Offering the most comprehensive analysis of Korean cinema from its early history to the present, and including the films of Park Chan-wook, Bong Joon-ho and Kim Ki-young, Korean Cinema in Global Contexts: Postcolonial Phantom, Blockbuster and Trans-Cinema situates itself in the local, Inter-Asian, and transnational contexts by mobilizing the critical frameworks of feminism, postcolonial critique and comparative film studies.
Film Festivals, Ideology and Italian Art Cinema is the first systematic study of the role ideology plays in film festivals' construction of dominant ideas about art cinema.
In the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the 'long duree' of the 20th century and into the 21st.
The Work of Terrence Malick: Time-Based Ecocinema develops a timely ecocinema approach to film analysis illuminated by Benjamin's notion of the turn of time.
The Southern Gothic on Screen explores a body of screen texts that conform to certain generic conventions and aesthetics that, since the early twentieth century, have led to the construction of the American South as a space of ruin, decay, melancholy, loss, and haunting.
Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion.
The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema.
Warped Minds explores the transformation of psychopathologies into cultural phenomena in the wake of the transition from an epistemological to an ontological approach to psychopathology.
Women Filmmakers in Sinophone World Cinema portrays a group of important contemporary women filmmakers working across the Sinophone world including Taiwan, Hong Kong, mainland China, and beyond.
Avant-garde filmmaker Bill Morrison has been making films that combine archival footage and contemporary music for decades, and he has recently begun to receive substantial recognition: he was the subject of a retrospective at the Museum of Modern Art, and his 2002 film Decasia was selected for the National Film Registry by the Library of Congress.
In the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the 'long duree' of the 20th century and into the 21st.
Daniele Huillet and Jean-Marie Straub collaborated on films together from the mid-1960s through the mid-2000s, making formally radical adaptations in several languages of major works of European literature by authors including Franz Kafka, Bertolt Brecht, Friedrich Holderlin, Pierre Corneille, Arnold Schoenberg, Cesare Pavese, and Elio Vittorini.
Abel Gance's silent masterpiece, Napoleon, was given a limited run on its debut in 1927, but soon afterwards distributors in France and America, unwilling to deal with its nine-hour running time, subjected it to savage cuts - with devastating results for the movie and for film history.
This volume takes a fresh look at the various aesthetics emerging globally in the early sound film era, with a focus on the films' fundamentally experimental and inventive character.
This collection departs from the observation that online forms of communication-the email, blog, text message, tweet-are actually haunted by old epistolary forms: the letter and the diary.
We normally think of early film as being black and white, but the first color cinematography appeared as early as the first decade of the twentieth century.
This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan.
This collection brings together a number of leading scholars in film studies to explore viewing and listening dispositives - the Foucauldian concept of a strategic and technical configuration of practices and discourses - from the emergence of film studies as a field in the 1960s to more recent uses of the concept.
Film Authorship in Contemporary Transmedia Culture: The Paratextual Lives of Asian Auteurs examines film authorship in the transmedia era whereby film directors have become public figures through a wide range of textual, material, and performative practices.
Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form.
This volume takes a fresh look at the various aesthetics emerging globally in the early sound film era, with a focus on the films' fundamentally experimental and inventive character.
In Cinema's Baroque Flesh, Saige Walton draws on the philosophy of Maurice Merleau-Ponty to argue for a distinct aesthetic category of film and a unique cinema of the senses: baroque cinema.
Film, like the printed imagery inaugurated during the Renaissance, spread ideas - not least the idea of the power of visual art - across not only geographical and political divides but also strata of class and gender.
South Korea is home to one of the most vibrant film industries in the world today, producing movies for a strong domestic market that are also drawing the attention of audiences worldwide.
A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void.
Abel Gance's silent masterpiece, Napoleon, was given a limited run on its debut in 1927, but soon afterwards distributors in France and America, unwilling to deal with its nine-hour running time, subjected it to savage cuts - with devastating results for the movie and for film history.
We normally think of early film as being black and white, but the first color cinematography appeared as early as the first decade of the twentieth century.
Daniele Huillet and Jean-Marie Straub collaborated on films together from the mid-1960s through the mid-2000s, making formally radical adaptations in several languages of major works of European literature by authors including Franz Kafka, Bertolt Brecht, Friedrich Holderlin, Pierre Corneille, Arnold Schoenberg, Cesare Pavese, and Elio Vittorini.
Dennis Hopper (1936-2010) was one of most charismatic and protean figures to emerge from the American independent film movement of the 1960s and '70s, an incredibly compelling screen presence who helped give cult classics like Easy Rider and Blue Velvet their off-kilter appeal.
This collection departs from the observation that online forms of communication-the email, blog, text message, tweet-are actually haunted by old epistolary forms: the letter and the diary.
