Although ostensibly presented as “light entertainment,” the work of writer-director-producer Joss Whedon takes much dark inspiration from the horror genre to create a unique aesthetic and perform a cultural critique.
In 1945, French political prisoners returning from the concentration camps of Germany coined the phrase 'the concentrationary universe' to describe the camps as a terrible political experiment in the destruction of the human.
In recent years, the representation of alternative sexuality in the horror film and television has "e;outed"e; itself from the shadows from which it once lurked, via the embrace of an outrageously queer horror aesthetic where homosexuality is often unequivocally referenced.
At a time when technological advances are transforming cultures and supporting new automated military operations, action films engage the senses and, in doing so, allow viewers to embody combat roles.
There's a folk memory of China in which numberless yellow hordes pour out of the 'mysterious East' to overwhelm the vulnerable West, accompanied by a stereotype of the Chinese as cruel, cunning and depraved.
Las relaciones que se tejen entre el cine y el patrimonio cultural en esta ciudad son constitutivas de las prácticas de memoria; pero también de la cotidianidad, de la creación y de la historia: las imágenes en movimiento y sus narrativas, al ser puestas en contexto en un territorio específico como Bogotá, reactivan procesos de identificación, reconocimiento y apropiación.
Since the release of Christopher Nolan's Batman Begins in 2005, there has been a pronounced surge in alternative uses of the computer term 'reboot,' a surge that has witnessed the term deployed in new contexts and new signifying practices, involving politics, fashion, sex, nature, sport, business, and media.
First published in 2002, Marek Haltof s seminal volume was the first comprehensive English-language study of Polish cinema, providing a much-needed survey of one of Europe s most distinguished yet unjustly neglected film cultures.
With internationalist aspirations and wide-ranging historical perspectives, East German films about artists and their work became hotly contested spaces in which filmmakers could look beyond the GDR and debate the impact of contemporary cultural policy on the reception of their pre-war cultural heritage.
From melodramas to experimental documentaries to anime, mass media in Japan constitute a key site in which the nation s social memory is articulated, disseminated, and contested.
How should we understand film authorship in an era when the idea of the solitary and sovereign auteur has come under attack, with critics proclaiming the death of the author and the end of cinema?
The organic is by now a venerable concept within aesthetics, architecture, and art history, but what might such a term mean within the spatialities and temporalities of film?
Like many Eastern European countries, Poland has seen a succession of divergent economic and political regimes over the last century, from prewar embedded liberalism, through the state socialism of the Soviet era, to the present neoliberal moment.
Though unjustly neglected by English-language audiences, Spanish film and television not only represent a remarkably influential and vibrant cultural industry; they are also a fertile site of innovation in the production of transmedia works that bridge narrative forms.
Through his influential work on cultural capital and social mobility, the French sociologist Pierre Bourdieu has provided critical insights into the complex interactions of power, class, and culture in the modern era.
Until his early retirement at age 50, Hasse Ekman was one of the leading lights of Swedish cinema, an actor, writer, and director of prodigious talents.
In their bold experimentation and bracing engagement with culture and politics, the New Hollywood films of the late 1960s and early 1970s are justly celebrated contributions to American cinematic history.
In the lead essay for this volume, Joshua Foa Dienstag engages in a critical encounter with the work of Stanley Cavell on cinema, focusing skeptical attention on the claims made for the contribution of cinema to the ethical character of democratic life.
In the lead essay for this volume, Joshua Foa Dienstag engages in a critical encounter with the work of Stanley Cavell on cinema, focusing skeptical attention on the claims made for the contribution of cinema to the ethical character of democratic life.
