This book provides a comprehensive introduction to the work of Robert Bresson, one of the most respected and acclaimed directors in the history of cinema.
Reframing difference is the first major study of two overlapping strands of contemporary French cinema, cinema beur (films by young directors of Maghrebi immigrant origin) and cinema de banlieue (films set in France's disadvantaged outer-city estates).
Widely taught on Film Studies courses and in French Cultural Studies programmesLuc Besson is a popular and respected filmmaker who has achieved international fameA welcome addition to the French Film Directors series.
The first book in any language to study the films of this enfant terrible of contemporary French cinema, best known for his film Les Amants du Pont Neuf.
This book critically examines images in the borderlands of the art world, investigating relations between visual art and vernacular visual culture within different images communities from the 1870s to the present day.
Terence Fisher is best known as the director who made most of the classic Hammer horrors - including The Curse of Frankenstein, Dracula and The Devil Rides Out.
Richard Attenborough's film career has stretched across seven decades; surprisingly, Sally Dux's book is the first detailed scholarly analysis of his work as a filmmaker.
Richard Attenborough's film career has stretched across seven decades; surprisingly, Sally Dux's book is the first detailed scholarly analysis of his work as a filmmaker.
This is the first academic book dedicated to the filmmaking of the three best known Mexican born directors, Guillermo del Toro, Alejandro Gonzalez Inarritu, and Alfonso Cuaron.
This is the first academic book dedicated to the filmmaking of the three best known Mexican born directors, Guillermo del Toro, Alejandro Gonzalez Inarritu, and Alfonso Cuaron.
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.
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.
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.
Filmmakers and cinema industries across the globe invest more time, money and creative energy in projects and ideas that never get produced than in the movies that actually make it to the screens.
Filmmakers and cinema industries across the globe invest more time, money and creative energy in projects and ideas that never get produced than in the movies that actually make it to the screens.
The Cinema of the Precariat is the first book to lay out the incredible range of the precariat (the social class suffering from precarity) as well as a detailed report on the cinematic record of their work and lives.
The Cinema of the Precariat is the first book to lay out the incredible range of the precariat (the social class suffering from precarity) as well as a detailed report on the cinematic record of their work and lives.
World Cinema on Demand brings together diverse contributions by leading film and media scholars to examine world cinema's dialogue with the transformations that took place during 2010-2014, engaging directly with ongoing debates surrounding national cinema, transnational identity, and cultural globalization, as well as ideas about genre, fandom and cinephilia.
World Cinema on Demand brings together diverse contributions by leading film and media scholars to examine world cinema's dialogue with the transformations that took place during 2010-2014, engaging directly with ongoing debates surrounding national cinema, transnational identity, and cultural globalization, as well as ideas about genre, fandom and cinephilia.
