Though one of the most popular genres for decades, the western started to lose its relevance in the 1960s and 1970s, and by the early 1980s it had ridden into the sunset on screens both big and small.
In a nuanced exploration of how Western cinema has represented East Asia as a space of radical indecipherability, Homay King traces the long-standing association of the Orient with the enigmatic.
In Virtual Memory, Homay King traces the concept of the virtual through the philosophical works of Henri Bergson, Gilles Deleuze, and Giorgio Agamben to offer a new framework for thinking about film, video, and time-based contemporary art.
The theme of surveillance has become an increasingly common element in movies and television shows, perhaps as a response to the sense that the world is now virtually under watch.
Consuming Visions explores the relationship between cinema and writing in early twentieth-century Brazil, focusing on how the new and foreign medium of film was consumed by a literary society in the throes of modernization.
The crime melodramas of the 1940s known now as film noir shared many formal and thematic elements, from unusual camera angles and lighting to moral ambiguity and femmes fatales.
Even for those who have never read Jules Verne (1828-1905), the author's very name conjures visions of the submarine in Twenty Thousand Leagues Under the Sea, the epic race in Around the World in Eighty Days, the spacecraft in From the Earth to the Moon, and the daring descent in Journey to the Center of the Earth.
An "e;illuminating"e; look at how filmmakers have taken us around the world, under the sea, and to the center of the earth over the course of a century (Milwaukee Express).
American historians such as Frederick Jackson Turner have argued that the West has been the region that most clearly defines American democracy and the national ethos.
The science fiction genre maintains a remarkable hold on the imagination and enthusiasm of the filmgoing public, captivating large audiences worldwide and garnering ever-larger profits.
The Western tradition, with its well-worn tropes, readily identifiable characters, iconic landscapes, and evocative soundtracks, is not limited to the United States.
Though one of the most popular genres for decades, the western started to lose its relevance in the 1960s and 1970s, and by the early 1980s it had ridden into the sunset on screens both big and small.
Although considered a relatively new genre, the mockumentary has existed nearly as long as filmmaking itself and has become one of the most common forms of film and television comedy today.
Over the last several decades, the boundaries of languages and national and ethnic identities have been shifting, altering the notion of borders around the world.
The theme of surveillance has become an increasingly common element in movies and television shows, perhaps as a response to the sense that the world is now virtually under watch.
Film noir was a cycle in American cinema which first came into prominence during World War II, peaked in the 1950s, and began to taper off as a definable trend by 1960.
When writer and director Joss Whedon created the character Buffy the Vampire Slayer, he could hardly have expected the resulting academic interest in his work.
Film noir-literally "e;black cinema"e;-is the label customarily given to a group of black and white American films, mostly crime thrillers, made between 1940 and 1959.
