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Cinematography and Lighting for Television
Drawing from author Tim Palmer's 30 years of experience working as a cinematographer for award-winning drama series including Killing Eve, Bad Sisters, and Line of Duty, this book is the go-to guide on how to light just about any scene a cinematographer may face when shooting a TV show.Focusing on lighting scenarios suitable for the small screen, the book is thematically organised into night and day, exteriors and interiors, and special situations including magic hour, candlelight and firelight, moonlight, torchlight, vehicle interiors, and green/blue screen, as well as providing examples from within the studio for each of these settings. Using the latest technology and developments in the practice, Palmer illustrates how cinematographers can effectively use lighting within a variety of situations. Palmer works through each example by illustrating and describing the setup with the corresponding finished film frames to show the final effect of the lighting achieved so cinematographers can easily apply and translate it to their own work. Including practical advice for working in the industry and tips for low-budget and student settings, this is an accessible and creative guide to producing visually compelling footage that translates the script to the screen. Ideal for the professional cinematographer and advanced students of cinematography looking to develop their skills.
The Screen Censorship Companion
Throughout the history of film, censorship has existed everywhere-in all shapes, colours, and dimensions. The act of restricting the free production, circulation, screening, and consumption of movies was never unique to authoritarian regimes. Censorship has had far-reaching implications for filmmakers, distributors, exhibitors, and audiences across generations and across genres, including the self-censorship of audiences disciplined into particular viewership positions. Today, soft and hard censorship coexist in ever-more fluid forms; the banning, regulating, trimming, and tailoring of films for 'harmless' consumption all exemplify wider debates about access to media. This companion brings together contemporary and historical views on censorship, covering Argentina, Canada, Chile, Colombia, Denmark, France, Germany, Italy, Japan, Norway, Poland, Sweden, Turkey, the United Kingdom, and the United States. The book considers Hollywood's practices and the United States' legislative context as important frames of reference for the study of filmed entertainment censorship, be they concerned with obscene materials or plain mainstream movie fare. American cinema remains a wider compass, as evidenced by how studies in this companion, which deal with local and regional censorship, appear to have American movies as their targets. This volume showcases the broad international scope of censorship through detailed examinations of censorship practices. The diversity of case studies is an indication of the global reach of censorship-nothing can escape its grasp. Ultimately, the censorship of screen access is a struggle for power and control; this book demonstrates how intense this struggle can become, and how compromises and solutions are found.
On the Animation Trail
This book charts the history of the last 20 years of animation festivals. From Annecy, the oldest animation festival in the world, to Beirut, or the founding of the festival in Peja, Kosovo, Nancy-Denney Phelps has recorded not just the films screened but also the people and what makes each festival unique.
Networked David Lynch
Networked David Lynch is a multi-disciplinary reconsideration of Lynch's oeuvre in the context of the challenges and opportunities offered by transmedia environments and networks of the 21st century. This collection builds on state-of-the-art-research concepts like video-graphic criticism and video essays to provide a fresh and important approach to any study of David Lynch's oeuvre. As such, Networked David Lynch is an attractive entry point to current media theory and recent film history, appealing to cinephiles, academics, researchers, and students.This multi-disciplinary reader provides immediate relevance to university courses focusing on modern film history and on current theory in film, television, and media studies. The scope of approaches featured in the book provides an informative basis for courses on transmedia and media convergence, sound studies, musicology, cultural studies, and American studies.
Refocus: The Films of Roberta Findlay
ReFocus: The Films of Roberta Findlay covers a variety of angles, using queer, feminist, historical, and close textual reading methods to grapple with the complicated and contradictory politics and meanings of this pioneering culture-worker. Chapters examine Findlay's marketing strategies, the gender politics of her exploitation and hardcore films, 1980s horror productions, and several case studies of key individual films, in addition to a new interview with Findlay reflecting on her life and career.
Metaphysics and the Moving Image
Introduction: The Death of God, the Birth of Film, and the New Metaphysics Chapter One Image Breakthrough: Disclosure and Derailment in Painting, Photography, and FilmI. Art in the Wake of MetaphysicsII. The Myth of the Lumi癡re Leaf Chapter Two The Evolution of the Concept of "World" from Philosophy to FilmI. The World in the Palm of PhilosophyII. Film in the World's Palm, or the World in its Own ImageIII. Metaphysical Figures in Days of HeavenChapter Three Paradise Exposed: Psychic Automatism in FilmPrimer: "While the will is off its watch"I. The Mechanical GardenII. Heinrich von Kleist's Marionette TheaterIII. Robert Bresson's Filmic Models Chapter Four Nature, Whose Death Shines a Light: Exteriority and Overexposure in The Thin Red LineI. IntroductionII. Dramaturgy of NatureIII. A Cinematic SublimeIV. Metaphysics of the Front Chapter Five "Mother, I am Dumb ..." The Reevaluation of Friedrich Nietzsche in The Turin Horse
Late-Colonial French Cinema
Deploying the term 'late-colonial' to describe a body of largely French films made during, and in response to, the Algerian War of Independence (1954-1962), this book revolves around one question - what is late-colonial French cinema? - generating two answers. Firstly, Sharpe argues that late-colonial cinema represents a formally and thematically important, yet unappreciated tendency in French cinema; one that has largely been overshadowed by a scholarly focus on the French New Wave. Secondly, Sharpe contends that whilst late-colonial French cinema cannot be seen as a coherent cinematic movement, school of filmmaking, or genre, it can be seen as a coherent ethical trend, with many of the fifteen central case studies explored in Late-colonial French Cinema filtering the Algerian War of Independence through a discourse of 'redemptive pacifism'.
Refocus: The Literary Films of Richard Brooks
ReFocus: The Literary Films of Richard Brooks highlights the accomplishments of one of postwar America's most important and successful directors, with an emphasis on the "literary" aspects of his career, including his work as a screenwriter and adaptor of such modern classics as Cat on a Hot Tin Roof, Lord Jim, and The Brothers Karamazov.
The Eye of the Cinematograph
The Eye of the Cinematograph investigates the ethical and aesthetic implications of the automatic formation of the body's image by the camera. Drawing on Emmanuel Levinas' thought, Manafi asks what happens when the other makes their body available to the gaze of the camera to be automatically recorded, and this giving of the body is preserved within the image, juxtaposed with other images to allude to a story that might otherwise remain untold.To locate the ethical at this intersection of the body and the aesthetic, this book articulates an ethical account of a diverse range of film theories to demonstrate alternative encounters with the other that realisms of the body offer. Manafi discusses works by Chantal Akerman, Bruno Dumont, Pedro Costa, Gus Van Sant, Sohrab Shahid Saless, Abbas Kiarostami, Amir Naderi, Jafar Panahi, Carlos Reygadas and Andy Warhol to make a case for the ethics and aesthetics of incompleteness and performative failure.
Ageing, Dementia and Time in Film
Ageing, Dementia and Time in Film: Temporal Performances offers the first sustained analysis of films about ageing and dementia through a temporal framework. Analysing the aesthetics of films like A Moment to Remember (2004), Memories of Tomorrow (2006) and Happy End (2017), Deng provides new insights into our understanding of how ageing is temporally produced, presented, received and interrogated in and through cinema. Bringing together Gilles Deleuze's philosophy of difference and ideas on time, and building on scholars like Alia Al-Saji, Henri Bergson, Bliss Cua Lim, and David Martin-Jones, the book develops a conceptual framework of relational change - of temporal performances - and suggests that everyone and everything experiences time differently.
Documenting Fashion
Feuds within fashion houses, megalomaniacs and photoshoot nightmares - fashion and drama have been a perfect match for decades. Over the past ten years, we have witnessed a boom of documentaries about fashion magazine editors, fashion and media politics and the history of fashion houses. How and why did fashion documentaries and non-fiction media become so popular? Documenting Fashion explores and reassesses the role of documentary media by tracing its history in shaping our understanding of fashion across multiple platforms and different national contexts, including industrial films, newsreels, TV shows, documentary films, digital media and photography. The essays in this collection underpin and profile a scholarly space in which a dialogue between fashion and documentary studies can evolve by drawing from different methodologies and approaches, such as media and cultural studies, ethnography, archival and museum studies, gender studies, marketing and public relations.
Hammer Goes to Hell
This book utilises never seen before materials held in the Hammer Script Archive to present a new perspective on one of the most famous British production studios of all time. While many studies of Hammer Films have been written, none have accounted for the significant amount of creative and economic labour that went into over 100 unmade projects at the company. Using primary materials such as screenplays and correspondence, the book examines the production contexts of an eclectic range of Hammer's unmade films, ranging from Loch Ness Monster project Nessie to Dracula in India script Kali Devil Bride of Dracula. Using Hammer as a case study, the book represents a significant academic intervention by being the first sustained industry study to primarily use unmade projects. The book offers a fresh perspective on a legendary film studio, and argues for the importance and sustained study of unmade films within film history.
Con Artists in Cinema
This book examines the con artist film as a genre, exploring its main features while also addressing variations within it. 　
Refocus: The Films of Shyam Benegal
Shyam Benegal is widely perceived as one of the most influential Indian filmmakers, yet his voluminous body of work remains relatively under-studied in contemporary film scholarship. To help fill this critical lacuna, ReFocus: The Films of Shyam Benegal undertakes a closer look at Benegal's films, a trailblazing auteur who successfully redefined the contours of non-commercial Hindi language cinema. This addition to ReFocus: The International Directors Series will consider how Benegal, over the course of his forty year career, used cinema as a potent medium to narrate the story of a nation in continuous transition. The 13 essays in the volume will explore how Benegal's films articulate his concerns over caste, class, gender, religion, and other allied social, economic and political problems characterizing the Indian subcontinent. This collection also includes a full-length interview with Shyam Benegal that investigates his perspectives on the art of film-making.
Research Methodology in Theatre Studies
As theatre continues to evolve and adapt to contemporary issues, the methodologies we use to study it must also progress. Theatre, as a dynamic intersection of text, performance, and audience, necessitates a multifaceted approach to research. The book adeptly navigates this complexity by delineating a robust theoretical framework that underpins the methodological discussions. This framework provides a solid foundation for understanding the unique epistemological and ontological underpinnings of theatre studies, making it a valuable resource for researchers (undergraduates and postgraduates) seeking to situate their work within broader scholarly conversations.By showcasing the practical ways of carrying out research in theatre studies, the contributors illuminate the potential for innovation and adaptation in research design. These steps, when carefully followed and implemented, can be equally effective in exploring phenomena across disciplines.Research Methodology in Theatre Studies is a book that attempts to provide researchers with ways of understanding the past, probing the known and discovering the feature.This book in a simplified method provides answers to research questions.
Film Adaptations of Russian Classics
The volume examines several screen adaptations of works written by mid- and late nineteenth-century authors, who constitute the hallmark of the Russian cultural brand, finding favour with audiences in Russia and in the West. It considers reimagining of Goncharov, Turgenev, Dostoevsky, Chekhov and Tolstoy in different contexts.The book examines various types of adaptation, including transposition, commentary, and analogy. It focuses on established Russian and western filmmakers' dialogue with the classics taking place in the last 60 years. The book shows how the ideological and/or philosophical concerns of the day serve as a lens for a specific reading of the novel, the story, or the play. By foregrounding a synergetic literary-cinematic space, the book demonstrates how the director becomes a creative mediator between his audiences and the author, taking account of contemporary epistemological imperatives and the particularities of the reception by viewers.
Abject Pleasures in the Cinematic
Abject Pleasures in the Cinematic examines the cinematic strategies that elicit visceral pleasure--tears, goosebumps, sexual arousal, laughter--even in the face of content that is crass, politically problematic, or unethical. While there might be a progressive predisposition within our discipline, affect pledges no allegiance to any particular political inclination. Progressives, or progressive content, does not hold a monopoly on affect. The beautiful has no inherent bond to the good (i.e., morally good, or having cultural merit), rather it is an affective experience, and it might come to us in the most unlikely and unsavory places. Pornography, even with the most regressive content, wields the possibility to be sexually arousing even despite our own ethical objections. While well-intended academics routinely claim that watching people get hurt is not funny, and we might appreciate the gesture to cultivate our better angels, but such assertions do not necessarily align with our lived-experience.
Australian International Pictures (1946 - 75)
Australian International Pictures examines the concept and definition of Australian film in relation to a range of local, international and global practices and trends that blur neat categorisations of national cinema. Although international co-production is particularly acute in the present day, this book examines the porous nature of Australian International filmmaking, and the intriguing transnational and cross-cultural formations created by globally targeted but locally focussed films made in Australia in the period 1946-75.
Refocus: The Films of William Wyler
In his forty-five-year career, William Wyler not only traversed the silent and the sound eras, but also connected classic Hollywood to "new Hollywood." The range of his films also spans a wide spectrum of genres: from westerns to adaptations of classic literature, from crime thrillers to rom-coms, and from controversial topics to musicals. His three Oscars for Best Director are an achievement surpassed only by John Ford. His life experience as one of Hollywood's early immigrant artists also speaks to the foreign influence on classic Hollywood. Yet despite his awards and commercial success, artistic recognition has mostly eluded Wyler. This volume of the ReFocus series attempts to analyze this Wyler paradox and also seeks to contextualize and theorize selections from Wyler's canon and his relationship to American cinematic history and American culture. This collection has gathered contributions from international authors from extremely diverse backgrounds, and therefore differing perspectives on Wyler and his work.
Adrian Brunel and British Cinema of the 1920s
British cinema has been in the shadow of Hollywood for over a hundred years, constantly attempting to define itself in an effort to challenge its dominance. During the 1920s, a small group of intellectuals argued that injecting a level of 'art' into the medium was the way to do this, a view strongly opposed by the industry's commercial forces. Using the experiences of Adrian Brunel, Josephine Botting demonstrates how this clash affected the careers of filmmakers attempting to prove their theory. Brunel was cultured yet financially insecure, caught between the creative Bohemianism of 1920s London and a conventional, conservative film industry. Tracing the ups and downs of Brunel's biography with detailed reference to his personal papers, Adrian Brunel and British Cinema of the 1920s exposes the various forces controlling the production, distribution and exhibition of films in Britain as Brunel tried to negotiate them and find a niche in the insecure and competitive arena of British film.
Provocation in Women's Filmmaking
Critics regularly use the term "provocateur" to describe controversial film directors. Although most individuals who attract this term are men, there is a long and largely unexamined history of female auteurs who shock and unsettle their viewers. Provocation in Women's Filmmaking: Authorship and Art Cinema investigates how women directors participate in the tradition of provocative art cinema. Focusing on the post-millennium films of auteurs such as Lisa Aschan, Catherine Breillat, Jennifer Kent, Isabella Ekl繹f, Lucile Hadzihalilovic, Claire Denis, Anna Biller and Athina Rachel Tsangari, this book considers the aesthetics and strategies of women's provocative filmmaking in contemporary cinema. Challenging the gendering of provocation as a hyper-masculine mode of authorship, the book uncovers an enticing and complex array of divisive works by women.
Fu Manchu on Film & TV
This is a reference book concerning the screen adaptations based on the character Fu Manchu. Eleven films, as well as a 1956 TV series are included. The book includes all films in date order, numerous photos, complete cast lists, and story synopses. Dr. Fu Manchu is a super villain who was introduced in a series of novels by the English author Sax Rohmer beginning shortly before the First World War and continuing for another forty years. The character featured in cinema, television, radio, comic strips and comic books for over 90 years, and he has also become an archetype of the evil criminal genius and mad scientist.
Starlost Unauthorized
THE GIANT EARTHSHIP ARK, DRIFTING THROUGH DEEP SPACE OVER EIGHT HUNDRED YEARS INTO THE FAR FUTURE, ITS PASSENGERS DESCENDANTS OF THE LAST SURVIVORS OF THE DEAD PLANET EARTH, LOCKED IN SEPARATE WORLDS HEADING FOR DESTRUCTION... The Starlost (1973). The most controversial Sci Fi Television series ever made. It began with high hopes, created by Harlan Ellison with participation by such luminaries as Ben Bova and Ursula K. LeGuin, featuring special effects by 2001: A Space Odyssey's Doug Trumbull, starring 2001's Keir Dullea. Somehow it all went wrong, Harlan Ellison denounced his creation, and the series became legendary as "the worst ever!' But was it really? Produced in Canada, constrained physically and financially, the show began to reflect Canadian issues and sensibilities, at a time when Canada and Canadians were going through a national identity crisis, forming a nation, building a culture and confronting challenges from regionalism within, to the overwhelming presence of the United States without. What was Canada? What did it and its people stand for, and where were they going? The Starlost became a mirror of national concerns and preoccupations as the stars confronted alien and interlopers, industrialization, pollution, militarism, ethics and morality and ultimately humanity's place in the world. This extensively researched work, written with dry humor and deep insight, draws on interviews and correspondence with stars Robin Ward and Gay Rowan, series writer Norman Klenman, and features a comprehensive episode guide with detailed reviews encompassing behind the scenes information and thematic analysis, as well as a full section on the production process and making of the show. STARLOST UNAUTHORIZED is the most comprehensive and detailed work ever produced on this unique and controversial television series.
African Cinema and Urbanism
The changing nature of African landscapes, from rural to urbanized spaces, has been a pre-occupation of African media producers since the beginnings of the African film industry in the 1960s. In the six chapters in the book, the authors bring together several examples of African documentary and fiction screen media that present, evaluate and criticize urban and rural landscapes, and the rural and urban dynamic of development, in relation to contemporary issues, from biodiversity, sustainability and deforestation, to inequity, women's rights, political instability, to climate change-related themes of water and food supply, security and sovereignty. These works, comprising multi-platform cinema, streamed moving images and especially documentaries, depict the situations and open the door to rethinking and eventually to the possibilities of proposals responding to the situations portrayed. Screen media convey important visual information regarding the urban and rural built environments in Africa, relative to numerous geographic zones projected for major change and development over the next 30 years. Rapid spontaneous urban development will characterize the landscape of the African continent up until 2050, and urbanization has taken many forms, primarily unplanned. Yet, urban centres and cities have an important cultural weight since they often represent both a remnant of colonization (as colonial metropoles) and an opportunity for cultural place-making and belonging. Furthermore, African cities also serve as sites of negotiation because they are cultural melting pots offering the possibility to navigate and create identities that could not be created in rural areas. A main goal of this book is to contribute to critical discourse and to knowledge resources to assess, critique and propose directions in contemporary urban and settlement development, in the face of rapid spontaneous urbanization of landscapes in a context of climate change and housing need. The book aims to study, track, set out and present options for landscapes and cities in Africa that are intrinsic to African culture via documentary and narrative cinema, incorporating diverse platforms of screen media. We use the term "African screen media'' to denote media presentation on various formats and platforms. This is also born out of our recognition of the fact that the term "African cinema" assumes a certain homogeneity throughout a continent of 53 countries, and that "the idea of an African cinema" has evolved with many critics to "African Cinemas" and even to the now widely used term that many scholars of African media prefer, "African screen media" (Dovey 2009, 2). This term also addresses the multiple platforms and formats representing the atomization and fracturing of distribution in contemporary streaming. This work brings together theories and practices from the disciplines of urbanism, architecture and African cinema studies to examine some examples of how African artists are bringing attention to issues of urban precarity, climate change, survival and growth, and creativity on the continent. Theoretical references include Felwine Sarr's theory of 'Afrotopias' or 'Afrotopos' whereby the continent is a site of creative potential. Another theoretical influence with significant impact is the term "Black urbanism" as used by AbdouMaliq Simone for contemporary African cities. An alternative to modernist Western urbanism, this concept is structured around informality, creativity and improvisation.
Korean Film and History
This interdisciplinary book examines the relationship between film and history and the links between historical research and filmic (re-)presentations of history with special reference to South Korean cinema.
Color Science and Digital Imaging
This book, written by a leading expert in the field of visual effects (VFX), demystifies the complex subject of color science and how it should be managed from project ideation to completion. Readers will learn not only how things work, their capabilities and limitations, but also the color science that goes along with them, in an accessible and informative manner. Starting in the real world, with an understanding of light and our human perception of it, the book then explores how digital cameras "see" and digitize the scene. From the capture of these images, the author then explores the fundamental concerns of storage, editing, and managing color images, including with OpenColorIO and ACES, the Academy Color Encoding System. Written for professional photographers, cinematographers, VFX, motion graphics and computer graphics artists, editors, and colorists, this book will provide you with knowledge of the upstream and downstream technology of your job that will not only give you a competitive advantage and help you to make better images, but also give you a real-world working knowledge of color science.
It's All in the Delivery
2025 John G. Cawelti Award for the Best Textbook/Primer, Popular Culture Association/American Culture Association (PCA/ACA) 2025 Longlist, Kraszna-Krausz Moving Image Book AwardHow changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and '70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clich矇s, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural "women's work," misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US.
It's All in the Delivery
How changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and '70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clich矇s, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural "women's work," misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US.
American Noir Film
A deep dive into classic noir films and how filmmakers today are refreshing and updating the genre for new generations. Publishers Weekly praises the book, noting, "Cinephiles will be enthralled" and Library Journal says it's a "well-written introduction to noir films and how the genre has continued to thrive as times changed."Booklist calls it a "riveting history of the film noir genre" in a starred review, saying, "This is one of the best, best written, most insightful analyses of film noir, and it demands to be read by fans of film history."In American Noir Film, M. Keith Booker introduces readers to the cult-favorite genre of film noir and discusses the ongoing power and popularity of the genre's key elements and themes in modern films, often considered neo-noir, well into the twenty-first century. Booker covers a wide range of noir favorites, from the early classics The Maltese Falcon and The Big Sleep, to late twentieth-century neo-noir such as Chinatown, and ultimately newer iterations of the genre as seen in such films as Inherent Vice, Promising Young Woman, and Uncut Gems. American Noir Film contains three separate parts, each exploring crucial categories of noir: the detective film, the lost man film, and femme fatale films. Within each section, Booker discusses the essential classic noir films that embody these themes as well as neo-noir films that invite viewers to analyze how the traditional components of noir have evolved with filmmaking. Finally, each section concludes with twenty-first-century films that evoke noir elements while refreshing the genre and enhancing viewers' appreciation of the originals that inspired them--what Booker terms "revisionary noir." Whether new to noir films, students of the genre, or long-time fans, readers will be sure to learn what makes this genre so special, discover why filmmakers keep coming back to it, and find a new favorite movie to add to their shelves.
The State and New Cinema in Contemporary India
This book examines the relationship between the newly independent Indian state and its New Cinema movement. It looks at state formative practices articulating themselves as cultural policy.
The West on Soviet and Russian screens
Cinema remains an effective means of influence (including political and ideological) on the audience. Consequently, the study of the transformation of the image of the Western world on Soviet and Russian screens is still relevant today. Among the tasks set in the monograph is to determine the place and role of the theme of transformation of the image of the Western world in Soviet cinema from 1946 (the start of the post-war ideological confrontation) to 1991 (the collapse of the Soviet Union) in comparison with the trends of the modern era (1992-2016); study of the political, ideological, social, cultural context, the main stages of development, directions, goals, objectives, author's concepts of the treatment of this topic on the Soviet and Russian screen; classification and comparative analysis of ideology, content models, genre modifications, stereotypes of Soviet and Russian cinema related to the treatment of the image of the Western world. For researchers in the field of political science, cultural studies, film studies, media culture, sociology, teachers, postgraduates and university students of humanities specialities.
The Cinema Coven
Witches and witchcraft are potent metaphors for feminine power, with a history that predates the advent of cinema. The figure of the witch represents a particularly fraught, contested kind of gendered power, and has long inspired filmmakers to explore themes of race, class, trauma, motherhood, grief, and identity. This book examines the relationship between women, witchcraft, and filmmaking, exploring types of storytelling and the central themes in these movies. Such films span the globe and have starred prominent figures like Madonna, Bette Midler, Bjork, and Nicole Kidman, as well as lesser-known women behind the scenes. Some of these filmmakers have premiered their works at major film festivals, while others have produced content for television and video releases. While notable in their diversity, these movies share one crucial thing: they were all created by women in an industry broadly dominated by men.
The White Movement and the Russian Civil War on Screen
The topic of this book is significant for the following reasons: cinematography (thanks to TV shows, audiovisual media of various formats) remains an effective means of influence (including political, ideological) on the audience, therefore, the study of such an aspect as a comparative analysis of the evolution of the image of the White Movement in the domestic and foreign game cinematography of the sound period is relevant today. The materials of the book can find application in the sphere of political science, sociological, cultural and art education, media pedagogy. For researchers in the field of political science, culturology, film studies, media culture, media education, sociology, teachers, postgraduate and undergraduate students in the humanities, and a wide range of readers interested in this subject.
Spanish Horror Film and Television in the 21st Century
This book provides an up-to-date, in-depth survey of 21st century Spanish horror film and media, exploring both aesthetics and industrial dynamics.
Black Screens, White Frames
Black Screens, White Frames offers a new understanding of blank screens in cinema. Drawing on Gilles Deleuze's film-philosophy, author Tanya Shilina-Conte provides a detailed examination of non-images from early cinema to post-cinema. In other arts, absence has often been understood in terms of negative characteristics such as lacuna or lack, vacuum or void. Guided by a film-philosophical methodology and experimental modes of cinema rather than a thematic interpretation of its narrative forms, Shilina-Conte advances the concept of the filmmaking machine. She posits the filmmaking machine as an abstract art machine in constant production, which shifts our understanding of absence in cinema from negative to generative theorization. In the course of machinic production, dissociation ceases to be a negative characteristic of failure or incapacity and becomes a creative and capacious gesture of artistic experimentation. Further, she argues that blank screens function as points of deterritorialization within the filmmaking machine. In each chapter, she demonstrates that black or white screens either instigate relative deterritorializations or engender absolute escapes from narrative regimes in cinema. Blank screens in cinema, as machinic mutations and conditions of possibility, do not represent or symbolize but instead activate what is yet to appear and still to become. This reconsideration of non-images allows us to perform a more nuanced analysis of cinematic modes often overlooked in traditional film criticism. The wide-ranging discussion of canonical and rare examples in Shilina-Conte's book uncovers how absence as a productive mode alters the way we study cinema and changes the questions we ask about its history.
Men of Action
"A candy box filled with delicious details on some of TV's classic shows and a primer on how the industry works." Linwood Barclay, New York Times bestselling author An in-depth look at The Untouchables, Run for Your Life, The Magician and Harry O - four classic series that helped define the landscape of American television as we know it today. Each entry features a detailed episode guide and behind-the-scenes interviews with the actors, writers, producers, and directors who made these shows enduring, action-adventure classics. "A must-read for everyone who loves classic-television crime and drama series. Thoroughly researched, the lively stories behind these four series are as fascinating as they're informative." David Morrell, New York Times bestselling author of First Blood "Men of Action is fascinating and chock full of exciting details about the creation and production of some of the best remembered crime/adventure series of the '60s and '70s. Once you pick this book up, you won't be able to stop." Phoef Sutton, Emmy & Peabody Award Winning TV writer/producer of Cheers and Boston Legal "Men of Action feeds our appetite for intriguing trivia...a must-have for any classic-TV history fan." The Rap Sheet "Robertson has brought back four classic television series in thrilling detail. I know you Men of Action don't read books, but take it from this Man of Action that you'll want to read this one!" Raymond Benson, New York Times bestselling author of six James Bond continuation novels "Pushes all the buttons for classic television fans who like some substance along with their nostalgia. Best of all, perhaps, is a treasure trove of interviews that Robertson has conducted over the years, with stars and guest stars, writers, directors, and others involved in the production of each series. Fans of these shows will find much to enhance their knowledge, while those just approaching them will find themselves drawn into their compelling stories. It's a fun, easy, entertaining read." It's About TV.com "If you're a fan of any of these classic shows - or are just interested in how TV was made in the 60s and 70s - don't miss this book. It's jam-packed with incredible details and quotes from writers, directors, actors, and more." - Jay Faerber, supervising producer of Supergirl "Stylishly written with noirish tones. Robertson explores how innovative these shows were, gives behind the scenes details and defines the history. Insightful and enjoyable." Crime Time FM Ed Robertson is an award-winning author, journalist, and media analyst. His books include The Fugitive Recaptured, 45 Years of The Rockford Files, The Case of the Alliterative Attorney: A Guide to the Perry Mason TV Series and Made-for-TV Movies (with Bill Sullivan). He also hosts and produces TV Confidential, a syndicated weekly radio talk show and podcast. Follow Ed at EdRobertson.com & televisionconfidential.com
Never Sleep Again The Elm Street Legacy
In 1984, a new vision of horror was unleashed upon terrified moviegoers-a razor-gloved bogeyman who slashed his way through the children of those who had murdered him years before. In doing so, this cinematic monster would not just invade the dreams of his victims but give those watching a brand-new nightmare to fear forever.His name was Freddy Krueger, and the man who created him was master of horror Wes Craven.Since its release decades ago, A Nightmare on Elm Street has become synonymous with archetypical genre cinema. Now, go deeper than anyone ever has inside the making of this groundbreaking classic. Exclusive cast and crew interviews with those who survived the blood, sweat, and tears will take you through incredible behind-the-scenes triumphs, struggles, and controversies as they worked to bring Craven's vision to life.No one would have imagined that the in-the-shadows, rancorous killer would become a global pop-culture phenomenon and the star of a franchise that would scare up nearly half a billion dollars at the box office. Firmly rooted in the mainstream, it has become clear that Freddy Krueger may never rest in peace.Including rare and never-before-seen material, this extensively researched, comprehensive look back is the definitive account of the film that began what many have called the best, most frightening, and imaginative horror franchise in motion picture history.And remember: if you think you know everything about Wes Craven's 1984 horror classic... you must be dreaming!
Trends in Iranian Cinema
The cinema of Iran is celebrated both locally and internationally, yet elements of this diverse field remain comparatively understudied. This book brings together a diverse range of scholars to explore contemporary Iranian cinema in its local and international contexts from a range of perspectives including aesthetic, socio-political comparative approaches. Its chapters analyse the work of well-known filmmakers on the international film circuit such as Abbas Kiarostami, Mohammad Reza Aslani and Jaffar Panahi, as well as internationally lesser-known domestic films such as those of Kamal Tabrizi and the 'Sacred Defence' films of the Iran-Iraq war. The book further widens its scope with chapters which also examine the material practices of the Iranian film industry itself, including chapters on the process by which Iranian films become 'accessible' to international audience. Finally, it considers, too, representations of Iranians in foreign cinemas, and how these have in turn affected Iranian films.
The Public Relations Professional through the lens of cinema
The aim of this study is to see how media representations that portray professional Identity and Alterity are constructed, specifically in the area of Public Relations, through the processes of meaning production linked to film production. As we know, the media plays a fundamental role in shaping opinions and worldviews, making important contributions to the way professionals are represented, identified and socially located, which can have positive or negative consequences for this professional field. Thus, there is a need to unveil these visions of the public relations professional, allowing us to see how they are perceived in society and what identity strategies they have adopted to assert themselves as an activity and profession.
The Housing Film
The Housing Film examines how a century of realities and possibilities in domestic living have been profiled and foregrounded through studies and representations of Housing in the medium of Film. The filmic investigations, analysis and expos矇s of homes and our way of occupying them, and their possible effect on behaviour, in documentaries like Housing Problems (1935) and Paul Sng's Dispossession: The Great Council Housing Swindle (2017), propaganda films like Cumbernauld: Town for Tomorrow (1970), dramas like Cathy Come Home (1966) and features like High Rise (2017), to understand how closely the tow - film and housing - have grown and developed together, each conditioning the understanding and the range of possibilities of the other. This study will examine how these histories are in fact intertwined, will analyse and assess the mutual effects of Housing and Film and propose and define a specific category of 'The Housing Film.'
The Contemporary American Survival Film
The Contemporary American Survival Film investigates and breaks down the contemporary American Survival Film (from Cast Awayonwards), focusing on film, television, literature and video games.In the contemporary (and highly popular) American survival film, a lone figure is lost, trapped or stuck. Whether a desert island, cramped canyon, floating raft or the Alaskan tundra, the space cuts the characters off from their loved ones, communication technologies, transport or a means of escape. The sun burns flesh, the dry air dehydrates, the lack of food starves, the snow chills bodies and the sharp rocks pierce limbs.This book examines this survival space across film, television, video games, literature and online, asking four questions. Firstly, what does the post 2000s survival space look and behave like, how is it new or distinct? Secondly, the natural environment seems to hold all the power. How responsible is the setting for triggering narrative events, does the character have any agency at all? Thirdly, the environment damages the human body. How does this corporeal destruction interact with the notion of a specifically American fleshiness of the American survivor? Finally, could/would one ever willingly choose to enter the survival space and why? How is this survival space employing, rejecting and reworking past rubrics?
Magnificent M矇li癡s
The films of Georges M矇li癡s (1861-1938) are landmarks in the early history of narrative filmmaking and cinematic special effects. He was a harbinger of modern aesthetics and media manipulation, and this book, written by his granddaughter, is the only one that tells his full story. Magnificent M矇li癡s is a thoroughly researched but highly accessible book that is a crucial source for the scholar and an entertaining read for the nonspecialist. The core of the biography provides detailed accounts of M矇li癡s' filmmaking years (1896-1913), from his first motion pictures shortly after the public premiere of the Lumi癡re Cin矇matographe through such worldwide successes as his film Voyage dans la Lune (A Trip to the Moon) and his eventual marginalization by the very industry he had helped to found. The biography also chronicles M矇li癡s' formative work as director of Paris's preeminent magic theater, the Th矇璽tre Robert-Houdin; his subsequent career staging operettas for the Th矇璽tre des Vari矇t矇s Artistiques (1917-1923) in Montreuil on the site of one of his former film studios; and his later years selling toys and candy at the Gare Montparnasse (1926-1932) before being rediscovered by journalists and the avant-garde. These and other fascinating chapters highlight the remarkable range of M矇li癡s' creative work while suggesting how his singular life was nevertheless shaped by the seismic historical shifts of Second Empire and Third Republic France.
Stop Screwing Around and WIN Your Next Screenplay Contest! - The Step-by-Step Guide to Winning Hollywood's Biggest Screenwriting Competitions
All you need to know about writing a screenplay that will WIN a reputable script contest. 10 short no-nonsense chapters show exactly how to write a screenplay that wins major competitions and attracts serious attention from Hollywood studios and producers. Read this book today...and tomorrow you can be writing a script that WINS contests.
Once Upon a Time In China
ONCE UPON A TIME IN CHINATSUI HARKA Critical StudyBy Jeremy Mark RobinsonThis is a study of the Once Upon a Time In China film series produced and directed by Tsui Hark and starring Jet Li and Vincent Zhao. The Once Upon a Time In China series in movies comprises six features of 1991, 1992, 1993 (films), 1994 and 1997 (four of which were helmed by Tsui Hark - the first three and the fifth one, all were co-produced by Tsui), a TV series, plus other additions - and a host of cash-in movies and parodies. The first Once Upon a Time In China installment was one of those movies where every element comes together beautifully - the legendary character and story of Wong Fei-hung, a superstar-in-the-making, Jet Li, a terrific supporting cast (including Yuen Biao, Jacky Cheung, Kent Cheng and Rosamund Kwan), ouststanding technical aspects from all departments (including historical research), grand political themes, astonishing action choreography (from Yuen Shun-yi, Yuen Cheung-yan and Lau Kar-wing), and of course white-hot direction from Tsui Hark. Once Upon a Time In China was Tsui Hark's most-awarded movie, with wins for best director, best action choreography, best editing, and best music at the Hong Kong Film Awards (and it was nominated for best photography, best film and best supporting actor, Jacky Cheung). Director Tsui Hark is the dragon master of Chinese cinema (Stephen Teo calls Tsui a 'lion dancer among film directors'). Yes - a master, a lion dancer, a sifu, a wizard, a dragon master. Tsui Hark is a one-man film industry - as a glance as his list of credits will show, along with setting up his own film company in 1983, Film Workshop. Tsui Hark directs movies like a force of nature. The energy coming off the screen is stupendous. He is a fearless filmmaker, willing to try anything to get a good shot. That feeling of fearlessness, and wildness, coupled with imagination and technical brilliance makes Tsui an incredibly formidable filmmaker. There are very few filmmakers on the scene today with those qualities in such abundance. When you come back to a Tsui Hark picture after looking at other movies for a while, you realize that this guy is so passionate about cinema, so willing to try anything, to experiment, to push the boundaries of what cinema can do, of what cinema can be. Fully illustrated, with images from the Once Upon a Time In China films and the films of Tsui Hark. With filmography, bibliography and notes. 208 pages. www.crmoon.com
A Chinese Ghost Story
A CHINESE GHOST STORYTONY CHING SIU-TUNG. TSUI HARKA Critical StudyBy Jeremy Mark RobinsonThis is a study of the Chinese Ghost Story film series produced by Tsui Hark and helmed by Tony Ching Siu-tung. The Chinese Ghost Story movies are: A Chinese Ghost Story (1987) A Chinese Ghost Story 2 (1990) A Chinese Ghost Story 3 (1991) A Chinese Ghost Story: The Tsui Hark Animation (1997) A Chinese Ghost Story was remade in 2011 (and dedicated to Leslie Cheung). A Chinese Ghost Story (1987, Mandarin: Qiannu Youhun = Sien: Female Ghost, a.k.a. Fair Maiden, Tender Spirit), was one of those movies where everything works, and the mix of elements is just gorgeous. This is a golden, 100% killer of a movie.A Chinese Ghost Story has everything going for it: it is among the finest fantasy and action movies ever; it boasts a finale as grand as any in cinema; it tackles the most profound themes; it possesses a perfectly achieved tone and attitude; it features two incandescent stars (Leslie Cheung and Joey Wong); it is helmed and produced by two of the greatest action directors in history; and it is brilliant filmmaking. Tony Ching Siu-tung (b. 1953) started out as an actor and stuntman, working in movies in the late 1960s and 1970s; he moved into television as martial arts co-ordinator in the late 1970s and thru the 1980s (on several historical TV series); he moved up to directing movies with 1983's Duel To the Death. Tony Ching Siu-tung's two signature works are probably A Chinese Ghost Story and The Swordsman 2. Critically, those two films (and their movie series, the Chinese Ghost Story series and the Swordsman series), have garnered the highest criticial accolades (and they were big hits financially), and The Swordsman 2 has been the subject of numerous analyses of gender-bending issues in cinema. The sight of Brigitte Lin in drag and later fooling around with Jet Li as a 'woman' seems to drive film critics goo-goo. Tony Ching Siu-tung has won top awards for the action choreography for The Witch From Nepal, Shaolin Soccer, New Dragon Gate Inn, Hero and The Swordsman. Fully illustrated, with images from the Chinese Ghost Story films and the films of Tony Ching. With filmography, bibliography and notes. 176 pages. www.crmoon.com
The Swordsman
THE SWORDSMANTONY CHING SIU-TUNG. TSUI HARKA Critical StudyBy Jeremy Mark RobinsonThis is a study of the Swordsman film series produced by Tsui Hark and helmed by Tony Ching Siu-tung. The Swordsman is a gorgeous mix of elements: comedy, romance, spectacle, music, characterization, history/ mythology, Chinese culture - and of course action and martial arts. The Swordsman is also a truly inspired vision of the jiangzhu, the martial arts world, which Tony Ching and Tsui Hark explored many times; and, of course, Tsui had dived into the jiangzhu in his very first feature film as director, The Butterfly Murders, while Tony Ching had lived in the cinematic jiangzhu since the 1960s (working on his father's films at Shaws). The casting of The Swordsman is marvellous, and each of the principals embodies their characters as well as popping out of them - there is always a feeling in Chinese, historical action movies of this kind that it's all a pantomime, that it's pure entertainment, and should be taken as just that - a wild show. Actors aren't allowed to wink at the camera (rightly), but the movie does. The cast play it straight - but also with plenty of Peking Operatic over-acting. They don't need to nod at the audience, because the situations are so outlandish. The Swordsman movies were adapted from The Smiling, Proud Wanderer by Jin Yong (Louis Cha, 1924-2018), which have been used for five or so TV series (and a Shaw Brothers movie of 1978). So the Swordsman films are by no means the only interpretations of the novels of Jin Yong, one of the best-known authors of wuxia stories. In fact, a TV series is a probably more fitting form for adaptation, because Jin Yong's stories contain a huge cast of characters and numerous events. Those depicted in the Swordsman movies are but one small segment (and a loose adaptation at that). Tony Ching Siu-tung (b. 1953) started out as an actor and stuntman, working in movies in the late 1960s and 1970s; he moved into television as martial arts co-ordinator in the late 1970s and thru the 1980s (on several historical TV series); he moved up to directing movies with 1983's Duel To the Death. Tony Ching Siu-tung's two signature works are probably A Chinese Ghost Story and The Swordsman 2. Critically, those two films (and their movie series, the Chinese Ghost Story series and the Swordsman series), have garnered the highest criticial accolades (and they were big hits financially), and The Swordsman 2 has been the subject of numerous analyses of gender-bending issues in cinema. The sight of Brigitte Lin in drag and later fooling around with Jet Li as a 'woman' seems to drive film critics goo-goo. Tony Ching Siu-tung has won top awards for the action choreography for The Witch From Nepal, Shaolin Soccer, New Dragon Gate Inn, Hero and The Swordsman. Fully illustrated, with images from the Swordsman films and the films of Tony Ching. With filmography, bibliography and notes. 168 pages. www.crmoon.com
