Beyond Blaxploitationis a groundbreaking scholarly anthology devoted to examining canonical and lesser-known films of the blaxploitation movement to demonstrate the richness, depth, and complexity of this intriguing period in motion picture history.
Blackness Is Burning critiques the way the politics of recognition and representation appear in popular culture as attempts to "e;humanize"e; black identity through stories of suffering and triumph or tales of destruction and survival.
By identifying points at which "e;pure filmdiscourse merges with changing international trends and attitudes toward film, it offers an important resource for film, literary, and cultural historians.
Star Bodies and the Erotics of Suffering offers film buffs, students, and scholars a fresh take on casting, method acting, audience reception, and the tensions at play in our fascination with an actor's dual role as private individual and cultural icon.
A feminist analysis of the "e;cinema of uncertainty"e; through an examination of the crime serials of Louis Feuillade and the work of actress Musidora.
Using the most current and diverse critical methods, Where the Boys Are is a crucial resource for film scholars and students at any level, and is the perfect companion to Gateward and Pomerance's Sugar, Spice, and Everything Nice: Cinemas of Girlhood (Wayne State University Press, 2002).
When the Civil War halted steamboat travel on the Mississippi River in 1861, an unemployed riverboat pilot named Samuel Clemens enlisted in the Missouri militia.
The theme of surveillance has become an increasingly common element in movies and television shows, perhaps as a response to the sense that the world is now virtually under watch.
Representations of Joan of Arc have been used in the United States for the past two hundred years, appearing in advertising, cartoons, popular song, art, criticism, and propaganda.
This volume reframes the critical conversation about Shakespeare's histories and national identity by bringing together two growing bodies of work: early modern race scholarship and adaptation theory.
Legendary actress and two-time Academy Award winner Olivia de Havilland (1916-2020) is best known for her role as Melanie Wilkes in Gone with the Wind (1939).
Hollywood films have been influential in the portrayal and representation of race relations in the South and how African Americans are cinematically depicted in history, from The Birth of a Nation (1915) and Gone with the Wind (1939) to The Help (2011) and 12 Years a Slave (2013).
Hollywood films have been influential in the portrayal and representation of race relations in the South and how African Americans are cinematically depicted in history, from The Birth of a Nation (1915) and Gone with the Wind (1939) to The Help (2011) and 12 Years a Slave (2013).
Academy Award-winning director Michael Curtiz (1886-1962)-whose best-known films include Casablanca (1942), Yankee Doodle Dandy (1942), Mildred Pierce (1945) and White Christmas (1954)-was in many ways the anti-auteur.
Academy Awardwinning director Michael Curtiz (18861962)whose best-known films include Casablanca (1942), Yankee Doodle Dandy (1942), Mildred Pierce (1945) and White Christmas (1954)was in many ways the anti-auteur.
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).
In recent years, technology has given films of the silent era and their creators a second life as new processes have eased their restoration and distribution.
Even for those who have never read Jules Verne (1828-1905), the author's very name conjures visions of the submarine in Twenty Thousand Leagues Under the Sea, the epic race in Around the World in Eighty Days, the spacecraft in From the Earth to the Moon, and the daring descent in Journey to the Center of the Earth.
A Choice Outstanding Academic Title Flourishing in the United States during the 1940s and 50s, the bleak, violent genre of filmmaking known as film noir reflected the attitudes of writers and auteur directors influenced by the events of the turbulent mid-twentieth century.