Despite its necessary centrality within the genre, the concept of the victim has not received much direct attention within the field of horror studies.
Despite its necessary centrality within the genre, the concept of the victim has not received much direct attention within the field of horror studies.
In Cinemas of Bisexual Transgression, Jacob Engelberg makes the case for radically recalibrating queer film studies, taking as a starting point those cinematic figures who resist categorization within the gay-straight binary.
ENGThis book interrogates the relations between nostalgias of today and past utopias in the context of the space age of the 20th century and its cinematic representations in the USSR and in post-Soviet Russia.
The collection of essays brings together texts from two decades, documenting two of the author's ongoing areas of interest: the poetics of colour in film as well as affective viewer responses.
The collection of essays brings together texts from two decades, documenting two of the author's ongoing areas of interest: the poetics of colour in film as well as affective viewer responses.
In the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the 'long duree' of the 20th century and into the 21st.
Postcolonial Hangups in Southeast Asian Cinema: Poetics of Space, Sound, and Stability rethinks theory and style through films that bring the limits of traditional postcolonial frameworks into stark relief.
The Work of Terrence Malick: Time-Based Ecocinema develops a timely ecocinema approach to film analysis illuminated by Benjamin's notion of the turn of time.
The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema.
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.
In the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the 'long duree' of the 20th century and into the 21st.
Abel Gance's silent masterpiece, Napoleon, was given a limited run on its debut in 1927, but soon afterwards distributors in France and America, unwilling to deal with its nine-hour running time, subjected it to savage cuts - with devastating results for the movie and for film history.
Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology.
Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form.
Abel Gance's silent masterpiece, Napoleon, was given a limited run on its debut in 1927, but soon afterwards distributors in France and America, unwilling to deal with its nine-hour running time, subjected it to savage cuts - with devastating results for the movie and for film history.
The Work of Terrence Malick: Time-Based Ecocinema develops a timely ecocinema approach to film analysis illuminated by Benjamin's notion of the turn of time.
Performing Brains on Screen deals with film enactments and representations of the belief that human beings are essentially their brains, a belief that embodies one of the most influential modern ways of understanding the human.
The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema.
As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space.
Performing Brains on Screen deals with film enactments and representations of the belief that human beings are essentially their brains, a belief that embodies one of the most influential modern ways of understanding the human.
In the 1970s, cities across the United States and Western Europe faced a deep social and political crisis that challenged established principles of planning, economics and urban theory.
Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology.
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.
Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria.
Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form.
Since the mid-1990s, a number of films from international filmmakers have experimented with increasingly complicated narrative strategies-including such hits as Run, Lola, Run, 21 Grams, and Memento.
