Beginning with Robert Flaherty's Nanook of the North (1922), the majority of films that have been made in, about, and by filmmakers from the Arctic region have been documentary cinema.
Entangled in the hybrid fields of ecomedia studies and material ecocriticism, Elena Past examines five Italian films shot on location and ponders the complex relationships that the production crews developed with the filming locations and the nonhuman cast members.
Bringing theory and practice together, African Cinema and Human Rights argues that moving images have a significant role to play in advancing the causes of justice and fairness.
For roughly two decades after the collapse of the military regime in 1983, testimonial narrative was viewed and received as a privileged genre in Argentina.
For roughly two decades after the collapse of the military regime in 1983, testimonial narrative was viewed and received as a privileged genre in Argentina.
Through a study of the contemporary German film movement the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance.
Through a study of the contemporary German film movement the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance.
In Fatih Akin's Cinema and the New Sound of Europe, Berna Gueneli explores the transnational works of acclaimed Turkish-German filmmaker and auteur Fatih Akin.
In Fatih Akin's Cinema and the New Sound of Europe, Berna Gueneli explores the transnational works of acclaimed Turkish-German filmmaker and auteur Fatih Akin.
Between the founding of Soviet Uzbekistan in 1924 and the Stalinist Terror of the late 1930s, a nationalist cinema emerged in Uzbekistan giving rise to the first wave of national film production and an Uzbek cinematographic elite.
Between the founding of Soviet Uzbekistan in 1924 and the Stalinist Terror of the late 1930s, a nationalist cinema emerged in Uzbekistan giving rise to the first wave of national film production and an Uzbek cinematographic elite.
During a period of heightened global concerns about the movement of immigrants and refugees across borders, Migrant Anxieties explores how filmmakers in Italy have probed the tensions accompanying the country's shift from an emigrant nation to a destination point for over five million immigrants over the course of three decades.
During a period of heightened global concerns about the movement of immigrants and refugees across borders, Migrant Anxieties explores how filmmakers in Italy have probed the tensions accompanying the country's shift from an emigrant nation to a destination point for over five million immigrants over the course of three decades.
In The Image in Early Cinema, the contributors examine intersections between early cinematic form, technology, theory, practice, and broader modes of visual culture.
During the 1930s, Austrian film production companies developed a process to navigate the competing demands of audiences in Nazi Germany and those found in broader Western markets.
Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied.
During the 1930s, Austrian film production companies developed a process to navigate the competing demands of audiences in Nazi Germany and those found in broader Western markets.
As cinema industries around the globe adjusted to the introduction of synch-sound technology, the Soviet Union was also shifting culturally, politically, and ideologically from the heterogeneous film industry of the 1920s to the centralized industry of the 1930s, and from the avant-garde to Socialist Realism.
As cinema industries around the globe adjusted to the introduction of synch-sound technology, the Soviet Union was also shifting culturally, politically, and ideologically from the heterogeneous film industry of the 1920s to the centralized industry of the 1930s, and from the avant-garde to Socialist Realism.
Roots of the New Arab Film deals with the generation of filmmakers from across North Africa and the Middle East who created an international awareness of Arab film from the mid-1980s onwards.
A fascinating look at one of the most experimental, volatile, and influential decades, Film, Fashion, and the 1960s, examines the numerous ways in which film and fashion intersected and affected identity expression during the era.
Oscar Micheaux-the most prolific African American filmmaker to date and a filmmaking giant of the silent period-has finally found his rightful place in film history.
In this provocative study of cinematic and televisual representations of "e;sex radicalism,"e; Carol Siegel explores how representations of sexually explicit content on film have shaped American cultural visions of sex and sexual politics in the 21st century.
This invaluable resource by one of the world's leading experts in French cinema presents a coherent overview of French cinema in the 20th century and its place and function in French society.
Ruth Ben-Ghiat provides the first in-depth study of feature and documentary films produced under the auspices of Mussolini's government that took as their subjects or settings Italy's African and Balkan colonies.
Seeking to rebuild the Russian film industry after its post-Soviet collapse, directors and producers sparked a revival of nationalist and patriotic sentiment by applying Hollywood techniques to themes drawn from Russian history.
Since his explosive debut with the indie sensation Hard Eight , Paul Thomas Anderson has established himself as one of contemporary cinema's most exciting artists.
Celebrated as Pixar's "e;Chief Creative Officer,"e; John Lasseter is a revolutionary figure in animation history and one of today's most important filmmakers.
Both a precursor to and a critical member of the French New Wave, Agnes Varda weaves documentary and fiction into tapestries that portray distinctive places and complex human beings.
The most famous stage actress of the nineteenth century, Sarah Bernhardt enjoyed a surprising renaissance when the 1912 multi-reel film Queen Elizabeth vaulted her to international acclaim.
Acclaimed as one of the most influential and innovative American directors, Francis Ford Coppola is also lionized as a maverick auteur at war with Hollywood's power structure and an ardent critic of the postindustrial corporate America it reflects.
Called the most important British filmmaker of his generation, Terence Davies made his reputation with modern classics like Distant Voices, Still Lives and The Long Day Closes, personal works exploring his fractured childhood in Liverpool.
Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle.
Widely regarded as one of the most innovative and passionate filmmakers working in France today, Claire Denis has continued to make beautiful and challenging films since the 1988 release of her first feature, Chocolat.
Best known for directing the Impressionist classic The Smiling Madame Beudet and the first Surrealist film The Seashell and the Clergyman, Germaine Dulac, feminist and pioneer of 1920s French avant-garde cinema, made close to thirty fiction films as well as numerous documentaries and newsreels.
