Francois Truffaut (1932-1984) ranks among the greatest film directors and has had a worldwide impact on filmmaking as a screenwriter, producer, film critic, and founding member of the French New Wave.
From cinema's beginnings filmmakers have turned to the past for their stories, so much so that in many ways our historical culture is shaped more in the movie theatre than in the classroom.
At a moment when the discipline of Canadian art history seems to be in flux and the study of Canadian visual culture is gaining traction outside of art history departments, the authors of Negotiations in a Vacant Lot were asked: is "e;Canada"e; - or any other nation - still relevant as a category of inquiry?
Whether addressing HIV/AIDS, the policing of bathroom sex, censorship, or anti-globalization movements, John Greyson has imbued his work with cutting humour, eroticism, and postmodern aesthetics.
Of interest to historians, classicists, media and digital theorists, literary scholars, museologists, and archivists, Media, Memory, and the First World War is a comparative study that shows how the dominant mode of communication in a popular culture - from oral traditions to digital media - shapes the structure of memory within that culture.
From pornography to autobiography, from the Cold War to the sexual revolution, from rural roots and mythologies to the queer meccas of Vancouver, Toronto, and Montreal, The Romance of Transgression in Canada is a history of sexual representation on the large and small screen in English Canada and Quebec.
Using recent scholarship in ethnography and popular culture, Miller throws light on both what these series present and what is missing, how various long-standing issues are raised and framed differently over time, and what new issues appear.
From pornography to autobiography, from the Cold War to the sexual revolution, from rural roots and mythologies to the queer meccas of Vancouver, Toronto, and Montreal, The Romance of Transgression in Canada is a history of sexual representation on the large and small screen in English Canada and Quebec.
Of interest to historians, classicists, media and digital theorists, literary scholars, museologists, and archivists, Media, Memory, and the First World War is a comparative study that shows how the dominant mode of communication in a popular culture - from oral traditions to digital media - shapes the structure of memory within that culture.
Using recent scholarship in ethnography and popular culture, Miller throws light on both what these series present and what is missing, how various long-standing issues are raised and framed differently over time, and what new issues appear.
The essays collected here reflect the spectacular rise of Iranian cinema in recent years as well as the strong contributions of contemporary filmmakers from countries such as Belgium, Canada, China, Israel, Lebanon, Scotland, and Spain.
MacFadyen further analyses Soviet animation through phenomenology, arguing that the latter is a viable alternative not only to dogmatic Marxism but also to the ideological vacuum of post-Soviet times.
This acknowledgement of their dramatic origins has often led to criticism that these movies remain too rigidly anchored to the stage; too "e;stage-bound.
Rather than focusing on the abstract and individualizing character of cinema, Mediated Associations elucidates the collective character of cinematic objects.
In the first comprehensive, theoretically informed work in English on Quebec cinema, Marshall views his subject as neither the assertion of some unproblematic national wholeness nor a random collection of disparate voices that drown out or invalidate the question of nation.
Other Canadian film producers concentrated their efforts on short productions, mostly in government or commercial companies such as Associated Screen News of Montreal.
Cinema of/for the Anthropocene sheds new light on the question of how films can allow us to resituate ourselves within what is known today as the Anthropocene.
Interrogating the Image argues that movies examining the role film and television plays in the lives of their audience have created changes both in the movies themselves and in their viewers, and considers fourteen films where the moving picture is central to the narratives.
In 1995, Danish filmmaker Lars von Trier (Breaking the Waves, Dancer in the Dark, Dogville) and three fellow Danish directors swore allegiance to a vow of chastity aimed at jolting filmmakers around the world who had become stuck in the mire of slick, emotionally manipulative, high-concept, and bombastic movie productions.
Interactive documentary emerged rapidly from a constellation of changing technologies and practices to much excitement, yet its history is short and its future uncertain.
In this gracefully written, accessible and entertaining volume, John Semonche surveys censorship for reasons of sex from the nineteenth century up to the present.
With the advent of the Second World War a new mood was discernible in film drama - an atmosphere of disillusion and a sense of foreboding, a dark quality that derived as much from the characters depicted as from the cinematographer's art.
This major new book offers a much-needed introduction to the work of Siegfried Kracauer, one of the main intellectual figures in the orbit of the Frankfurt School of Critical Theory.
In this gracefully written, accessible and entertaining volume, John Semonche surveys censorship for reasons of sex from the nineteenth century up to the present.
A Feminist Counter-History of Latin American Documentary provides a new lens through which to revisit the history of Latin American cinema and proposes three approximations to the study of women's documentary produced between the early 1970s and the mid-1990s.
Now faced with the "e;zero hour"e; created by a new freedom of expression and the dramatic breakup of the Soviet Union, Soviet cinema has recently become one of the most interesting in the world, aesthetically as well as politically.
