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.
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.
Performing Brains on Screen deals with film enactments and representations of the belief that human beings are essentially their brains, a belief that embodies one of the most influential modern ways of understanding the human.
The Aesthetics and Politics of Cinematic Pedestrianism: Walking in Films offers a rich exploration of the cinematic aesthetics that filmmakers devised to reflect the corporeal and affective experience of walking in the city.
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.
As the cinematic experience becomes subsumed into today's ubiquitous technologies of seeing, contemporary artworks lift the cinematic out of the immateriality of the film screen and separate it into its physical components within the gallery space.
Performing Brains on Screen deals with film enactments and representations of the belief that human beings are essentially their brains, a belief that embodies one of the most influential modern ways of understanding the human.
In the 1970s, cities across the United States and Western Europe faced a deep social and political crisis that challenged established principles of planning, economics and urban theory.
Manoeuvring around mainland China's censors and pushing back against threats of lawsuits, online harassment, and physical violence, #MeToo activists shed a particularly harsh light on the treatment of women in the cinema and entertainment industries.
This book uses the potent case study of contemporary Taiwanese queer romance films to address the question of how capitalism in Taiwan has privileged the film industry at the expense of the audience's freedom to choose and respond to culture on its own terms.
After the end of World War II when many Southeast Asian nations gained national independence, and up until the Asian Financial Crisis, film industries here had distinctive and colourful histories shaped by unique national and domestic conditions.
After the end of World War II when many Southeast Asian nations gained national independence, and up until the Asian Financial Crisis, film industries here had distinctive and colourful histories shaped by unique national and domestic conditions.
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.
Sparked by a groundbreaking Amsterdam workshop titled Disorderly Order: Colours in Silent Film, scholarly and archival interest in colour as a crucial aspect of film form, technology and aesthetics has enjoyed a resurgence in the past twenty years.
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 ongoing aftermath of the nuclear accident in 2011, filmmakers have continued to issue warnings about the state of Japanese society and politics, which remain mired in refusal to change.
Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria.
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.
A key figure in early avant-garde cinema, Walter Ruttmann was a pioneer of experimental animation and the creative force behind one of the silent era's most celebrated montage films, Berlin: Symphony of a Great City.
In the ongoing aftermath of the nuclear accident in 2011, filmmakers have continued to issue warnings about the state of Japanese society and politics, which remain mired in refusal to change.
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.
Dutch Post-war Fiction Film through a Lens of Psychoanalysis is a sequel to Humour and Irony in Dutch Post-war Fiction Film (AUP, 2016), but the two studies can be read separately.
Sparked by a groundbreaking Amsterdam workshop titled Disorderly Order: Colours in Silent Film, scholarly and archival interest in colour as a crucial aspect of film form, technology and aesthetics has enjoyed a resurgence in the past twenty years.
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.
Film Phenomenology and Adaptation: Sensuous Elaboration argues that in order to make sense of film adaptation, we must first apprehend their sensual form.
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.
Manoeuvring around mainland China's censors and pushing back against threats of lawsuits, online harassment, and physical violence, #MeToo activists shed a particularly harsh light on the treatment of women in the cinema and entertainment industries.
Jolted Images brings together a large cast of mainstream and avant-garde cineastes, artists, photographers, comics creators, poets, and more, to reflect on a wide range of phenomena from the realms of cinema and visual culture in the Yugoslav region, broader Europe, and North America.
Since the mid-1990s, a number of films from international filmmakers have experimented with increasingly complicated narrative strategies-including such hits as Run, Lola, Run, 21 Grams, and Memento.
Based on original archival research, Early Cinema, Modernity and Visual Culture: The Imaginary of the Balkans is the first study on early cinema in the region from a transnational and cross-cultural perspective.
A key figure in early avant-garde cinema, Walter Ruttmann was a pioneer of experimental animation and the creative force behind one of the silent era's most celebrated montage films, Berlin: Symphony of a Great City.
The popular and critical successes of films like The Sixth Sense and The Ring and its sequels in the late 1990s led to an impressive international explosion of scary films dealing with ghosts.
Since the mid-1990s, a number of films from international filmmakers have experimented with increasingly complicated narrative strategies-including such hits as Run, Lola, Run, 21 Grams, and Memento.
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.
