This is the first book on Jean-Pierre Jeunet, the popular and critically acclaimed director of films such as Amelie, Delicatessen, A Very Long Engagement, Alien Resurrection, and City of Lost Children.
This study of Kevin Smith's debut film breaks new ground by exploring how Clerks sits at the intersection of political and cultural trends relevant to alternative youth cultures in the early 1990s.
A LOUDER THAN WAR BOOK OF THE YEARA riveting journey into the psyche of Britain through its golden age of television and film; a cross-genre feast of moving pictures, from classics to occult hidden gems, The Magic Box is the nation's visual self-portrait in technicolour detail.
This is a definitive study of films that have been built around the themes of love, death, and the afterlife-films about lovers who meet again (and love again) in heaven, via reincarnation, or through other kinds of after-death encounters.
As a period of film history, The American New Wave (ordinarily understood as beginning in 1967 and ending in 1980) remains a preoccupation for scholars and audiences alike.
During the first fifty years of the American cinema, the act of going to the movies was a risky process, fraught with a number of possible physical and moral dangers.
Addresses the perennial appeal of the Western, exploring its 19th century popular culture, and its relationship to the economic structure of Hollywood.
Transnational films that represent intimacy and inequality produce new experiences that result in the displacement of the universal spectator, in a redefinition of the power of cinema for today's global audiences.
In The Gay Male Sleuth in Print and Film (2005), scholar Drewey Wayne Gunn examined the history of gay detectives beginning with the first recognized gay novel, The Heart in Exile, which appeared in 1953.
One of the most accomplished writers and directors of classic Hollywood, Billy Wilder (1906-2002) directed numerous acclaimed films, including Sunset Boulevard (1950), Sabrina (1954), The Seven Year Itch (1955), Witness for the Prosecution (1957), and Some Like It Hot (1959).
This book explores the relationship among gender, desire, and narrative in 1940s woman's films which negotiate the terrain between public history and private experience.
"e;Marx Brothers authority Bader has done a remarkable job successfully uncovering the story of the unknown brother, revealing a genuinely complex character.
The Pixels of Paul Cezanne is a collection of essays by Wim Wenders in which he presents his observations and reflections on the fellow artists who have influenced, shaped, and inspired him.
This book presents a literary and linguistic reading of obsessive-compulsive disorder to argue that medical understandings of disability need their social, political, literary and linguistic counterparts, especially if we aspire to create a more inclusive, self-reflective society.
Michael Tapper considers Swedish culture and ideas from the period 1965 to 2012 as expressed in detective fiction and film in the tradition of Maj Sjowall and Per Wahloo.
Nigeria's Nollywood has rapidly grown into one of the world's largest film industries, radically altering media environments across Africa and in the diaspora; it has also become one of African culture's most powerful and consequential expressions, powerfully shaping how Africans see themselves and are seen by others.
The Art of Czech Animation is the first comprehensive English language account of Czech animation from the 1920s to the present, covering both 2D animation forms and CGI, with a focus upon the stop-motion films of Jirí Trnka, Hermína Týrlová, Jan Švankmajer and Jirí Barta.
This insightful study places African American women's stardom in historical and industrial contexts by examining the star personae of five African American women: Dorothy Dandridge, Pam Grier, Whoopi Goldberg, Oprah Winfrey, and Halle Berry.
Ever since John Grierson popularized the term 'documentary,' British non-fiction film has been renowned, sometimes reviled, but seldom properly appreciated.
Whether addressing HIV/AIDS, the policing of bathroom sex, censorship, or anti-globalization movements, John Greyson has imbued his work with cutting humour, eroticism, and postmodern aesthetics.
Until recently, the story of African film was marked by a series of truncated histories: many outstanding films from earlier decades were virtually inaccessible and thus often excluded from critical accounts.
Released in 2002, Russian Ark drew astonished praise for its technique: shot with a Steadicam in one ninety-six-minute take, it presented a dazzling whirl of movement as it followed the Marquis de Custine as he wandered through the vast Winter Palace in St.
The human face was said to be rediscovered with the advent of motion pictures, in which it is often viewed as expressive locus, as figure, and even as essence of the cinema.
The 1990s violence in the Former Yugoslavia, the worst in Europe since World War II, triggered the conversion of multi-ethnic, multi-religious, and cosmopolitan areas of idiosyncratic and independent socialism into regions of xenophobic nationalism, wars, and, afterwards, Western-style democracy and capitalism.
West German cinema of the 1960s is frequently associated with the emergence of a new generation of filmmakers, collectively known by the 1970s as the "e;New German Cinema.
Edward Dmytryk was one of the so-called "e;Hollywood Ten"e; jailed for contempt of Congress for refusing to testify before the House Un-American Activities Committee in 1947.
Real Sex Films explores one of the most controversial movements in international cinema through an innovative interdisciplinary combination of theories of globalization and embodiment.
Through the intensive examination of films, magazines, advertising and critical texts, Dyer analyses the historical, ideological and aesthetic significance of stars, changing the way we understand screen icons.
Popular Spanish Film Under Franco is the first book of its kind to analyze cinematic comedy during the initial two decades of Francisco Franco's dictatorship.
Transnational films that represent intimacy and inequality produce new experiences that result in the displacement of the universal spectator, in a redefinition of the power of cinema for today's global audiences.
This book explores the ways in which Hollywood film cycles from the 1930s to the 1960s were shaped by their surrounding industrial contexts and market environments, to build an inclusive conception of the form, operation, and function of film cycles.
