By exploring the concept of the "e;tender gaze"e; in German film, theater, and literature, this volume's contributors illustrate how perspective-taking in works of art fosters empathy and prosocial behaviors.
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.
Analysing a variety of international films and, ultimately, placing them in dialogue with video art, photographic narratives and emerging digital image-based technologies, the contributions explore the expanding range of 'mediated' narratives of contemporary architecture and urban culture from both a media and a sociological standpoint.
Analysing a variety of international films and, ultimately, placing them in dialogue with video art, photographic narratives and emerging digital image-based technologies, the contributions explore the expanding range of 'mediated' narratives of contemporary architecture and urban culture from both a media and a sociological standpoint.
Revitalizes Alexander Kluge's classic 1979 film, showing it to be not just great storytelling but also an exploration of the poetic force of Frankfurt School Critical Theory.
The first book to deal exclusively with the British musical film from the very beginning of talking pictures in the late 1920s through the Depression of the 1930s up to the end of World War II.
The most comprehensive, readable history of German cinema now appears in an expanded, up-to-date new edition that is particularly useful for students and teachers of German film history.
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.
The continued interest in the social and cultural life of the former Warsaw pact countries - looking at but also beyond their socialist pasts - encompasses a desire to know more about their national cinemas.
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.
Engaging with fiction films devoted to heroic tales from the decade and a half between 1949 and 1966, this book reconceives state propaganda as aesthetic experiments that not only radically transformed acting, cinematography and screenwriting in socialist China, but also articulated a new socialist film theory and criticism.
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.
