This study seeks to understand the form of cinematic space referred to as 'the landscape of the mind,' in which natural, outdoor settings serve as outward manifestations of characters' inner subjective states.
The Sublimity of Document: Cinema as Diorama is a collection of in-depth, substantive interviews with moving-image artists working "e;avant-doc, that is, making films that explore the territory between documentary and experimental cinema.
Using critical race theory and film studies to explore the interconnectedness between cinema and society, Zelie Asava traces the history of mixed-race representations in American and French filmmaking from early and silent cinema to the present day.
This major artistic biography of Federico Fellini shows how his exuberant imagination has been shaped by popular culture, literature, and his encounter with the ideas of C.
Providing an overview of Japanese media theory from the 1910s to the present, this volume introduces English-language readers to Japan's rich body of theoretical and conceptual work on media for the first time.
An accessible introduction to the world of The Walking Dead, this book looks across platforms and analytical frameworks to characterize the fictional world of The Walking Dead and how its audiences make use of it.
An innovative and original new study, Television, Memory and Nostalgia re-imagines the relationship between the medium and its forms of memory and remembrance through a series of case studies of British and North American programmes and practices.
The Star Wars films continue to revolutionize science fiction, creating new standards for cinematographic excellence, and permeating popular culture around the world.
From vampire apocalypses, shark attacks, witches, and ghosts, to murderous dolls bent on revenge, horror has been part of the American cinematic imagination for almost as long as pictures have moved on screens.
Although Americans are no longer compelled to learn Greek and Latin, classical ideals remain embedded in American law and politics, philosophy, oratory, history and especially popular culture.
Once the province of film and media scholars, today the moving image is of broad concern to historians of art and architecture and designers of everything from websites to cities.
The beginning of the 21st century was a time of unprecedented events in American society: Y2K, 9/11 and the wars that followed, partisan changes in government and the rapid advancements of the Internet and mass consumerism.
Until recently, the story of African film was marked by a series of truncated histories: many outstanding films from earlier decades were virtually inaccessible and thus often excluded from critical accounts.
A comprehensive and insightful examination of the representation of diverse viewpoints and perspectives in American cinema throughout the 20th and 21st centuries America on Film: Representing Race, Class, Gender and Sexuality at the Movies, now in its third edition, is an authoritative and lively examination of diversity issues within American cinema.
An obscure independent filmmaker until Halloween (1978), John Carpenter has been applauded for his classic sense of compositions, yet reviled for his "e;B-film"e; sensibility.
Corporate Wrongdoing on Film: The 'Public Be Damned' provides a unique and ground-breaking analysis of corporate wrongdoing depictions, identifying, describing, and categorizing harms perpetrated by corporations.
In 1945, French political prisoners returning from the concentration camps of Germany coined the phrase 'the concentrationary universe' to describe the camps as a terrible political experiment in the destruction of the human.
In this definitive and long-awaited history of 1950s British cinema, Sue Harper and Vincent Porter draw extensively on previously unknown archive material to chart the growing rejection of post-war deference by both film-makers and cinema audiences.
Memories that evoke the physical awareness of touch, smell, and bodily presence can be vital links to home for people living in diaspora from their culture of origin.
In a world, in which camcorders and CCTV are witness to our every move and Big Brother and The Blair Witch Project are phenomenally popular and widely imitated, the divide between reality and liction has become increasingly blurred.
A stimulating overview of the intellectual arguments and critical debates involved in the study of British and Irish cinemas British and Irish film studies have expanded in scope and depth in recent years, prompting a growing number of critical debates on how these cinemas are analysed, contextualized, and understood.
This book maps father failure and redemption through three decades of Hollywood family films, revealing how libertarian notions that align agency with autonomy lead to new conflicts for the contemporary father.
This book examines the manifestations of materiality across different gothic media to show the inhuman at the heart of literature, film and contemporary media, outlining a philosophy of horror that deals with the horror of the nonhuman, the machine and the nonorganic.
Drawing on a wide range of examples, this book - the first devoted to the phenomenon of the film trilogy- provides a dynamic investigation of the ways in which the trilogy form engages key issues in contemporary discussions of film remaking, adaptation, sequelization and serialization.
Breaking Down Joker offers a compelling, multi-disciplinary examination of a landmark film and media event that was simultaneously both celebrated and derided, and which arrived at a time of unprecedented social malaise.
Engineering Hollywood tells the story of the formation of the Hollywood studio system not as the product of a genius producer, but as an industry that brought together creative practices and myriad cutting-edge technologies in ways that had never been seen before.
Murray Pomerance, venerated film scholar, is the first to take on the 'cheat' in film, where 'cheating' constitutes a collection of production, performance, and structuring maneuvers intended to foster the impression of a screen reality that does not exist as presented.
As part of its effort to expose Communist infiltration in the United States and eliminate Communist influence on movies, from 1947-1953 the House Committee on Un-American Activities subpoenaed hundreds of movie industry employees suspected of membership in the Communist Party.
