Historically, Indian cinema has positioned women at the intersection of tradition and a more evolving culture, portraying contradictory attitudes which affect women's roles in public and private spheres.
Russian TV Series in the Era of Transition examines contemporary Russian television genres in the age of transition from broadcast to post-broadcast television.
The Films of Kore-eda Hirokazu: An Elemental Cinema draws readers into the first 13 feature films and 5 of the documentaries of award-winning Japanese film director Kore-eda Hirokazu.
As an intervention in conversations on transnationalism, film culture and genre theory, this book theorises transnational genre hybridity - combining tropes from foreign and domestic genres - as a way to think about films through a global and local framework.
The intelligent person's guide to the movies, with more than 2,800 reviewsLook up a movie in this guide, and chances are you'll find yourself reading on about the next movie and the next.
This investigation into the little-known genre of mission-oriented films uncovers how Protestant missionaries overseas sought to bring back motion picture footage from remote parts of the world.
The 'Gainsborough melodramas' were a mainstay of 1940s British cinema, and helped make the careers of such stars as Margaret Lockwood, James Mason and Stewart Granger.
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.
The Big Sleep: Marlowe and Vivian practising kissing; General Sternwood shivering in a hothouse full of orchids; a screenplay, co-written by Faulkner, famously mysterious and difficult to solve.
Blaxploitation action narratives as well as politically radical films like Sweet Sweetback's Baadasssss Song typically portrayed black women as trifling "e;bitches"e; compared to the supermacho black male heroes.
'We'll always have Paris,' Humphrey Bogart assures Ingrid Bergman in the oft-quoted farewell scene from Casablanca in which Bogart's character, hard-hearted restaurateur Rick Blaine, bids former lover Ilsa Lund goodbye.
Idols of the Odeons examines British film stardom in the post-war era, a time when Hollywood movies were increasingly supplanting the Pinewood/Elstree studio system.
This book follows the hybrid and contradictory history of magic realism through the writings of three key figures - art historian Franz Roh, novelist Alejo Carpentier, and cultural critic Fredric Jameson - drawing links between their political, aesthetic, and philosophical ideas on art's relationship to reality.
Siegfried Kracauer has been misunderstood as a naive realist, appreciated as an astute critic of early German film, and noticed as the interesting exile who exchanged letters with Erwin Panofsky.
Beginning in the 1930s, men and a handful of women came from India's many communities-Marathi, Parsi, Goan, North Indian, and many others--to Mumbai to work in an industry that constituted in the words of some, "e;the original fusion music.
The monstrous child is the allegorical queer child in various formations of horror cinema: the child with a secret, the child 'possessed' by Otherness, the changeling child, the terrible gang.
The Civil War on Film informs high-school and college readers interested in Civil War film history on issues that arise when film viewers confuse entertainment with historical accuracy.
Here it is: the first-time look at the remarkable American multinational mass media empire and its century of entertainmentthe story of Twentieth Century Fox (19152015).
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.
This is the first full-length study of the films of Francois Ozon, director of such diverse films as 8 femmes, Swimming Pool, 5x2 and Les amants criminels.
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.
Cinema After Fascism considers how postwar European films glance ambivalently backward from the postwar period to the fascist era and delves into issues of gender certainties and spectatorship.
