Film history, theory or criticism

Seeing is Believing is a provocative, shrewd, witty look at the Hollywood fifties movies we all love-or love to hate-and the thousand subtle ways they reflect the political tensions of the decade.

This book offers a different take on the early history of Warner Bros.

Italian cinema gave rise to a number of the best-known films of the postwar years, from Rome Open City to Bicycle Thieves.

This book explores the idiosyncratic effects generated as fairytale and gothic horror join, clash or merge in cinema.

This innovative book is about the place of world cinema in the cultural imaginary.

This scholarly anthology presents a new framework for understanding early cinema through its usage outside the realm of entertainment.

By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track.

Artistic, literary, and technological depictions of the climate crisis and how they influence humanity's response What does it mean to watch a disaster unfold?

The essays in Ways of Seeing, Ways of Speaking: The Integration of Rhetoric and Vision in Constructing the Real explore the intersections among image, word, and visual habits in shaping realities and subjectivities.

From dwarves to princes, heroes to heartbreakers, the Disney treatment of male characters in the studio’s animated features.

A history of American cameramen covering the news of World War I, from the dangerous front line and the risk of execution to red tape and censorship.

The horses that captured the moviegoers' hearts are the common denominator in Hollywood Hoofbeats.

In this groundbreaking work, film scholar Viola Shafik examines popular and commercial movies from Egypt's film industry, including a number of the biggest box-office hits widely distributed in Egypt and the Arab world.

Tim Cawkwell's knowledge and experience of the cinema has been poured into his writings about it.

"e;Gives voice to the women who have risked their lives for a few (perilous) moments on the big screen.

This engaging and stimulating book argues that Shakespeare's plays significantly influenced movie genres in the twentieth century, particularly in films concerning love in the classic Hollywood period.

A fascinating trip around the side streets and back to backs of working-class cinema, exploring the British New Wave kitchen sink dramas of the 50s and 60s, such as Saturday Night and Sunday Morning, A Taste of Honey and This Sporting Life, to Kes, Quadrophenia and This is England.

“Explains Pickford’s roles as not only a talented actress, but also as a philanthropist and industry leader who managed to end up her own producer.

Imagine the twentieth century without photography and film.

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking.

“An engrossing new page turner” about one of old Hollywood’s royal families: “theater people don't get more interesting, and it's a true tale well told" (Hollywood Reporter).

This volume of spellbinding essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, providing new perspectives on their collaboration.

Melvyn Stokes's study of the 1946 classic Gilda describes the film's production and reception history, as well as addressing Rita Hayworth's complex star persona and ethnicity identity; Gilda's status as a 'noir' film; and what the film had to say about relations between men and women in a world transformed by war.

Steven Spielberg is known as the most powerful man in New Hollywood and a pioneer of the contemporary blockbuster, America s most successful export.

A history of American cameramen covering the news of World War I, from the dangerous front line and the risk of execution to red tape and censorship.

Scholars of state socialism have frequently invoked nostalgia to identify an uncritical longing for the utopian ambitions and lived experience of the former Eastern Bloc.

'It's not a high concept movie, there's actually no story there really.