Film: styles and genres

The Highway Horror Film argues that 'Highway Horror' is a hither-to overlooked sub-genre of the American horror movie.

In the first book-length study of celebrity feminism, Anthea Taylor convincingly argues that the most visible feminists in the mediasphere have been authors of bestselling works of non-fiction: feminist 'blockbusters'.

Media and Nostalgia is an interdisciplinary and international exploration of media and their relation to nostalgia.

Tim Burton has had a massive impact on twentieth and twenty-first century culture through his films, art, and writings.

This comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking, acting as a form of reclamation for films and filmmakers marginalized within established histories.

In film, Men are good and Monsters are bad.

This is the first monograph-length work intended to enable readers with a humanities background and the general public to understand what the processes and techniques of film restoration do and do not involve, attempting to integrate systematically a discussion about related technological and cultural issues.

Featuring leading scholars of British television drama and noted writers and producers from the television industry, this new edition of British Television Drama evaluates past and present TV fiction since the 1960s, and considers its likely future.

Drawing on comparisons with historical shake-ups in the film industry, Screen Distribution Post-Hollywood offers a timely account of the changes brought about in global online distribution of film and television by major new players such as Google/YouTube, Apple, Amazon, Yahoo!

Inspired by Baudelaire's art criticism and contemporary theories of emotions, and developing a new aesthetic approach based on the idea that memory and imagination are strongly connected, Lombardo analyzes films by Scorsese, Lynch, Jarmusch and Van Sant as imaginative uses of the history of cinema as well as of other media.

Screenwriting in a Digital Era examines the practices of writing for the screen from early Hollywood to the new realism.

Undertaking a thorough and timely investigation of the relationship between television and cinema in Britain since 1990, Hannah Andrews explores the convergence between the two forms, at industrial, cultural and intermedial levels, and the ways in which the media have also been distinguished from one another through discourse and presentation.

In the late 1960s and early 1970s, a new generation took over the leading roles in Hollywood films.

Examining films about writers and acts of writing, The Writer on Film brilliantly refreshes some of the well-worn 'adaptation' debates by inviting film and literature to engage with each other trenchantly and anew - through acts of explicit configuration not adaptation.

The Politics of Hollywood Cinema radically transforms our understanding of cinema's potential to be politically engaging and challenging.

The screenplay is currently the focus of extensive critical re-evaluation, however, as yet there has been no comprehensive study of its historical development.

The first monograph to critically engage with the controversial horror film subgenre known as 'torture porn', this book dissects press responses to popular horror and analyses key torture porn films, mapping out the broader conceptual and contextual concerns that shape the meanings of both 'torture' and 'porn'.

What links the interviews with Saddam Hussein and Mahmoud Ahmadinejad on British and American TV, the chase of journalists following mega-terrorists, and the new status conferred on ordinary people at war?

By analyzing the negotiation of femininities and masculinities within contemporary Hollywood cinema, Postfeminism and Contemporary Hollywood Cinema presents diverse interrogations of popular cinema and illustrates the need for a renewed scholarly focus on contemporary film production.

What is the fundamental nature of the filmic object: is it a commodity or is it, can it be, art?

Is there more to 1970s British cinema than sex, horror and James Bond?

Exciting new critical perspectives on popular Italian cinema including melodrama, poliziesco, the mondo film, the sex comedy, missionary cinema and the musical.

This is the first book-length study to systematically and theoretically analyse the use and representation of individual body parts in Gothic fiction.

This book explores the development of queer Gothic fiction, contextualizing it with reference to representations of queer sexualities and genders in eighteenth and nineteenth-century Gothic, as well as the sexual-political perspectives generated by the 1970s lesbian and gay liberation movements and the development of queer theory in the 1990s.

A detailed, theoretically attuned analysis of all of the Scorsese-directed features from The Last Waltz  to Bringing Out the Dead .

This study examines how a particular selection of films turned American cultural material of the 1990s into satirical experiences for viewers and finds that there are elements of resistance to norms and conventions in politics, to mainstream news channels and Hollywood, and to official American history already embedded in the culture.

Barry Forshaw celebrates with enthusiasm the British horror film and its fascination for macabre cinema.

This dynamic collection of essays by international film scholars and classicists addresses the provocative representation of sexuality in the ancient world on screen.

From Tattoo to Saw, this book considers mainstream cinema's representation of the viscerally dominated and marked body.

This book revives and revitalises the literary Gothic in the hands of contemporary women writers.

Violence and the Limits of Representation explores the representation of violence in literature, film, drama, music and art in order to demonstrate the ways in which the work done by researchers in the Arts and Humanities can offer fresh perspectives on current social and political issues.

A comprehensive study of cannibalism in literature and film, spanning colonial fiction, Gothic texts and contemporary American horror.

The term 'cult film star' has been employed in popular journalistic writing for the last 25 years, but what makes cult stars distinct from other film stars has rarely been addressed.

Since the golden era of silent movies, stars have been described as screen gods, goddesses and idols.

The digital broadcasting of performances to cinemas, or 'livecasting', burst onto the world scene in 2006.

Exploring research into mobile phone use as props to subjective identity, Norman Taylor employs concepts from Michelle Foucault, Gilles Deleuze and actor network theory to discuss the affect of mechanisms of make-believe, from celebrity culture to avatar-obsessed game players, and digital culture.

This history of British and American television drama since 1970 charts the increased transnationalisation of the two production systems.

A unique study of four major post-war European films by four key 'auteurs', which argues that these films exemplify film modernism at the peak of its philosophical reflection and aesthetic experimentation.

A dynamic investigation of processes of cultural reproduction - remaking and remodelling - which considers a wide range of film adaptations, remakes and fan productions from various industrial, textual and critical perspectives.

Presenting a social history of British crime film, this book focuses on the strategies used in order to address more radical notions surrounding class, politics, sex, delinquency, violence and censorship.

There is something unsettling, but also powerful, in the encounter with individual and collective experiences of human suffering.

The rise of independent documentary film production is the most radical development in the contemporary Chinese mediascape.

Employing a range of approaches to examine how "monster-talk" pervades not only popular culture but also public policy through film and other media, this book is a "one-stop shop" of sorts for students and instructors employing various approaches and media in the study of "teratologies," or discourses of the monstrous.

Examining post-1990s Indie cinema alongside more mainstream films, Brereton explores the emergence of smart independent sensibility and how films break the classic linear narratives that have defined Hollywood and its alternative 'art' cinema.

In the footsteps of Andre Bazin, this anthology of 15 original essays argues that the photographic origin of twentieth-century cinema is anti-anthropocentric.

We are so used to images of words that it is easy to ignore the different ways in which they work in films.

Maternal Horror Film: Melodrama and Motherhood examines the function of the mother figure in horror film.

Coates presents the face in film as a place where transformations begin, reflecting both the experience of modernity and such influential myths as that of Medusa.

In examining the enduring appeal that rags-to-riches stories exert on our collective imagination, this book highlights the central role that films have played in the ongoing cultural discourse about success and work in America.

A collection of ten original essays forging new interdisciplinary connections between crime fiction and film, encompassing British, Swedish, American and Canadian contexts.