The Time of the Crime interrogates the relationship between time and vision as it emerges in five Italian films from the sixties and seventies: Antonioni's Blow-Up and The Passenger, Bertolucci's The Spider's Stratagem, Cavani's The Night Porter, and Pasolini's Oedipus Rex.
Arguing that today's viewers move through a character's brain instead of looking through his or her eyes or mental landscape, this book approaches twenty-first-century globalized cinema through the concept of the "e;neuro-image.
Even as actresses become increasingly marginalized by Hollywood, French cinema is witnessing an explosion of female talent-a Golden Age unlike anything the world has seen since the days of Stanwyck, Hepburn, Davis, and Garbo.
This book examines the effects on literary works of a little-noted economic development in the early twentieth century: individuals and governments alike began to regard going into debt as a normal and even valuable part of life.
It has become a commonplace that "e;images"e; were central to the twentieth century and that their role will be even more powerful in the twenty-first.
The documents emerging from the secret police archives of the former Soviet bloc have caused scandal after scandal, compromising revered cultural figures and abruptly ending political careers.
Contrary to theories of single person authorship, America's Corporate Art argues that the corporate studio is the author of Hollywood motion pictures, both during the classical era of the studio system and beyond, when studios became players in global dramas staged by massive entertainment conglomerates.
When Freudian sexual theory hit China in the early 20th century, it ran up against competing models of the mind from both Chinese tradition and the new revolutionary culture.
Films that dramatize historical events and the lives of historical figures-whether they are intended to educate or to entertain-play a significant role in shaping the public's understanding of the past.
Charley Chase began his film career in early 1913 working as a comedian, writer, and director at the Al Christie studios under his real name, Charles Parrott.
On 4 July, 1910, in 100-degree heat at an outdoor boxing ring near Reno, Nevada, film cameras recorded-and thousands of fans witnessed-former heavyweight champion Jim Jeffries' reluctant return from retirement to fight Jack Johnson, a black man.
Even as actresses become increasingly marginalized by Hollywood, French cinema is witnessing an explosion of female talent-a Golden Age unlike anything the world has seen since the days of Stanwyck, Hepburn, Davis, and Garbo.
At the turn of the twentieth century, the proliferation of movies attracted not only the attention of audiences across America but also the apprehensive eyes of government officials and special interest groups concerned about the messages disseminated by the silver screen.
Over the last several decades, the boundaries of languages and national and ethnic identities have been shifting, altering the notion of borders around the world.
In the early 1930s, George Raft, an actor and dancer from New York City's Hell's Kitchen, gained a name for himself playing stylish and charismatic gangsters in films like 1932's original Scarface.
It can be argued that cinema was created in France by Louis Lumiere in 1895 with the invention of the cinematographe, the first true motion-picture camera and projector.
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.
Atlantic Canada has a rich tradition of storytelling and creativity that has extended to critical and audience praise for films from the region's four provinces.
Atlantic Canada has a rich tradition of storytelling and creativity that has extended to critical and audience praise for films from the region's four provinces.
Francois Truffaut (1932-1984) ranks among the greatest film directors and has had a worldwide impact on filmmaking as a screenwriter, producer, film critic, and founding member of the French New Wave.
Francois Truffaut (1932-1984) ranks among the greatest film directors and has had a worldwide impact on filmmaking as a screenwriter, producer, film critic, and founding member of the French New Wave.
From cinema's beginnings filmmakers have turned to the past for their stories, so much so that in many ways our historical culture is shaped more in the movie theatre than in the classroom.
Whether addressing HIV/AIDS, the policing of bathroom sex, censorship, or anti-globalization movements, John Greyson has imbued his work with cutting humour, eroticism, and postmodern aesthetics.
Of interest to historians, classicists, media and digital theorists, literary scholars, museologists, and archivists, Media, Memory, and the First World War is a comparative study that shows how the dominant mode of communication in a popular culture - from oral traditions to digital media - shapes the structure of memory within that culture.
From pornography to autobiography, from the Cold War to the sexual revolution, from rural roots and mythologies to the queer meccas of Vancouver, Toronto, and Montreal, The Romance of Transgression in Canada is a history of sexual representation on the large and small screen in English Canada and Quebec.
Using recent scholarship in ethnography and popular culture, Miller throws light on both what these series present and what is missing, how various long-standing issues are raised and framed differently over time, and what new issues appear.
From pornography to autobiography, from the Cold War to the sexual revolution, from rural roots and mythologies to the queer meccas of Vancouver, Toronto, and Montreal, The Romance of Transgression in Canada is a history of sexual representation on the large and small screen in English Canada and Quebec.
Of interest to historians, classicists, media and digital theorists, literary scholars, museologists, and archivists, Media, Memory, and the First World War is a comparative study that shows how the dominant mode of communication in a popular culture - from oral traditions to digital media - shapes the structure of memory within that culture.
Using recent scholarship in ethnography and popular culture, Miller throws light on both what these series present and what is missing, how various long-standing issues are raised and framed differently over time, and what new issues appear.
The essays collected here reflect the spectacular rise of Iranian cinema in recent years as well as the strong contributions of contemporary filmmakers from countries such as Belgium, Canada, China, Israel, Lebanon, Scotland, and Spain.
