'Filming the Modern Middle East' is the first comparative investigation of how modern American cinema and the cinemas of the Arab world represent Middle Eastern politics to their audiences.
The films "e;Brigadoon"e; and "e;Braveheart"e; have an enormous resonance both for Scots throughout the world and the wide audience of non-Scots for whom such films provide general impressions of "e;Scottishness"e;.
The KINO Russian Cinema series has been expanding to provide students and general readers with readable, companion handbooks to important and interesting films of Russian cinema from its beginnings to the late 1990s.
Both an exploration of the ways in which we fashion our public identity and a manual of modern sociability, this lively and readable book explores the techniques we use to present ourselves to the world: body language, tone of voice, manners, demeanour, 'personality' and personal style.
"Le Fabuleux destin d'Amelie Poulain" was the surprise boxoffice success of 2001, with nine million spectators in France, and more than 30 million worldwide.
African Documentary Cinema investigates the inception and trajectory of contemporary documentary filmmaking in sub-Saharan African countries and their diasporas.
Ingmar Bergman s films had a very broad and rich relationship with the rest of European cinema, contrary to the myth that Bergman was a peripheral figure, culturally and aesthetically isolated from the rest of Europe.
Drawing on a variety of popular films, including Avatar, Enter the Void, Fight Club, The Matrix, Speed Racer, X-Men and War of the Worlds, Supercinema studies the ways in which digital special effects and editing techniques require a new theoretical framework in order to be properly understood.
Despite the massive influx of Hollywood movies and films from other European countries after World War II, Austrian film continued to be hugely popular with Austrian and German audiences.
The interconnections between histories and memories of the Holocaust, colonialism and extreme violence in post-war French and Francophone fiction and film provide the central focus of this book.
In the last five years of the twentieth century, films by the second and third generation of the so-called German guest workers exploded onto the German film landscape.
Scholarly approaches to the relationship between literature and film, ranging from the traditional focus upon fidelity to more recent issues of intertextuality, all contain a significant blind spot: a lack of theoretical and methodological attention to adaptation as an historical and transnational phenomenon.
Simone de Beauvoir s work has not often been associated with film studies, which appears paradoxical when it is recognized that she was the first feminist thinker to inaugurate the concept of the gendered othering gaze.
Existing critical traditions fail to fully account for the impact of Austrian director, and 2009 Cannes Palm d'Or winner, Michael Haneke s films, situated as they are between intellectual projects and popular entertainments.
The demise of the New German Cinema and the return of popular cinema since the 1990s have led to a renewed interest in the postwar years and the complicated relationship between East and West German cinema in particular.
At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of interpreting the world today.
Out of a film culture originally starved of funds have emerged rich and eclectic works by film-makers that are now achieving the international recognition that they deserve: Barbara Albert, Michael Haneke, Ulrich Seidl, and Stefan Ruzowitzky, to give four examples.
The cultural liberalization of communist Czechoslovakia in the 1960s produced many artistic accomplishments, not least the celebrated films of the Czech New Wave.
The legacy of emigres in the British film industry, from the silent film era until after the Second World War, has been largely neglected in the scholarly literature.
Rediscovered Classics of Japanese Animation is the first academic work to examine World Masterpiece Theater (Sekai Meisaku Gekijo, 1969-2009), which popularized the practice of adapting foreign children's books into long-running animated series and laid the groundwork for powerhouses like Studio Ghibli.
Two-time Academy Award winner Sir David Lean (1908-1991) was one of the most prominent directors of the twentieth century, responsible for the classics The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), and Doctor Zhivago (1965).
In this persuasive reversal of previous scholarship, Linda Schulte-Sasse takes an unorthodox look at Nazi cinema, examining Nazi films as movies that contain propaganda rather than as propaganda vehicles that happen to be movies.
In the first decades of the twentieth century, Broadway teemed with showgirls, but only the Ziegfeld Girl has survived in American popular culture-as a figure of legend, nostalgia, and camp.
In March 1980 Francis Coppola purchased the dilapidated Hollywood General Studios facility with the hope and dream of creating a radically new kind of studio, one that would revolutionize filmmaking, challenge the established studio machinery, and, most importantly, allow him to make movies as he wished.
Charting the intersection of technology and ideology, cultural production and social science, Fatimah Tobing Rony explores early-twentieth-century representations of non-Western indigenous peoples in films ranging from the documentary to the spectacular to the scientific.
In Refiguring Spain, Marsha Kinder has gathered a collection of new essays that explore the central role played by film, television, newspapers, and art museums in redefining Spain's national/cultural identity and its position in the world economy during the post-Franco era.
In the world of globalized media, provocative images trigger culture wars between traditionalists and cosmopolitans, between censors and defenders of free expression.
The films of Akira Kurosawa have had an immense effect on the way the Japanese have viewed themselves as a nation and on the way the West has viewed Japan.
