It was believed that September 11th would make certain kinds of films obsolete, such as action thrillers crackling with explosions or high-casualty blockbusters where the hero escapes unscathed.
Michael Haneke is one of the most important directors working in Europe today, with films such as Funny Games (1997), Code Unknown (2000), and Hidden (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight.
More than just a box office flop that resurrected itself in the midnight movie circuit, Blade Runner (1982) achieved extraordinary cult status through video, laserdisc, and a five-disc DVD collector's set.
Critical Cinema: Beyond the Theory of Practice purges the obstructive line between the making of and the theorising on film, uniting theory and practice in order to move beyond the commercial confines of Hollywood.
Taken as a whole, the sixteen remarkable films discussed in this provocative new volume of essays represent the brilliant creativity that flourished in the name of German cinema between the wars.
As Americans flocked to the movies during the first part of the twentieth century, the guardians of culture grew worried about their diminishing influence on American art, education, and American identity itself.
American history has always been an irresistible source of inspiration for filmmakers, and today, for good or ill, most Americans'sense of the past likely comes more from Hollywood than from the works of historians.
This classic of film criticism, long considered invaluable for its eloquent study of a problematic period in film history, is now substantially updated and revised by the author to include chapters beyond the Reagan era and into the twenty-first century.
In this imaginative new work, Adam Lowenstein explores the ways in which a group of groundbreaking horror films engaged the haunting social conflicts left in the wake of World War II, Hiroshima, and the Vietnam War.
In China on Screen, Chris Berry and Mary Farquhar, leaders in the field of Chinese film studies, explore more than one hundred years of Chinese cinema and nation.
From the architectural spectacle of the medieval cathedral and the romantic sublime of the nineteenth-century panorama to the techno-fetishism of today's London Science Museum, humans have gained a deeper understanding of the natural world through highly illusionistic representations that engender new modes of seeing, listening, and thinking.
Focusing on the work of four contemporary filmmakers-Ang Lee, Edward Yang, Hou Hsiao-hsien, and Tsai Ming-liang-the authors explore how these filmmakers broke from tradition, creating a cinema that is both personal and insistent on examining Taiwan's complex history.
A concise and accessible introduction to the role of violence from the silent era to the present, this volume illustrates the breadth and depth of screen bloodshed in historical, cultural, and industrial contexts.
In 1974, The Wall Street Journal called this movie "e;grotesque, sadistic, irrational, obscene, incompetent,"e; while New York Magazine declared it "e;a catastrophe.
East Asian cinema has become a worldwide phenonemon, and directors such as Park Chan-wook, Wong Kar Wai, and Takashi Miike have become household names.
MacDonald explores the cinematic territory between the traditional categories of "e;documentary"e; and "e;avant-garde"e; film, through candid, in-depth conversations with filmmakers whose work has challenged these categories.
MacDonald explores the cinematic territory between the traditional categories of "e;documentary"e; and "e;avant-garde"e; film, through candid, in-depth conversations with filmmakers whose work has challenged these categories.
Documentary's Expanded Fields: New Media and the Twenty-First-Century Documentary offers a theoretical mapping of contemporary non-standard documentary practices enabled by the proliferation of new digital imaging, lightweight and non-operator digital cameras, multiscreen and interactive interfaces, and web 2.
Documentary's Expanded Fields: New Media and the Twenty-First-Century Documentary offers a theoretical mapping of contemporary non-standard documentary practices enabled by the proliferation of new digital imaging, lightweight and non-operator digital cameras, multiscreen and interactive interfaces, and web 2.
A refreshing new practical approach to documentary filmmaking, Get Close: Lean Team Documentary Filmmaking equips new and veteran filmmakers with the knowhow to make artistically rewarding documentaries for less money, less hassle, and less time.
A refreshing new practical approach to documentary filmmaking, Get Close: Lean Team Documentary Filmmaking equips new and veteran filmmakers with the knowhow to make artistically rewarding documentaries for less money, less hassle, and less time.
Winner of the 2020 Antonio Candido Prize for Best Book in the Humanities from the Brazil section of the Latin American Studies Association This book examines the vibrant field of documentary filmmaking in Brazil from the transition to democracy in 1985 to the present.
Winner of the 2020 Antonio Candido Prize for Best Book in the Humanities from the Brazil section of the Latin American Studies Association This book examines the vibrant field of documentary filmmaking in Brazil from the transition to democracy in 1985 to the present.
Bringing together an expansive range of writing by scholars, critics, historians, and filmmakers, The Documentary Film Reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary.
Audiovisual Healing and Reparation gathers a collection of scholarly and creative voices that explore how audiovisual media can serve as a catalyst for healing, reparation, resilience, care and hope.
Bringing together an expansive range of writing by scholars, critics, historians, and filmmakers, The Documentary Film Reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary.
Dokumentarische Filme aller Genres in TV, Kino und Netz entfalten ihre informative Kraft erst dann, wenn sie dramaturgisch als Erzählungen strukturiert sind, nicht als Aufzählungen.
