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Intermedia in Italy
In Italy at the turn of the twentieth century, the arts drew suddenly closer: a curtain was raised on a magical new hybrid art, cinema. There followed an escalation in the birth of new hybrid genres like sound art, video art, graphic art and performance art and new sites and technologies for hybridity were developed: television, video projection, museums as white boxes, computers, the Internet. Some of Italy's best-known artists and groups got involved in various ways, from the Futurists, to Bruno Munari, Pier Paolo Pasolini, the Gruppo 63, Gianni Toti, Niccol簷 Ammaniti, and Wu Ming. Many artists we know less well often charted this in-between creative world. This book is rooted in the hypothesis that the ever-closer relations between artistic practices have been a key cultural force driving creativity since the start of the twentieth century. It attempts the first large-scale mapping of this force, providing a new framing, and along the way attempts to uncover some of the reasons behind this change.Clodagh Brook is Professor in Italian at Trinity College, Dublin; Florian Mussgnug is Professor of Comparative Literature and Italian Studies at University College London;Giuliana Pieri is Professor of Italian and the Visual Arts at Royal Holloway, London.
Abraham Polonsky
Abraham Polonsky (1910-1999), screenwriter and filmmaker of the mid-twentieth-century Left, recognized his writerly mission to reveal the aspirations of his characters in a material society structured to undermine their hopes. In the process, he ennobled their struggle. His auspicious beginning in Hollywood reached a zenith with his Oscar-nominated screenplay for Robert Rossen's boxing noir film, Body and Soul (1947), and his inaugural film as writer and director, Force of Evil (1948), before he was blacklisted during the McCarthy witch hunt. Polonsky envisioned cinema as a modern artist. His aesthetic appreciation for each technical component of the screen aroused him to create voiceovers of urban cadences--poetic monologues spoken by the city's everyman, embodied by the actor who played his heroes best, John Garfield. His use of David Raksin's score in Force of Evil, against the backdrop of the grandeur of New York City's landscape and the conflict between the brothers Joe and Leo Morse, elevated film noir into classical family tragedy. Like Garfield, Polonsky faced persecution and an aborted career during the blacklist. But unlike Garfield, Polonsky survived to resume his career in Hollywood during the ferment of the late sixties. Then his vision of a changing society found allegorical expression in Tell Them Willie Boy Is Here, his impressive anti-Western showing the destruction of the Paiute rebel outsider, Willie Boy, and cementing Polonsky as a moral voice in cinema.
Luxury, Sensation and the Moving Image
In recent years, the embrace of 'slow;' sensuous and durational forms of cinema and the moving image registers desires to immerse in phenomenological experiences of artworks as potential antidotes to our information-saturated, techno-capitalist age. Exploring shifts away from ownership, accumulation and possessive acquisition of the object towards more experiential, immaterial 'aneconomies' of pleasure, care, eroticism, poetry and ritual, this book tracks the evolution in understandings of the luxurious in the last decade, and luxury's potential coalitions with cinephilia; affect; the senses and the ontology and formal quality of light ({i}lux{/i}, {i}lucis{/i}). Engaging with four contemporary Francophone women artists - Louise Bourgeois, Chantal Akerman, Sophie Calle and Annie Ernaux - as case studies for an inter-medial, multi-sensory, and generically 'queer' conception of le luxe - the book also queries luxury's entrenched gendering as pathologized symptom of feminized experience; and both luxury and femininity's relation to consumption; embodiment and excess under neoliberal austerity and 24/7 surveillance culture. Although in our current disaster-laden epoch, sustained thinking about luxury might appear a perverse and abstracted act, the book, via the medium of cinema and the moving image, argues that a different understanding of luxury as a 'sensuous relation to the world;' a slowing down of critical and attentive faculties; and a re-investment in affective acts of communal being-together may no longer be decadent but epistemologically necessary to the preservation and continued affirmation of this world.Shortlisted by the Society for French Studies for the 2022 Gapper Prize, which is awarded to the best book of its year published by a British or Irish author.
Political Moods
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Melodrama films dominated the North and South Korean industries in the period between liberation from Japanese colonial rule in 1945 and the hardening of dictatorship in the 1970s. The films of each industry are often read as direct reflections of Cold War and Korean War political ideologies and national historical experiences, and therefore as aesthetically and politically opposed to each other. However, Political Moods develops a comparative analysis across the Cold War divide, analyzing how films in both North and South Korea convey political and moral ideas through the sentimentality of the melodramatic mode. Travis Workman reveals that the melancholic moods of film melodrama express the somatic and social conflicts between political ideologies and excesses of affect, meaning, and historical references. These moods dramatize the tension between the language of Cold War politics and the negative affects that connect cinema to what it cannot fully represent. The result is a new way of historicizing the cinema of the two Koreas in relation to colonialism, postcolonialism, war, and nation building.
Celluloid Democracy
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Celluloid Democracy tells the story of the Korean filmmakers, distributors, and exhibitors who reshaped cinema in radically empowering ways through the decades of authoritarian rule that followed Korea's liberation from Japanese occupation. Employing tactics that ranged from representing the dispossessed on the screen to redistributing state-controlled resources through bootlegging, these film workers explored ideas and practices that simultaneously challenged repressive rule and pushed the limits of the cinematic medium. Drawing on archival research, film analysis, and interviews, Hieyoon Kim examines how their work foregrounds a utopian vision of democracy where the ruled represent themselves and access resources free from state suppression. The first book to offer a history of film activism in post-1945 South Korea, Celluloid Democracy shows how Korean film workers during the Cold War reclaimed cinema as an ecology in which democratic discourses and practices could flourish.
The Films of Jules Verne
This is a reference book on 22 selected film adaptations from the works of Jules Verne. The book includes the films in chronological order, along with complete cast lists, numerous photos, running times, directorial credits, and a story synopsis for each production.
Intimacy and the Anxieties of Cinematic Flesh
In a "return" to Edmund Husserl and Sigmund Freud, Intimacy and the Anxieties of Cinematic Flesh explores how we can engage these foundational thinkers of phenomenology and psychoanalysis in an original approach to film. The idea of the intimate spectator caught up in anxiety is developed to investigate a range of topics central to these critical approaches and cinema, including: flesh as a disruptive state formed in the relationships of intimacy and anxiety; time and the formation of cinema's enduring objects; space and things; the sensual, the "real" and the unconscious; wildness, disruption, and resistance; and the nightmare, reading "phantasy" across the critical fields. Along with Husserl and Freud, other key thinkers discussed include Edith Stein, Roman Ingarden, Maurice Merleau-Ponty, Mikel Dufrenne in phenomenology; Melanie Klein, Ernest Jones, Julia Kristeva, and Rosine Lefort in psychoanalysis. Framing these issues and critical approaches is the question: how might Husserlian phenomenology and Freudian/Lacanian psychoanalysis, so often seen as contradistinctive, be explored through their potential commonalities rather than differences? In addressing such a question, this book postulates a new approach to film through this phenomenological/psychoanalytic reconceptualization. A wide range of films are examined not simply as exemplars, but to test the idea that cinema itself can be a version of critical thinking.
Blackrock
It's Toby Ackland's birthday party down near the surf club-and that should mean heaps of grog, drugs and good clean fun. But by the morning a young girl is dead-raped by three boys and bashed with a rock.Who is responsible?Blackrock is an intimate and strongly shaped human drama which examines the social forces behind the impulse to violence in individual lives.
And The Oscar Goes To
I'm Tim J. Culbertson, sometimes Tjcubby or more often Cubby, born and raised in Sikeston, Missouri, an area of Southeast Missouri near the bootheel and the mighty Mississippi River. I have been a Texan since 1986 after a brief Arkansas turn upon graduation from Southeast Missouri State University with a degree in Education with an emphasis on Library Science. Turning my back on that field, I chose restaurants and retail grocery but now recently retired in March 2022 and have the pleasure of spending time with my husband of 30 years, Gary LaPalombara to travel, read, dine in, and out, cook, watch baseball (GO CARDINALS and RANGERS)and now taking a spin at writing. After having an interest in movies as an early child, the youngest of five, I have enjoyed reading about celebrities' lives, watching movies (I enjoy most genres), and having an extensive library of books and movies on DVD and Blu-Ray and trivia, especially the Oscar. Now is the time, this is my first attempt to write about six people from all walks of life, their friendship over forty years working behind the Hollywood scenes, and obsession with Oscar. Many thanks to my family and friends for giving me the boost of confidence to write but most importantly to my late mother, Jane Culbertson who showed me the pleasure of enjoying movies and not forget, my husband, Gary who allowed me to use the computer more than ever to tackle this journey, We reside in downtown Dallas and enjoy living the dream called RETIREMENT. Allow me to reiterate, this is my first time at the rodeo of writing, hope you enjoy it, its been a labor of love attempting this and there is more to come if you; Ike this and remember as Bette Davis once said or similar to saying, BUCKLE YOUR SEATBELTS FELLAS, ITS GONNA BE A BUMPY RIDE
And The Oscar Goes To...
I'm Tim J. Culbertson, sometimes Tjcubby or more often Cubby, born and raised in Sikeston, Missouri, an area of Southeast Missouri near the bootheel and the mighty Mississippi River. I have been a Texan since 1986 after a brief Arkansas turn upon graduation from Southeast Missouri State University with a degree in Education with an emphasis on Library Science. Turning my back on that field, I chose restaurants and retail grocery but now recently retired in March 2022 and have the pleasure of spending time with my husband of 30 years, Gary LaPalombara to travel, read, dine in, and out, cook, watch baseball (GO CARDINALS and RANGERS)and now taking a spin at writing. After having an interest in movies as an early child, the youngest of five, I have enjoyed reading about celebrities' lives, watching movies (I enjoy most genres), and having an extensive library of books and movies on DVD and Blu-Ray and trivia, especially the Oscar. Now is the time, this is my first attempt to write about six people from all walks of life, their friendship over forty years working behind the Hollywood scenes, and obsession with Oscar. Many thanks to my family and friends for giving me the boost of confidence to write but most importantly to my late mother, Jane Culbertson who showed me the pleasure of enjoying movies and not forget, my husband, Gary who allowed me to use the computer more than ever to tackle this journey, We reside in downtown Dallas and enjoy living the dream called RETIREMENT. Allow me to reiterate, this is my first time at the rodeo of writing, hope you enjoy it, its been a labor of love attempting this and there is more to come if you; Ike this and remember as Bette Davis once said or similar to saying, BUCKLE YOUR SEATBELTS FELLAS, ITS GONNA BE A BUMPY RIDE
Towards an Intermedial History of Brazilian Cinema
From its inception, Brazilian cinema has combined extra-filmic artistic and cultural forms, both local and imported, resulting in an original aesthetic blend. Theatre, dance, music, circus, radio, television and the plastic arts left a distinctive mark on Brazilian cinema's poetics and politics, as can be observed in a host of fascinating phenomena analysed in this book, including: the film prologues that connected the screen to the stage in the 1920s; the chanchada musical comedies, inflected by vaudeville theatre and the radio; the manguebeat and 獺rido movie movements that blurred the boundaries between music and film; and contemporary multimedia installations and other experiments. By adopting intermediality as a historiographic method, this book reconstructs the history and cultural wealth behind filmic expressions in Brazilian cinema.
Bodies of Water
Explores how watery spaces provoke radical modes of screening queer corporeality in a diverse range of contemporary Latin American films.2025 CHOICE Outstanding Academic TitleHonorable Mention, for the 2025 British Association of Film Television and Screen Studies Best Publication PrizeRivers, swimming pools, lakes, and oceans: these watery spaces recur with remarkable frequency in recent queer Latin American cinema, urging us to question the intimacies between queerness and the aquatic. Unpredictable and uncontrollable, water reflects a natural fluidity in our sexual desires and orientations; it is both a space and a substance, one in which bodies surrender themselves to the natural forces of currents and flows. As the first book to investigate water's queer cinematic potential, Bodies of Water proposes that we think not only about water but also through it, illuminating new directions for the study of queer world cinema and its evolving aesthetic strategies. Bodies of Water engages critically with theories of cinematic embodiment and recent work in queer theory and the environmental humanities, foregrounding a region of the world historically overlooked in global discussions of queerness. By examining the radical queer epistemologies that emerge at the convergence of body, camera, and water, Bodies of Water ultimately poses a question of both critical and sociopolitical concern: what's so queer about cinematic waters?
Tracking Loach
Offers a unique first-hand account of Ken Loach's working methods
The Films of H.G. Wells
This is a reference book about films made from the worls of H.G. Wells. There are 25 productions included, covering the years from 1932-2002. The book includes all films in date order, comnplete cast lists, numerous photographs, directorial credits, running times, and a story synopsis for each production
Mary C. McCall Jr.
Finalist, 2024 Richard Wall Memorial Award, Theatre Library Association A screenwriter, novelist, labor leader, Hollywood insider, and feminist, Mary C. McCall Jr. was one of the film industry's most powerful figures in the 1940s and early 1950s. She was elected the first woman president of the Screen Writers Guild after leading the fight to unionize the industry's writers and secured the first contract guaranteeing a minimum wage, credit protection, and pay raises. Her advocacy was not welcomed by all: To screenwriters McCall was an "avenging goddess," but to studio heads she was, in the words of one Hollywood executive, "the meanest bitch in town." And after a clash with the mogul Howard Hughes in the blacklist-era 1950s, she disappeared from the pages of Hollywood history. J. E. Smyth tells McCall's remarkable story for the first time, putting the spotlight on her trailblazing career and crucial influence. She explores McCall's life and work, from her friendships with stars such as Bette Davis, Humphrey Bogart, and James Cagney to her authorship of the hit Maisie series about a working-class showgirl's adventures. Analyzing McCall's deft political maneuvering, Smyth offers new insight on screenwriters' struggle for equality and recognition. She also examines why McCall's legacy is unrecognized, showing how the Hollywood blacklist and entrenched sexism obscured her accomplishments. Colorful and compelling, this biography provides a powerful account of how one extraordinary woman shaped golden age Hollywood.
Channel 4 and the British Film Industry, 1982-1998
This monograph offers the first ever comprehensive study of Channel 4's film production, distribution and broadcasting activities and represents a significant contribution to British cinema and television history. The importance of Channel 4 to the British film industry over the last 40 years cannot be overstated. The birth of the Channel in 1982 heralded a convergence between the UK film and television sectors which was particularly notable given that the two industries had historically been at loggerheads. In addition to its role as a broadcaster and curator of feature film programming, since its inception Channel 4 has funded or co-funded hundreds of feature films through its film commissioning arm, Film4. The Channel's commitment to financing between 15-20 films per year helped form the backbone of the ailing film sector throughout the 1980s and early 1990s, while Film4 funding has also been instrumental to the success of many companies which have become vital to the British film industry.
Tracking Loach
Tracking Loach presents a ground-breaking and unique contribution to the study of cinema. Archibald was granted unprecedented access to observe one of world cinema's most celebrated and controversial filmmakers, Ken Loach, while he was making the 2012 feature The Angels Share, which received The Jury Prize at the Cannes Film Festival.This book draws on this knowledge to offer a first-hand account of the director's celebrated working methods, supplemented with insights gleaned from the British Film Institute's Loach archive, and analysis of his wider output and film-related political activity.Archibald has been 'Tracking Loach' for over three decades, as film viewer, film critic and film academic, and this inside perspective not only offers fresh insights into Loach's films and how they are made, but also highlights the benefits of production studies to the understanding of cinema more broadly.
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.
Reanimated
This book provides a fresh look at American horror remakes produced in the years since 2000, and represents a significant academic intervention into an understanding of the remaking trend. Offering an alternative take to the critical and scholarly dismissal of genre remakes as derivative copies, Reanimated instead approaches the films as intertextual adaptations which have both drawn from and helped to shape the genre in the 21st Century. Including detailed analysis of films from The Texas Chainsaw Massacre to IT, and identifying distinct cycles, production strategies and patterns of reception, this study illustrates the importance of the remake to contemporary horror cinema. Rather than representing the death of horror, remaking instead demonstrates the genre's remarkable capacity to reanimate.
Networked Bollywood
Networked Bollywood provides interdisciplinary analysis of the role of the stars in the transformation of Hindi cinema into a global entertainment industry. The first Indian film was made in 1913. However, filmmaking was recognized as an industry almost a hundred years later. Yet, Indian films have been circulating globally since their inception. This book unearths this oft-elided history of Bollywood's globalization through multilingual, transnational research and discursive cultural analysis. The author illustrates how over the decades, a handful of primarily male megastars, as the heads of the industry's most prominent productions and corporations, combined overwhelming charismatic affect with unparalleled business influence. Through their "star switching power," theorized here as a deeply gendered phenomenon and manifesting broader social inequalities, India's most prominent stars instigated new flows of cinema, industrial collaborations, structured distinctive business models, influenced state policy and diplomatic exchange, thereby defining the future of Bollywood's globalization.
Survivor and the Endless Gaze
In the vein of Seinfeldia and Bachelor Nation, the author of Advice for Future Corpses (and Those Who Love Them) brings "her singular sensibility, her genius for language" (Karen Karbo, author of In Praise of Difficult Women) to this insightful exploration of Survivor, reality TV, and the shifting definitions of truth in America. In a world of fake news and rampant conspiracy theories, the nature of truth has increasingly blurry borders. In this clever and timely cultural commentary, award-winning author Sallie Tisdale tackles this issue by framing it in a familiar way--reality TV, particularly the long-running CBS show Survivor. With her insightful and compelling writing, Tisdale illuminates the ins and outs of fandom: from the fan forum where statistical analysis is used to predict outcomes of the show to the show's underreported history of racism and sexual assault. With humor and in-depth superfan analysis, Tisdale explores the distinction between suspended disbelief and true authenticity both in how we watch shows like Survivor, and in how we perceive the world around us.
Cinematic Homelands
This book maps an emerging cycle of films made by Iranian diasporic women filmmakers and produced outside of Iran, focusing on five significant examples: Shirin Neshat's Women Without Men (2009), Sepideh Farsi's Red Rose (2014), Maryam Keshavarz's Circumstance (2011), Ana Lily Amirpour's A Girl Walks Home Alone at Night (2014) and Desiree Akhavan's Appropriate Behaviour (2014). These films speak to the emergence of feminist concerns surrounding gender relations, female subjectivity and sexuality in diasporic filmmaking. The book intends to show how the body of recent Iranian diasporic women's films demonstrates a substantial shift within the existing exilic and diasporic paradigm, requiring analysis of intersectional relations not only between ethnicity, culture and nationality, but also gender and sexuality. Attending closely to the vibrant feminist film culture generated by Iranian women in diaspora, this book aims to interrogate the diversity of women's filmmaking practices and their role in shaping new representations of female subjectivity and the diasporic condition.
Shadows in a Phantom Eye, Volume 12 (1937-1940)
Since the late 19th century, film has been the ultimate medium by which to express and illuminate the darker, wilder recesses of man's imagination. An alchemical convergence of magic lantern experiments and new photographic technology led to the production of the very first moving images, including visual captures of magic, mystery, violence, cruelty, crime, sex, nudity, devilry and death.SHADOWS IN A PHANTOM EYE Volume 12 reveals a flickering carnival of attractions and aberrations from the period 1937-1940, when even the most garish of filmic horror phantasies began to be overshadowed by the real-life atrocities of worldwide war. Classic serials, ever more daring exploitation movies, horror nightmares and other prime examples of pulp cinema are examined alongside a growing body of newsreel depicting death and destruction, the throes of a world in turmoil. This volume references more than 600 films from all countries and reproduces around 250 rare photographic images, posters and illustrations, many newly unearthed from international film archives and never before published.SHADOWS IN A PHANTOM EYE is the ultimate multi-volume guide for those wishing to explore an alternative global history of the moving image in its inaugural decades - a history that reveals a wild, often disturbing and provocative world which includes Hollywood but also stretches far, far beyond.
Meta in Film and Television Series
"That's so meta!" The emergence of the prefix-turned-adjective "meta" to describe media productions is, no doubt, symptomatic of an increasingly media-savvy audience; it has also drawn attention to the lack of scholarship on meta-phenomena in film and television studies. Meta in Film and Television Series aims to make up for this. Meta is defined as an intense form of reflexivity, that is characterized by its aboutness; meta-phenomena are not just an arsenal of devices but suppose an interpretive act and an active audience. Meta creates a framework with which to interrogate a work's relationship to its production, reception, medium, forms, and the world, and to explore its potentials and limitations. Meta supports the intuition latent in the popular usage that meta-phenomena are deeply entangled, while demonstrating that analysis stills requires such concepts to make sense of them.
Freak Scenes
Freak Scenes explores the increased licensing of indie music and representation of indie music cultures within American independent cinema since the 1980s. Indie music has, since the 2000s, become highlighted in some indie films as an attraction, but this book probes how the appeal of indie music stretches back to the late 1970s, when punk music made its impact on filmmaking. Sexton looks at a range of issues where indie music and indie film intersect, including commercial concerns, the growth of niche marketing, the increased employment of popular music in cinema and questions of authenticity, as well as the fraught tensions between commercial and artistic concerns. Case studies include: sonic authorship and indie music, representations of punk and indie scenes on screen, and an exploration of how racial and gender issues inform the representation and reception of indie cultures on film.
Refocus: The Films of Richard Linklater
Richard Linklater is a popular American filmmaker who is widely celebrated for the breadth of his oeuvre. Over the past three decades, Linklater has directed more than twenty features, ranging from non-linear independent films to Hollywood genre entertainment. Despite the popularity of Linklater's rich and varied body of work--and perhaps also because of this generic diversity--he remains under-represented in critical and scholarly fora.ReFocus: The Films of Richard Linklater addresses this oversight, bringing together twelve original essays attending to Linklater as a filmmaker whose work engages with contemporary debates in American politics, gender, youth, and activism as well as significant concepts in film studies, including time and duration, rhythm, and movement. Together these essays form a dialogue on Linklater's ongoing role in contemporary American popular culture, and the impact his work has on discussions within (and beyond) film studies.
Chris Marker
Formative writings by French avant-garde filmmaker Chris Marker It is hard to imagine French cinema without La Jet矇e (1962), the time-travel short feature by the reclusive French filmmaker Christian Fran癟ois Bouche-Villeneuve, better known as Chris Marker. He not only influenced artists ranging from David Bowie to J. G. Ballard but also inspired the cult film 12 Monkeys. Marker's influence expanded beyond his own films through his writings for the French monthly Esprit as well as anthologies and newly founded film publications. This first English translation of Marker's early writings on film brings together reviews and essays, published between 1948 and 1955, that span the topics of film style, adaptation, and ideology, as well as animation and the debates surrounding 3-D and wide-screen technologies, ranging from late silent-era films to postwar Hollywood's efforts to contend with the rise of television. Readers will find commentary on Laurence Olivier's 1944 screen adaptation of Henry V, a scathing review of Robert Montgomery's Lady in the Lake (1947), critiques of Walt Disney productions, a discussion of the pitfalls of prioritizing commercial success over aesthetic values, and more. An indispensable resource for cinephiles and scholars alike, these texts document the emergence of Marker's critical voice and situate him alongside such contemporaries as Andr矇 Bazin and Eric Rohmer, as well as the future French New Wave figures Jean-Luc Godard and Fran癟ois Truffaut. They show how his remarks on individual films open onto his engagement with films as social and cultural phenomena.
Mystery Science Theater 3000
A fun and fascinating deep dive for "devoted and loyal MST3K fans" (Library Journal) that reveals the impact and creation of the cult-hit television series Mystery Science Theater 3000.Few television shows can boast the long-term cult popularity and cultural influence of Mystery Science Theater 3000--or MST3K to its legions of devoted fans, known collectively as MSTies. Created by quirky standup comic Joel Hodgson and producer Jim Mallon, Mystery Science Theater 3000 was a low-budget and altogether unconventional comedy series about a man trapped in space and forced to watch the worst movies ever made alongside a pair of homemade, wisecracking robots named Tom Servo and Crow T. Robot. In Mystery Science Theater 3000: A Cultural History, Matt Foy and Christopher J. Olson explore the vast cultural influence of the cult television series, charting how the show's aesthetics, style of humor, and distribution innovations heralded shifts in popular culture and media production and criticism. The show also engaged viewers in the do-it-yourself media subculture of the 1980s that blurred the lines between media producers and consumers and introduced the art of media "riffing" into popular culture.Beginning with the humble origins of MST3K, Foy and Olson dig into everything from the show's journey across networks to the must-watch episodes. Also discussed are the endeavors of cast members after the show's cancellation, including RiffTrax, Cinematic Titanic, and the Mads Are Back, as well as the show's second life through a Kickstarter campaign and a Netflix revival. This is an essential guide to all things MST3K for fans both new and old.
The Rebirth of Suspense
Longlist, 2025 Moving Image Book Award, Kraszna-Krausz Foundation Winner, 2025 Choice Outstanding Academic Title Typically, films are suspenseful when they keep us on the edge of our seats, when glimpses of a turning doorknob, a ticking clock, or a looming silhouette quicken our pulses. Exemplified by Alfred Hitchcock's masterworks and the countless thrillers they influenced, such films captivate viewers with propulsive plots that spur emotional investment in the fates of protagonists. Suspense might therefore seem to be a curious concept to associate with art films featuring muted characters, serene landscapes, and unrushed rhythms, in which plot is secondary to mood and tone. This ambitious and wide-ranging book offers a redefinition of suspense by considering its unlikely incarnations in the contemporary films that have been called "slow cinema." Rick Warner shows how slowness builds suspense through atmospheric immersion, narrative sparseness, and the withholding of information, causing viewers to oscillate among boredom, curiosity, and dread. He focuses on works in which suspense arises where the boundaries between art cinema and popular genres--such as horror, thriller, science fiction, and gothic melodrama--become indefinite, including Chantal Akerman's La captive, Apichatpong Weerasethakul's Memoria, Jonathan Glazer's Under the Skin, Kelly Reichardt's Night Moves, Lucrecia Martel's Zama, Kiyoshi Kurosawa's Creepy, and David Lynch's Twin Peaks: The Return. Warner investigates the pivotal role of sound in generating suspense and traces how the experience of suspense has changed in the era of digital streaming. The Rebirth of Suspense develops a fresh theory, history, typology, and analysis of suspense that casts new light on the workings of films across global cinema.
The Rebirth of Suspense
Longlist, 2025 Moving Image Book Award, Kraszna-Krausz Foundation Winner, 2025 Choice Outstanding Academic Title Bronze Medal, 2025 Eiffel Award - Cinema Interpretation, Eiffel Foundation Typically, films are suspenseful when they keep us on the edge of our seats, when glimpses of a turning doorknob, a ticking clock, or a looming silhouette quicken our pulses. Exemplified by Alfred Hitchcock's masterworks and the countless thrillers they influenced, such films captivate viewers with propulsive plots that spur emotional investment in the fates of protagonists. Suspense might therefore seem to be a curious concept to associate with art films featuring muted characters, serene landscapes, and unrushed rhythms, in which plot is secondary to mood and tone. This ambitious and wide-ranging book offers a redefinition of suspense by considering its unlikely incarnations in the contemporary films that have been called "slow cinema." Rick Warner shows how slowness builds suspense through atmospheric immersion, narrative sparseness, and the withholding of information, causing viewers to oscillate among boredom, curiosity, and dread. He focuses on works in which suspense arises where the boundaries between art cinema and popular genres--such as horror, thriller, science fiction, and gothic melodrama--become indefinite, including Chantal Akerman's La captive, Apichatpong Weerasethakul's Memoria, Jonathan Glazer's Under the Skin, Kelly Reichardt's Night Moves, Lucrecia Martel's Zama, Kiyoshi Kurosawa's Creepy, and David Lynch's Twin Peaks: The Return. Warner investigates the pivotal role of sound in generating suspense and traces how the experience of suspense has changed in the era of digital streaming. The Rebirth of Suspense develops a fresh theory, history, typology, and analysis of suspense that casts new light on the workings of films across global cinema.
99 Episodes That Defined the '90s
How can you define a decade? Through television, of course. The 1990s featured many memorable TV moments, providing a fascinating picture of the decade. In this book, 99 episodes across all major television genres are discussed--from police procedurals, hangout sitcoms, and cartoons to game shows and much more. Some of these episodes became iconic and helped define the '90s; other episodes reflect events in the world at the time.
The G.I. Joe Roster
The wildly popular G.I. Joe universe has entertained kids since the 1960s, whether it be through a cartoon or an action figure. As G.I. Joe's stories expanded, so did the characters, and everyone had their favorite, be it Hawk and Duke fighting against evil or Cobra Commander and Destro bent on nothing less than world domination. For the first time ever, all the characters from the G.I. Joe multiverse--even those from outside the U.S. market--are gathered together in one location. Presented in field guide format, this book includes a history of the toy and comic lines as well as a thorough description of every action figure and character from the Cobra and G.I. Joe animated films, comics, and Hasbro-authorized fan fiction. With the addition of photographs from the private collection of Tommy Wyckoff, this book is a must-have for toy collectors and a chance for long-time G.I. Joe fans to recapture their favorite memories.
Indian Cinema Today and Tomorrow
Cinema has been, and is, a powerful tool for social mobilisation. The political importance of cinema was of course always well-known and has continued to evolve and grow. However, with innovations in modern technology, there has been the exponential growth of television alongside the movies, as well as social media.
16 Maps of Hell
Working on your book would be an act of biting the hand that feeds me at the moment.. . . I think that one would be asking a publisher to bite the hand that feeds them by publishing a book that takes on a system they are invested in. Or if your theory is true - they would give you an advance then bury your book to protect their fellow media mafia. Literary agent, to author, on 16 Maps of HellFor decades, a shadowy cultural elite has been applying the evolving media technology to shape the global psyche and occupy the landscape of our unconscious. Since the early days of Hollywood, these manufactured narratives have spilled over the edges of the movie screen and into reality. They have slowly stripped us of our sense of meaning and replaced our innate sense of value with "Hollywood" values. Without recognizing it, we have been seduced into complicity with an empire of imagery, lured into mass infantilization and cultural-enthrallment, and afflicted with an as-yet undiagnosed condition of "propaganda-derangement syndrome."Fortunately, in our struggle to awaken, features of the nightmare landscape have begun to creep into view. 16 Maps of Hell combines 24 in-depth Hollywood case studies with acute cultural analysis to assemble a holographic lens through which to examine the dark under layer of the entertainment industry-and its true purpose.By closely mapping a collectively-assembled social Hell, it offers the means to extract ourselves from the enchantments of a dark and ancient technological sorcery.
Voluptuous Terrors, Volume 8
Classic Italian film poster art is renowned as being among the most accomplished, creative and dynamic of its kind. From the post-war period through to the 1980s, Italian artists consistently produced posters with sumptuously stunning designs and imagery - not least in the cult and exploitation genres, for which compositions almost invariably included curvaceous female figures in jeopardy, juxtaposed with the iconography of fantasy and terror.VOLUPTUOUS TERRORS 8 is a collection that showcases 120 film poster designs by a wide range of acclaimed Italian artists, created for both indigenous and foreign-language film productions. Classic exploitation, pulp horror, science fiction, Eurospy, crime, mondo and giallo movies all figure in full-color, full-page images highlighting some of the world's most innovative and seductive poster art.
Cinema, Filmmaking and Emotion
Film has the ability to induce and manipulate emotions in viewers by influencing their psychological state, so filmmakers need to use specific mise-en-sc癡ne structures according to their story (Munstenberg, 1970). The research developed in this book seeks to question part of the relationship between the mise-en-sc癡ne and the emotional reaction of viewers in a film narrative. At the center of our reflection is the question of the correspondence, in a film genre, between the rules of creation and the emotional effects reflected in the spectator's facial expressions. Based on a review of the literature on two conceptual areas, facial expressions and the theory and practice of cinema, the aim is to understand whether the emotional reaction of the spectators corresponds to what the director wanted when planning the cinematographic work.
Alan J. Pakula
Renowned for his masterful storytelling, Alan J. Pakula (1928-1998) left an indelible mark on cinema history. Alan J. Pakula: Interviews offers a concise yet comprehensive overview of the director's illustrious career, from his early days in Hollywood to his rise as a major filmmaker. From the famous "paranoia trilogy" of Klute, The Parallax View, and All the President's Men to the gripping psychological drama of Sophie's Choice and his often-undervalued later work, Pakula's diverse filmography has captivated audiences and critics alike. The first published collection of interviews with the acclaimed director, this volume presents an illuminating portrait of Pakula as a filmmaker, an artist, and a man of many parts. The eighteen pieces compiled here, including an illuminating introduction and previously unpublished 1983 interview by editor Tom Ryan, provide a broad overview of Pakula's career. In his own words, Pakula recounts his experience as Robert Mulligan's producer, reflects on the bulk of films he made as director, and outlines his approach to the art of filmmaking. Taken as a whole, Alan J. Pakula: Interviews is a treasure trove of cinematic wisdom and a fitting tribute to the legacy of an important American filmmaker.
Alan J. Pakula
Renowned for his masterful storytelling, Alan J. Pakula (1928-1998) left an indelible mark on cinema history. Alan J. Pakula: Interviews offers a concise yet comprehensive overview of the director's illustrious career, from his early days in Hollywood to his rise as a major filmmaker. From the famous "paranoia trilogy" of Klute, The Parallax View, and All the President's Men to the gripping psychological drama of Sophie's Choice and his often-undervalued later work, Pakula's diverse filmography has captivated audiences and critics alike. The first published collection of interviews with the acclaimed director, this volume presents an illuminating portrait of Pakula as a filmmaker, an artist, and a man of many parts. The eighteen pieces compiled here, including an illuminating introduction and previously unpublished 1983 interview by editor Tom Ryan, provide a broad overview of Pakula's career. In his own words, Pakula recounts his experience as Robert Mulligan's producer, reflects on the bulk of films he made as director, and outlines his approach to the art of filmmaking. Taken as a whole, Alan J. Pakula: Interviews is a treasure trove of cinematic wisdom and a fitting tribute to the legacy of an important American filmmaker.
Marry an Agent! (Or...How to Get an Agent Without Even Dating One.)
"How do I get an agent?" is the most asked question in Hollywood. Are you ready to SELL yourself as a screenwriter? Then you need an agent...or a manager...or both. This is the comprehensive, step-by-step guide that will reveal the truth about: The difference between a screenwriting agent and a screenwriting manager. Why you need an agent...or manager...or both. How to choose the right agent or manager for you. When and how to reach out and make that first contact. When and how to sign your first agency or management contract. How to be the client agents and managers want to work for. This book will explain the realities of the industry...because screenwriting is not like any other career. It takes the right connections...and the first connection you need is professional representationin the marketplace. Nobody makes a movie without the help of other professionals. The right help from the right professionals can quickly promote your career and sell your work. That help only comes from agents and managers. This is the only book written by WGA writer-producers with more than 300 produced IMDB.com credits whose careers have been guided by nearly a dozen representatives ranging from "boutique" agencies to the industry's most powerful lawyers and mega-agents. This is the book that answers the question "How do I get an agent?"...and so much more. Writing marketable screenplays is difficult. But the incredible rewards are there for you when you understand the business and have the right professionals working for you. Put the world of agents and manager to work for you. Move beyond writing screenplays and into the world of selling screenplays. What this book includes: The authors' contact information for your further questions. "Agent advice" from leading screenwriters. Discount codes to submit your work to leading screenplay competitions. Discounts for Live Screenplay & Career Consultations with the authors. It's time to stop "hoping" to sell your scripts. It's time to put the right people to work selling them for you. The steps and strategies for getting agents and managers to work for you are all here.
Mary Poppins
This volume examines　Mary Poppins as a 1960s film reflecting and invested in its radically changing times, a largely but not unmitigatedly antiestablishment　musical resonant with conditions and issues powerfully affecting baby boomers.
Introduction to Documentary, Fourth Edition
The fourth edition of Bill Nichols's best-selling text, Introduction to Documentary, has been vastly altered in its entirety to bring this indispensable textbook up to date and reconceptualize aspects of its treatment of documentaries past and present. Here Nichols, with Jaimie Baron, has edited each chapter for clarity and ease of use and expanded the book with updates and new ideas.Featuring abundant examples and images, Introduction to Documentary, Fourth Edition is designed to facilitate a rich understanding of how cinema can be used to document the historical world as it is seen by a wide variety of filmmakers. Subjectivity, expressivity, persuasiveness, and credibility are crucial factors that move documentary film away from objective documentation and toward the thought-provoking realm of arguments, perceptions, and perspectives that draw from a filmmaker's unique sensibility to help us see the world as we have not seen it before. Exploring ethics, history, different modes of documentary, key social issues addressed, and both the origins and evolution of this form, this updated volume also offers guidance on how to write about documentaries and how to begin the process of making one. Introduction to Documentary, Fourth Edition will be of use not only to film students but also those in adjacent fields where visual representations of reality play an important role: journalism, sociology, anthropology, feminist and ethnic studies, among others.
Identity, Nationhood and Bangladesh Independent Cinema
This book analyses how independent filmmakers from Bangladesh have represented national identity in their films. The focus of this book is on independent and art house filmmakers and how cinema plays a vital role in constructing national and cultural identity.
Gender, Power, and Identity in The Films of Stanley Kubrick
This volume features a set of thought-provoking and long overdue approaches to situating Stanley Kubrick's films in contemporary debates around gender, race, and age - with a focus on women's representations.
Thinking Through High-Tech Hell
New media determine our dystopian situation. Miguel Sebasti獺n-Mart穩n maps the new media hell. Read this book to understand how SF reproduces our dystopian present and to find the cracks where the light gets in. (J. Jesse Ram穩rez, Eastern Switzerland University of Applied Sciences) In Thinking through High-Tech Hell, Miguel Sebasti獺n-Mart穩n defines a 'dystopian structure of feeling' among SF and new media that, contrary to much recent theorizing, is ambivalent about its sense of dystopianness. Through a series of textual examples, Sebasti獺n-Mart穩n demonstrates how the dystopian structure of feeling both critiques and embraces the current neoliberal capitalist state of technology and new media. The book is impressively researched and thoughtfully written, moving easily from broad theoretical/philosophical discussions to pinpoint analysis, making it a relevant new contribution to new media studies and SF research. (Liz W. Faber, Assistant Professor of English and Communication, Dean College) Examining a cluster of British and Anglo-American series from the 2010s, this book theorizes them - and, indirectly, the epochal reality that they represent - as new media dystopias. With this term, the author conceptualizes an emergent sub-genre of audio-visual SF which is thematically concerned with the worst effects of developments in media technologies under digital capitalism and is, ironically, produced for and distributed through digital-capitalist platforms. Across the book's chapters, the new media dystopia is approached as an epochal structure of feeling, as a narratively reflexive sub-genre, as an aesthetically ambivalent form, and as a locale for a new kind of quixotism. Combining these perspectives, the book's interest lies in gauging the ways and the extent to which these dystopias contribute to the historical hopelessness that seems to define the terms of our relationship with new media technologies - as well as our position within and towards contemporary capitalism.
I Spit on Your Celluloid
Slumber Party Massacre. Pet Sematary. Near Dark. American Psycho -- These horror movies have heavily contributed to pop culture and are loved by horror fans everywhere. But so many others have been forgotten by history. From the first silent reels to modern independent films, in this book you'll discover the creepy, horrible, grotesque, beautiful, wrong, good, and fantastic -- and the one thing they share in common. This is the true history of women directing horror movies. Having conducted hundreds of interviews and watched thousands of horror films, Heidi Honeycutt defines the political and cultural forces that shape the way modern horror movies are made by women. The women's rights and civil rights movements, new distribution technology, digital cameras, the destruction of the classic studio system, and the abandonment of the Hays code have significantly impacted women directors and their movies. So, too, social media, modern ideas of gender and racial equality, LGBTQ acceptance, and a new generation of provocative, daring films that take shocking risks in the genre. Includes short films, anthologies, documentaries, animated horror, horror pornography, pink films, and experimental horror. I Spit on Your Celluloid is a first-of-its-kind celebration, study, and "a book that needed to be written" (says cult filmmaker Stephanie Rothman). You will never look at horror movies the same way again!
Danny Boyle
A humble man from humble beginnings, Danny Boyle (b. 1956) became a popular cinema darling when Slumdog Millionaire won big at the 2009 Academy Awards. Prior to this achievement, this former theater and television director helped the British film industry pull itself out of a decades-long slump. With Trainspotting, he proved British films could be more than stuffy, period dramas; they could be vivacious and thrilling with dynamic characters and an infectious soundtrack. This collection of interviews traces Boyle's relatively short fifteen-year film career, from his outstanding low-budget debut Shallow Grave, to his Hollywood studio films, his brief return to television, and his decade-in-the-making renaissance. Taken from a variety of sources including academic journals, mainstream newspapers, and independent bloggers, Danny Boyle: Interviews is one of the first books available on this emerging director. As an interviewee, Boyle displays an engaging honesty and openness. He talks about his films 28 Days Later, Millions, and others. His success proves that classical storytelling artists still resonate with audiences.
Michael Winterbottom: Interviews
Prolific British director Michael Winterbottom (b. 1961) might be hard to pin down and even harder to categorize. Over sixteen years, he has created feature films as disparate and stylistically diverse as Welcome to Sarajevo, 24 Hour Party People, In This World, Butterfly Kiss, and The Killer Inside Me. But in this collection, the first English-language volume to gather international profiles and substantive interviews with the Blackburn native, Winterbottom reveals how working with small crews, available light, handheld digital cameras, radio mics, and minuscule budgets allows him fewer constraints than most filmmakers, and the ability to capture the specificity of the locations where he shoots. In Michael Winterbottom: Interviews he emerges as an industrious filmmaker committed to a stripped-down approach whose concern with outsiders and docu-realist authenticity have remained constant throughout his career. Collecting pieces from news periodicals as well as scholarly journals, including previously unpublished interviews and the first-ever translation of a lengthy, illuminating exchange with the French editors of Positif, this volume spans the full breadth of Winterbottom's notably eclectic feature-film career.
D. A. Pennebaker
This wide-ranging and insightful collection of interviews with D. A. Pennebaker (1925-2019) spans the prolific career of this pioneer of observational cinema. From the 1950s, Pennebaker made documentary films that revealed the world of politics, celebrity culture, and the music industry. Following his early collaborations with Robert Drew on a number of works for television, his feature-length portrait of Bob Dylan on tour in England in 1965 (the landmark film Dont Look Back) established so-called direct cinema as a form capable of achieving broad theatrical release. With Monterey Pop, Pennebaker inaugurated the popular mode of rock concert film (or "rockumentary"), a style of filmmaking he expanded on through a number of films, including Ziggy Stardust and the Spiders from Mars and Depeche Mode: 101. Pennebaker always regarded collaboration as an integral part of his filmmaking methods. His long-running collaboration with Richard Leacock and subsequently his work with Chris Hegedus enriched his approach and, in the process, instituted collaboration as a working practice integral to American direct cinema. His other collaborations, particularly those with Jean-Luc Godard and Norman Mailer, resulted in innovative combinations of observational techniques and fictional aesthetics. Such films as The War Room, which was about the 1992 Democratic primaries and was nominated for an Academy Award, and the 2009 Kings of Pastry continue to explore the capacities of observational documentary. In 2012 Pennebaker was the first documentary filmmaker to be awarded an Academy Honorary Award by the Academy of Motion Picture Arts and Sciences.
