This edited collection offers an interdisciplinary study of Twin Peaks: The Return, the third season of a TV program that has attracted the attention (and appreciation) of spectators, fans, and critics for over two decades.
Despite a glut of black and white filters, the digital revolution in videography has all but abandoned the art, science, beauty, and power of cinematic lighting that literally illuminated the Golden Age of motion pictures.
Mind-game films and other complex narratives have been a prominent phenomenon of the cinematic landscape during the period 1990-2010, when films like The Sixth Sense, Memento, Fight Club and Source Code became critical and commercial successes, often acquiring a cult status with audiences.
This is a book about the long cultural shadow cast by a single bestselling novel, Anthony Hope's The Prisoner of Zenda (1894), which introduced Ruritania, a colourful pocket kingdom.
The screenplay is currently the focus of extensive critical re-evaluation, however, as yet there has been no comprehensive study of its historical development.
Hyperreality is an Alice-in-Wonderland dimension where copies have no originals, simulation is more real than reality, and living dreams undermine the barriers between imagination and objective experience.
Choice Outstanding Academic Title 2023The Myth of Harm engages and analyses controversies generated by horror that examines some of the most high-profile media debates around the issue of whether or not horror texts corrupt children.
Vincenzo Tomeo's pioneering research in the 1960s and 1970s drew attention to the importance of popular culture in our understanding of the operation of the justice system.
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.
This volume examines contemporary reformulations of the 'Final Girl' in film, TV, literature and comic, expanding the discussion of the trope beyond the slasher subgenre.
In recent years, the ways in which digital technologies have come to shape our experience of the world has been an immensely popular subject in the horror film genre.
Ever more popular in the age of DVDs, eBay and online fandom, the Spaghetti Westerns of the 1960s have undergone a mainstream renaissance which has nevertheless left their intimate relationship to the troubled politics of 1960s Italy unexamined.
The vampire and the zombie, the two most popular incarnations of the undead, are brought together for a forensic critical investigation in Screening the Undead.
This short textbook provides an introduction to queer theory, exploring its key genealogies and terms as well as its application across various academic disciplines and to contemporary life more generally.
Bollywood Horrors is a wide-ranging collection that examines the religious aspects of horror imagery, representations of real-life horror in the movies, and the ways in which Hindi films have projected cinematic fears onto the screen.
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.
Honourable Mention, Best Monograph Award, BAFTSS Publication Awards 2022Sheldon Lu's wide-ranging new book investigates how filmmakers and visual artists from mainland China, Hong Kong and Taiwan have envisioned China as it transitions from a socialist to a globalized capitalist state.
The most up-to-date study of the Hollywood romantic comedy film, from the development of sound to the twenty-first century, this book examines the history and conventions of the genre and surveys the controversies arising from the critical responses to these films.
Since the Second World War, depictions of Royal Air Force operations in film and television drama have become so numerous that they make up a genre worthy of scholarly attention.
The Western has always been inextricably linked to the USA, and studies have continually sought to connect its historical development to changes in American society and Hollywood innovations.
This interdisciplinary collection explores how cinema calls into question its own frame of reference and, at the same time, how its form becomes the matter of its thought.
The argument of Noir Fiction and Film is curiously counterintuitive: that in a century of hard-boiled fiction and detective films, characteristics that at first seemed trivial swelled in importance, flourishing into crucial aspects of the genre.
Scholars have consistently applied psychoanalytic models to representations of gender in early teen slasher films such as Black Christmas (1974), Halloween (1978) and Friday the 13th (1980) in order to claim that these were formulaic, excessively violent exploitation films, fashioned to satisfy the misogynist fantasies of teenage boys and grind house patrons.
New Vampire Cinema lifts the coffin lid on forty contemporary vampire films, from 1992 to the present day, charting the evolution of a genre that is, rather like its subject, at once exhausted and vibrant, inauthentic and 'original', insubstantial and self-sustaining.
Since the early 1950s, Chris Marker has embraced different filmmaking styles as readily as he has new technologies, and has broadened conceptions of the documentary in distinctly personal ways.
Reception studies have made film audiences increasingly visible, while surveys track trends and policymakers gather information about audience preferences and demographics.
Beloved among cult horror devotees for its signature excesses of sex and violence, Italian giallo cinema is marked by switchblades, mysterious killers, whisky bottles and poetically overinflated titles.
Science fiction and fantasy are often thought of as stereotypically male genres, yet both have a long and celebrated history of female creators, characters, and fans.
With more than 180 films during a career spanning several decades, Jesus Franco (1930-2013) was an extraordinarily prolific and chameleon-like Spanish director, covering virtually every genre from horror to film noir, adventure and erotic, and adapting to all kinds of productions.
Perhaps because of the wisdom received from our Romantic forbears about the purity of the child, depictions of children as monsters have held a tremendous fascination for film audiences for decades.
