Released in 1965, Sergei Paradjanov's Shadows of Forgotten Ancestors is a landmark of Soviet-era cinema - yet, because its emphasis on folklore and mysticism in traditional Carpathian Hutsul culture broke with Soviet realism, it caused Paradjanov to be blacklisted soon after its release.
Released in 1965, Sergei Paradjanov's Shadows of Forgotten Ancestors is a landmark of Soviet-era cinema - yet, because its emphasis on folklore and mysticism in traditional Carpathian Hutsul culture broke with Soviet realism, it caused Paradjanov to be blacklisted soon after its release.
Taking an inclusive approach to South African film history, this volume represents an ambitious attempt to analyze and place in appropriate sociopolitical context the aesthetic highlights of South African cinema from 1896 to the present.
Contrary to the assumption that Western and Eastern European economies and cinemas were very different from each other, they actually had much in common.
As living subjects rather than static icons, studio-era Hollywood actresses actively negotiated a balance between their public personas, film roles, and corporeal presence.
The works of popular Spanish film directors Julio Medem, Juan Jose Bigas Luna, and Jose Luis Guerin are newly appraised in relation to their engagement with alternative national and cinematic subjectivities.
Jews have been well represented in the cinema industry from the beginning of the film era: behind the screen, as producers, distributors, directors, script-writers, composers, set designers; and on the screen, as Jewish actors and as named Jewish characters in the film's plot.
The trajectory of Hong Kong films had been drastically affected long before the city s official sovereignty transfer from the British to the Chinese in 1997.
There has been a recent revival of interest in the work of Polish film director Walerian Borowczyk, a label-defying auteur and escape artist if there ever was one.
West German cinema of the 1960s is frequently associated with the emergence of a new generation of filmmakers, collectively known by the 1970s as the "e;New German Cinema.
Subjective Realist Cinema looks at the fragmented narratives and multiple realities of a wide range of films that depict subjective experience and employ subjective realist narration, including recent examples such as Mulholland Drive, Memento, and Eternal Sunshine of the Spotless Mind.
The intersection between film stardom and politics is an understudied phenomenon of Fascist Italy, despite the fact that the Mussolini regime deemed stardom important enough to warrant sustained attention and interference.
Unlike previous studies of the Soviet avant-garde during the silent era, which have regarded the works of the period as manifestations of directorial vision, this study emphasizes the collaborative principle at the heart of avant-garde filmmaking units and draws attention to the crucial role of camera operators in creating the visual style of the films, especially on the poetics of composition and lighting.
Women in Irish Film: Stories and storytellers is an interdisciplinary collection that critically explores the contribution of women to the Irish film industry as creators of culture - screenwriters, directors, producers, cinematographers, editors, animators, film festival programmers and educators.
Offers not only an analytical study of the films of Herzog, perhaps the most famous living German filmmaker, but also a new reading of Romanticism's impact beyond the nineteenth century and in the present.
Rocco focuses on Gabriel Garcia Marquez's relations with the world of cinema and gives us the first detailed study of the author's wide-ranging filmography.
Why has a nineteenth-century author with an elitist reputation proved so popular with directors as varied as William Wyler, Francois Truffaut, and James Ivory?
Through in-depth and informative text written by film journalist Ian Nathan, The Coen Brothers Archivere-examines the brothers most famous work including Raising Arizona, Fargo, The Big Lebowski, O Brother, Where Art Thou?
This book is about the perception of Japan in the sixty films set there by gaijin (foreigners) —outsiders who almost always do not speak or read Japanese.