Adapting Philosophy looks at the ways in which The Matrix Trilogy adapts Jean Baudrillard's Simulacra and Simulation, and in doing so creates its own distinctive philosophical position.
Winner of the Limina Award 2021This groundbreaking volume for the Thinking Cinema series focuses on the extent to which contemporary cinema contributes to political and philosophical thinking about the future of Europe's core Enlightenment values.
With this lucid translation of Du litteraire au filmique, Andre Gaudreault's highly influential and original study of film narratology is now accessible to English-language audiences for the first time.
Although ostensibly presented as “light entertainment,” the work of writer-director-producer Joss Whedon takes much dark inspiration from the horror genre to create a unique aesthetic and perform a cultural critique.
"e;With its tough humor, profound cynicism, and unerring nose for corruption and hypocrisy, City of Nets offers a distinctly Brechtian vision of Hollywood.
The third volume in the Docalogue series, this book explores the significance of the documentary series Tiger King: Murder, Mayhem and Madness (2020), which became 'must-see-TV' for a newly captive audience during the global Covid-19 pandemic.
This edited collection considers The Nightmare Before Christmas as a milestone in animation and film history, considering the different layers of meaning and history of the film from pre-production to the present day.
This book challenges the established conceptual and historical paradigm in Anglo-American film studies that perceives European cinema as essentially 'high art.
How should we understand film authorship in an era when the idea of the solitary and sovereign auteur has come under attack, with critics proclaiming the death of the author and the end of cinema?
Building on and bringing up to date the material presented in the first instalment of Directory of World Cinema: Japan, this volume continues the exploration of the enduring classics, cult favourites and contemporary blockbusters of Japanese cinema with new contributions from leading critics and film scholars.
In the era of Hollywood now considered its Golden Age, there was no shortage of hard-luck stories--movie stars succumbed to mental illness, addiction, accidents, suicide, early death and more.
The book is an exploration of the creative crossings between the liberative stream of the eschatology of Edward Schillebeeckx and the stylistic strategies of 'Third Cinema', political cinema dedicated to the representation of Third World liberation.
Blackness Is Burning critiques the way the politics of recognition and representation appear in popular culture as attempts to "e;humanize"e; black identity through stories of suffering and triumph or tales of destruction and survival.
The Mummy is one of the most recognizable figures in horror and is as established in the popular imagination as virtually any other monster, yet the Mummy on screen has until now remained a largely overlooked figure in critical analysis of the cinema.
A motion picture chronicling the last adventures of bank robber John Dillinger (Johnny Depp), Public Enemies was met with much bafflement upon its 2009 release.
This often-startlingly original book introduces a new way of thinking about color in film as distinct from existing approaches which tend to emphasize either technical processes and/or histories of film coloration, or the meaning(s) of color as metaphor or symbol, or else part of a broader signifying system.
By examining three case studies of award-winning soundtracks from cult films-Barton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)-it becomes clear that major American film communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital.
Charley Chase began his film career in early 1913 working as a comedian, writer, and director at the Al Christie studios under his real name, Charles Parrott.
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.
Representations of Joan of Arc have been used in the United States for the past two hundred years, appearing in advertising, cartoons, popular song, art, criticism, and propaganda.
