Camp TV of the 1960s
Camp TV of the 1960s offers a comprehensive understanding of all of the many forms camp TV took during that critical decade. In reevaluating the history of camp on television, the authors reconsider the infantilized conceptualization of sixties television, which has generally been characterized as the creative and cultural ebb between the 1950s Golden Age of television and the networks' shift to "relevance" in the early 1970s. Encompassing contributions from a broad range of media and television scholars that (re)consider programs like Batman, The Monkees, The Addams Family, Bewitched, F Troop, The Beverly Hillbillies, and Rowan & Martin's Laugh-In, chapters closely examine beloved 1960s American prime-time programs that drew significantly on aspects of camp, many of which were widely syndicated and left continuing imprints on popular culture. Other chapters consider key TV precursors from the early sixties; British camp television programs such as The Avengers; the use of musical codes to convey camp humor (even on black-and-white sets); the role that the viewing strategies of queer communities played - and continued to play even decades later; and how camp's multivalence allowed for more conservative readings, especially among older audiences, which were critical for the move to "mass camp" throughout American culture by the early seventies. Camp TV of the 1960s is essential reading for students and scholars in television studies and others interested in the history and theory of camp, the 1960s, or popular culture, as well as fans of these well-known but generally understudied television programs.
Unproduction Studies and the American Film Industry
This book makes the case for unproduction studies, the study of films left unmade, unseen, or unreleased, as a radical discipline with the potential to uncover a shadow history of the American film industry.Exploring the archival methods that can be utilised in this endeavour, James Fenwick argues that a revisionist history is needed to understand the logic of the film industry, finding that it has long-been predicated on a system of unmade creativity in which finances, resources, and labour is invested into projects that production companies know will never be produced or have no intention of ever producing. Using the Production Code Administration (PCA) records, housed at the Margaret Herrick Library, as a case study, the book explores the material existence of the unmade and considers how archives and archival methods can be used to construct a shadow history that recovers the forgotten, marginalised, and overlooked figures in film history, providing explanations for structural forces that contributed to the unmade.Given its unique use of the unmade as an analytic for film history, this book will be an essential read for scholars interested in film and media history, performance studies, film production, and creative practice, as well as to archivists and archival researchers.
Lost Films of the Lost World & the Movies That Time Forgot
Get ready to explore a bevy of prehistoric paths not taken across the silver screen in... LOST FILMS OF THE LOST WORLD! Explore THE LOST WORLD's lost footage and deleted cannibal subplot; delve into lost LOST WORLD sequels like ATLANTIS and a spoof to star Charlie Chaplin; uncover a forgotten adaptation of MYSTERIOUS ISLAND in 1929; explore the wilds of 1951's JUNGLE MANHUNT to find a deleted dinosaur scene; ponder the possibility that dinosaur test footage meant for THE LOST ATLANTIS popped up in THE LOST CONTINENT; and unravel the tangled web that turned a monster-less sequel to HERCULES UNCHAINED into GOLIATH AND THE DRAGON. Then, see what could have been if Willis O'Brien had been allowed to complete GWANGI in 1942 as opposed Ray Harryhausen's 1969 VALLEY OF GWANGI, and other 'what-could-have-been' scenarios! See THE BEAST FROM 20,000 FATHOMS envisioned as a tentacled alien or a mythical minotaur as opposed to a dinosaur; picture THEM! filmed in Technicolor 3-D; marvel at GORGO wrecking Tokyo instead of London in KURU ISLAND, and watch in awe as dinosaurs run amuck in the original planned finale of 1961's MYSTERIOUS ISLAND! All this plus reviews of 'Movies That Time Forgot' like UNKNOWN ISLAND, EEGAH!, TWO LOST WORLDS and more from the likes of Mike Bogue, Neil Riebe, Blake Matthews, Matthew B. Lamont and Lee Powers!
Campus Cinephilia in Neoliberal South Korea
Taking a transnational approach to the study of film culture, this book draws on ethnographic fieldwork in a South Korean university film club to explore a cosmopolitan cinephile subculture that thrived in an ironic unevenness between the highly nationalistic mood of commercial film culture and the intense neoliberal milieu of the 2000s. As these time-poor students devoted themselves to the study of film that is unlikely to help them in the job market, they experienced what a student described as 'a different kind of fun', while they appreciated their voracious consumption of international art films as a very private matter at a time of unprecedented boom in the domestic film industry. This unexpectedly vibrant cosmopolitan subculture of student cinephiles in neoliberal South Korea makes the nation's film culture more complex and interesting than a simple nationalistic affair.
TV Drama in the Multiplatform Era
This edited collection examines a new phase in the creation of transnational high-end drama in television's current multiplatform era. Fuelled by the wider international exposure that internet distribution has brought to TV shows, this phase for high-end drama is one of unprecedented budgets and costs, frequent transnational coproduction and increased cultural diversification. While this drama continues to be facilitated by national broadcasters, fuelling the above trio of influences upon it has been the commissioning activity of multinational subscription-video-on-demand (SVoD) providers. This book showcases leading examples of transnational TV drama, produced outside the US, yet involving collaboration with US-owned SVoDs. It foregrounds some new potentials for drama creation in the context of its strategic importance to providers as different as national broadcasters and multinational SVoDs. This book helps to explain why today's high-end dramas are demonstrating new elements of cultural specificity despite their common objective to engage a diverse international audience.
David Hemmings On Screen
Chris Wade explores the career of actor and director David Hemmings, one of the most unfairly overlooked figures to emerge during the British cinema boom of the 1960s. Primarily known for his lead role in Michelangelo Antonioni's iconic masterpiece Blow Up (1966), Hemmings appeared in dozens of films and TV shows. He also worked prolifically as a director for both the cinema and the small screen. This colourful body of work, which includes roles in such stand out films as Tony Richardson's The Charge of the Light Brigade (1968) and Dario Argento's Deep Red (1975), is crammed full of surprises and hidden treats. In a series of articles on each era of his life, Wade studies the key work from the Hemmings canon; cult classics like Barbarella (1967), unsung masterpieces like The Long Day's Dying (1969), lost gems such as Fragment of Fear (1970) and Voices (1973), important directorial films including The 14 (1973) and Just A Gigolo (1978), not to mention Hemmings' final screen appearances in such fare as Gladiator (2000) and Last Orders (2001). From early rock and roll pictures to directing The A Team, plus everything in between, the career of David Hemmings is endlessly fascinating.
Helen the Making of a Bollywood H-Bomb
It is now well over three decades since the Hindi-film heroine drove the vampinto extinction, and even longer since the silver screen was ignited by thetrue Bollywood version of a cabaret. Yet, Helen-nicknamed 'H-Bomb' at theheight of her career-continues to rule the popular imagination. Improbably, for an 'item girl'-who rarely appeared for more than five minutes in amovie-she has become an icon.Jerry Pinto's sparkling book is a study of the phenomenon that was Helen: Why did a refugee of French-Burmese parentage succeed as wildly as she didin mainstream Indian cinema? How could otherwise conservative familiessit through, and even enjoy, her cabarets? What made Helen 'the desirethat you need not be embarrassed about feeling'? How did she manage theunimaginable: vamp three generations of men on screen?Equally, the book is a gloriously witty and provocative examination of middleclass Indian morality; the politics of religion, gender and sexuality in popularculture; and the importance of the song, the item number and the waywardwoman in Hindi cinema.
Shark Week 4
From giant prehistoric beasts to cyborg killers, sharks come in every shape and form, and they can attack you in water, on land, or even from outer space. But, when it comes to shark movies, there isn't a shortage of entertainment.In the fourth edition of his sharksploitation book, horror critic Steve Hutchison reviews 100 shark movies, each with a release year, synopsis, five ratings, a short review, and assigned movie genres. They're ranked from the worst to the most epic, covering every imaginable shark scenario. Watch them in order and see the evolution of shark movies from laughable to breathtakingly terrifying.Whether you prefer your sharks to be mutated, metallic, or just plain hungry, this book has it all. It'll take you on a journey through the highs and lows of shark cinema, showcasing the best and the worst of what this subgenre has to offer. If you love sharks or just love to hate them, this is the ultimate guide to Shark Week and beyond. Get ready for a deep dive into the world of shark movies, where nothing's off-limits, and anything can happen.
Lars von Trier's Cinema
This book offers a bold and dynamic examination of Lars von Trier's cinema by interweaving philosophy and theology with close attention to aesthetics through style and narrative.
Reactualization of the ritual and the sacred in the Ivorian cinema
It is about making an incursion into the Ivorian culture. Borrowing from the cultural reality the facts of the traditions of the Agni, Tagbana and Malink矇 communities and present them on the screen. This update is a way to enhance the Ivorian cultural heritage under the leadership of our filmmakers who have understood that no one will come to do it for them. Thus, the dance, funerals, marriage, libation and divination have served as arguments to expose the rich cultural potential of these communities.
Cinematic Guerrillas
Winner, 2025 Katherine Singer Kov獺cs Book Award, Society for Cinema and Media Studies Winner, 2024 Moving Image Book Award, Kraszna-Krausz Foundation Winner, 2024 Choice Outstanding Academic Title Honorable Mention, 2025 Joseph Levenson Prize (post-1900), Association for Asian Studies How might cinema make revolution and mobilize the masses? In socialist China, the film exhibition network expanded from fewer than six hundred movie theaters to more than a hundred thousand mobile film projectionist teams. Holding screenings in improvised open-air spaces in rural areas lacking electricity, these roving projectionists brought not only films but also power generators, loudspeakers, slideshows, posters, live performances, and mass ritual participation, amplifying the era's utopian dreams and violent upheavals. Cinematic Guerrillas is a media history of Chinese film exhibition and reception that offers fresh insights into the powers and limits of propaganda. Drawing on a wealth of archives, memoirs, interviews, and ethnographic fieldwork, Jie Li examines the media networks and environments, discourses and practices, experiences and memories of film projectionists and their grassroots audiences from the 1940s to the 1980s. She considers the ideology and practice of "cinematic guerrillas"--at once denoting onscreen militants, off-the-grid movie teams, and unruly moviegoers--bridging Maoist iconography, the experiences of projectionists, and popular participation and resistance. Li reconceptualizes socialist media practices as "revolutionary spirit mediumship" that aimed to turn audiences into congregations, contribute to the Mao cult, convert skeptics of revolutionary miracles, and exorcize class enemies. Cinematic Guerrillas considers cinema's meanings for revolution and nation building; successive generations of projectionists; workers, peasants, and soldiers; women and ethnic minorities; and national leaders, local cadres, and cultural censors. By reading diverse, vivid, and often surprising accounts of moviegoing, Li excavates Chinese media theories that provide a critical new perspective on world cinema.
Production Design & the Cinematic Home
This book uses in-depth case studies to explore the significance of the design of the home on screen. The chapters draw widely upon the production designer's professional perspective and particular creative point of view. The case studies employ a methodology Barnwell has pioneered for the analysis of production design called Visual Concept Analysis, which can be used as a key to decode the design of any given film. Through the nurturing warmth of the Browns' home in Paddington, the ambiguous boundaries of secret service agent homes in Tinker Tailor Soldier Spy and the 'singleton' space occupied by Bridget Jones, Barnwell demonstrates that the domestic interior consistently plays a key role. Whether used as a transition space, an ideal, a catalyst for change or a place to return to, these case studies examine the pivotal nature of the home in storytelling and the production designers' significance in its creation. The book benefits from interviews with production designers and artwork that provides insight on the creative process.
Black Women and the Changing Television Landscape
Black women's work in television has been, since the beginning, a negotiation. Black Women and the Changing Television Landscape explores the steps black women, as actors, directors, and producers, have taken to improve representations of black people on the small screen. Beginning with The Beulah Show, Anderson articulates the interrelationship between US culture and the televisual, demonstrating the conditions under which black women particularly, and black people generally, exist in popular culture.
Cinematic Guerrillas
Winner, 2025 Katherine Singer Kov獺cs Book Award, Society for Cinema and Media Studies Winner, 2024 Moving Image Book Award, Kraszna-Krausz Foundation Winner, 2024 Choice Outstanding Academic Title Honorable Mention, 2025 Joseph Levenson Prize (post-1900), Association for Asian Studies How might cinema make revolution and mobilize the masses? In socialist China, the film exhibition network expanded from fewer than six hundred movie theaters to more than a hundred thousand mobile film projectionist teams. Holding screenings in improvised open-air spaces in rural areas lacking electricity, these roving projectionists brought not only films but also power generators, loudspeakers, slideshows, posters, live performances, and mass ritual participation, amplifying the era's utopian dreams and violent upheavals. Cinematic Guerrillas is a media history of Chinese film exhibition and reception that offers fresh insights into the powers and limits of propaganda. Drawing on a wealth of archives, memoirs, interviews, and ethnographic fieldwork, Jie Li examines the media networks and environments, discourses and practices, experiences and memories of film projectionists and their grassroots audiences from the 1940s to the 1980s. She considers the ideology and practice of "cinematic guerrillas"--at once denoting onscreen militants, off-the-grid movie teams, and unruly moviegoers--bridging Maoist iconography, the experiences of projectionists, and popular participation and resistance. Li reconceptualizes socialist media practices as "revolutionary spirit mediumship" that aimed to turn audiences into congregations, contribute to the Mao cult, convert skeptics of revolutionary miracles, and exorcize class enemies. Cinematic Guerrillas considers cinema's meanings for revolution and nation building; successive generations of projectionists; workers, peasants, and soldiers; women and ethnic minorities; and national leaders, local cadres, and cultural censors. By reading diverse, vivid, and often surprising accounts of moviegoing, Li excavates Chinese media theories that provide a critical new perspective on world cinema.
History of Photographic Technology as Method of Depicting the Environment
Seminar paper from the year 2022 in the subject Communications - Movies and Television, grade: 1,0, Tallinn University (Humanities), course: History of Environment and Technology: Fin de Siecle, language: English, abstract: This work provides an analytical approach towards the field of history and environment. It seeks to analyze the history of photographic technology as a means of depicting the environment in early-antropological expeditions taking place in the time period of fin de si癡cle in the late 19th century. In order to study this anthroplogical method of research, Malinowski's Trobriand expedition serves as the centerpiece of research of historical narrative and technological development. The introduction of photography had certain consequences for the established method of documentation and visual representation on anthropological and ethnographical expeditions: painting. But was the introduction of photography really the death of painting? Bronislaw Malinowski's Trobriand expedition serves as the example to answer all those questions, because of its unique characteristics and circumstances. Malinowski's friend and famous polish painter (and later photographer) Ignacy Witkiewicz joins the expedition on invitation by Malinowski. The resulting paintings of Witkacy (ignacy Witkiewicz) "pejsaz australijski" have inspired this work to examine the changing work and shifting academic standards of anthropological expedition and ethnographic research. Following the entanglements of methodological research and questions of academic integrity and neutrality of anthropological research, this work aims to depict a complicated, yet important topic of the historical ramifications between environment and technology that is a constant aspect of how we live as humans. Sometimes with, and sometimes against our environment, but it has and will always play a part in our lives.
Black Women and the Changing Television Landscape
Black women's work in television has been, since the beginning, a negotiation. Black Women and the Changing Television Landscape explores the steps black women, as actors, directors, and producers, have taken to improve representations of black people on the small screen. Beginning with The Beulah Show, Anderson articulates the interrelationship between US culture and the televisual, demonstrating the conditions under which black women particularly, and black people generally, exist in popular culture.
Acting for Animators
Ed Hooks' essential acting guidebook for animators has been fully revised and updated in this fifth edition, capturing some of the vast changes that have affected the animation industry in recent years. Written specifically for animation professionals instead of stage and movie actors, this book provides an essential primer for creating empathetic and dynamic character performance and, in the process, shows how the strongest storytelling structure works.Hooks applies classical acting theory - from Aristotle to Stanislavsky and beyond - to animation, as well as explaining scene structure, character development and the connections between thinking, emotion and physical action. Theory presented here applies to any and all character animation regardless of style or animation technique. Whether your project is stop-motion, 2D, 3D or a blend of techniques, audiences are audiences are audiences, and they have shown up at the theater or cinema so they can experience and enjoy your story.New to this fifth edition: Four new scene-by-scene acting analyses of animated feature films: Flee, Soul, Porco Rosso and The Triplets of Belleville A comprehensive and updated section titled "Classroom Notes" which includes a segment on experimental animation, a brief history of acting training for actors and guidance on Motion and Performance Capture technology Updated online database of Hooks' previous film analyses, all in one place Acting for Animators is essential reading for all students and teachers of animation courses.
National Treasure Hunt
This thinking-person's guide to National Treasure, the cult film franchise starring the peerless Nicolas Cage, unearths lesser-known stories from history while pondering the ethics of the characters' decisions, interpreting key deleted scenes, and revealing behind-the-scenes secrets from filming."I'm going to steal the Declaration of Independence." These eight treasonous words delivered with intense earnestness by Nicolas Cage would launch a pop culture phenomenon in National Treasure (2004) and its sequel, National Treasure 2: Book of Secrets (2007). Years after the films were box office hits, quotes and sentiments from the two-part franchise are frequently referenced in response to both the most joyous and most scathing moments in recent history. But even so, the films have been heavily criticized for purportedly "crazy" storylines, forcing National Treasure enthusiasts to defend their fandom against those who think it merely a guilty pleasure.But what if the majority of National Treasure's plot points were inspired by real figures and events, its heists drew upon actual techniques in science and technology, and production choices were made with the hope that viewers would better remember both triumphs and failures of history? In this book, franchise experts Aubrey Paris and Emily Black, hosts of the National Treasure Hunt podcast, set the record straight, taking a scene-by-scene approach to prove that National Treasure, like protagonist Benjamin Franklin Gates, is not crazy, but rather one step short. Their analyses unearth lesser-known stories from history while considering the ethics of character decisions, assessing comparisons with similar film franchises, interpreting key deleted scenes, and revealing behind-the-scenes secrets from filming. The result is a more complete understanding of the franchise, one that might just turn National Treasure skeptics into begrudging admirers. In the end, don't we all want to know what's on page forty-seven?
Woke Up This Morning
INSTANT NEW YORK TIMES BESTSELLER"I will be reading and rereading Woke Up This Morning....These rollicking gabfests... bring together nearly everyone, on screen and off, who made the series a creative and cultural landmark. The freely offered admiration expressed by so many for their missing comrade and unofficial cast captain, Gandolfini, makes these stories about playing tough guys all the more tender." --New York Times"Essential for fans, with a revelation on every page." --Kirkus Reviews"A spectacular tell-all...the ultimate book on The Sopranos, made by the people who lived it." --Publishers WeeklyExpanding on their hit Talking Sopranos podcast with exclusive interviews for the book with the cast, crew, producers, writers, directors and creators, stars Michael Imperioli and Steve Schirripa deliver the definitive oral history of the landmark television series and streaming hit The Sopranos. Packed with untold stories from behind the scenes and on the set, they're spilling all the secrets.Who made the phone call that got HBO to launch The Sopranos? What's the significance of all those eggs? And, what the hell ever happened to the Russian? Michael Imperioli, Steve Schirripa, and the entire cast and crew of The Sopranos have all the answers--and they're revealing where all the bodies are buried. Inspired by the incredibly successful Talking Sopranos podcast, The Sopranos stars Michael Imperioli (Christopher Moltisanti) and Steve Schirripa (Bobby Baccalieri) finally reveal all the Soprano family secrets in a surprising, funny, and honest new book. Woke Up This Morning is the definitive behind-the-scenes history of the groundbreaking HBO series that became a worldwide cultural phenomenon, ushered in a new Golden Age of Television, and to this day continues to be one of the most binged shows of all time.Michael and Steve tell all the incredible stories that The Sopranos fans have been waiting to hear for over twenty years. The book covers the entire history of The Sopranos series from the original concept pitch and casting to the infamous cut to black--and answer many of the thousands of fan questions sent to the podcast, as well as dispel some widely propagated myths and reveal things no one outside the show would even know to ask.
Stunning Backdrop
Alberta's magnificent landscape has served as a popular location for filmmakers since the dawn of the movie industry. For film pioneers, Alberta embodied the myth of the Great Northwest, a primeval mountain wilderness and the last western frontier. In turn, Canadian entrepreneurs were eager for American studios to drape Alberta landscape across the backdrop of their movies, an advertisement without equal. A Stunning Backdrop is the untold story of six rollicking decades of filmmaking in Alberta. Mary Graham draws on twelve years of exhaustive research to reveal a film history like no other, illuminating the deep importance of the province to Hollywood. She explores the often friendly partnerships between American filmmakers and Indigenous communities, particularly the Stoney Nakoda, that provided economic opportunities and, in many cases, allowed them to retain religious and cultural practices banned by the Canadian government. Beautifully illustrated with archival photography and featuring century-old set stills alongside photographs of the locations as they appear today, by Jean Becq, Solomon Chiniquay, Jeff Wallace, George Webber, and Paul Zizka, A Stunning Backdrop is the fascinating, often surprising, always unconventional story of film in a province whose rugged, compelling, multifarious, terribly beautiful landscape continues to inspire filmmakers and audiences around the world.
When Music Takes Over in Film
This open access collection deals with musical moments in film as one of the most pivotal and compelling issues of current film music research. Musical moments as defined by Amy Herzog occur when a musical number inverts the normal relationship between the image track and the soundtrack in a film in such a way that what we see is determined by what we hear. As one potential approach, this definition provokes a variety of perspectives to investigate the disruptive potential of these moments and numbers as a creative device in the production of audiovisual narratives. In this sense, the book responds to a need for an anthology that introduces students as well as scholars of cinema, musicology, media studies and cultural studies more broadly, to recent discourses in film music scholarship. The volume includes contributions by early career researchers as well as by established experts in the fields of musicology, film studies, media studies, and cultural studies, promoting cross-disciplinary collaboration in film music research.
The Queer Film Guide
Enjoy your night in with these movies that tell queer stories. Have you noticed something about every "100 Greatest Movies Ever Made" list? The people in those movies . . . they're almost all straight, white men. With so much incredible cinema to choose from, those lists only begin to peer into the cinematic and wider world. It's time to push past the gatekeepers of what makes a movie "great" or "culturally significant" and get a broader view of what's out there. Kyle Turner has selected 100 of cinema's greatest queer films that are often overlooked but foundational to the art form and the wider culture. Starting in early cinema with trailblazers like Making a Man of Her and Different from Others, the list progresses through the eras, from Hitchcock's Rope to cult classic The Rocky Horror Picture Show to today's fast-growing list of queer films, including Carol, The Duke of Burgundy, and Moonlight. From lesser-known names to Academy Award winners, The Queer Film Guide offers a fresh take on what defines great cinema, lending a voice to the diverse creators and characters who've shaped the art form.
Masters and Masterpieces of Iranian Cinema
The rise of Iranian cinema to world prominence over the last few decades is one of the most fascinating cultural stories of our time. There is scarcely an international film festival anywhere that does not honor the aesthetic and political explorations of Iranian artists. Masters & Masterpieces of Iranian Cinema celebrates this remarkable emergence. It focuses on twelve of the most important Iranian filmmakers of the past half-century-among them, such pioneers as Forugh Farrokhzad, Dariush Mehrjui, Abbas Kiarostami, and Jafar Panahi. In his examination of their lives and their greatest works, Hamid Dabashi explains how, despite the censorship of both the Pahlavi monarchy and the Islamic Republic, the creativity of these filmmakers has transcended national and cultural borders. His account traces the ascendancy of Iranian cinema in modern Iranian intellectual history and also probes its links to Persian poetry, fiction, art, and philosophy.In Europe and in North America, in Asia and in Latin America, in Australia and Africa, the thematic and narrative richness of Iranian cinema has met with tremendous acclaim. Indeed, its particular modes of realism-building on such cinematic antecedents as Italian, French, and German neorealism-have become truly transnational, contributing a new visual vocabulary to filmmaking everywhere. Masters & Masterpieces of Iranian Cinema studies the role that prominent film festivals have played in fostering the global success of Iranian cinema, and investigates the reception of these films within Iran, an intriguing story in its own right. This is a book that will reward not only the scholar and the film aficionado but also anyone interested in the cultural history of modern Iran.
Raffles
This is a reference book on the 1977 TV series Raffles, starring Anthony Valentine. All episodes are included, as well as the 1975 pilot film. They are presented in order of original transmission dates, along with complete cast listings, numerous photographs, directorial credits, and a story synopsis for each episode. Also include are four cinema-released film: the 1930 Raffles starring Ronald Colman, the 1932 Return of Raffles starring George Barraud, the 1939 Raffles starring David Niven, and a 1958 Mexican-made film.
Watching the World Die
During the 1980s, popular fear of World War III spurred moviemakers to produce dozens of nuclear threat films. Categories ranged from monster movies to post-apocalyptic adventures to realistic depictions of nuclear war and its immediate aftermath. Coverage of atomic angst films isn't new, but this is the first book to solely analyze 1980s nuclear threat movies as a group. Entries range from classics such as The Day After and WarGames to obscurities such as Desert Warrior and Massive Retaliation. Chronological coverage of the 121 films released between 1980 and 1990 includes production details, chapter notes, and critical commentaries.
Intersecting Aesthetics
Contributions by Cynthia Baron, Elizabeth Binggeli, Kimberly Nichele Brown, Priscilla Layne, Eric Pierson, Charlene Regester, Ellen C. Scott, Tanya L. Shields, and Judith E. Smith Intersecting Aesthetics: Literary Adaptations and Cinematic Representations of Blackness illuminates cultural and material trends that shaped Black film adaptations during the twentieth century. Contributors to this collection reveal how Black literary and filmic texts are sites of negotiation between dominant and resistant perspectives. Their work ultimately explores the effects racial perspectives have on film adaptations and how race-inflected cultural norms have influenced studio and independent film depictions. Several chapters analyze how self-censorship and industry censorship affect Black writing and the adaptations of Black stories in early to mid-twentieth-century America. Using archival material, contributors demonstrate the ways commercial obstacles have led Black writers and white-dominated studios to mask Black experiences. Other chapters document instances in which Black writers and directors navigate cultural norms and material realities to realize their visions in literary works, independent films, and studio productions. Through uncovering patterns in Black film adaptations, Intersecting Aesthetics reveals themes, aesthetic strategies, and cultural dynamics that rightfully belong to accounts of film adaptation. The volume considers travelogue and autobiography sources along with the fiction of Black authors H. G. de Lisser, Richard Wright, Ann Petry, Frank Yerby, and Walter Mosley. Contributors examine independent films The Love Wanga (1936) and The Devil's Daughter (1939); Melvin Van Peebles's first feature, The Story of a Three Day Pass (1967); and the Senegalese film Karmen Ge簿 (2001). They also explore studio-era films In This Our Life (1942), The Foxes of Harrow (1947), Lydia Bailey (1952), The Golden Hawk (1952), and The Saracen Blade (1954) and post-studio films The Learning Tree (1969), Shaft (1971), Lady Sings the Blues (1972), and Devil in a Blue Dress (1995).
Intersecting Aesthetics
Contributions by Cynthia Baron, Elizabeth Binggeli, Kimberly Nichele Brown, Priscilla Layne, Eric Pierson, Charlene Regester, Ellen C. Scott, Tanya L. Shields, and Judith E. Smith Intersecting Aesthetics: Literary Adaptations and Cinematic Representations of Blackness illuminates cultural and material trends that shaped Black film adaptations during the twentieth century. Contributors to this collection reveal how Black literary and filmic texts are sites of negotiation between dominant and resistant perspectives. Their work ultimately explores the effects racial perspectives have on film adaptations and how race-inflected cultural norms have influenced studio and independent film depictions. Several chapters analyze how self-censorship and industry censorship affect Black writing and the adaptations of Black stories in early to mid-twentieth-century America. Using archival material, contributors demonstrate the ways commercial obstacles have led Black writers and white-dominated studios to mask Black experiences. Other chapters document instances in which Black writers and directors navigate cultural norms and material realities to realize their visions in literary works, independent films, and studio productions. Through uncovering patterns in Black film adaptations, Intersecting Aesthetics reveals themes, aesthetic strategies, and cultural dynamics that rightfully belong to accounts of film adaptation. The volume considers travelogue and autobiography sources along with the fiction of Black authors H. G. de Lisser, Richard Wright, Ann Petry, Frank Yerby, and Walter Mosley. Contributors examine independent films The Love Wanga (1936) and The Devil's Daughter (1939); Melvin Van Peebles's first feature, The Story of a Three Day Pass (1967); and the Senegalese film Karmen Ge簿 (2001). They also explore studio-era films In This Our Life (1942), The Foxes of Harrow (1947), Lydia Bailey (1952), The Golden Hawk (1952), and The Saracen Blade (1954) and post-studio films The Learning Tree (1969), Shaft (1971), Lady Sings the Blues (1972), and Devil in a Blue Dress (1995).
Sluts on the Small Screen
Viewers spend years laughing, crying, celebrating, and mourning with their favorite TV characters, but when those characters are promiscuous women, different viewers may have very different reactions. Both sexual freedom and sexual shame run deep in the cultural waters, so as TV's promiscuous female characters navigate those choppy waters, what unfolds onscreen reflects--and ultimately shapes--perceptions of promiscuous women as liberated and adventurous, damaged and destructive, or even sick and gross. This work examines fifteen promiscuous female characters and identifies trends in those portrayals--from what motivates their promiscuity to the reproaches they face, the revelations they have, and the redemption it seems they must undergo as a result of their "slutty" ways. This book aims not to promote promiscuity but to fight against the stigmatization of promiscuous women, which is a fight against puritanical patriarchy that benefits everyone.
Refocus: The Films of Fran癟ois Ozon
A queer auteur who plays with generic conventions, Fran癟ois Ozon is one of France's most prolific and best known international directors, who has built a filmography that not only engages in the representation of non-normative sexualities, kinship and violence, but also makes room for social outcasts and marginalised communities. This edited collection brings together renowned and emergent scholars to investigate further questions of minority, queerness, (queer) intertextuality and gender representations, as well as secrecy, transgression and intimacy in his films, offering the most up-to-date study of Fran癟ois Ozon's cinema.
Science Fiction Film
By presenting a new political framework, the book looks at the sci-fi film genre's important critical role in a post-political world, deepening and elucidating our understanding of the post-political present and hence reopening the political imagination to possible future trajectories beyond the horizon of the present. Opening a debate about the political dimension of science fiction films, this book uses Carl Schmitt's thought to provide a new theoretical approach to American cinematic sci-fi since the late 1970s. Drawing on Schmitt's notion of the state of exception and its basis in the unpredictability of tomorrow, it looks at the political ramifications when the moment of the future finally arrives. With analysis of films such as Alien, Blade Runner and Minority Report, Eli Park Sorensen explores how power reconfigures itself to ensure the survival of the state, what 'society' means, who 'we, the people' are, and whether it will still be possible to retain a sphere of liberal, individual rights after the transformative event of the future.
Cinema at the Shore
From Brigitte Bardot in her bikini at the Cannes Film Festival, to Fran癟ois Ozon's intimate portrayals of grief and loss, some of the most iconic and challenging moments in French cinema are associated with the beach. Cinema at the Shore argues that the Parisian cityscape is not the only significant definition of space in French cinema and instead explores the industrial, aesthetic and thematic relations of French cinema to the beach.Examining a range of films from the 1950s to the present day - including popular comedies by Jacques Tati and Patrice Leconte, the lively and ruminative documentaries of Agn癡s Varda, the classicism of Eric Rohmer, and the provocations of Catherine Breillat - this book showcases the dynamism and importance of the beach as a site for the reconfiguration of French cinematic identity itself. The beach offers a unique crystallization of our attitudes towards nature, culture, the body, space and time. In its constant mobility, its close, yet distinctive, relationship with nature, and its paradoxical centrality in the French cultural imaginary as a site of relaxation and holidays, the beachscape, re-framed and re-imaged by the camera, offers new ways of conceiving of the spatial politics of French cinema.
Entering the Frame
Entering the Frame is the first complete study of the cinema of Yervant Gianikian and Angela Ricci Lucchi, pioneers of archival and found-footage films that testify to war, genocide and colonialism in the twentieth century. It explores their early performance-based 竄scented films罈 of the 1970s, before focusing on the historical films, such as From the Pole to the Equator, for which they are best known. The book analyses how Gianikian and Ricci Lucchi manipulate rare footage through re-photographing, hand-tinting and altering film speeds, to produce work of an other-worldly quality.Retrospectives of the films of Gianikian and Ricci Lucchi at the Jeu de Paume in Paris (2006) and at MoMA in New York (2009) have signalled international recognition at the highest level, as have appraisals by leading scholars of cinema such as Scott MacDonald and Raymond Bellour. Their work is unusual in attracting different audiences, and in relating art practices to wider ethical, historical and political issues. Gianikian and Ricci Lucchi have transformed old documentary footage into works that resonate in debates about postcolonialism as well as about the documentary form, the corporeality of the viewing experience and the metamorphoses of cinema.The volume includes a preface by the cultural historian Ruth Ben-Ghiat, Professor of Italian and History at New York University.
Refocus: The Films of Shyam Benegal
Shyam Benegal is widely perceived as one of the most influential Indian filmmakers, yet his voluminous body of work remains relatively under-studied in contemporary film scholarship. To help fill this critical lacuna, ReFocus: The Films of Shyam Benegal undertakes a closer look at Benegal's films, a trailblazing auteur who successfully redefined the contours of non-commercial Hindi language cinema. This addition to ReFocus: The International Directors Series will consider how Benegal, over the course of his forty year career, used cinema as a potent medium to narrate the story of a nation in continuous transition. The 13 essays in the volume will explore how Benegal's films articulate his concerns over caste, class, gender, religion, and other allied social, economic and political problems characterizing the Indian subcontinent. This collection also includes a full-length interview with Shyam Benegal that investigates his perspectives on the art of film-making.
Film Style in Indonesian Cinema, 1998-2018
Headline: Examines the use of cinematography and mise en sc癡ne in contemporary Indonesian cinemaBlurb: Film Style in Indonesian Cinema, 1998-2018 investigates the role of film style during the rebirth of Indonesian cinema following the collapse of General Suharto's New Order regime. Purnama argues that the renewal of Indonesian cinema was influenced by filmmakers who revamped the cinematic images of Indonesian film by foregrounding visual stylisation using cinematography and production design techniques. They transformed the aesthetic of Indonesian film to become stylistically complex with a pronounced degree of visual sophistication, offering local audiences pictorially appealing and engaging cinematic experiences.Through a close analysis of lighting, production design, and camera movement in contemporary films such as Sang Pencerah, Laskar Pelangi, and The Raid: Redemption, Purnama highlights the significance of film style and the art of film-making to the cinematographers and production designers who revitalised Indonesian cinema in the 21st Century. Key Features: The first scholarly work that considers Indonesian cinema as an artistic field with significant aesthetic values and artistic accomplishmentsUses theories of film style never applied to Indonesian films beforeDiscusses films from underrepresented groups, including women, LGBTQ and ethnic minority filmmakers Discusses Indonesian films that have been traditionally under-discussed in the field, including commercial genre films, exploitation films and short films Visually supported with 49 images from Indonesian filmsIncorporates the latest research on cinematography and production design Brings closer the critical study of Indonesian film and film practiceKeywords: film style; cinematography; lighting; camera movement; production design; Indonesian cinemaSubject: Film Studies
Diseased Cinema
American movies about infectious diseases have reflected and driven dominant cultural narratives during the past century. These movies - both real pandemics and imagined zombie outbreaks - have become wildly popular since the beginning of the 21st century. They have shifted from featuring a contained outbreak to an imagined containment of a known disease to a globalized, uncontainable pandemic of an unknown origin. Movie narratives have changed from identifying and solving social problems to a despair and acceptance of America's failure to fulfil its historic social contract. Movies reflect and drive developments in American capitalism that increasingly advocates for individuals and their families, rather than communities and the public good. Disease movies today minimize human differences and envisage a utopian new world order to advance the needs of contemporary American capitalism. These movie narratives shaped reactions to the outbreak of Covid and reinforced individual responsibility as the solution to end the pandemic.
Fashion on the Red Carpet
The Academy Awards' red-carpet is the most prominent fashion show in media culture. Fashion on the Red Carpet investigates the historical liaison between Hollywood and fashion institutions, to describe how public relations campaigns and the media articulate fashion discourses around the Oscars. The power-shift towards television, the emergence of celebrity culture, the post-war reactivation of transatlantic trade, the growth of fashion journalism, and the increasing circulation of designer names in the media, are converging factors leading to the institutionalisation of the red-carpet as a fashion event in its own right.Departing from archival sources, and tracing discourses of fashion, stardom, and celebrity surrounding Hollywood and the Oscars, this fascinating book explains how the red-carpet became a marquee for the endorsement of high-end fashion brands.
Refocus: The Films of Nuri Bilge Ceylan
ReFocus: The Films of Nuri Bilge Ceylan brings together a cohort of expert scholars to analyse the films of Turkey's most renowned filmmaker. His self-reflexive films inspired by local incidents have reached global dimensions, and won awards at prestigious films festivals, including the Grand Prix, Best Director and Golden Palm at the Cannes Film Festival.This collection highlights Ceylan's aesthetics, auteurism and unique position within the film industry of Turkey and contemporary global cinema while focusing on his transnational style of filmmaking that also favours intertextual exchanges between his films, but also with other landmark works, merging photography, painting, and literature.
Danish and German Silent Cinema
The book examines how Danish and German film interacted with one another from 1910 through World War I till the advent of sound around 1930. The film businesses of the two countries were closely connected, and many film professionals crossed back and forth across national borders. The studies in this book include production and distribution history, censorship, celebrity studies, and aesthetic analysis. They contribute to European film and cultural history through extensive empirical investigation of films, persons and companies. The underlying perspective is that of entangled film history, an approach that stresses cross-border interchanges and mutual influences. Written by an international team of scholars, the book marks the conclusion of a four-year collective research project running alongside the stumfilm.dk initiative to digitise the entire Danish silent film heritage.
Refocus: The Films of Alejandro Jodorowsky
Known as the father of the "midnight cult movie" and co-founder of the avant-garde Panic movement in France, Alejandro Jodorowsky Prullansky defies all basic categorization. He is known as a provocateur, a performance artist, a visionary filmmaker, a controversial playwright, a philosopher, and a tarot reader, among other disparate classifications. These varied dimensions of artist and filmmaker converge seamlessly into his practice. He is recognized by audiences as a creator of controversial and mesmerizing films characterized by visual delirium, the injection of radical politics and mystical philosophy, and a post-surrealist aesthetics. ReFocus: The Films of Alejandro Jodorowsky pursues an interdisciplinary approach to analyze and contextualize Jodorowsky's films according to a variety of conceptual modalities: from occult and mystical orientations, to the political and decolonial aspects of his major films. This collection examines the formative metaphysical elaborations involved in Jodorowsky's earliest films, his pioneering of a truly unique independent film practice in Mexico, and his emergence and development as a visionary international filmmaker.
Iconoclasm in European Cinema
Exploring anti-mimesis and image destruction in Western European films, Iconoclasm in European Cinema: The Ethics and Aesthetics of Image Destruction offers the first comprehensive study of philosophical iconoclasm in cinema. Drawing on continental philosophy of the image, medieval theology and recent developments in film ethics, it investigates the aesthetic and ethical significance of destroying certain film images, both literally (via damages to the filmstrip) and metaphorically (through blank screens, altered motion and disruptive sounds). Analysing the work of various filmmakers, the book considers iconoclastic gestures against the film image's ability to mimetically represent contents on the verge of the invisible and the ineffable. This book demonstrates that the overlooked issue of iconoclasm in film is essential for understanding contemporary attitudes towards images and argues that cinematic iconoclasm can encourage an ethics of (in)visibility by questioning the limits of our right to see and show something on a screen.
The Auditory Setting
The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or 'ambience'. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound's undervalued role in cinematic setting and production. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.
Working Title Films
Working Title Films is arguably the most important production company in the history of British cinema. This wide-ranging book charts the creative and commercial history of Working Title, from its origins as an independent in the 1980s, to its integration into PolyGram Filmed Entertainment in the 1990s, and to its current status as a subsidiary of Universal since the 2000s. In doing so, the relationship between the film industries and cultures of Britain and Hollywood is examined through a consideration of the industrial structures, processes and practices which have defined the operation of the company. Moreover, it considers the ways in which these industrial transitions have produced distinct versions of Britain and Britishness onscreen - ranging from My Beautiful Laundrette and Wish You Were Here to Four Weddings and a Funeral and Notting Hill, and from Johnny English and Nanny McPhee to The Theory of Everything and Yesterday.Drawing on over 30 interviews with key personnel from Working Title, PolyGram Filmed Entertainment and Universal, the author examines not only how this remarkable company has evolved but also why it has evolved in the way that it has by situating its history within the ever-changing landscapes of the British and Hollywood film industries.
Portraits of Irish Art in Practice
This book mines the space where aesthetic expression meets lived experience for Irish artists Rita Duffy, Mair矇ad McClean, Paula McFetridge and Ursula Burke. Portrait essays woven with photographs, document each artist's coming of age in Ireland and Northern Ireland, in the context of her emerging practice. As individuals, their work considers infringements on human rights, systemic violence, gender roles and the negotiation of figurative and literal borders and boundaries. Together, they interrogate past and present conflict and emergence from conflict, locally and globally. Their critical work is threaded with hope in the context of past and present political fragmentation. Works considered include Rita Duffy's paintings, drawings and animation like Siege, The Emperor Has No Clothes and Anatomy of Hope; Mair矇ad McClean's films No More, Broadcast and Making Her Mark; Paula McFetridge's productions like convictions, staged at the Crumlin Road Courthouse, This is What We Sang, performed at the Belfast Synagogue and Belfast Quartered, A Love Story, a promenade through Belfast's LGBTQ+ underground; and Ursula Burke's sculptures like Bonfire, Blue Sphinx and Peach Caryatid, and embroidery like The Politicians Frieze.
History and Story in the American Political Thriller Film
In this book, Pablo Castrillo Maortua analyzes the emergence of the political thriller in Hollywood at a time of angst and turmoil in the United States. The Cold War, the nuclear age, domestic and international scandals, and an increasingly deceitful political culture catalyzed a filmmaking current that would gradually develop its own narrative form and aesthetics into a new genre. Castrillo Maortua explores the dramatic identity and design of the American political thriller, tracking the close correlation between the evolution of the genre and the history of the United States from the Cuban Missile Crisis to the 9/11 terrorist attacks and the ensuing War on Terror. Ultimately, the author demonstrates how the American political thriller defies Hollywood conventions and cultural presuppositions with an entertaining yet critical view of the state of politics. Scholars of film studies, screenwriting, and genre theory will find this book of particular interest.
Epic / Everyday
An exciting new strand in The Television Series, the 'Moments in Television' collections celebrate the power and artistry of television, whilst interrogating key critical concepts in television scholarship. Each 'Moments' book is organised around a provocative binary theme. Epic / everyday explores the presence within television of the epic and the everyday. It argues that attention to ideas of the epic and notions of the everyday can illuminate television programmes in new ways. The book explores an eclectic range of TV fictions, including Game of Thrones, Lost and Dr Who. Contributors from diverse perspectives come together to expand and enrich the kind of close analysis most commonly found in television aesthetics. Sustained, detailed programme analyses are sensitively framed within historical, technological, institutional, cultural, creative and art-historical contexts.
Film Directing: Shot by Shot - 25th Anniversary Edition
Shot by Shot is the world's go-to directing book, now newly updated for a special 25th Anniversary edition! The first edition sold over 250,000 copies, making it one of the bestselling books on film di-recting of all time. Aspiring directors, cinematographers, editors, and producers, many of whom are now working professionals, learned the craft of visual storytelling from Shot by Shot, the most com-plete source for preplanning the look of a movie. The book contains over 800 photos and illustrations, and is by far the most comprehensive look at shot design in print, containing storyboards from movies such as Citizen Kane, Blade Runner, Dead-pool, and Moonrise Kingdom. Also introduced is the concept of A, I, and L patterns as a way to sim-plify the hundreds of staging choices facing a director in every scene. Shot by Shot uniquely blends story analysis with compositional strategies, citing examples then il-lustrated with the storyboards used for the actual films. Throughout the book, various visual ap-proaches to short scenes are shown, exposing the directing processes of our most celebrated au-teurs ― including a meticulous, lavishly illustrated analysis of Steven Spielberg's scene design for Empire of the Sun.
The Infaplex
England 2001. Teddy (30) is a cool, average looking, ordinary guy with an energetic social life. Challenged daily by his friends, his life's never boring. It's a comfortable existence but not everything is as it seems... always preoccupied, reflecting and sometimes anxious, his view of the world is about to change. He receives an intriguing phone call from an old friend, who urges him to meet John, an anonymous entity, who unbeknown to Teddy will change his life forever. Nonchalant at first, Teddy's curiosity soon begins to draw him in. Who is John? And what is... The Instaplex?
Challenging the Narrative
This book is a result of a ten-year follow-up to Telling Stories from Political Violence: A Filmmaker's Journey (2012). It Stays with You: Use of Force by UN Peacekeepers in Haiti (2018) addresses the impact of the use of lethal force in raids by the UN peacekeeping mission (MINUSTAH) on the marginalized neighborhood of BoisNeuf, in Port-au-Prince, that left scores of civilians dead, many more injured, and domestic properties destroyed. Right Now I Want to Scream: Police and Army Killings in Rio -the Brazil Haiti Connection (2020) continues the issue of the use of lethal force in the increasing militarisation of security operations by authorities on civilians. In 2022, the final film in the trilogy We Never Give Up was producedon living with the legacy of apartheid violence in South Africa. Produced by the Human Rights Media Centre in Cape Town, the trilogy tells the stories of those from a variety of backgrounds - torture victims, displacement, assassination attempts - over a period of 20 years. Finally, the Prison's Memory Archive is a collection of memories from the prisons during the political conflict known as the Troubles in the north of Ireland. In societies emerging out of, or still addressing, political violence, the need to create platforms for survivors to tell their stories as a form of public acknowledgement and personal healing is well documented. Some societies have created official forms, e.g. the Truth and Reconciliation Commission in South Africa, while others rely on community, or bottom-up, initiatives, e.g. Accounts of the Conflict in Ireland. Each society, each community, and each project is contingent on the nature of the violence and the needs of the communities who have suffered. The use of documentary film, or audiovisual recording, is one such method of creating a platform for such purposes. The role of participatory practices is an important element in how such filmmaking might address issues of trauma, memory, and injustice.
