin of continuity editing, the 180-degree rule. More characteristic yet, though, is his propensity for making 180-degree turns, whether between trilogies or within films. The remainder of the chapter focuses on Trier's work, including his student films, his television commercials from the late 1980s, and films such as The Idiots (1998), Breaking the Waves (1996), Dancer in the Dark (2000), and The Boss of It All (2006).
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Shumway, David R. John Sayles. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036989.003.0001.
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This chapter presents a commentary on John Sayles' film career. Sayles has long been referred to as America's leading independent filmmaker. More recently, he has been called both the grandfather and the godfather of American independent cinema. The press has also described Sayle's as a realist. Realism here means a particular kind of content, and that content is connected to a traditionally leftist position of support for workers. These are both aspects of Sayles' realism, but many of his films are neither gritty nor are focused on a particular class. The remainder of the chapter traces Sayles' path to filmmaking, where he began as writer of short stories and novels. It then turns to an analysis of his films, which include Liana (1983), Baby It's You (1983), The Brother from Another Planet (1984), Matewan (1987), Eight Men Out (1988), Lone Star (1996), Silver City (2004), and Honeydripper (2007).
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Rolls, Alistair, i Marguerite Johnson, red. Remembering Paris in Text and Film. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384185.
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Remembering Paris investigates Paris as an urban and poetic site of remembrance. For Charles Baudelaire, the streets of Paris conjured visions of the past even as he contemplated the present. This book investigates this and other cases of double vision, tracing back from Baudelaire into antiquity, but also following Baudelaire forwards as his poetry is translated, received and referenced in texts and films in the twentieth century and beyond.
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Radner, Hilary, i Alistair Fox. Hypnosis, Emotions, and Animality. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0011.
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In this section of the interview, Raymond Bellour explains why he thinks hypnosis is superior as a model for explaining the effects of cinema, on the grounds that it involves a somatic displacement that comes from outside the spectator. At the same time, he explains his objections to cognitivist film theory. Finally, Bellour recounts how his interest in animals, which began in the 1970s, derived from his perception of the way in which animal figures were being used in American cinema in films like Howard Hawks’s Bringing up Baby and Monkey Business and Alfred Hitchcock’s The Birds, which in turn led him to consider the issue of animality itself.
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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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Cooper, L. Andrew. Interviews with Dario Argento. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037092.003.0002.
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This essay presents two interviews with Dario Argento, one conducted by Élie Castiel and the other by Stephane Derderian. In the Castiel interview, Argento talks about early influences on his career; his approach to every film; eroticism and sadism as well as the question of voyeurism in his work; the importance of objects in the genre films that he has made; and the future of horror films. In the Derderian interview, Argento shares his thoughts on the bloodiness in Deep Red; what the subject of visual memory that often comes up in his films such as The Bird with the Crystal Plumage represent for him; the place of homosexuality in his films; why people who see his films don't look for a suspect as much as they look for a truth; the psychology of the murderer vs. the psychology of the investigator in his films; and the presence of the world of painting in Deep Red, The Bird with the Crystal Plumage, and The Stendhal Syndrome.
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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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O'Sullivan, Sean. The Nature of Contrivance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036385.003.0001.
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This chapter presents a commentary on Mike Leigh's film career. It attempts to reclaim him from the kindly ghetto in which he has been placed by his well-meaning enthusiasts. Leigh is typically considered an unassuming crafter of little movies, who has written little or nothing that we would consider theory, or even criticism. However, it is shown that Leigh is a filmmaker deeply invested in cinema's formal, conceptual, and narrative dimensions. The recurrent simplifications of what his cinema is, and what his cinema does, result in part from the mode in which he works, or the mode in which he is said to work: realism. The films examined in this chapter include The Short and Curlies (1987), Naked (1993), Secrets and Lies (1996), Career Girls (1997), Topsy-Turvy (1999), All or Nothing (2002), Vera Drake (2004), Happy-Go-Lucky (2008), and Another Year (2010).
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Buhler, James. Theories of the Classical Sound Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0003.
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Chapter 3 examines theories after the sound film had been codified. The characteristic forms of theory became the grammar and typology: the goal was to map the potential formal relations between image and sound. This chapter considers six theoretical models focusing on the treatment of music and the relationship of the soundtrack to narrative: Eisenstein’s concept of vertical montage and the modes of synchronization that he developed from the concept; Aaron Copland’s typology of functions for film music; Hanns Eisler and Theodor W. Adorno’s response to Eisenstein, their critique of Hollywood practice, and their list of “bad habits”; and the formal typologies offered by Raymond Spottiswoode, Siegfried Kracauer, and Roger Manvell and John Huntley, which all seek to map the conceptual space of the image–sound relationship in film.
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Watt, Gary. Trusts & Equity. Oxford University Press, 2018. http://dx.doi.org/10.1093/he/9780198804697.001.0001.
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This book provides a detailed and conceptual analysis of trusts and equity; concentrating on those areas of the subject that are most relevant in the contemporary arena, such as the commercial context. It utilizes expertise in teaching, writing, and researching to enliven the text with helpful analogies and memorable references to extra-legal sources such as history, literature, and film. In this way, the book also stimulates students to engage critically with concepts. This new edition includes coverage of significant recent cases, including decisions of the Supreme Court on the nature of a trust in relation to third parties (Akers v. Samba Financial Group [2017]), the right to recover wealth transferred between parties to an illegal scheme (Patel v. Mirza [2016]) and on the distinction between contractual debt and constructive trust (Bailey v. Angove’s PTY Ltd [2016]). Further reading and discussion of anticipated reforms has been updated throughout in light of the latest legal developments.
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Betz, Mark. Wenders Travels with Ozu. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0014.
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The positioning of Wim Wenders as a filmmaker indebted to Ozu Yasujiro is not a new one. He has expressed his admiration for Ozu’s work on several occasions, in both his own critical writings and on film. But just what Wenders has taken from Ozu, and what that might mean for an understanding of a “traveling” film practice like that of Wenders, has yet to be explored in any real depth. This chapter pays close attention to four feature films, two for each director. The formal correspondences manifest themselves not in terms of style but at structural and dramaturgical levels, in a shared strategy of repeating, doubling, or twinning, and especially so for what the chapter calls the double climactic monologue. Examining Wenders’s borrowings and conversions from Ozu illuminates otherwise hidden corners for both artists and shows the benefits of a reflective form of intercultural analysis.
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Plantinga, Carl. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190867133.003.0001.
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The introduction to Screen Stories: Emotion and the Ethics of Engagement traces the main argument of the book and previews the book’s structure. The argument is that stories on screens—films, television, the Internet, and so on—contribute to the cultural ecology of a place and time and are thus subject to ethical evaluation. Screen stories are rhetorically powerful in large part because they engage and elicit human emotion. Academic film studies respond to this power by embracing “estrangement theory,” which largely rejects mainstream screen stories, immersion, and emotion. The personal story told in the Introduction relates the author’s experiences with screen stories and how he came to believe that ethics as practiced by academic film and media studies, at least in the form of estrangement theory, is unable to usefully address the experiences of most contemporary viewers and thus introduces the reader instead to an ethics of engagement.
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Walker, Elsie. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0002.
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The introduction cites numerous critical responses to Michael Haneke that wrongly assume his emotional coldness and misanthropic outlook. Though his films are notorious for subjecting us to harsh experiences of violence, this book establishes a moral forerunner to Haneke: Bertolt Brecht. Like Brecht, Haneke allows for the audience’s emotional reactions, while also prompting their active engagement with a view to progressive change. More particularly, he defamiliarizes conventional uses of film sound to engage our hearts and imaginations, much as Brecht disrupted mainstream theatrical forms of representation. Haneke’s films also include numerous moments of absent sound, which are as potent as Mother Courage’s famously silent scream. This introduction stresses the importance of understanding how and why the director uses sound tracks to make us hear the social worlds his characters inhabit, and by extension our own world, better.
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Wickham, Phil, i Amelia Watts, red. Bill Douglas. University of Exeter Press, 2022. http://dx.doi.org/10.47788/qqit1688.
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This book examines the work and art of Bill Douglas, thirty years after his death. Douglas made only a small body of work during his lifetime: The Bill Douglas Trilogy, based on his deprived childhood in Scotland; and Comrades, his epic on the Tolpuddle Martyrs; but he is acknowledged by many as one of Britain’s greatest filmmakers. His films inspire a depth of passion in those that have seen them, and interest in his work has intensified over the years, both within the UK and overseas. This is the first work to examine Douglas’s life and career through archive material recently made available to researchers. Editors Amelia Watts and Phil Wickham have carefully selected a range of voices – both scholars and practitioners – to reappraise Douglas’s career from a variety of angles. The book raises important questions about Douglas’s status as an artist, and reflects on his struggles within the film industry of the 1970s and 1980s in order to consider the attendant difficulties of working within a collaborative and commercial medium such as cinema. The volume also explores the wider legacy of this film artist, through the collection on moving image history he assembled with Peter Jewell, which became the foundation of the Bill Douglas Cinema Museum. It will appeal to film students and scholars, and the small but committed group of general readers who are interested in Douglas’s work. The book has a foreword by the renowned filmmaker and critic Mark Cousins, who, like many other contemporary directors, is a great enthusiast for Douglas’s work.
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Craig, Paul, i Gráinne de Búrca. 27. Competition Law:. Oxford University Press, 2015. http://dx.doi.org/10.1093/he/9780198714927.003.0027.
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All books in this flagship series contain carefully selected substantial extracts from key cases, legislation, and academic debate, providing able students with a stand-alone resource. This chapter focuses on another principal provision concerned with competition policy: Article 102 TFEU. The essence of Article 102 is the control of market power, whether by a single firm or, subject to certain conditions, a number of firms. Monopoly power can lead to higher prices and lower output than would prevail under more normal competitive conditions, and this is the core rationale for legal regulation in this area. Article 102 does not, however, prohibit market power per se. It proscribes the abuse of market power. Firms are encouraged to compete, with the most efficient players being successful.
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MacDougall, David. The looking machine. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526134097.001.0001.
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The looking machine calls for the redemption of documentary cinema, exploring the potential and promise of the genre at a time when it appears under increasing threat from reality television, historical re-enactments, designer packaging, and corporate authorship. The book consists of a set of essays each focused on a particular theme derived from the author’s own experience as a filmmaker. It provides a practice-based, critical perspective on the history of documentary, how films evoke space, time and physical sensations, questions of aesthetics, and the intellectual and emotional relationships between filmmakers and their subjects. It is especially concerned with the potential of film to broaden the base of human knowledge, distinct from its expression in written texts. Among its underlying concerns are the political and ethical implications of how films are actually made, and the constraints that may prevent filmmakers from honestly showing what they have seen. While defending the importance of the documentary idea, MacDougall urges us to consider how the form can become a ‘cinema of consciousness’ that more accurately represents the sensory and everyday aspects of human life. Building on his experience bridging anthropology and cinema, he argues that this means resisting the inherent ethnocentrism of both our own society and the societies we film.
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Walker, Elsie. Hearing Haneke. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.001.0001.
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Haneke’s films are sonically charged experiences of disturbance, desperation, grief, and many forms of violence. They are unsoftened by music, punctuated by accosting noises, shaped by painful silences, and defined by aggressive dialogue. Haneke is among the most celebrated of living auteurs: he is two-time receipt of the Palme d’Or at Cannes Film Festival (for The White Ribbon [2009] and Amour [2012]), and Academy Award winner of Best Foreign Language Film (for Amour), among numerous other awards. The radical confrontationality of his cinema makes him a most controversial, as well as revered, subject. Hearing Haneke is the first book-length study of the sound tracks that define his living legacy as an aural auteur. Hearing Haneke provides close sonic analyses of The Seventh Continent, Funny Games Code Unknown, The Piano Teacher, Caché, The White Ribbon, and Amour. The book includes several sustained theoretical approaches to film sound: including postcolonialism, feminism, genre studies, psychoanalysis, adaptation studies, and auteur theory. From these various theoretical angles, Hearing Haneke shows that the director consistently uses all aural elements (sound effects, dialogue, silences, and music) to inspire our humane understanding. He expresses faith in us to hear the pain of his characters’ worlds most actively, and hence our own more clearly. This has profound social and personal significance: for if we can hear everything better, this entails a new awareness of the “noise” we make in the world at large. Hearing Haneke will resonate for anyone interested in the power of art to inspire progressive change.
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Gallese, Vittorio, i Michele Guerra. The Empathic Screen. Tłumacz Frances Anderson. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198793533.001.0001.
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Why do people go to the movies? What does it mean to watch a movie? To what extent does our perception of the fictional nature of movies differ from our daily perception of the real world? The authors, a neuroscientist and a film theorist, propose a new multidisciplinary approach to images and film that can provide answers to these questions. According to the authors, film art, based on the interaction between spectators and the world on the screen, and often described in terms of immersion, impressions of reality, simulation, and involvement of the spectator’s body in the fictitious world he inhabits, can be reconsidered from a neuroscientific perspective, which examines the brain and its close relationship to the body. They propose a new model of perception—embodied simulation—elaborated on the basis of neuroscientific investigation, to demonstrate the role played by sensorimotor and affect-related brain circuits in cognition and film experience. Scenes from famous films, like Notorious, The Shining, Full Metal Jacket, Persona, The Silence of the Lambs, and Toy Story are described and analyzed according to this multidisciplinary approach, and used as case studies to discuss the embodied simulation model. The aim is to shed new light on the multiple resonance mechanisms that constitute one of the great secrets of cinematographic art, and to reflect on the power of moving images, which increasingly are part of our everyday life.
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Ryan, Tom. The Films of Douglas Sirk. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496817983.001.0001.
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Working in Europe during the 1930s, mainly for Germany’s UFA studios, and then in America in the 1940s and ’50s, Douglas Sirk brought to all his work a distinctive style that has led to his reputation as one of the 20th century cinema’s great ironists. He did things his own way: for him, rules were there to be broken, whether they were the decrees of Nazi authorities trying to turn film into propaganda or of studios insisting that characters’ problems should always be solved and that endings should always restore order, providing what Sirk used to call “emergency exits” for audiences. This study of Sirk is the first comprehensive critical overview of the filmmaker’s entire career, examining the ’50s melodramas for which he has been rightly acclaimed – films such as All That Heaven Allows, Written on the Wind, The Tarnished Angels and Imitation of Life – and instructively looking beyond them at his earlier work, which includes musicals, comedies, thrillers, war movies and westerns. Offering fresh insights into all of these films and situating them in the culture of their times, the book also incorporates extensive interview material drawn from a variety of sources, including the author’s own conversations with the director. Furthermore, it undertakes a detailed reconsideration of the generally overlooked novels and plays that served as sources for Sirk’s films, as well as providing a critical overview of previous Sirk commentary, from the time of the director’s “rediscovery” in the late 1960s to the present day.
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Watt, Gary. Trusts & Equity. Oxford University Press, 2020. http://dx.doi.org/10.1093/he/9780198854142.001.0001.
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This book provides a detailed and conceptual analysis of trusts and equity; concentrating on those areas of the subject that are most relevant in the contemporary arena, such as the commercial context. It utilizes expertise in teaching, writing, and researching to enliven the text with helpful analogies and memorable references to extra-legal sources such as history, literature, and film. In this way, the book also stimulates students to engage critically with concepts. This new edition is not merely updated but fully revised to include a new layout and a number of features designed to make the text even more accessible to student readers, one of which is a new context feature at the start of each chapter. This new revised edition also includes the latest legal developments, including decisions of the Supreme Court on dishonesty in relation to the civil liability of strangers to trusts (Ivey v. Genting Casinos UK Ltd (t/a Crockfords Club (2017)) and on equitable relief against forfeiture (The Manchester Ship Canal Company Ltd v. Vauxhall Motors Ltd (2019)). A great many new cases in the Court of Appeal and the High Court have been added, including twenty or more in 2019 alone. Other recent devlepments including law commission reports and academic commentary are also included. Further reading and discussion of anticipated reforms has been updated throughout in light of the latest legal developments.
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Platte, Nathan. Making Music in Selznick's Hollywood. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.001.0001.
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Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brought the music to life. This book shows how a range of specialists, including composers (Max Steiner, Dimitri Tiomkin, Franz Waxman, and others), orchestrators, music directors (Lou Forbes), editors (Audray Granville), writers, instrumentalists, singers, and publicists, helped make the music for Selznick’s films stand apart from competitors’. Drawing upon thousands of archival documents, this book offers a tour of American cinema through its music. By investigating Selznick’s efforts in the late silent era, his work at three major Hollywood studios, and his accomplishments as an independent producer (including his films with Alfred Hitchcock), this book reveals how the music was made for iconic films like King Kong (1933), A Star is Born (1937), The Prisoner of Zenda (1937), Gone with the Wind (1939), Rebecca (1940), Spellbound (1945), The Third Man (1948), and A Farewell to Arms (1957).
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Bacon, Henry, Kimmo Laine i Jaakko Seppälä. ReFocus: The Films of Teuvo Tulio. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474442152.001.0001.
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Teuvo Tulio (1912–2000) was one of the most original directors in Finnish film history. Growing up in the newly independent Finland, he lived most of his life in the Finnish cultural and social context, yet he always remained something of an outsider and ended up as a total recluse. This is the first English-language study on this innovative director, exploring Tulio’s unique style and the extent and effect of his obsessive recirculation of story elements and stylistic patterns. The authors analyse how Tulio created his own brand of excessive melodrama, and follow the strange trajectory of his career from within the studio system to the outsider status of an independent producer-director
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Craig, Paul, i Gráinne de Búrca. 29. The State and the Common Market. Oxford University Press, 2015. http://dx.doi.org/10.1093/he/9780198714927.003.0029.
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All books in this flagship series contain carefully selected substantial extracts from key cases, legislation, and academic debate, providing able students with a stand-alone resource. This chapter examines the way in which the actions of the state can infringe the Treaty. The Treaty contains a number of relevant provisions, including Article 4(3) TEU, and Articles 14, 34, 101, 102, 106, and 107-109 TFEU. While there are valid reasons for EU controls, the topics discussed raise important issues concerning the very nature of the EU. Thus, the jurisprudence under Article 106 has prompted questions about how far it is possible for a state to entrust certain activities to a public monopoly, or to a private firm that has exclusive rights.