In this powerful cultural critique, Ariel Dorfman explores the political and social implications of the smiling faces that inhabit familiar books, comics, and magazines.
Long considered a figurehead of family values and wholesome adolescence, the Disney franchise has faced increasing criticism over its gendered representations of children in film, its stereotypical representations of race and non-white cultures, and its emphasis on the heterosexual couple.
Released in 2002, Russian Ark drew astonished praise for its technique: shot with a Steadicam in one ninety-six-minute take, it presented a dazzling whirl of movement as it followed the Marquis de Custine as he wandered through the vast Winter Palace in St.
Distribution Revolution is a collection of interviews with leading film and TV professionals concerning the many ways that digital delivery systems are transforming the entertainment business.
This book presents a close look at the golden age of Swedish pornography in the 1970s, with a specific focus on pornographic films screened in Malmo between 1971 and 1976.
Featuring essays by top scholars and interviews with acclaimed directors, this book examines Italian women's authorship in film and their visions of reality.
Sergio Leone's renown as a filmmaker rests upon a fistful of films, most notably the three Westerns he made with Clint Eastwood in the mid-1960s: A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad and the Ugly (1966).
The history of postwar German cinema has most often been told as a story of failure, a failure paradoxically epitomized by the remarkable popularity of film throughout the late 1940s and 1950s.
In Virtual Memory, Homay King traces the concept of the virtual through the philosophical works of Henri Bergson, Gilles Deleuze, and Giorgio Agamben to offer a new framework for thinking about film, video, and time-based contemporary art.
In Confessional Cinema, Jorge Perez analyzes how cinema engaged the shifting role of religion during the last fifteen years of Francisco Franco's dictatorship.
Cinema and the Wealth of Nations explores how media, principally in the form of cinema, was used during the interwar years by elite institutions to establish and sustain forms of liberal political economy beneficial to their interests.
During the mid-1950s, when Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock 'n' roll stars.
This first handbook on North Korean cinema contests the assumption that North Korean film is "e;unwatchable,"e; in terms of both quality and accessibility, refusing to reduce North Korean cinema to political propaganda and focusing on its aesthetic forms and cultural meanings.
This thorough account of the life and films of the Spanish-Basque filmmaker Julio Medem is the first book in English on the internationally renowned writer-director of Vacas, La ardilla roja (Red Squirrel), Tierra, Los amantes del Circulo Polar (Lovers of the Arctic Circle), Lucia y el sexo (Sex and Lucia), La pelota vasca: la piel contra la piedra (Basque Ball) and Caotica Ana (Chaotic Ana),Initial chapters explore Medem's childhood, adolescence and education and examine his earliest short films and critical writings against a background of a dramatically changing Spain.
The NBC series Hannibal has garnered both critical and fan acclaim for its cinematic qualities, its complex characters, and its innovative reworking of Thomas Harris's mythology so well-known from Jonathan Demme's Silence of the Lambs (1991) and its variants.
Repetition and seriality are inherent in pornography and is constitutive for its functionality as a film genre, an industry, and an area of gender studies.
From The Death of Nancy Sykes (1897) to The Hobbit: The Battle of the Five Armies (2014) and beyond, cinematic adaptations of British literature participate in a complex and fascinating history.
A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema - which has been published in four landmark editions and will celebrate its 35th anniversary in 2018.
Australian Genre Film interrogates key genres at the core of Australia's so-called new golden age of genre cinema, establishing the foundation on which more sustained research on film genre in Australian cinema can develop.
Documents the rich allusiveness and intellectual probity of experimental filmmaking-a form that thrived despite having been officially banned-in East German socialism's final years.
In March 1980 Francis Coppola purchased the dilapidated Hollywood General Studios facility with the hope and dream of creating a radically new kind of studio, one that would revolutionize filmmaking, challenge the established studio machinery, and, most importantly, allow him to make movies as he wished.
Invoking key concepts from the philosophical writings of Gilles Deleuze and Giorgio Agamben, The Dark Interval examines a subtle but distinct iconography of passivity, stillness and profound self-affection that recurs across noir films of every era.
Portuguese Film, 1930-1960: The Staging of the New State Regime provides groundbreaking analysis of Portuguese feature films produced in the first three decades of the New State (Estado Novo), a right-wing totalitarian regime that lasted between 1933 and 1974.
Arguing that today's viewers move through a character's brain instead of looking through his or her eyes or mental landscape, this book approaches twenty-first-century globalized cinema through the concept of the "e;neuro-image.
Detailing the genesis, production history and different versions of 'Once Upon a Time in America', this study considers the film within the context of Leone's evolution as a grand cinema stylist.
Providing intriguing insights for students, film buffs, and readers of various genres of fiction, this fascinating book delves into the psychology of 100 well-known fictional characters.
From his early shorts in the 1910s through his final film in 1967, Charlie Chaplins genius embraced many arts: mime, dance, acting, music, writing, and directing.
This book offers a new approach to filmic point of view by combining close analyses informed by the tools of narratology and philosophy with concepts derived from communication studies.
