Ya que el cine de ficción nos posibilita rastrear discursos y construcciones simbólicas, nos permite reconocer narrativas e imágenes asociadas a la figuración de unos rasgos comunes, constantes o diversos de un posible "nosotros".
Murray Pomerance offers an illuminating account of one of Hitchcock's most intruiging and successful films, The Man Who Knew Too Much (1956), starring James Stewart and Doris Day.
Visible and Invisible Whiteness examines the complicity between Classical Hollywood narratives or genres and representations of white supremacy in the cinema.
Both an exploration of the ways in which we fashion our public identity and a manual of modern sociability, this lively and readable book explores the techniques we use to present ourselves to the world: body language, tone of voice, manners, demeanour, 'personality' and personal style.
Contributions by Nathaniel Brennan, Luca Caminati, Silvia Carlorosi, Caroline Eades, Saverio Giovacchini, Paula Halperin, Neepa Majumdar, Mariano Mestman, Hamid Naficy, Sada Niang, Masha Salazkina, Sarah Sarzynski, Robert Sklar, and Vito ZagarrioIntellectual, cultural, and film historians have long considered neorealism the founding block of post-World War II Italian cinema.
When the lights dim in a movie theatre and the projector begins to click and whir, the light and sounds of the motion picture become the gateway to a multisensory experience.
This volume of spellbinding essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, providing new perspectives on their collaboration.
Reframing remembrance examines films about the Nazi Occupation of France, charting how this period has been commemorated and how it has affected the articulation of French national identity.
Five Conversations About Peter Sellers is an essay that begins as an exploration of the author's burgeoning obsession with Peter Sellers, and specifically his role in hijacking and derailing production of the spy spoof, Casino Royale, in the late 60s.
Offers a fresh approach to German film studies by tracing key genres -- including horror, the thriller, Heimat films, and war films -- over the course of German cinema historyOver the last few decades, the field of film studies has seen a rise in approaches oriented toward genre: studies that look at thematic, narrative, and stylistic similarities between films, contextualizing them within culture andsociety.
This expansive three-volume set investigates racial representation in film, providing an authoritative cross-section of the most racially significant films, actors, directors, and movements in American cinematic history.
A collaborator with Warner Brothers and Paramount in the early days of sound film, the German film director Ernst Lubitsch (1892-1947) is famous for his sense of ironic detachment and for the eroticism he infused into such comedies as So This Is Paris and Trouble in Paradise.
Space Oddities examines the representation of women in outer space films from 1960 to 2000, with an emphasis on films in which women are either denied or given the role of astronaut.
Private Television in Western Europe: Content, Markets, Policies describes, analyses and evaluates the phenomenon of private television in Europe, clustered around the themes of European and national experiences, content and markets, and policies.
Illuminating the impacts of environmental disasters and climate crises globally, this book examines the experiences of teens grappling with eco-disasters and issues in films of the twenty-first century.
A Queer Film Classic on Canadian director Patricia Rozema's I've Heard the Mermaids Singing, her quirky and hopeful first feature film which made its premiere at Cannes and won its Prix de la jeunesse.
In A Modernist Cinema, sixteen distinguished scholars in the field of the New Modernist Studies explore the interrelationships among modernism, cinema, and modernity.
Part of Intellect's World Film Locations series, World Film Locations: Helsinki explores the relationship between the city, cinema and Finnish cultural history.
Analysing a variety of international films and, ultimately, placing them in dialogue with video art, photographic narratives and emerging digital image-based technologies, the contributions explore the expanding range of 'mediated' narratives of contemporary architecture and urban culture from both a media and a sociological standpoint.
From the everyday concerns of Umberto D to the spiritual traces of Ma nuit chez Maud, revelatory moments are intrinsic to the fabric of cinematic modernism.