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Książki na temat „Third World cinema”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2024

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1

Maury, Robin Diana, i Jaffe Ira 1943-, red. Redirecting the gaze: Gender, theory, and cinema in the Third World. Albany: State University of New York Press, 1999.

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2

Assaf, Flávia Celeste Martini. Boi de prata: A estreia do sertão do Seridó no cinema terceiro-mundista. Natal, RN: Flor do Sal, 2018.

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3

Bishnupriya, Ghosh, i Bose Brinda, red. Interventions: Feminist dialogues on Third World women's literature and film. New York: Garland, 1997.

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4

Third Cinema, World Cinema and Marxism. Bloomsbury Publishing Plc, 2020.

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5

Third Cinema, World Cinema and Marxism. Bloomsbury Publishing Plc, 2022.

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6

Shapiro. Third World Cinema (Factfile #10). Amer Film Inst Educ Ser Pubn, 1987.

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7

Third Eye: Struggle for Black and Third World Cinema. London: GLC Race Equality Unit, 1986.

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8

Eye, Third. Struggle for Black and Third World cinema. GLC Race Equality Unit, 1986.

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9

(Editor), Diana Robin, i Ira Jaffe (Editor), red. Redirecting the Gaze: Gender, Theory, and Cinema in the Third World (Suny Series, Cultural Studies in Cinema/Video). State University of New York Press, 1998.

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10

(Editor), Diana Robin, i Ira Jaffe (Editor), red. Redirecting the Gaze: Gender, Theory, and Cinema in the Third World (Suny Series, Cultural Studies in Cinema/Video). State University of New York Press, 1998.

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11

Over, William. Social Justice in World Cinema and Theatre (Civic Discourse for the Third Millennium). Ablex Publishing, 2001.

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12

Social Justice in World Cinema and Theatre (Civic Discourse for the Third Millennium). Ablex Publishing, 2001.

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13

Djagalov, Rossen. From Internationalism to Postcolonialism: Literature and Cinema Between the Second and the Third Worlds. McGill-Queen's University Press, 2020.

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14

From Internationalism to Postcolonialism: Literature and Cinema Between the Second and the Third Worlds. McGill-Queen's University Press, 2020.

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15

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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16

Ghosh, Bishnupriya, i Brinda Bose. Interventions: Feminist Dialogues on Third World Women's Literature and Film. Taylor & Francis Group, 2019.

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17

Ghosh, Bishnupriya, i Brinda Bose. Interventions: Feminist Dialogues on Third World Women's Literature and Film. Taylor & Francis Group, 2019.

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18

Devereaux, Michelle. The Stillness of Solitude. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474446044.001.0001.

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The Stillness of Solitude explores the Romantic connections between a selection of seven films from contemporary American filmmakers Sofia Coppola, Wes Anderson, Spike Jonze, and Charlie Kaufman. Linking the current socio-cultural moment, which has been described as ‘metamodern’, to the Romantic era, it describes how the Romantic relation to selfhood, intersubjectivity, and ‘being in the world’ informs the films studied. The first section of the book lays out the aesthetic argument, the second describes the role of imagination and emotion in creating that aesthetic, and the third explores narratives of personal growth and their relation to cultural history. The overall structure of the book traces the progression of Romantic thought and situates the films historically, while simultaneously engaging with an up-to-the-moment present. It explores gender, childhood, the artistic process, revolution, scepticism, the natural world, love, and death through specific discourses of contemporary film theory including aesthetics, cinematic metatextuality, feminist criticism, eco-criticism and animal studies, and ethical studies. It argues for the emergence of a particular strain of American ‘independent’ cinema that draws extensively on 1970s New Hollywood film in ways differing from 1990s ‘smart’ cinema, and considers how the films use both classical Hollywood and American/European arthouse cinema tropes to create an uneasy dialectic between the two, emphasising the anxieties of our own time, nostalgia for an imaginary past, and fear of an uncertain future.

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19

Storers, Colin. A Short History of the Weimar Republic. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350175792.

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It is impossible to understand the history of modern Europe without some knowledge of the Weimar Republic. The brief fourteen-year period of democracy between the Treaty of Versailles and the advent of the Third Reich was marked by unstable government, economic crisis and hyperinflation and the rise of extremist political movements. At the same time, however, a vibrant cultural scene flourished, which continues to influence the international art world through the aesthetics of Expressionism and the Bauhaus movement. In the fields of art, literature, theatre, cinema, music and architecture – not to mention science – Germany became a world leader during the 1920s, while her perilous political and economic position ensured that no US or European statesman could afford to ignore her. Incorporating original research and a synthesis of the existing historiography, this revised edition will provide students and a general readership with a clear and concise introduction to the history of the first German Republic.

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20

Stanton, Edward F. Culture and Customs of Spain. Greenwood Publishing Group, Inc., 2002. http://dx.doi.org/10.5040/9798400635786.

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Modern Spain is a revelation in this up-to-date overview. Stanton vibrantly describes the startling variety of landscape, people, and culture that make up Spain today. Included are a context chapter and others on religion, customs, media, cinema, literature, performing arts, and visual arts. Students of Spanish and a general audience will be rewarded with engrossing insights into what writer Ernest Hemingway called the very best country of all. Spain is a modern European nation, yet Spaniards are fiercely tied to their individual towns and regions—with their distinct social customs, dialects or languages, foods, landscape, and lifestyles—more than to a united country. Culture and Customs of Spain conveys the extremes, such as the hard-working Catalan contrasted to the leisurely paced Castilian, coexisting in first and third world conditions, and the love/hate relationship with the Catholic Church. Spain's institutions are described, and its contributions to the world—from unparalleled literature and cuisine to flamenco and filmmaker Pedro Almodovar—are celebrated. A chronology and glossary complement the text.

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21

Muzyczuk, Daniel. Discontinuities and Resynchronisations. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0007.

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This chapter explores three distinct attempts in Polish film history to use the medium for research into synaesthesia. The first can be found in the films of Franciszka and Stefan Themerson made before the Second World War and after their emigration to Great Britain. Their experimental attitude is exposed through analysis of their work from 1944 entitled The Eye and the Ear. Second, the Experimental Studio of Polish Radio, established in the wake of Stalinism, became an important space where new approaches into investigating of the sound and vision relationship could develop. Primarily oriented towards electroacoustic composition, the studio was also used for producing scores for popular cinema. The third site for exploration was the Workshop of Film Form, a group of artists-filmmakers based in Łódź whose work exposed the primary elements of film language. Their research resulted in some of the best-developed experiments in synaesthesia.

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22

Waddell, Calum. Cannibal Holocaust. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325116.001.0001.

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This book is one of the most controversial horror films ever made. Despite not achieving huge success when it was first released, the Italian production found an audience on home video in the 1980s and became a 'must-see' for connoisseurs of extreme cinema. Indeed, Cannibal Holocaust's foremost legacy is in the United Kingdom, where it obtained its reputation as one of the most harrowing and offensive 'video nasties' — a term used to refer to a group of films deemed to be 'obscene' by the Department of Public Prosecutions. However, as the years have progressed, Cannibal Holocaust has been re-evaluated, mainly as the forefather of the 'found footage' film, and recent home video re-releases have added some valuable perspective to the onscreen violence with extensive cast and crew interviews. What is missing from this contemporary activity is contextualization of Cannibal Holocaust's style, affirmation and discussion of its locations and any extensive discourse about its representation of third world inhabitants (i.e. as 'primitives'). In addition, and also amiss from previous dialogue on the production, is that Cannibal Holocaust can be seen as one of the key post-Vietnam films. It is the spectre of war — and an explicit warning about Western involvement in civil conflict — which progresses Deodato's story of jungle adventurers in peril. By approaching the film from a more formalist position, this book provides an insightful discussion of this groundbreaking film.

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23

Matheou, Demetrios. Mean Streets. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781839022982.

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Mean Streets was Martin Scorsese’s third feature film, and the one that confirmed him as a major new talent. On its premiere at the New York Film Festival in 1973, the critic Pauline Kael hailed the film as ‘a true original of our period, a triumph of personal film-making’. The tale of combative friends and small-time crooks is set amid the bars, pool halls, tenements and streets of Manhattan’s Little Italy. Scorsese has said of his childhood neighbourhood, ‘its very texture was interwoven with organised crime’, and this quality would dramatically inform the tone and restless energy of his seminal film. Demetrios Matheou’s insightful study considers Mean Streets’ production history in the context of the New Hollywood period of American cinema, noting also the key roles played by John Cassavetes and Roger Corman. He analyses the importance of Scorsese’s background to the film’s characters and themes, including preoccupations with guilt, redemption and criminal subcultures; the development of the director’s film-making process and signature style; the way in which he both drew upon and invigorated the crime genre; his relationship with emerging stars Robert De Niro and Harvey Keitel, and the film’s reception and legacy. Matheou argues that while Taxi Driver (1976) and Raging Bull (1980) are regarded as Scorsese’s greatest films of the period, Mean Streets is the more influential achievement. With it, Scorsese not only paved the way for a new kind of crime movie, not least his own GoodFellas (1990), but also inspired generations of independently-minded film-makers.

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