Lange Zeit von den Sozial- und Kulturwissenschaften ignoriert und als bloe Mainstream-Unterhaltung stigmatisiert, erlangt der Sportfilm zunehmend wissenschaftliche Aufmerksamkeit.
Mit Stig Larssons »Millenium«-Trilogie haben skandinavische Krimis und ihre Adaptionen in Film und Fernsehen nicht nur Europa, sondern den Weltmarkt und international die Herzen der Zuschauer erobert.
Lange Zeit von den Sozial- und Kulturwissenschaften ignoriert und als bloe Mainstream-Unterhaltung stigmatisiert, erlangt der Sportfilm zunehmend wissenschaftliche Aufmerksamkeit.
La peste en el cine hace referencia no precisamente a la contaminación infecciosa de las salas cinematográficas, sino más bien a otro tipo de pestilencias: las representaciones de pestes, plagas, epidemias, pandemias, que, con diversos grados de centralidad aparecen y/o engarzan en las tramas de distintas películas.
A beneficiary of the pioneering incorporation of sound and synchronicity into cinema, the Hollywood musical became the most popular film genre in America's thirties and forties.
The book investigates speculative filmic architectural projects and animations that go beyond representing buildings, touching upon issues concerning medium, act of representation, or conducting criticism on history, culture, society, or urban politics, along with the mediated character of contemporary spatial experience - interpreting it primarily through protocols of architectural imaging.
A Galaxy of Things explores the ways in which all puppets, masks, makeup-prosthetic figures are "e;material characters,"e; using iconic Star Wars characters like Yoda and R2-D2 to illustrate what makes them so compelling.
Worüber der Filmzuschauer lacht und wie die Gagmaschine Kino funktioniert - das erklären Filmjournalist Manfred Hobsch und Programmkino-Pionier Franz Stadler im zweibändigen Handbuch "Die Kunst der Filmkomödie": kenntnisreich, aber subjektiv, geleitet von persönlichen Einschätzungen, dennoch orientiert an Fakten - und ohne mit übersteigerter Interpretationssucht den Spaß am Lesen verderben zu wollen.
At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of interpreting the world today.
The demise of the New German Cinema and the return of popular cinema since the 1990s have led to a renewed interest in the postwar years and the complicated relationship between East and West German cinema in particular.
The interconnections between histories and memories of the Holocaust, colonialism and extreme violence in post-war French and Francophone fiction and film provide the central focus of this book.
Out of a film culture originally starved of funds have emerged rich and eclectic works by film-makers that are now achieving the international recognition that they deserve: Barbara Albert, Michael Haneke, Ulrich Seidl, and Stefan Ruzowitzky, to give four examples.
In the last five years of the twentieth century, films by the second and third generation of the so-called German guest workers exploded onto the German film landscape.
Simone de Beauvoir s work has not often been associated with film studies, which appears paradoxical when it is recognized that she was the first feminist thinker to inaugurate the concept of the gendered othering gaze.
Ingmar Bergman s films had a very broad and rich relationship with the rest of European cinema, contrary to the myth that Bergman was a peripheral figure, culturally and aesthetically isolated from the rest of Europe.
Existing critical traditions fail to fully account for the impact of Austrian director, and 2009 Cannes Palm d'Or winner, Michael Haneke s films, situated as they are between intellectual projects and popular entertainments.
The cultural liberalization of communist Czechoslovakia in the 1960s produced many artistic accomplishments, not least the celebrated films of the Czech New Wave.
Drawing on a variety of popular films, including Avatar, Enter the Void, Fight Club, The Matrix, Speed Racer, X-Men and War of the Worlds, Supercinema studies the ways in which digital special effects and editing techniques require a new theoretical framework in order to be properly understood.
Analyzing complex social and political issues through their manifestations in popular culture, this book provides readers a strong foundational knowledge of the 1960s as a decade.
Through his influential work on cultural capital and social mobility, the French sociologist Pierre Bourdieu has provided critical insights into the complex interactions of power, class, and culture in the modern era.
