This volume presents one of the first systematic inquiries into Italian experimental and avant-garde cinema in English language, thanks to contributions which deepen the history of experimental audio-visual works in Italy.
Vincendeau's analysis places 'Pepe le Moko' in its aesthetic, generic and cultural contexts, ranging from Duvivier's brilliant camera-work, to Gabin's suits and the film's orientalist setting.
The expert contributors together trace how the arts of editingand effects have evolved in tandem, starting with the 'trick films'of the early silent era, which astounded audiences by splicingin or editing out key frames, all the way to today's cutting-edgeeffects technologies.
Sportswomen in Cinema considers both documentary and fiction films from a variety of periods and cultures, by directors including Kathryn Bigelow, Gurinder Chadha, Im Soon-rye, George Kukor, Ida Lupino, and Leni Riefenstahl.
With fresh appraisals of popular Westerns, this book examines the history of the genre with a focus on definitional aspects of canon, adaptation and hybridity.
With fresh appraisals of popular Westerns, this book examines the history of the genre with a focus on definitional aspects of canon, adaptation and hybridity.
Home invasion narratives have been around nearly as long as cinema itself, popularized by the silent era's "e;race-to-the-rescue"e; movies and classic Hollywood's "e;gangster raid"e; films, and influenced by the slasher and stalker sub-genres.
In the first book-length introduction to Deleuze's work on film from a feminist perspective, Teresa Rizzo ranges across Deleuze's books on Cinema, his other writings, and feminist re-workings of his philosophy to re-think the film viewing experience.
Guru Dutt's final film as a director, Kaagaz Ke Phool/Paper Flowers (1959), follows the successful film-maker Suresh Sinha (played by Dutt himself) as rumours of his affair with his actress Shanti (Waheeda Rehman) lead him to lose his family, descend into alcoholism and ultimately retreat from the film industry.
Released in 1969, 'Easy Rider 'broke the mold of Hollywood studio production, making stars of Peter Fonda, Dennis Hopper, and Jack Nicholson and launching a new wave of radical and experimental American cinema.
The Superhero Blockbuster: Adaptation, Style, and Meaning builds an innovative framework for analyzing one of the most prominent genres in twenty-first-century Hollywood.
This book offers a consistent, theoretically grounded, accessible account of adaptation across a range of instances, employing Relevance Theory as its explanatory framework and arguing that every adaptation is an independent communicative act.
This appreciative account of the 'Three Colours' trilogy communicates the power and imagery of the films, and demonstrates how Kieslowski's art is brought to bear in their moving renditions of the lives of its characters.
Die Konjunktur des Politischen in neueren Kinofilmen und Fernsehserien ist mit tradierten Oppositionen – wie der von Inhalt und Form – nicht mehr zu beschreiben.
Wenn Kong sich aus seinen Fesseln befreit, um zu zerstören, wenn Carol Anne sich im Informationschaos des Weißen Rauschens verliert und wenn japanische Teenager von einem tödlichen Videovirus heimgesucht werden, dann befinden sich die Zuschauenden inmitten von Leinwandgeschichten der dunklen Art.
