Film history, theory or criticism

Following the 1979 Iranian Revolution, Iran's film industry, in conforming to the Islamic Republic's system of modesty, had to ensure that women on-screen were veiled from the view of men.

From the silent era to the present day, popular music has been a key component of the film experience.

For more than twenty years, film critic, teacher, activist, and fan Thomas Waugh has been writing about queer movies.

Latent Destinies examines the formation of postmodern sensibilities and their relationship to varieties of paranoia that have been seen as widespread in this century.

In the postwar years, Italy underwent a far-reaching process of industrialization that transformed the country into a leading industrial power.

The image of the movie-obsessed gay man is a widely circulating and readily recognizable element of the contemporary cultural landscape.

Why and how does the appeal of certain male Hollywood stars cross over from straight to gay audiences?

In High Contrast, Sharon Willis examines the dynamic relationships between racial and sexual difference in Hollywood film from the 1980s and 1990s.

This collection brings together the work of both film scholars and queer theorists to advance a more sophisticated notion of queer film criticism.

In Empty Moments, Leo Charney describes the defining quality of modernity as "e;drift"e;-the experience of being unable to locate a stable sense of the present.

In the earliest years of cinema, travelogues were a staple of variety film programs in commercial motion picture theaters.

Now in paperback, Fredric Jameson's most wide-ranging work seeks to crystalize a definition of "e;postmodernism"e;.

During the 1960s and early 1970s, Japanese avant-garde filmmakers intensely explored the shifting role of the image in political activism and media events.

D-Passage is a unique book by the world-renowned filmmaker, artist, and critical theorist Trinh T.

In The Battle of the Sexes in French Cinema, 1930-1956, Noel Burch and Genevieve Sellier adopt a sociocultural approach to films made in France before, during, and after World War II, paying particular attention to the Occupation years (1940-44).

By developing the concept of the "e;digital effects emblem,"e; Kristen Whissel contributes a new analytic rubric to cinema studies.

In The Black Body in Ecstasy, Jennifer C.

Animating Film Theory provides an enriched understanding of the relationship between two of the most unwieldy and unstable organizing concepts in cinema and media studies: animation and film theory.

Sex Scene suggests that what we have come to understand as the sexual revolution of the late 1960s and early 1970s was actually a media revolution.

In the 1920s, as American films came to dominate Mexico's cinemas, many of its cultural and political elites feared that this "e;Yanqui invasion"e; would turn Mexico into a cultural vassal of the United States.

What is the relationship between a cinematic grid of color and that most visceral of negative affects, disgust?

While sexually explicit writing and art have been around for millennia, pornography-as an aesthetic, moral, and juridical category-is a modern invention.

A View from the Bottom offers a major critical reassessment of male effeminacy and its racialization in visual culture.

The popularity of television in postwar suburban America had a devastating effect on the traditional Hollywood studio system.

Alfred Hitchcock: cultural icon, master film director, storyteller, television host, foodie.

In Women's Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others.

In Birth of an Industry, Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy.

From the beginning of the sound cinema era, singing actresses captivated Chinese audiences.

In Uplift Cinema, Allyson Nadia Field recovers the significant yet forgotten legacy of African American filmmaking in the 1910s.

In Visual Occupations Gil Z.

Reel World explores what happens to life when everything begins to look and feel like cinema.

In Virtual Memory, Homay King traces the concept of the virtual through the philosophical works of Henri Bergson, Gilles Deleuze, and Giorgio Agamben to offer a new framework for thinking about film, video, and time-based contemporary art.

First published in French in 1998, revised in 2010, and appearing here in English for the first time, Michel Chion's Sound addresses the philosophical, interpretive, and practical questions that inform our encounters with sound.

In Tourist Distractions Youngmin Choe uses hallyu (Korean-wave) cinema as a lens to examine the relationships among tourism and travel, economics, politics, and history in contemporary East Asia.

Through an examination of post-1997 Thai cinema and video art Arnika Fuhrmann shows how vernacular Buddhist tenets, stories, and images combine with sexual politics in figuring current struggles over notions of personhood, sexuality, and collective life.

Offering a new queer theorization of melodrama, Jonathan Goldberg explores the ways melodramatic film and literature provide an aesthetics of impossibility.

In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race.

Proposing a radical vision of cinema's queer globalism, Karl Schoonover and Rosalind Galt explore how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making.

In Dying in Full Detail Jennifer Malkowski explores digital media's impact on one of documentary film's greatest taboos: the recording of death.

Providing an overview of Japanese media theory from the 1910s to the present, this volume introduces English-language readers to Japan's rich body of theoretical and conceptual work on media for the first time.

Endangered life is often used to justify humanitarian media intervention, but what if suffering humanity is both the fuel and outcome of such media representations?

In Public Spectacles of Violence Rielle Navitski examines the proliferation of cinematic and photographic images of criminality, bodily injury, and technological catastrophe in early twentieth-century Mexico and Brazil, which were among Latin America's most industrialized nations and later developed two of the region's largest film industries.

The contributors to this volume theorize Asian video cultures in the context of social movements, market economies, and local popular cultures to complicate notions of the Asian experience of global media.

In The End of Japanese Cinema Alexander Zahlten moves film theory beyond the confines of film itself, attending to the emergence of new kinds of aesthetics, politics, temporalities, and understandings of film and media.

In A Theory of Regret Brian Price contends that regret is better understood as an important political emotion than as a form of weakness.

In Media Heterotopias Hye Jean Chung challenges the widespread tendency among audiences and critics to disregard the material conditions of digital film production.

In Archiveology Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology-the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers-provides ways to imagine the past and the future.

From experimental shorts and web series to Hollywood blockbusters and feminist porn, the work of African American lesbian filmmakers has made a powerful contribution to film history.

Challenging the conventional understandings of literary naturalism defined primarily through its male writers, Donna M.

A collection of wide-ranging critical essays that examine how the judicial system is represented on screen Historically, the emergence of the trial film genre coincided with the development of motion pictures.