![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]")
Reanimated
Reanimated offers a new perspective on twenty-first century American horror film remakes. Counter to the critical dismissal of genre remakes as derivative rip-offs, Mee approaches the films as intertextual adaptations which have both drawn from and helped to shape horror since 2000. Covering films from The Texas Chainsaw Massacre (2003) to Candyman (2021), and identifying distinct cycles, production strategies and patterns of reception, this book illustrates the importance of the remake to contemporary horror cinema and addresses key cultural, industry and reception contexts. Rather than representing the death of horror, Reanimated argues that remaking instead demonstrates the genre's capacity for creative recycling, adaptation and evolution.
Refocus: The Films of Zoya Akhtar
From her relatively small-scale feature debut Luck By Chance (2009) to her recent premieres of Gully Boy (2019) and Made in Heaven (2019) to local and global audiences via the Berlin Film Festival and Amazon Prime Streaming services, Zoya Akhtar has become a prominent figure representing change in Bollywood. As the first collection on Akhtar, this book examines how she is contributing to a shift in one of the world's leading film industries, and through analysis of her work explores the contradictions and possibilities of the present moment in Bollywood.
Behind the Scenes of Indie Film Marketing
This book provides current and incoming filmmakers with a comprehensive overview of how to create business and marketing plans to prepare their movies for distribution. Nicholas LaRue combines experienced insights into aesthetics and creativity, with logical data-driven conclusions to provide an analysis of independent film promotion.
Shadows in a Phantom Eye, Volume 8 (1928-1929)
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 is an extensive and unprecedented 15-volume book series that reveals a flickering carnival of attractions and aberrations, from the ground-breaking motion capture experiments conceived by Eadweard Muybridge in 1872 to the shocking documentary footage of atrocity, destruction and horror which emerged from the ruins of war-torn Europe in the late 1940s. This 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.SHADOWS IN A PHANTOM EYE Volume 8 covers the period 1928-1929, when revolutions in sound, color and widescreen technology gave rise to a new era in cinema's history. This volume references more than 900 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.
Quiet Pictures
Quiet Pictures approaches the films of Joanna Hogg, Lynne Ramsay, C矇line Sciamma, and Lucile Hadzhalilovicthrough the lens of silence as a motif and texture. This book takes up the question of different uses of silence in the work of these directors and how this creates a space for foregrounding innovative practices that establish new ways of looking, staring, and gazing. Sarah Artt discusses how the deliberate deployment of silence creates space for the formation of reciprocal gazes that counteract the typically gendered and binary ways in which women and femme-presenting people tend to be portrayed on screen. Quiet Pictures draws on the political legacy of feminist film theory to explore and conceptualise what it means to not just look back, but to share the gaze. This book discusses several films, including: Unrelated (Hogg, 2007), Archipelago (Hogg, 2010), Exhibition (Hogg, 2013), The Souvenir Part I and II (Hogg, 2019 and 2021), Morvern Callar (Ramsay, 2002), We Need to Talk About Kevin (Ramsay, 2011), Innocence (Hadzhalilovic 2004), Evolution (Hadzhalilovic 2015), Waterlilies/Naissance des Pieuvres (Sciamma, 2007), Tomboy (Sciamma, 2011), Girlhood/Bande des Filles (Sciamma, 2014), Portrait of a Lady on Fire/Portrait d'une jeune fille en feu (Sciamma, 2019), and Petite Maman/Little Mother (Sciamma, 2021).
Disney/Pixar the Art of Inside Out 2
This stunning book showcases the art, behind-the-scenes details, and making of the Disney and Pixar animated feature film Inside Out 2. The next in the fan-favorite, collectible Art of series, The Art of Inside Out 2 presents the story behind the newest film from Pixar Animation Studios and the sequel to the beloved blockbuster Inside Out. It highlights the stunning artwork from the film's creation--including character designs, storyboards, color scripts, and much more--and features exclusive interviews with the creative team along with behind-the-scenes details. This book is the perfect gift for aspiring artists, animators, film buffs, and fans. (c) 2024 Disney/Pixar. All rights reserved. EXCLUSIVE LOOK AT ANIMATION FILMMAKING: Fans will want to delve into and explore this Pixar Animation film through production art, stories, and making-of details exclusive to this book. PART OF THE FAN-FAVORITE SERIES: The collectible Art of series is perfect for animation enthusiasts, filmmakers, students, and fans of Disney and Pixar. Add The Art of Inside Out 2 to the shelf with other bestselling books like The Art of Elemental, The Art of Turning Red, and The Art of Soul. Perfect for: Animators and animation students Disney fans of all ages Cinephiles and movie buffs Pop culture enthusiasts and historians Families that love watching Disney and Pixar films together
Cinema and Machine Vision
Cinema and Machine Vision unfolds the aesthetic, epistemic, and ideological dimensions of machine-seeing films and television using computers. With its critical-technical approach, this book presents to the reader key new problems that arise as AI becomes integral to visual culture. It theorises machine vision through a selection of aesthetics, film theory, and applied machine learning research, dispelling widely held assumptions about computer systems designed to watch and make images on our behalf. At its heart, Cinema and Machine Vision is an invitation for film and media scholars to critically engage with AI at a technical level, a prompt for scientists and engineers working with images and cultural data to critically reflect on where their assumptions about vision come from, and a joint recognition of the fruitful problems of working together to understand the algorithmic governance of the visual.
Crisis TV
Crisis TV addresses the motif of crisis that has come to dominate contemporary Hispanic televisual production since 2008 and the onset of the global financial crisis. In almost unprecedented fashion, the global economy came to a standstill, reshaping both geopolitical organizations and, more importantly, the lives of billions across the globe. The Great Recession, sociopolitical instabilities, the rise of extremist political parties and governments, and a worldwide pandemic have resulted in a mode of crisis that pervades contemporary television fiction. 2008 also marks a revolution in television, as local and global streaming services began to gain market share and even overtake traditional over-the-air transmission. The essays in Crisis TV identify and analyze the narrative tropes and aesthetic qualities of Hispanic television post-2008 to understand how different regions and genres have negotiated these intersecting crises and changing dynamics in production, dissemination, and consumption.
Hollywood Pride
For generations, members of the LGBTQ+ community in Hollywood needed to be discreet about their lives but--make no mistake--they were everywhere, both in front of and behind the camera. On the eve of the twentieth century, in Thomas Edison's laboratory, one of the earliest attempts at a sound film depicted two men dancing together as a third plays the violin. It's only a few minutes long, but this cornerstone of early cinema captured a queer moment on film. It would not be the last. With Hollywood Pride, renowned film critic Alonso Duralde presents a history spanning from the dawn of cinema through the "pansy craze" of the 1930s and the New Queer Cinema of the 1990s, all the way up to today. He showcases the hard-working actors, writers, directors, producers, cinematographers, art directors, and choreographers whose achievements defined the American film industry and charts the evolution of LGBTQ+ storytelling itself--the way mainstream Hollywood decided it would portray (or erase) their lives and the narratives created by queer filmmakers who fought to tell those stories themselves. Along the way, readers will encounter a fascinating cast of characters, such as the first generation of queer actors, including J. Warren Kerrigan, Ramon Novarro, and William Haines. Early cinema pioneers like Alla Nazimova and F. W. Murnau helped shape the new medium of moving pictures. The sex symbols, both male (Rock Hudson, Tab Hunter, and Anthony Perkins) and female (Lizabeth Scott and Greta Garbo), lived under the threat of their private lives undermining their public personas. Underground filmmakers Kenneth Anger and John Waters made huge strides in LGBTQ+ representation with their off-off-Hollywood productions in the 1960s and '70s. These screen legends paved the way for every openly queer figure in Hollywood today. Illustrated with more than 175 full-color and black-and-white images, Hollywood Pride points to the bright future of LGBTQ+ representation in cinema by revealing the story of the community's inclusion and erasure, its visibility and invisibility, and its triumphs and tragedies.
Authors and Adaptation
This book studies British literary writers' engagement with adaptations of their work across literary, theatrical, and film media in the nineteenth and early twentieth centuries. It considers their critical, reflective, and autobiographical writings about the process of adaptation, and traces how their work was shaped, as well as delimited, by their involvement with adaptations to different media and intermedial writing. Linking canonical and non-canonical writers both chronologically and contemporaneously, and bridging studies of prose fiction adaptation from nineteenth-century theatre to early twentieth-century film, this book offers an interdisciplinary, transhistorical, cultural, and analytical study of adaptation and the variable positions of writers within and across media.
Transmodern Cinema and Decolonial Film Theory
In this book, Robert K. Beshara applies decolonial film theory to an analysis of Youssef Chahine's (1997) Al-Masir (Destiny). Transmodern Cinema and Decolonial Film Theory is the first book on decolonial film theory, which unpacks key concepts in decoloniality and decolonial aesthetics. Decolonial film theory is then applied to Youssef Chahine's (1997) historical drama al-Ma?ir in an effort to juxtapose the Egyptian filmmaker (Chahine) and his decolonial cinema to the Andalusian polymath (Ibn Rushd) and his Islamic philosophy.
The Traces of Jacques Derrida's Cinema
Situated at the intersection of film and media studies, literary theory, and continental philosophy, The Traces of Jacques Derrida's Cinema provides a trenchant account of the role of cinema in the oeuvre of one of the most influential philosophers of the twentieth century, Jacques Derrida (1930-2004). The book is animated by Derrida's self-confessed passion for the movies, his reluctance to write about film despite the range of his corpus, and the generative encounters arising between his legacy and the field of film and media studies as a result. Given the expanse of its references, interdisciplinarity, and consideration of Derrida's approach to the experience of both spectatorship and the act of being filmed, The Traces of Jacques Derrida's Cinema contributes to the ongoing close analyses of the philosopher's work while also providing a rigorous introduction to deconstruction.Author Timothy Holland interweaves historical and speculative modes of research and writing to articulate the peripheral-yet surprisingly crucial-place of the cinematic medium for Derrida and his philosophical enterprise. The outcome is a meticulously detailed survey of the centers and margins of Derrida's oeuvre that include forays into such terrain as: his notable appearances in films; an unrealized project on cinema and belief that Derrida proposed in a 2001 interview; the correspondences between the strategies of deconstruction and the traditions, homecomings, and wordplay of David Lynch's cinematic media; and the questions wedded to the future of film studies amid the vicissitudes of the modern, virtual university. Ultimately, Holland pursues the thinking activated by the flickering of Derrida's cinema-not only the absence and presence of film in Derrida's professional and personal life, but also the rigor of academic discourse and the pleasures of the movies, ghosts and technology, religious faith and scientific knowledge, and ruination and survival-as a critical chance for reflection.
Rabbit Ears
RABBIT EARS: TV POEMS is a poetic tribute to the medium that has influenced America's tastes, opinions, politics, language, and lifestyles: television. Within its pages, you'll read narrative poems, persona poems, poems that employ found text, formal poems, prose poems, haiku and senryu, and poems that incorporate non-poetic forms, like the interview and screenplay. Edited by Joel Allegretti, the anthology contains 129 poems by 130 nationally known and emerging poets including Billy Collins, Ellen Bass, Dorianne Laux, Aram Saroyan, Timothy Liu, Tony Hoagland, and Hal Sirowitz. The title, named for the pair of indoor TV antennae developed in the 1950s, comes courtesy of former U.S. Poet Laureate Billy Collins. These poems explore a robust array of subjects: the history and early days of TV, sit-coms, children's programming, the news, horror and science fiction, detective shows, soap operas and romance, reality TV, and commercials, among others. The poems are funny, poignant, witty, mysterious, and educational. In short, the poems are much like TV itself.
Decolonial Imaginaries in Palestinian Experimental Film and Video
This book focuses on an underexamined group of female Palestinian filmmakers, highlighting their relevance for thinking through a diverse set of issues relating to decolonial aesthetics; post-nationalism and gender; non-Western ecologies; trauma and memory; diasporic experiences of space; biopolitics; and decolonial temporalities.
Making a Bridge Too Far
A Bridge Too Far, released in 1977, was the last epic WWII movie made in the Hollywood studio system. Its ambitious goal: to recreate the Allied plan Operation Market-Garden in September 1944. The plan was a disaster for the Allies, with the battle for the Arnhem bridge vicious as the British First Airborne held out against overwhelming odds. Producer Joseph E. Levine packed his cast with top stars Anthony Hopkins, Robert Redford, Sean Connery, James Caan, Michael Caine, Elliott Gould, Dirk Bogarde, and Laurence Olivier and shot on location in and around Arnhem. Making ' A Bridge Too Far' answers WWII buffs' questions about the production. Author Simon Lewis interviewed many in the cast and crew and uncovered a story about bringing WWII to life in 1976 Holland with vintage tanks and aircraft, legions of stunt men and paratroopers, all led by director Sir Richard Attenborough. Making ' A Bridge Too Far' will prove a delight for armchair generals and lovers of old Hollywood. Fun facts: Dutch survivors of the war had no patience for actors dressed as German soldiers; Dirk Bogarde was a British war veteran who had participated in Market-Garden and bore the mental scars to prove it.
The Autistic Sleuth
From Benedict Cumberbatch and Robert Downey Jr.'s portrayals of Sherlock Holmes, to the Scandinoir investigators Lisbeth Salander of The Millenium Trilogy and Saga Nor矇n of The Bridge, to anime's L in Death Note, to Christopher Boone in The Curious Incident of the Dog in the Night-Time, increasing numbers of crime shows and movies have featured detectives on the autism spectrum. Portrayals of such characters have been met with acclaim and criticism. Is the entertainment industry celebrating neurodiversity or is it reinforcing stereotypes? In The Autistic Sleuth, over two dozen characters appearing in filmed productions from around the globe will be analyzed to explore how film and television present atypical minds through some of the world's most popular detectives.
Taiwanese-Language Cinema
Taiwanese-Language Cinema: Rediscovered and Reconsidered presents diverse approaches to the vibrant commercial film industry known as Taiwanese-language cinema (taiyupian). After a long period of neglect, films are being restored and made available with subtitles.Taiwanese-language cinema was a cycle of over 1,000 dramatic feature films produced between the mid-50s and early 70s in the local Minnanhua Chinese language most commonly spoken on the island, also known as "Taiwanese" (taiyu). The rediscovery of Taiwanese-language cinema is stimulating new scholarship, both in Chinese in Taiwan and in other languages, which challenges our conventional understandings of Taiwanese film history and opens up new approaches to the films themselves. This volume includes a mix of new English-language scholarship material with key essays by Taiwanese scholars newly translated from Chinese for the volume.
Refocus: The Films of Antoinetta Angelidi
Antoinetta Angelidi directed four full-length fiction films: Id矇es Fixes / Dies Irae (1977), Topos (1985), The Hours: A Square Film (1995) and Thief or Reality (2001), which have been screened at international film festivals and contemporary art museums.Angelidi's work has become synonymous with Greek Experimental Cinema, while her films and her theoretical writings have been the subject of numerous film courses, critical essays and retrospectives. The inversion and juxtaposition of codes, as well as the dream-mechanism and the uncanny, comprise her main creative strategies. The complexity of cinematic heterogeneity and the narrative multiplicity of different filmic elements which characterize her work are examined in depth in this edited collection dedicated to Antoinetta Angelidi's oeuvre.
Refocus: The Films of Denis Villeneuve
The nimble, creative spirit of Qu矇b矇cois screenwriter and filmmaker, Denis Villeneuve, is reflected in his varied body of work. Villeneuve explores questions of alterity and interculturality, of language and identity, of memory and forgetting, of violence and retribution, throughout his filmography: Un 32 ao羶t sur terre (1998), Maelstr繹m (2000), Polytechnique (2009), Incendies (2010), Enemy (2013), Prisoners (2013), Sicario (2015), Arrival (2016), Blade Runner 2049 (2017) and Dune: Part 1 (2021).This edited collection brings together original works of scholarship on all of Villeneuve's feature films from different theoretical approaches, in order to deepen our understanding of this important and yet relatively understudied director; read individually or as a collective whole, these studies reveal important elements of Villeneuve's filmic practice, as well as the evolutions of his oeuvre.
Transnational Crime Cinema
Framed by approaches in critical transnationalism, this volume examines crime as a cinematic mode moving within, between, and across national cinemas to provide rigorous accounts of the political, economic, and historical processes entangled in the production, circulation, and reception of crime films most frequently treated through the lens of genre. Filmic narratives of crime open a porous space of public discourse in which filmmakers and audiences project and reimagine relations of power. Transnational Crime Cinema studies the production and reception of films from Europe, Africa, East and South Asia, and South America present crime as a discursive site where the terms of the nation and cinema gain new definition. Considered transnationally, crime cinema is a self-reflexive modality through which cinema reflects upon cinema's own discursivity while audiences negotiate ideologies and imaginaries of nation against disruptive transnational economic and political pressures.
Finnish Film Studios
This study approaches Finnish studio cinema as both typical and particular: it is a typical European small nation cinema with its industrial structures, its reliance on hierarchical organisation of labour and its love-hate relationship with Hollywood; yet, it is particular, not only in its genres, cycles and hugely popular domestic stars, but also because films were made in the constant presence of geopolitical realities, under the influence of at times Germany, at times Soviet Union. Finnish Film Studios provides a thorough examination of Finnish film industry through the core decades of studio era, from the early 1920s to the early 1960s. Attention is paid both to the fully integrated major companies, Suomi-Filmi, Suomen Filmiteollisuus and Fennada-Filmi, and the minor companies and independent producers that were responsible for some of the canonized work of the studio era, including the films of Teuvo Tulio and Nyrki Tapiovaara.
Film Viewing in Postwar Japan, 1945-1968: An Ethnographic Study
Combining film studies and ethnographic research methods within a memory studies framework, Coates examines the impact of cinema cultures on the everyday lives of viewers. Film Viewing in Postwar Japan draws from four years of interviews, participant observation, questionnaire surveys, and written communications with over 100 study participants in the Kansai region of Western Japan. This is an in-depth study of memories of cinema-going among the generations who regularly attended film theatres between 1945-1968, the peak period of production and cinema attendance in Japan. Through investigating the role of film viewership, broadly conceived, in the formation of a postwar sense of self, the reader will benefit from rare access to the voices of grass-roots viewers, who often tell a different version of cinema history and its effects than that available in extant scholarship.
Refocus: The Films of Ken Russell
Ken Russell was among the most provocative, creative, original and important directors in British film and television history but his career and legacy have long suffered under the media clich矇s of 'Madman' or 'Enfant Terrible' of British cinema - nicknames which have tended to delegitimise his status and pioneering role in post-war film and television culture. This scholarly edited collection refuses these terms and aims to not only reflect and further current critical research into Russell's work but to see Russell as the Renaissance man of British cinema. It brings together the work of new and established scholars as well as the reflections of those who knew and worked with Russell. ReFocus: The Films of Ken Russell offers new perspectives across the breadth of Russell's extensive career in television, film and other mediums, and seeks to better understand not only his reception, but the importance of collaboration to his practice, and the legacy of the man himself.
The Sense of Place in Contemporary Cinema
What purpose does place serve in films? When it is not just a background to actions, or indistinguishable from the landscape, or a simple space to walk through, a kind of neutral territory? Such filmmakers as Chantal Akerman, Lisandro Alonso, Pedro Costa, Bruno Dumont, B矇la Tarr, Avi Mograbi, Tariq Teguia, Philippe Grandrieux, Dani癡le Huillet & Jean-Marie Straub and Sharunas Bartas, chose not to focus solely the cinematic narration on the fate of the characters. They showed telluric spatialities, inhabited territories, existential matrices where ways of doing and of living were mobilized, where forces of emancipation and existential weaknesses were carried out. Welcoming rooms, remarkable transitions, havens for individual and communal destinies: place in cinema sometimes implies the insecurity of an unfinished project, sometimes the solidity of fortifications. The Sense of Place in Cinema demonstrates the importance of place and its aesthetic potentialities in film.
Contemporary Disney Animation
Contemporary Disney Animation: Genre, Gender and Hollywood is the first in-depth study of Disney's latest animated output from the perspective of genre theory. Analysing a decade in Disney's history (2008-2018), Benhamou examines the multifaceted interactions between animated films, Disney properties such as Pixar and Marvel, and popular genres including the romantic comedy, the superhero film and the cop buddy film. Through this extensive critical lens, combined with a focus on gender, she provides illuminating and original insights on films such as Tangled, Frozen and Moana. Informed by wider discourses on contemporary Hollywood and post-feminism, this book challenges conventional approaches to Disney, and foregrounds the importance of animation in understandings of film genres.
Blood on the Lens
Through an identification of key case studies both mainstream and lesser known, Blood on the Lens: Trauma and Anxiety in American Found Footage Horror Cinema argues that found footage horror cinema is uniquely able to confront a pervasive contemporary culture of anxiety and trauma. This book traces how and why the subgenre has continued to endure, even as we enter a post-cinematic landscape.Through three distinct sections, Blood on the Lens proposes key observations on the found footage horror subgenre. She questions how these films engage with national trauma, the common themes of this body of films and how they relate to wider anxieties. In addition, McMurdo investigates the effect various cultural movements have had on the aesthetics of found footage horror, how these films position their spectator and encourage an active viewing mode, and how the line between fiction and fact is blurred both paratextually and within the films themselves.
Carnavalization and anthropophagy in Carlos Reichenbach's metacinema
An analysis of the work of filmmaker Carlos Reichenbach, based on his films made in S瓊o Paulo's Boca do Lixo. The book emphasizes metalinguistic, anthropophagic and carnivalizing aspects in the filmography of the director, who created a unique work in Brazilian cinema. The study uses elements from philosophy, literature, eroticism, music, discourse analysis and cinema itself, in self-referential productions.
Scripts That Captivate
In "Scripts That Captivate: A Guide to Writing and Selling TV Ideas," veteran screenwriter and industry insider Frank P. Spielberg unveils the secrets to transforming your television concepts into compelling screenplays that not only captivate audiences but also capture the attention of network executives and producers. With a career spanning over three decades, Spielberg demystifies the television industry, providing aspiring writers with a roadmap to success in one of the most competitive creative fields. This comprehensive guide delves deep into the art and science of television writing, from the initial spark of an idea to the final pitch. Spielberg shares invaluable insights into creating memorable characters, crafting engaging plots, and weaving narratives that resonate with viewers. Beyond the page, he reveals strategies for navigating the business side of the industry, offering advice on finding representation, understanding contracts, and the crucial art of pitching. With a blend of practical tips, real-world examples, and motivational anecdotes, "Scripts That Captivate" serves as an indispensable resource for anyone looking to make their mark in television. Whether you're a seasoned writer seeking to refine your craft or a newcomer with a story to tell, this book will guide you through the complexities of the TV industry, helping you turn your creative visions into reality. Join Frank P. Spielberg on this journey and take the first step towards bringing your TV ideas to life.
Indian Indies
This book offers a concise and cutting-edge repository of essential information on new independent Indian films, which have orchestrated a recent renaissance in the Bollywood-dominated Indian cinema sphere.
Unshot Columbo
Can't get your fill of Columbo? Then sink your teeth into 19 adventures that the show almost filmed.From the author of the best-selling Shooting Columbo comes this unique, behind-the-scenes peek at the unmaking of episodes that were shot down-and why.Discover the early 1970s tales by "murder consultant" Larry Cohen and by a young, pre-Carrie Brian De Palma... the aborted pilot for Mrs. Columbo that was reimagined for Columbo... as well as the unmade masterpiece that Peter Falk desperately wanted to close out the series with as his final case. Find out why he never got the chance.
The Art of Close-ups in Mohamed Khan's Movies. What Purposes do these Close-ups Serve?
Master's Thesis from the year 2021 in the subject Film Science, grade: A, E繹tv繹s Lor獺nd University (E繹tv繹s Lor獺nd University), course: Master's degree in Film Studies: Filmmaking Specialization, language: English, abstract: Mohamed Khan made 25 films during his lifetime, and he was known for frequently using close-ups in his films. In this research, I attempt to depict close-ups' art in terms of functions in one of Khan mid-career movies: "Wife of an Important Man" (1987). I will analyze five different scenes from this single movie in which he massively used the close-ups. Further, I will provide a description of these close-ups' functions in each one of the scenes. I will be answering the question of what functions did the close-ups serve in Mohamed Khan's selected scenes? How did exactly they make his style unique? Close-ups are usually artistic and, at the same time, conventional in shootings for cinematic purposes. The art of close-ups reveals the emotions and/or details of the subject, as well as orient the audience's attention to a person's feelings or reactions. In this context, I would like to recall a renowned Egyptian-English filmmaker who was a conscious user of close-ups in his movie, Mohamed Khan. In one of his interviews, he declared that, as a director, his purpose in filmmaking was not the storyline, nor finding solutions to any social issues. What attracted him were feelings and details.
From Shtetl to Stardom
The influence of Jews in American entertainment from the early days of Hollywood to the present has proved an endlessly fascinating and controversial topic, for Jews and non-Jews alike. From Shtetl to Stardom: Jews and Hollywood takes an exciting and innovative approach to this rich and complex material. Exploring the subject from a scholarly perspective as well as up close and personal, the book combines historical and theoretical analysis by leading academics in the field with inside information from prominent entertainment professionals. Essays range from Vincent Brook's survey of the stubbornly persistent canard of Jewish industry "control" to Lawrence Baron and Joel Rosenberg's panel presentations on the recent brouhaha over Ben Urwand's book alleging collaboration between Hollywood and Hitler. Case studies by Howard Rodman and Joshua Louis Moss examine a key Coen brothers film, A Serious Man (Rodman), and Jill Soloway's groundbreaking television series, Transparent (Moss). Jeffrey Shandler and Shaina Hamermann train their respective lenses on popular satirical comedians of yesteryear (Allan Sherman) and those currently all the rage (Amy Schumer, Lena Dunham, and Sarah Silverman). David Isaacs relates his years of agony and hilarity in the television comedy writers' room, and interviews include in-depth discussions by Ross Melnick with Laemmle Theatres owner Greg Laemmle (relative of Universal Studios founder Carl Laemmle) and by Michael Renov with Mad Men creator Matthew Weiner. In all, From Shtetl to Stardom offers a uniquely multifaceted, multimediated, and up-to-the-minute account of the remarkable role Jews have played in American movie and TV culture.
Re-Thinking The Godfather 50 Years Later
This collection of essays looks at all aspects of Coppola's "classic," as the late Dr. Anne Paolucci called it. The individual studies examine a series of issues that are both thematic and structural. How did the lm speak to us in 1972, and how does it speak to us now? What narrative devices did Coppola adopt to bring forth his communiqu矇? Can we decipher what his communiqu矇 was? In viewing the lm from a more theoretical perspective, what can the spectator take away from the film?-FROM THE "PREFACE"
My Affair with Art House Cinema
Finalist, 2025 PEN / Diamonstein-Spielvogel Award for the Art of the Essay, PEN America Phillip Lopate fell hard for the movies as an adolescent. As he matured into an acclaimed critic and essayist, his infatuation deepened into a lifelong passion. My Affair with Art House Cinema presents Lopate's selected essays and reviews from the last quarter century, inviting readers to experience films he found exhilarating, tantalizing, and beguiling--and sometimes disappointing or frustrating--through his keen eyes. In an essayist's sinuous prose style, Lopate captures the formal mastery, artistic imagination, and emotional intensity of art house essentials like Yasujirō Ozu's Late Spring, David Lynch's Mulholland Drive, and Andrei Tarkovsky's Solaris, as well as works by contemporary filmmakers such as Maren Ade, Hong Sang-soo, Hou Hsiao-hsien, Christian Petzold, Paolo Sorrentino, and Jafar Panahi. Essays explore Chantal Akerman's rigorous honesty, Ingmar Bergman's intimacy, Abbas Kiarostami's playfulness, Kenji Mizoguchi's visual style, and Frederick Wiseman's vision of the human condition. Lopate also reflects on the work of fellow critics, including Roger Ebert, Pauline Kael, and Jonathan Rosenbaum. His considered, at times contrarian critiques and celebrations will inspire readers to watch or rewatch these films. Above all, this book showcases Lopate's passionate advocacy for not only particular films and directors but also the joys and value of a filmgoing culture.
Queer Cinema in Contemporary France
Jacques Martineau, Olivier Ducastel, Alain Guiraudie, S矇bastien Lifshitz and C矇line Sciamma. The films of these five major French directors exemplify queer cinema in the twenty-first century. Comprehensive in scope, Queer cinema in contemporary France traces the development of the meaning of queer across these directors' careers, from their earliest, often unknown films to their later, major films with wide international release. Whether having sex on the beach or kissing in the high school swimming pool, these cinematic characters create or embody forward-looking, open-ended and optimistic forms of queerness and modes of living, loving and desiring. Whether they are white, beur or black, whether they are lesbian, gay, trans* or queer, they open up hetero- and cisnormativity to new ways of being a gendered subject.
Horrifying Children
Horrifying Children examines weird and eerie children's television and literature via critical analysis, memoir and autoethnography. There has been an explosion of interest in the impact of children's television and literature of the late twentieth century. In particular, the 1970s, '80s and '90s are seen as decades that shaped a great deal of the contemporary cultural landscape. Television of this period dominated the world of childhood entertainment, drawing freely upon literature and popular culture, like the Garbage Pail Kids and Stranger Things, and much of it continues to resonate powerfully with the generation of cultural producers (fiction writers, screenwriters, directors, musicians and artists) that grew up watching the weird, the eerie and the horrific: the essence of 21st-century Hauntology. In these terms this book is not about children's television as it exists now, but rather as it features as a facet of memory in the 21st century. As such it is the legacy of these television programmes that is at the core of Horrifying Children. The 'haunting' of adults by what we have seen on the screen is crucial to the study. This collection directly addresses that which 'scared us' in the past insomuch as there is a correlation between individual and collective cultural memory, with some chapters providing an opportunity for situating existing explorations and understandings of Gothic and Horror TV within a hauntological and experiential framework.
If You Ask Me
Hi. I'm Libby Gelman-Waxner, and I'm an assistant buyer in juniors' activewear. While I find my work both rewarding and creative, especially with the new knits coming in, I want more. And so I decided to become a film critic.... Move over, Siskel & Ebert. Watch out, Leonard Maltin. And just forget saving that aisle seat, Mr. Medved. Libby Gelman-Waxner has arrived -- in the critic's circle, that is -- and the silver screen may never be the same again. Witty, wicked, and scathingly honest -- If You Ask Me is a hilarious collection of her columns from Premiere magazine. Just listen to Libby on some recent films and film stars: Prince of Tides -- "Barbra's only spontaneous moment in Prince of Tides comes when Nick tosses her a football and she screams 'My nails!'" Diane Keaton -- "She's a pioneer; she takes that thing that hangs in the back of your closet, the thing that was too marked down to pass up, Diane takes that thing and she doesn't call Goodwill, she wraps it around her head a few times, pins on a Smurf brooch, and wins an Oscar...." The Last of the Mohicans -- "Daniel Day-Lewis makes American actors look like giggly junior high school boys playing Nintendo during the prom; at one point, Madeleine asks Daniel what he is looking at, and he says, I'm looking at you, Miss, and let me tell you, the usher had to conk me with his flashlight to make me stop whimpering...." Daryl Hannah -- "All men in America, my Josh included, they all want a date with Daryl Hannah. A girl like Daryl -- we're not talking about a Ph.D. in comparative literature; I think we're talking about hair in the eyes and not much in the way of lingerie...."
Stigmatized on Screen
This book reveals how marginalized communities and women are underrepresented on our screens and, too often, depicted in stereotypical ways. This is doubly true for marginalized speakers--those who speak traditionally "nonstandard" dialects. Lindsey Clouse examines the origins of linguistic prejudice and how our public schools perpetuate the myth of "bad" English. By dissecting the 500 top-grossing films of the last 20 years, Clouse exposes how speakers of Black English, Southern U.S. English, Spanish-influenced English, and gendered speech patterns are represented, underrepresented, misrepresented, and mocked. Clouse analyzes hundreds of films and characters to reveal how filmmakers and audiences work together to reinforce negative beliefs about stigmatized dialects and the people who speak them and reveals how those beliefs stack up against decades of linguistic research. She concludes by showing that these portrayals translate to real-life linguistic discrimination and discusses the ways in which we can combat this often-hidden prejudice. Scholars of introductory sociolinguistics, american dialect studies, and media studies, will find this book of particular interest.
Between accident and control
"Between accident and control: the poetic dimension of contemporary video documentary" investigates the relationship between the plastic character and the documentary nature of images produced from reality. The text reflects on the creation of a new documentary language from the 1980s onwards, with the incorporation of electronic media into audiovisual productions, and the influence of video art on the work of new directors.
Hanna and Barbera: Conversations
Hanna and Barbera: Conversations presents a lively portrait of Bill Hanna and Joe Barbera, the influential producers behind Tom and Jerry, the Flintstones, Scooby-Doo, the Smurfs, and hundreds of other cartoon characters who continue to entertain the world today. Encompassing more than fifty years of film and television history, the conversations in this volume include first-person accounts by the namesakes of the Hanna-Barbera studio as well as recollections by artists and executives who worked closely with the pair for decades. It is the first collection of its kind about Hanna and Barbera, likely the most prolific animation producers of the twentieth century, whose studio once outflanked its competitor Walt Disney in output and influence. Bill Hanna fell into animation in 1930 at the Harman-Ising studio in Los Angeles, gaining skills across the phases of production as MGM opened its animation studio. Joe Barbera, a talented and sociable artist, entered the industry around the same time at the wild and woolly Van Beuren studio in Manhattan, learning the ins and outs of animation art before crossing the country to join MGM. In television, Hanna's timing and community-oriented work ethic along with Barbera's knack for sales and creating funny characters enabled Hanna-Barbera to build a roster of beloved cartoon series. A wide range of pieces map Hanna and Barbera's partnership, from their early days in Hollywood in the 1930s to Cartoon Network in the 1990s, when a new generation took the reins of their animation studio. Relatively unknown when they made over one hundred Tom and Jerry theatrical cartoons at MGM in the 1940s and 1950s, Hanna and Barbera became household names upon entering the new medium of television in 1957. Discussions here chart their early primetime successes as well as later controversies surrounding violence, overseas production, and the lack of quality in their Saturday morning cartoons. With wit, candor, insight, and bravado, Hanna and Barbera: Conversations reflects on Bill and Joe's breakthroughs and shortcomings, and their studio's innovations and retreads.
A Critical Companion to Sofia Coppola
The films of Sofia Coppola have moved and entranced audiences with her minimalist style, moody soundscapes, and commitment to centering the lives and experiences of women and girls. A Critical Companion to Sofia Coppola explores the implications of her stories, images, and convictions in a comprehensive study of all eight of her major works. Drawing from a wide range of disciplines, each chapter offers a fresh, interdisciplinary reading of one of Coppola's films and her treatment of core themes like masculinity, sexual politics, bodies, and love. Rigorously researched and unique, the arguments presented within this volume shed new light on one of the most important women filmmakers in film history.
Hanna and Barbera: Conversations
Hanna and Barbera: Conversations presents a lively portrait of Bill Hanna and Joe Barbera, the influential producers behind Tom and Jerry, the Flintstones, Scooby-Doo, the Smurfs, and hundreds of other cartoon characters who continue to entertain the world today. Encompassing more than fifty years of film and television history, the conversations in this volume include first-person accounts by the namesakes of the Hanna-Barbera studio as well as recollections by artists and executives who worked closely with the pair for decades. It is the first collection of its kind about Hanna and Barbera, likely the most prolific animation producers of the twentieth century, whose studio once outflanked its competitor Walt Disney in output and influence. Bill Hanna fell into animation in 1930 at the Harman-Ising studio in Los Angeles, gaining skills across the phases of production as MGM opened its animation studio. Joe Barbera, a talented and sociable artist, entered the industry around the same time at the wild and woolly Van Beuren studio in Manhattan, learning the ins and outs of animation art before crossing the country to join MGM. In television, Hanna's timing and community-oriented work ethic along with Barbera's knack for sales and creating funny characters enabled Hanna-Barbera to build a roster of beloved cartoon series. A wide range of pieces map Hanna and Barbera's partnership, from their early days in Hollywood in the 1930s to Cartoon Network in the 1990s, when a new generation took the reins of their animation studio. Relatively unknown when they made over one hundred Tom and Jerry theatrical cartoons at MGM in the 1940s and 1950s, Hanna and Barbera became household names upon entering the new medium of television in 1957. Discussions here chart their early primetime successes as well as later controversies surrounding violence, overseas production, and the lack of quality in their Saturday morning cartoons. With wit, candor, insight, and bravado, Hanna and Barbera: Conversations reflects on Bill and Joe's breakthroughs and shortcomings, and their studio's innovations and retreads.
Nollywood Movie Reviews
About the BookNollywood Movie Reviews is a literary commentary on films made in the English-speaking enclave of West Africa. Besides general adult readerships, it's a project geared toward educating primary and secondary school students about the new and burgeoning film industry in the region. Most recently schools in this region have added study of film to their curriculum, hence the importance of this publication. Included in this production are several interviews with Nollywood and Ghallyood actors and actresses, directors, and producers who sat for us.About the AuthorAli S. Baylay has a diploma in Radio and Television Broadcasting and an FCC broadcast license (expired) from Carolina School of Broadcasting, Charlotte, North Carolina. He also attends Central Piedmont Community College and is working on a Graphic Arts Printing Management Degree. He has attended lots of creative writing seminars and workshops and has written and coproduced a now trending YouTube movie, "Watchin' Lydia." In 2006 he started a web magazine, African Moviestar.com, with almost 150 films reviewed and has interviewed about twenty movie personalities.Ali is a printer by occupation and spends lots of his time writing film reviews or developing new screenplays, and he is an avid reader.
Smoldering Lust
The groundbreaking inside look at the making - and unmaking - of a network TV series, back in print for the first time in thirty years. Smoldering Lust seemed like a sure-fire hit for NBC - a sexy new comedy-drama starring Kate Capshaw from Jay Tarses, the acclaimed, Emmy-awarding winning writer/producer of The Days and Nights of Molly Dodd, Buffalo Bill and The Bob Newhart Show. But things started to go wrong from the start and author Vance Muse was there to witness it all, from the development, casting, and production of the show all the way to the disastrous test screening, the long-delayed broadcast premiere under the new title Black Tie Affair, and its demise after only five of the thirteen produced episodes. It is an unparalleled expose of the culture and business of network television that is as relevant today as it was in 1994. This new edition features an Afterword by Ken Levine, the Emmy and WGA award-winning writer/producer of M*A*S*H and Cheers. "An entertaining autopsy of a failed NBC TV drama/comedy. Don't worry if you never saw or even heard of the show. Muse makes it interesting, providing colorful chapters on everything...and populates the scene-behind-the-scenes with comic episodes and likable, three-dimensional characters who really seem to love what they do." Kirkus Reviews "The book confirms what you suspect: Hollywood is a miserable place and sometimes good shows fail and bad shows succeed." Fort Worth Star-Telegram "An amusing narrative that is at its best when showing the nuts-and-bolts aspects of television production." New York TimesPreviously published as We Bombed in Burbank: A Joyride to Prime Time
Beyond Realism
Beyond Realism: Naturalist Film in Theory and Practice is the first major critical study of international naturalist cinema. Often mistaken for realist film, international naturalist cinema has a unique cultural and critical history. From its earliest representation in silent films such as Walsh's Regeneration (1915), and Eisenstein's Stachka/Strike (1925), to recent productions such as Chukwu's Clemency (2019), and Aronofsky's The Whale (2022), the naturalist film narrative encompasses the whole of film history, traversing language, movement, and genre. The naturalist film is predicated on two foundational, intersecting paradigms that configure as one ideological system in an overarching scientific and social experimental narrative. Either the scientific or social paradigm may be dominant in the film narrative or they may simply co-exist, but a naturalist film reveals both templates and, most significantly, suggests an implicit cinematic anthropology that renders the body as an observed spectacle.
Winter Kept Us Warm
Widely considered to be English Canada's first queer film, Winter Kept Us Warm explores a romance between two young men at the University of Toronto in the early 1960s, a moment when homosexuality was still a crime in Canada. A true student film, Winter was written and directed by David Secter, a twenty-two-year-old English major, shot with amateur actors and a volunteer crew, and completed on a budget of only $8,000. Against the odds, the film was a huge success. Lauded by critics at home and abroad, it was selected to open the Commonwealth Film Festival, played art house cinemas across the United States and Europe, and became the first Anglo-Canadian fiction feature to screen at Cannes. Influential film journals including Sight and Sound and Cahiers du cin矇ma covered it, as did mainstream publications such as Variety and the New York Times. David Cronenberg has cited it as influential on his own work. Despite this acclaim, the film has largely vanished from the cultural consciousness and few queer people today have even heard of it, let alone seen it. With this new addition to the Queer Film Classics series, Chris Dupuis looks at the disconnect between the film's historical importance and its subsequent disappearance, examining how the story of Winter Kept Us Warm can serve as a starting point for intergenerational queer dialogue.
Television/Death
Television/Death intertwines the study of death, dying and bereavement on television with discussion of the ways that television (and the TV archive) provides access to the dead. Section One explores the representation of death and dying on television, in historical and contemporary television documentaries. It looks at the early history of this genre as well as contemporary documentaries about a range of death and dying experiences, from home deaths to hospice care and assisted dying. Section Two focuses on dramas of grief and bereavement and discusses how contemporary complex serial television drama and comedy, from family melodramas to the ghost serial to afterlife dramadies, present emotionally realist representations of experiences of grief, bereavement and death-related trauma and explore questions like 'What happens to us after we die?' Finally, Section Three proposes that television has been overlooked in critical analyses of how recorded media 'brings back the dead'. It argues that television is the ultimate posthumous medium and looks at how the dead return via incorporation into new television programmes or through projects to bring television out of the archive.
Animals in Narrative Film and Television
This book explores fictional representations of animals in animated and live-action film and television and examines the way these representations intersect with culture, race, gender, class, disability, and health issues. Contributors analyze the narrative functions of familiar animals as well as fantastic and hybrid creatures.
