As a period of film history, The American New Wave (ordinarily understood as beginning in 1967 and ending in 1980) remains a preoccupation for scholars and audiences alike.
As a period of film history, The American New Wave (ordinarily understood as beginning in 1967 and ending in 1980) remains a preoccupation for scholars and audiences alike.
Mobile, smartphone and pocket filmmaking is a global phenomenon with distinctive festivals, filmmakers and creatives that are defining an original film form.
Mobile, smartphone and pocket filmmaking is a global phenomenon with distinctive festivals, filmmakers and creatives that are defining an original film form.
During the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies.
During the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies.
By examining three case studies of award-winning soundtracks from cult films-Barton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)-it becomes clear that major American film communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital.
By examining three case studies of award-winning soundtracks from cult films-Barton Fink (1991), Bram Stoker's Dracula (1992), and The English Patient (1996)-it becomes clear that major American film communities, when confronted with the initial technological changes of the 1990s, experienced similar challenges with the inelegant transition from analogue to digital.
The New Wave Cinema in Iran is a historical and analytical study of the Iranian New Wave Cinema (Mowj-e No) as an artistic and intellectual movement that came to its best early productions between 1958 and 1978.
The New Wave Cinema in Iran is a historical and analytical study of the Iranian New Wave Cinema (Mowj-e No) as an artistic and intellectual movement that came to its best early productions between 1958 and 1978.
The first collection dedicated to David Bowie's acting career shows that his film characterisations and performance styles shift and reform as decoratively as his musical personas.
The first collection dedicated to David Bowie's acting career shows that his film characterisations and performance styles shift and reform as decoratively as his musical personas.
Using theories of national, transnational and world cinema, and genre theories and psychoanalysis as the basis of its argument, Japanese Horror Cinema and Deleuze argues that these understandings of Japanese horror films can be extended in new ways through the philosophy of Deleuze.
Using theories of national, transnational and world cinema, and genre theories and psychoanalysis as the basis of its argument, Japanese Horror Cinema and Deleuze argues that these understandings of Japanese horror films can be extended in new ways through the philosophy of Deleuze.
This volume closely examines the near-ubiquitous images of state security walls, domes, and other such defense enclosures flashing across movie screens since 2006, the year of the ratification of George W.
This volume closely examines the near-ubiquitous images of state security walls, domes, and other such defense enclosures flashing across movie screens since 2006, the year of the ratification of George W.
This is a detailed examination of vigilantism in 1970s American film, from its humble niche beginnings as a response to relaxing censorship laws to its growth into a unique subgenre of its own.
This is a detailed examination of vigilantism in 1970s American film, from its humble niche beginnings as a response to relaxing censorship laws to its growth into a unique subgenre of its own.
Indigeneity in Latin American Cinema explores how contemporary films (2000-2020) participate in the evolution and circulation of images and sounds that in many ways define how indigenous communities are imagined, at a local, regional and global scale.
This often-startlingly original book introduces a new way of thinking about color in film as distinct from existing approaches which tend to emphasize either technical processes and/or histories of film coloration, or the meaning(s) of color as metaphor or symbol, or else part of a broader signifying system.
Exploring the multiple aesthetic and cultural links between French and Japanese cinema, The Cinematic Influence is packed with vivid examples and case studies of films by Akira Kurosawa, Jean-Luc Godard, Hirokazu Kore-eda, Claire Denis, Naomi Kawase, Michel Gondry and many others.
Exploring the multiple aesthetic and cultural links between French and Japanese cinema, The Cinematic Influence is packed with vivid examples and case studies of films by Akira Kurosawa, Jean-Luc Godard, Hirokazu Kore-eda, Claire Denis, Naomi Kawase, Michel Gondry and many others.
Fertile Visions conceptualises the uterus as a narrative space so that the female reproductive body can be understood beyond the constraints of a gendered analysis.
Fertile Visions conceptualises the uterus as a narrative space so that the female reproductive body can be understood beyond the constraints of a gendered analysis.
Anna Kornbluh provides an overview of Marxist approaches to film, with particular attention to three central concepts in Marxist theory in general that have special bearing on film: "e;the mode of production,"e; "e;ideology,"e; and "e;mediation.
Anna Kornbluh provides an overview of Marxist approaches to film, with particular attention to three central concepts in Marxist theory in general that have special bearing on film: "e;the mode of production,"e; "e;ideology,"e; and "e;mediation.
