Film history, theory or criticism

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

Cavernous, often cold, always dark, with the lingering smell of popcorn in the air: the experience of movie-going is universal.

In The Image in Early Cinema, the contributors examine intersections between early cinematic form, technology, theory, practice, and broader modes of visual culture.

Carmen Miranda got knocked down and kept going.

Cavernosa, usualmente fría, siempre oscura, con un ligero olor a palomitas de maíz en el aire: la experiencia de ir al cine es universal.

Cavernous, often cold, always dark, with the lingering smell of popcorn in the air: the experience of movie-going is universal.

East Germany s ruling party never officially acknowledged responsibility for the crimes committed in Germany s name during the Third Reich.

Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied.

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.

Carmen Miranda got knocked down and kept going.

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

Film noir is by definition dark, but not, this book argues, desperate.

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.

Since the inception of cinema in the late nineteenth century, filmmakers have employed a wide array of precursory aesthetic strategies in the conception and creation of their disparate works.

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.