Considers over sixty Hollywood films set in Austria, examining the film industry, the influence of domestic factors on images of a foreign country, and the persistence of cliches.
A timely analysis that provides a pre-history to current debates on decolonisation, the politics of the moving image, and artistic engagements with anti-colonial archives.
This is the first book in English on the films of Konrad Wolf (1925-1982), East Germany's greatest filmmaker, and puts Wolf in a larger European filmic and historical context.
Documents the rich allusiveness and intellectual probity of experimental filmmaking-a form that thrived despite having been officially banned-in East German socialism's final years.
Shows how cinematic treatments of fashion during times of crisis offer subtle reflections on the everyday lives, desires, careers, and self-perceptions of postwar German women.
The first scholarly collection in English or German to fully address the treatment of gender and sexuality in the productions of DEFA across genres and in social, political, and cultural context.
The first book to treat both Doblin's novel and the film adaptations of it, which it does while also articulating theories of literary and film montage.
Examines key contemporary Austrian literary texts, films, and memorials that treat Nazism and the Holocaust for what they reveal about the country's contemporary politics of memory.
Essays showcasing Ali and Nino as particularly topical for today's readers both in and out of the classroom, and providing a number of diverse approaches to it.
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.
The pervasive image of New York's 42nd Street as a hub of sensational thrills, vice and excess, is from where "e;grindhouse cinema,"e; the focus of this volume, stemmed.
The pervasive image of New York's 42nd Street as a hub of sensational thrills, vice and excess, is from where "e;grindhouse cinema,"e; the focus of this volume, stemmed.
In the beginning, cinema was an encounter between humans, images and machine technology, revealing a stream of staccato gestures, micrographic worlds, and landscapes seen from above and below.
In the beginning, cinema was an encounter between humans, images and machine technology, revealing a stream of staccato gestures, micrographic worlds, and landscapes seen from above and below.
When the first Fast & Furious film was released in June 2001, few predicted that it would be a box office hit, let alone the launchpad for a multi-billion-dollar franchise.
When the first Fast & Furious film was released in June 2001, few predicted that it would be a box office hit, let alone the launchpad for a multi-billion-dollar franchise.
In a "e;return"e; to Edmund Husserl and Sigmund Freud, Intimacy and the Anxieties of Cinematic Flesh explores how we can engage these foundational thinkers of phenomenology and psychoanalysis in an original approach to film.
In a "e;return"e; to Edmund Husserl and Sigmund Freud, Intimacy and the Anxieties of Cinematic Flesh explores how we can engage these foundational thinkers of phenomenology and psychoanalysis in an original approach to film.
From the critical and commercial fanfare his films generate, it is largely understood that Yorgos Lanthimos is one of the more interesting filmmakers to have emerged out of the new century.
From the critical and commercial fanfare his films generate, it is largely understood that Yorgos Lanthimos is one of the more interesting filmmakers to have emerged out of the new century.
Biopics and other movies and television shows based on real events are increasingly appearing at the multiplex and on streaming platforms alongside blockbuster franchises and adaptations.
Biopics and other movies and television shows based on real events are increasingly appearing at the multiplex and on streaming platforms alongside blockbuster franchises and adaptations.
The relationship between Romanticism and film remains one of the most neglected topics in film theory and history, with analysis often focusing on the proto-cinematic significance of Richard Wagner's music-dramas.
The relationship between Romanticism and film remains one of the most neglected topics in film theory and history, with analysis often focusing on the proto-cinematic significance of Richard Wagner's music-dramas.
Indigeneity in Latin American Cinema explores how contemporary films (2000-2020) participate in the evolution and circulation of images and sounds that in many ways define how indigenous communities are imagined, at a local, regional and global scale.
Murray Pomerance, venerated film scholar, is the first to take on the 'cheat' in film, where 'cheating' constitutes a collection of production, performance, and structuring maneuvers intended to foster the impression of a screen reality that does not exist as presented.
Murray Pomerance, venerated film scholar, is the first to take on the 'cheat' in film, where 'cheating' constitutes a collection of production, performance, and structuring maneuvers intended to foster the impression of a screen reality that does not exist as presented.
The Figure of the Migrant in Contemporary European Cinema explores contemporary debates around the concepts of 'Europe' and 'European identity' through an examination of recent European films dealing with various aspects of globalization (the refugee crisis, labour migration, the resurgence of nationalism and ethnic violence, neoliberalism, post-colonialism) with a particular attention to the figure of the migrant and the ways in which this figure challenges us to rethink Europe and its core Enlightenment values (citizenship, justice, ethics, liberty, tolerance, and hospitality) in a post-national context of ephemerality, volatility, and contingency that finds people desperately looking for firmer markers of identity.
The Figure of the Migrant in Contemporary European Cinema explores contemporary debates around the concepts of 'Europe' and 'European identity' through an examination of recent European films dealing with various aspects of globalization (the refugee crisis, labour migration, the resurgence of nationalism and ethnic violence, neoliberalism, post-colonialism) with a particular attention to the figure of the migrant and the ways in which this figure challenges us to rethink Europe and its core Enlightenment values (citizenship, justice, ethics, liberty, tolerance, and hospitality) in a post-national context of ephemerality, volatility, and contingency that finds people desperately looking for firmer markers of identity.
Applying Deleuze's schizoanalytic techniques to film theory, Deleuze and the Gynesis of Horror demonstrates how an embodied approach to horror film analysis can help us understand how film affects its viewers and distinguish those films which reify static, hegemonic, "e;molar"e; beings from those which prompt fluid, nonbinary, "e;molecular"e; becomings.
Applying Deleuze's schizoanalytic techniques to film theory, Deleuze and the Gynesis of Horror demonstrates how an embodied approach to horror film analysis can help us understand how film affects its viewers and distinguish those films which reify static, hegemonic, "e;molar"e; beings from those which prompt fluid, nonbinary, "e;molecular"e; becomings.
