![Left or Right? Directing Lateral Movement in Film [Premium Color]](https://cdn.kingstone.com.tw/english/images/product/9486/9781622739486.webp "Left or Right? Directing Lateral Movement in Film [Premium Color]")
Samuel Fuller
In the early twentieth century, the art world was captivated by the imaginative, original paintings of Henri Rousseau, who, without formal art training, produced works that astonished not only the public but great artists such as Pablo Picasso. Samuel Fuller (1912-1997) is known as the "Rousseau of the cinema," a mostly "B" genre Hollywood moviemaker deeply admired by "A" filmmakers as diverse as Jim Jarmusch, Martin Scorsese, Francois Truffaut, Jean-Luc Godard, and John Cassavetes, all of them dazzled by Fuller's wildly idiosyncratic primitivist style. A high school dropout who became a New York City tabloid crime reporter in his teens, Fuller went to Hollywood and made movies post-World War II that were totally in line with his exploitative newspaper work--bold, blunt, pulpy, excitable. The images were as shocking, impolite, and in-your-face as a Weegee photograph of a gangster bleeding on a sidewalk. Fuller, who made twenty-three features between 1949 and 1989, is the very definition of a "cult" director, appreciated by those with a certain bent of subterranean taste, a penchant for what critic Manny Farber famously labeled as "termite art." Here are some of the crazy, lurid, comic book titles of his movies: Shock Corridor, The Naked Kiss, Verboten!, and Pickup on South Street. Fuller isn't for everybody. His fans have to appreciate low-budget genre films, including westerns and war movies, and make room for some hard-knuckle, ugly bursts of violence. They also have to make allowance for lots of broad, crass acting, and scripts (all Fuller-written) that can be stiff, sometimes campy, often laboriously didactic. Fuller is for those who love cinema--images that jump, shout, and dance. As he put it in his famous cigar-chomping cameo, acting in Jean-Luc Godard's Pierrot le fou (1965): "Film is like a battleground . . . love, hate, violence, death. In a single word: emotion." After directing, Fuller's greatest skill was conversation. He could talk, talk, talk, from his amazing experiences fighting in World War II to the time his brother-in-law dated Marilyn Monroe, and vivid stories about his moviemaking. Samuel Fuller: Interviews is not only informative about the filmmaker's career but sheer fun, following the wild, uninhibited stream of Fuller's chatter. He was an incredible storyteller, and no matter what the interview was, he had stories galore for all sorts of readers, not just for academics and film historians.
D. W. Griffith
D. W. Griffith (1875-1948) is one of the most influential figures in the history of the motion picture. As director of The Birth of a Nation, he is also one of the most controversial. He raised the cinema to a new level of art, entertainment, and innovation, and at the same time he illustrated, for the first time, its potential to influence an audience and propagandize a cause. Collected together here are virtually all of the "interviews" given by D. W. Griffith from the first in 1914 to the last in 1948. Some of the interviews concentrate on specific films, including The Birth of a Nation, Intolerance, and, most substantially, Hearts of the World, while others provide the director with an opportunity to expound on topics of personal interest, including the importance of proper exhibition of his and other's films, and his search for truth and beauty on screen. The interviews are taken from many sources, including leading newspapers, trade papers, and fan magazines. They are often marked by humor and by a desire to please the interviewer and thus the reader. Griffith may not have been particularly enthusiastic about giving interviews, but he seems always determined to put on a good show. Ultimately, D. W. Griffith: Interviews provides the reader with a unique insight into the mind and filmmaking techniques of a director whose work and philosophy is as relevant today as it was when he was at the height of his fame in the 1910s and 1920s.
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!
From Trick to Immersion
This paper covers the history of stereoscopic 3D cinema in its technical, aesthetic and technological aspects. From the construction of this context, and through a time frame, we sought to understand what has changed in the mise-en-sc癡ne of stereoscopic 3D films from the 1950s to the present day. We assumed that the use of 3D has indeed changed a lot. For this study, we selected two stereoscopic films, one representative of each historical period chosen: Dial M to Kill (1953) and Gravity (2013). Through a detailed analysis, we sought to point out the main uses of mise-en-sc癡ne in each film, as well as to thoroughly investigate significant patterns of continuity and stylistic change - that is, to understand how the filmmakers employed, and still employ, stereoscopic techniques within cinematic staging.
Issues and Singularity in the British Media Volume 1
This book offers a historical, cultural, political and socio-economic analysis of the British media. It examines how facts and events are reported and interpreted, but also how ideas and opinions circulate and are recycled, with attention being paid to British traits and tropes in these domains. This in-depth study of "issues" and "singularity" aims at understanding how the British media have helped shape the country's culture and representations, thereby providing its people with a sense of togetherness. Volume 1 focuses on the press, the internet and cinema as mass media, from the prolific and innovative Victorian era - the matrix of the modern world - to the turn of the 21st century with the challenge of digitalisation. Newspapers, magazines, films and music are studied as vehicles for fostering shared collective identities ("imagined communities") and for projecting a certain image of Britain at home and abroad ("soft power").
Reclaiming Female Authorship in Contemporary UK Television Comedy
This book explores female authorship in UK television comedy, with a focus on British and Northern Irish writers/performers. More specifically, it examines comedy texts produced between 2010 and 2020, a period marked by a proliferation of female-centric and female-created comedy. In the following order, comedians Julia Davis, Phoebe Waller-Bridge, Caitlin/Caroline Moran, Michaela Coel, and Sharon Horgan will be analysed as key case studies. Drawing from these case studies, the book has two objectives. First, it seeks to update Kathleen Rowe's concept of the 'unruly' woman, shifting the emphasis from visibility and performance to the labour and contexts behind on-screen portrayals. Building on Rowe's existing scholarship, the book introduces the term 'fastidious' to describe how comedians display delicacy, precision, and control over their carefully crafted TV series. Secondly, the book aims to extend this concept to British and Northern Irish TV writers/performers who have been either overlooked or examined within broader transnational projects. In doing so, it 'reclaims' the authorship of women from the UK.
Memories of the Palace Cinema
An archive of the oral history project Memories of the Palace Cinema Alton. The Palace Cinema was one of the longest running purpose built cinemas in the country. Opened 1912 and closed 2022. This book presents interviews with locals and responses to an online questionnaire. To collect memories of the Palace Cinema, to document the fact that this little market town had a cinema and the impact that cinema had on peoples' lives.The Palace may be closed, but the memories live on.
Titania and Oberon
Titania and Oberon: A Fairy Tale Ballet Under the Moonlight" mesmerizes with a graceful narrative of Shakespeare's enchanting characters. Dancers embody the mystical allure of the fairy realm, portraying Titania's regal grace and Oberon's commanding presence amidst moonlit forests. Choreography blends classical technique with whimsical storytelling, evoking their intricate relationship and magical conflicts. Set against celestial backdrops and ethereal lighting, the ballet unfolds with a dreamlike ambiance, capturing the essence of love, jealousy, and reconciliation. Music enhances the emotional depth, resonating with the ballet's enchanting themes and the characters' emotional journey. The performance invites audiences into a realm where dance transcends reality, showcasing the artistry of movement and the power of storytelling. "Titania and Oberon" promises an immersive experience, where the beauty of ballet and the enchantment of Shakespeare's tale merge in a captivating celebration of love and fantasy under the enchanting glow of the moon.
Edward & Mrs. Simpson
This is a reference book on the 1978 TV serial Edward & Mrs. Simpson, starring Edward Fox and Cynthia Harris. The seven episodes are presented in original transmission date order, along with complete cast listings, numerous photographs, directorial credits, and a story synopsis for each entry. Also included is the 1988 film The Woman he loved, starring Jane Seymour and Anthony Andrews.
Historical Turns
Historical Turns reassesses Weimar cinema in light of the "crisis of historicism" widely diagnosed by German philosophers in the early twentieth century. Through bold new analyses of five legendary works of German silent cinema--The Cabinet of Dr. Caligari, Destiny, Rhythm 21, The Holy Mountain, and Metropolis--Nicholas Baer argues that films of the Weimar Republic lent vivid expression to the crisis of historical thinking. With their experiments in cinematic form and style, these modernist films revealed the capacity of the medium to engage with fundamental questions about the philosophy of history. Reconstructing the debates over historicism that unfolded during the initial decades of moving-image culture, Historical Turns proposes a more reflexive mode of historiography and expands the field of film and media philosophy. The book excavates a rich archive of ideas that illuminate our own moment of rapid media transformation and political, economic, and environmental crises around the globe.
Voluptuous Terrors, Volume 7
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 7 showcases 120 film posters 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 design.
Drive-Ins of New Mexico
From the tiny triangular screen of the state's first drive-in to a sprawling six-screen complex, this book provides the history of each and every ozoner that ever set up under New Mexico's nighttime sky. And some of those tales are doozies!Did you ever hear about the New Mexico drive-in that started out with one name, changed it a decade later, then changed back? How about the drive-in that was replaced by a micro-midget car track, then restored? Or about the one in Albuquerque that offered a circle of screens, one per car?Join Michael Kilgore, the West's foremost drive-in researcher, as he tells the often quirky, frequently accurate, bite-sized stories of every ozoner that ever operated in New Mexico. A full index and background history of drive-ins in general complement the 82 individual drive-in histories in this book. Drive-Ins of New Mexico is the perfect gift for any historian or drive-in theater enthusiast.
Marco Ferreri
Marco Ferreri (1928-1997) was one of Italian cinema's boldest auteurs. A maverick personality, he worked with some of the most popular actors of the time (Marcello Mastroianni, Michel Piccoli, Catherine Deneuve, Gerard Depardieu, Ugo Tognazzi, Carroll Baker, Roberto Benigni, Isabelle Huppert, Christopher Lambert and others), and directed internationally acclaimed films. His filmography includes The Conjugal Bed (1963), The Ape Woman (1964), Dillinger Is Dead (1969), the scandalous La Grande Bouffe (1973), the absurdist western Don't Touch the White Woman! (1974), The Last Woman (1976), Bye Bye Monkey (1978) and the Charles Bukowski adaptation Tales of Ordinary Madness (1981). Ferreri's cinema dealt in highly original ways with contemporary issues: the crisis of marriage, relationships between sexes, consumerism, and political disillusionment. His films were controversial and confronted censorship issues, leading to Ferreri's fame as a master provocateur. This book examines Marco Ferreri's life and career, placing his work within the social and political context of postwar Italian culture, politics, and cinema. It includes a detailed production history and critical analysis of his films, with never-before-seen bits of information recovered from Italian ministerial archives and in-depth discussion of the director's unfilmed projects.
Ecological Theme in Russian Feature Films
This scholarly publication analyses the development of the ecological theme in Soviet and Russian feature film art of the sound period. In particular, it analyses films on the ecological theme from the eras of Stalin's totalitarian ideological control (1931-1955), "thaw" (1956-1968), authoritarianism (1969-1985), the period of "perestroika" (1986-1991) and post-Soviet time. For university professors, postgraduates, students, teachers interested in the problems of environmental themes in cinema.
The Adventurer
This is a reference book on the 1972-73 TV series The Adventurer, starring Gene Barry which ran for 26 episodes. The book includes all the episodes in original date of transmission order, complete cast listings, numerous photographs, directorial credits, and a story synopsis for each episode.
Women in the cinema of Pedro Almod籀var Caballero
This research investigates the cinematographic work of the Spanish director and the reinvention of classic Hollywood melodrama such as Douglas Sirk's women's films. The Spanish film-maker caused a reconfiguration of the film genre and with his insights shifts the social role of women from their conventional place in cinema. The research also makes it possible to establish a debate in the field of psychoanalysis with the formulations of Sigmund Freud, Georges Bataille, Judith Butler, E. Ann Kaplan and Laura Mulvey around melodramatic characters and their internal conflicts. Melodrama is renewed through its ironic forms and the appropriation of intertextuality, dialogue with cinema itself, works of art, literature, music and dance, incorporating them into its narratives and imprinting its authorial mark.
The Cinematic Influence
Exploring the multiple aesthetic and cultural links between French and Japanese cinema, The Cinematic Influence is packed with vivid examples and case studies of films by Akira Kurosawa, Jean-Luc Godard, Hirokazu Kore-eda, Claire Denis, Naomi Kawase, Michel Gondry and many others. It illustrates the vast array of cinematic connections that mark a long history of mutual influence and reverence between filmmakers in France and Japan. The book provides new insights into the ways that national cinemas resist Hollywood to maintain and strengthen their own cultural practices and how these national cinemas perform the task of informing and enlightening other cultures about what it means to be French or Japanese. This book also deepens our understandings of film's role as a viable cultural and economic player in individual nations. Importantly, the reader will see that film operates as a form of cultural exchange between France and Japan, and more broadly, Europe and Asia. This is the first major book to investigate the crossover between these two diverse national cinemas by tracking their history of shared narrative and stylistic techniques.
Designing Russian Cinema
This book highlights the significant role that production artists played when Russian cinema was still in its infancy. It uncovers Russian cinema's connections with other art forms, examining how production artists drew on both aesthetic traditions and modernist experiments in architecture, painting and theatre as they explored the new medium of cinema and its potential to engender new models of perception and forms of audience engagement. Drawing on set design sketches, archival documents and film-makers' memoirs, Eleanor Rees reveals how less-canonical films such as Behind the Screen (Kulisy ekrana, 1919) and Palace and Fortress (Dvorets i krepost織, 1923), were remarkable from a design perspective, and also provides new readings of well-known films, such as Children of the Age (Deti veka, 1915) and Strike (Stachka, 1925). Rees brings to light information on significant but understudied figures such as Vladimir Egorov and Sergei Kozlovskii, and highlights the involvement of well-known figures such as Lev Kuleshov and Aleksandr Rodchenko. Unlike the majority of late Imperial directors and camera operators, many early-Russian production artists continued to work in cinema in the Soviet era and to draw on practices forged before the 1917 Revolution. In spanning the entire silent era, this book highlights the often overlooked continuities between the late-Imperial and early-Soviet periods of cinema, thus questioning traditional historical periodisations.
The Marriage of Maria Braun
A new reading of Fassbinder's most popular film that highlights the roles of race and gender. The Marriage of Maria Braun is the most popular film by the enfant terrible director Rainer Werner Fassbinder, the leading exponent of the "New German Cinema" of the early sixties to early eighties. It exemplifies his use and abuse of the genre of melodrama. Set in the immediate postwar period and centered around a strong female protagonist, Maria Braun (1978) was the first film in a trilogy that attempts to work through West Germany's fraught past and the legacy of Nazi Germany through the eyes of characters marginalized by their gender, race, sexuality, or (dis)ability. Maria attempts to navigate the poverty and sexism of the immediate postwar years by making her relationships with men, including the Black American G.I., Bill, as beneficial as possible. In the end, she discovers she has been a pawn in a power game between her husband, Hermann, for whom she has been pining while he has been in prison, and her lover, the industrialist Oswald. Yet Maria is also complicit in racism and white patriarchy, a fact that scholarship on the film has barely registered. In her new reading, Priscilla Layne draws on archival research, Critical Race Theory, Black Feminist Thought, and Critical Whiteness Studies to expand on the role of race and gender in the film.
Rated a
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. In the 1990s, India's mediascape saw the efflorescence of edgy soft-porn films in the Malayalam-speaking state of Kerala. In Rated A, Darshana Sreedhar Mini examines the local and transnational influences that shaped Malayalam soft-porn cinema--such as vernacular pulp fiction, illustrated erotic tales, and American exploitation cinema--and maps the genre's circulation among blue-collar workers of the Indian diaspora in the Middle East, where pirated versions circulate alongside low-budget Bangladeshi films and Pakistani mujra dance films as South Asian pornography. Through a mix of archival and ethnographic research, Mini also explores the soft-porn industry's utilization of gendered labor and trust-based arrangements, as well as how actresses and production personnel who are marked by their involvement with a taboo form negotiate their social lives. By locating the tense negotiations between sexuality, import policy, and censorship in contemporary India, this study offers a model for understanding film genres outside of screen space, emphasizing that they constitute not just industrial formations but entire fields of social relations and gendered imaginaries.
The Morph-Image
In The Morph-Image: The Subjunctive Synthesis of Time, Steen Ledet Christiansen argues for a new model of digital cinema that draws on Deleuzian and Whiteheadian insights into time and the future. This model insists that the philosophy of time must be rethought to provide a better understanding of the future and that the digital capacities of post-cinema present occasions of thought well-suited to this task. The figure of the morph, Christiansen posits, allows a conception of how post-cinema expresses time as a means of capture that appears liberatory, but modulates subjectivities into temporal forms of control. These temporal forms include digital animacies, flows, loops, synthetic long takes, and disjunctive editing, all of which are false formations of freedom. Ultimately, the author positions the unruly creativity of an event's potential, of making the impossible possible in order to bring about true advancements into novelty, as escape from this dynamic. This book contributes to both Deleuzian film theory and a burgeoning Whiteheadian film-philosophy through deep engagement with key post-cinematic films, including Holy Motors, Collateral, Domino, Limitless, Spring Breakers, and Everything Everywhere All at Once. In doing so, important concepts of potentiality, actuality, and the future are considered and addressed in relation to the contemporary capitalist regime of control.
Ken Russell
In the 1970s, British filmmaker Ken Russell (1927-2011) quickly gained a reputation as the enfant terrible of British cinema. His work, like the man himself, was regarded as flamboyant, excessive, and unrestrained. Inheriting and yet subverting the venerable mantle of British documentary, Russell did not fit comfortably in the context of a national cinema dominated by sober realism. His distinct style combined realism with fictional devices, often in audacious ways, to create the biographical "docudrama." In Ken Russell: Interviews, the filmmaker discusses his colorful life and career, from his youth fascinated by movies to his early work in television through his feature films and his retreat to home movies. Russell first drew notice in the early 1960s for a series of unorthodox biographical films about artists and composers. In these early television films, Russell was already exhibiting an unconventional approach to biography that combined historical fact, aesthetic interpretation, and outlandish personal vision. After the critical and commercial success of his adaptation of D. H. Lawrence's Women in Love, Russell continued to explore the related themes of art, sexuality, and music in The Music Lovers, The Boy Friend, Mahler, Tommy, and Lisztomania. His career foundered after Valentino, however, and he found it increasingly difficult to get funding. Toward the end of his career, Russell was restricted to making movies with his own equipment, using family and friends as actors, with virtually no budget. Throughout the ups and downs of his career, Russell alternately embraced and resented his characterization as an enfant terrible. While Russell's comments are often meant to provoke and shock, he is articulate when discussing his films, his approach to cinema, music and composers, and, of course, his critics.
It All Started With A Mouse
"It All Started with a Mouse" - The Unofficial Guide to Animated Movies: Disney and Pixar by Philip R Clarke "It All Started with a Mouse" is a journalistic review of animated movies. This volume concentrates on the feature-length animated productions of Disney and Pixar including live-action/ animation combinations and the many direct-to-video sequels. Who is the most underrated Disney Princess? How many crimes does Frollo commit in 'The Hunchback of Notre Dame'? What are the most stand-out songs in the Disney canon? What are the differences between 'Sleeping Beauty' and 'Maleficent'? Which movie had its opening three minutes used as its trailer? Why is the Madrigal family so big in 'Encanto'? These answers and many more are within the pages of this book. "It All Started with a Mouse" offers cast lists, trivia, highlights and full reviews of these pictures. This is the perfect companion to a series of much-loved movies.
Ken Russell
In the 1970s, British filmmaker Ken Russell (1927-2011) quickly gained a reputation as the enfant terrible of British cinema. His work, like the man himself, was regarded as flamboyant, excessive, and unrestrained. Inheriting and yet subverting the venerable mantle of British documentary, Russell did not fit comfortably in the context of a national cinema dominated by sober realism. His distinct style combined realism with fictional devices, often in audacious ways, to create the biographical "docudrama." In Ken Russell: Interviews, the filmmaker discusses his colorful life and career, from his youth fascinated by movies to his early work in television through his feature films and his retreat to home movies. Russell first drew notice in the early 1960s for a series of unorthodox biographical films about artists and composers. In these early television films, Russell was already exhibiting an unconventional approach to biography that combined historical fact, aesthetic interpretation, and outlandish personal vision. After the critical and commercial success of his adaptation of D. H. Lawrence's Women in Love, Russell continued to explore the related themes of art, sexuality, and music in The Music Lovers, The Boy Friend, Mahler, Tommy, and Lisztomania. His career foundered after Valentino, however, and he found it increasingly difficult to get funding. Toward the end of his career, Russell was restricted to making movies with his own equipment, using family and friends as actors, with virtually no budget. Throughout the ups and downs of his career, Russell alternately embraced and resented his characterization as an enfant terrible. While Russell's comments are often meant to provoke and shock, he is articulate when discussing his films, his approach to cinema, music and composers, and, of course, his critics.
Tokyo Sexy Cinegraphix
Film poster art and design from Japan is renowned as being among the most striking and dynamic in the world, with kanji logograms adding an extra dimension of graphic integration for the Western eye. TOKYO SEXY CINEGRAPHIX collects 100 Japanese film posters that were created to promote sexploitation movies produced in Japan between 1967 and 1988, the golden age of "pink" cinema. The posters are shown in full color and at full page size throughout, providing an erogenous riot for the reader's eye.
Theatres of Shame
"Theatres of Shame: A Study of Performance and Affect in South Africa" explores the intersection of performance and emotions in South Africa. It delves into how theatrical productions engage with the concept of shame, a significant force in the country's history and social landscape. The book examines how performances evoke and explore emotions, fostering a deeper understanding of shame's impact on individuals and society. "Theatres of Shame" analyzes how these performances create spaces for public reflection, challenging and transforming entrenched narratives. It serves as a critical exploration of the power of performance to confront the past, navigate the present, and potentially pave the way for a more empathetic future.
Refocus: The Films of Larisa Shepitko
Despite the brief span of her directorial career, lasting from 1963 to 1979, the Soviet Ukrainian director Larisa Shepitko produced a remarkable body of work, one that received an expansive national and international attention and led her to winning the Golden Bear Awards at the Berlin International Film Festival in 1977. Refocus: The Cinema of Larisa Shepitko is the first volume in English to offer a comprehensive, methodologically diverse analysis of Shepitko's oeuvre, demonstrating the ongoing significance of her work for filmmakers and scholars alike. The book not only considers the emergence of Shepitko's cinema within Soviet political and cultural history but examines its continued relevance for thinking about such pressing contemporary issues as war and trauma, history, memory and subjectivity, and ecology and the environment.
The Biggest Thing in Show Business
A freewheeling, nonlinear exploration of the performing duo and their decade-long collaboration from 1946 to 1956.From 1946 to 1956, Dean Martin and Jerry Lewis provoked audiences into rollicking laughter as they shook up and delighted a culture they both mediated and made fun of. Using the duo's phenomenal popularity as a starting point, The Biggest Thing in Show Business looks askance at postwar America with a fast-moving sweep, jam-packed with unexpected connections, revealing details, and surprising insights. Aiming to be as unconventional as their subjects, Murray Pomerance and Matthew Solomon enact a highly spontaneous and up-to-the-minute approach to coauthorship that re-establishes the importance of Martin & Lewis in the cultural pantheon. As a result, the book's structure, methodology, and writing style are thoroughly dialogic and firmly opposed to stale convention.
Mobilizing Music in Wartime British Film
In Mobilizing Music in Wartime British Film, author Heather Wiebe traces a preoccupation with art music and total war that animated British films of the 1940s. In acclaimed films such as The Red Shoes and Brief Encounter as well as experimental documentaries, colonial propaganda films, and largely forgotten melodramas, music was persistently given a central role in the action. As this book demonstrates, these films were driven by questions around the efficacy of art music, not just in the conventional sense of uplift or morale-building, but as a sonic force acting on bodies, minds, and materials, and as a resource to be mobilized or demobilized. Wiebe explores what these films tell us about the experience of World War Two, but also about more contemporary pressures on the arts to be useful and productive. In their concerns with music and wartime life away from the battle front, these films offer insight into the affective experience of war: not just as violence and trauma, but as everyday boredom and melancholy, as loneliness, helplessness, and disappointment. Most of all, they show how music was used to test the limits of "total war," and to conceptualize its new reach into all corners of life
Singin' in the Rain
The classic film musical Singin' in the Rain combines a streamlined 1920s storyline with vivid characters, memorable wisecracks and comedy, romance, riveting dancing, beautiful musical arrangements, gorgeous sets, props, and costumes, and virtuosic camera work. It is one of the few films esteemed by arthouse critics that also regularly turns up on lists of the best films for children. But this simply told, safely portrayed modern fairy tale is not simplistic. It is a social satire with a point of view on human nature and morality-what screenwriter Betty Comden called "a deep thread of real feeling." In this Oxford Guide to Film Musicals, author Andrew Buchman traces the film's genesis and analyzes the music and dance that make Singin' in the Rain Gene Kelly's best-known work, in the process examining the modern scholarship and new artwork the film has inspired.
Love Me Tonight
In this Oxford Guide to Film Musicals, renowned author Geoffrey Block introduces scholars, students, and general readers to a remarkable musical film, Love Me Tonight (1932), which has enjoyed considerably high esteem but remains less familiar than other acknowledged classics of its era. Individual chapters are devoted to the work's genesis and development of the screenplay, the songs and instrumental music, the role censorship has played in the history of the film, and the film's reception from its time to the modern day. The topics are informed by extensive archival holdings in several major library collections, as well as from the indispensable resources housed at the Paramount Studio archives. This Guide allows more space for the musical, literary, and dramatic dimensions that have received less emphasis in previous film studies and sheds new light on why Love Me Tonight is worthy of critical attention and respect.
Figures of Freedom
The United States of America-its politics, its culture, and its identity-is often framed as an evolving conversation about the nature of freedom. The word "freedom" is ubiquitous in political rhetoric, patriotic songs, advertising, and activism. Conflicts in American life typically revolve around questions of what it means to be free, who gets to be free, the limitations of freedom, and the problems and paradoxes associated with freedom. In the twenty-first century, in a time of social media, digital surveillance, climate change, pandemic management, autocratic politicians, and evolving attitudes about race, sexuality, gender, and ethnicity, the old question of what freedom truly entails calls for new answers, new ways of thinking, and even new ways of being free. In this time of crisis, it is imperative that democratic populations engage in earnest and open-ended discourse about what freedom means, how it is defined, and what it looks like. Figures of Freedom answers the call. This provocative and thought-provoking collection of essays by an international team of scholars invites readers to witness how recent literary, filmic, and televisual narratives have represented and reimagined themes of personal and political agency in the context of twenty-first-century aspirations and anxieties. In various ways, films as diverse as Bird Box, Toy Story, and Pacific Rim, television series such as Mad Men and Mr. Robot, and novels such as DeLillo's Zero K, Whitehead's Underground Railroad, and Millet's A Children's Bible all present characters who grapple with classical questions of freedom against a recognizably contemporary backdrop of terror, tyranny, technology, and apocalypse. Together, they reveal what twenty-first-century narratives can teach us about how the idea of freedom has been expanded, distorted, and reimagined in contemporary fiction.
Luminous Art
"The Art of Light: A Complete Guide to the Art of Cinematography is a comprehensive handbook exploring every aspect of film photography. Through its 15 chapters, the guide covers the fundamentals of photography, technological evolution, the psychology of light, pre-production, managing budgetary constraints, interpersonal relationships, the influence of color, the challenges of outdoor lighting, post-production, current innovations, ethical responsibility, the art of composition, choosing between natural and artificial light, digital evolution, and the narrative role of the cinematographer.Each chapter offers in-depth exploration, practical advice and artistic reflections. The introduction invites readers to discover the richness of this art form, blending creativity with technical mastery. The guide is aimed at aspiring cinematographers and film enthusiasts alike, promising a comprehensive understanding of this unique profession.
The Six Wives of Henry VIII & Elizabeth R
This is a reference book on the British TV serials The Six Wives of Henry VIII and Elizabeth R. The book includes all the episodes in original date order, complete cast listings, numerous photographs, directorial credits, and a story synopsis for each episode. There are also four films included dealing with Henry and Elizabeth: A Man For All Seasons (1966), Anne of the Thousand Days (1969), Mary Queen of Scots (1971) and Henry VIII & His Six Wives.
Refocus: The Films of Joachim Trier
This is the first book-length academic study of Norwegian auteur Joachim Trier's films. The book, written by an author who has followed his work closely for ten years, offers an introduction to all five feature films, from his debut Reprise (2006) to his recent success The Worst Person in the Word (2021). The book investigates the style and themes of Trier's films through a prologue, nine chapters, and an epilogue. The main section of the book looks closely at selected tropes across Trier's films, such as memory, time, and identity, as well as his style and his innovative use of montage, voice-over and settings. The prologue place Trier in contemporary Norwegian cinema and discuss his different inspirations and collaborations. An interview with Joachim Trier makes up the epilogue of the book.
Jack Nicholson in the 1970s
With the New Hollywood boom in swing, a fresh breed of movie idols were capturing the attention of cinema goers. Though there were others who helped define the period, many feel that the Zeitgeist was captured the most by one actor. That man was known by millions upon millions across the world by his first name only - Jack. When it comes to Hollywood stars of the first half of the 1970s, Jack Nicholson was king. Other actors certainly impressed and prospered in this era, but it was arguably Jack who made the biggest impact, the man who summed up the mood of the times, combining as he did old style movie charisma and modern character-actor angst. This book celebrates Jack's work in the 1970s, from the lesser loved and the forgotten gems to the immortal classics and undeniable masterpieces. Chris Wade, a lifelong fan, dissects and analyses Jack's startling performances in such films as Five Easy Pieces, The King Of Marvin Gardens, The Passenger and One Flew Over the Cuckoo's Nest, revealing a body of work unmatched to this day.
Achieving Crystalline Perfection
While diamond is often regarded as the ultimate semiconductor due to its superior physical and chemical properties relative to the other candidates, the challenge remains to achieve large diameter films through cost-efficient methods. Chemical vapor deposition (CVD) techniques have enabled the growth of diamond films up to 3 inches (76.2 mm) via heteroepitaxial processes.1 However, the dislocation densities are of the order of 107-109 cm-2. In contrast, high pressure and high temperature (HPHT) techniques have allowed diamond substrates of higher purity and lower defect density to be produced relative to those achieved via CVD, though, at this writing, they are limited to a maximum of 10x10 mm2 in size.1 AlN crystal growth faces challenges due to its extremely high melting point of 3200 ℃,2 making direct melt growth unfeasible. Use of alternative growth techniques, such as physical vapor transport (PVT)3,4 and hydride/halide vapor phase epitaxy (HVPE),5 have allowed the growth of bulk AlN materials up to 2.5 inches (63.5 mm) in size.
The Manufactured Enemy
"The Manufactured Enemy: Hollywood's Long History of Vilifying Arabs" tackles the portrayal of Arabs in American cinema. It likely explores how Hollywood has perpetuated negative stereotypes and fueled anti-Arab sentiment through its films. Here's a possible description: "The Manufactured Enemy" exposes a troubling trend in American cinema: the demonization of Arabs. Through in-depth analysis of films across various eras, the book unveils how Hollywood has consistently portrayed Arabs as villains, terrorists, and cultural Others. It delves into the historical context of these portrayals, exploring how they may reflect real-world political tensions and contribute to real-world consequences. The book examines the impact of these stereotypes on Arab communities in the West and challenges the film industry to create a more nuanced and accurate representation. "The Manufactured Enemy" is a crucial read for film enthusiasts, students of media studies, and anyone concerned with the power of cinema to shape public perceptions.
Hitchcock Annual
Hitchcock Annual volume 27 includes essays on "The Whole Hitchcock, and Nothing But the Parts," the complex villain in I Confess, Marnie and The Taming of the Shrew, and the olfactory world of Psycho. Reviews focus on books on Hitchcock's blondes, Psycho and taxidermy, and classical elements in Vertigo, and the film My Name is Alfred Hitchcock.
Film production
The film industry is one of those that work through projects, and consequently become films, starting with an idea and ending with the distribution of the finished product (film). The book seeks to relate the various stages of producing a feature film to the areas available in the PMBOK (Project Management Body of Knowledge) in relation to project management. Finally, it also takes into account the economic impact that this industry, when successful, can generate.
Voluptuous Terrors, Volume 5
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 5 collects 120 film posters 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 reproductions highlighting some of the world's most innovative and seductive poster design.
Widefilm Widescreen
Film & Media Studies Reference Text Widefilm Widescreen is a comprehensive chronological technical history of large format presentation and widescreen cinema from 1833 to 2023. From optical toys to Cinemascope, IMAX and beyond, this book features cameras, projectors, movie memorabilia, charts, techical specs, and screen scans, screen aspect ratios. Includes sections on 3D, 4D, Special Venue, Theme Parks, Immersive environments. bibliography, appendix, Index.n
You'll Shoot Your Eye Out!
For the first time, author Quentin Schultze, who taught storytelling with screenwriter Jean Shepherd, reveals the "secret" parables that Shepherd included in his screenplay for A Christmas Story. Now you won't need a decoder ring to learn why the Old Man's leg lamp is his "trophy wife," why the bully is named "Scut," why there is a "Bumpus" in all of us, why Mom and the kids give a "Bronx cheer" after singing "Jingle Bells" in the Olds, and so much more. Take a fun-loving and insightful romp through the 20 life lessons in the Christmas classic, based exclusively on the author's friendship with Shepherd. Includes trivia questions, line drawings, and a special appendix on Shepherd's 7-step process for telling humorous stories; perfect for teachers, pastors, writers, leaders, and the like. P.S. Turn on your leg lamp to read this amazing book at night!
Romancing Yesenia
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. This book follows the production, transnational circulation, and reception of the highest grossing film in the history of Soviet exhibition, the 1971 Mexican romance Yesenia. The film adaptation of a telenovela based on a wildly popular graphic novel set during the Second Franco-Mexican War became a surprise hit in the USSR, selling more than ninety million tickets in the first year of its Soviet release alone. Drawing on years of archival research, renowned film scholar Masha Salazkina takes Yesenia's unprecedented popularity as an entry point into a wide-ranging exploration of the cultures of Mexico and the Soviet Union in the 1970s and of the ways in which popular culture circulated globally. Paying particular attention to the shifting landscape of sexual politics, Romancing "Yesenia" argues for the enduring importance and ideological ambiguities of melodramatic forms in global popular media.
Edgar G. Ulmer
Edgar G. Ulmer is perhaps best known today for Detour, often considered the epitome of a certain noir style that transcends its B-list origins. But in his lifetime he never achieved the celebrity of fellow Austrian and German 矇migr矇 directors like Billy Wilder, Otto Preminger, Fred Zinnemann, and Robert Siodmak, and spent most of his career as an itinerant filmmaker earning modest paychecks for films frequently overlooked or forgotten. In this fascinating account of a career spent on the margins of Hollywood, Noah Isenberg sheds new light on little-known details of Ulmer's personal life and his wide-ranging, eclectic films: features aimed at minority audiences, horror and sci-fi flicks, genre pictures made in the United States and abroad. As he follows the twists and turns of Ulmer's fortunes, Isenberg shows that Ulmer's unconventional path was in many ways more typical than that of his more illustrious colleagues, advancing a new understanding of low-budget filmmaking in the studio era and beyond.
The Political Gesture in Pedro Costa's Films
This book offers a new reading of the work of Portuguese filmmaker Pedro Costa. It provides a formal and detailed analysis of his films to suggest that Costa's formal procedures generate a contingency of meaning. The book proposes that Costa's films suggest a critical thinking posited through the materiality of the cinematic medium that is capable of exposing the limits of filmic representation itself. In addition, the author argues that Costa's political gesture derives from the articulation of the intrinsic elements of the filmic medium rather than the depiction of a social reality.
Fall of Eagles
This is a reference book on the thirteen-part TV seriesl Fall of Eagles, produced in 1974. The book includes all episodes in original transmission date order, complete cast listings, numerous photographs, directorial credits, and a story synopsis for each episode.
Voluptuous Terrors, Volume 4
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 4 collects 120 film posters 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 reproductions showcasing some of the world's most innovative and seductive poster design.
