John Ford璽€(TM)s Cavalry Trilogy
The study analyzes John Ford's films Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950) for their historical portrayal of the frontier cavalry. Ford is acknowledged as one of America's foremost chroniclers and mythmakers. His films comprise a significant body of film and cultural history, reflect his values and attitudes, and offer conflicts between historical accuracy and cinematic considerations. The analysis begins by examining the personal and business influences shaping Ford's work. The study then examines each film for historical accuracy in the areas of people, places, and events: uniforms, equipment, and accouterments; the profession and garrison life; and finally, the American Indian and military operations.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Steve McQueen
Steve McQueen: Interviews is the first collection of conversations with the acclaimed filmmaker, and one that spans his career to date. Included are McQueen's discussions with such artists, critics, curators, and public intellectuals as Donna De Salvo, Paul Gilroy, David Olusoga, Tricky, and Cornel West. In these conversations, McQueen (b. 1969) discusses some of his preoccupations and recurring themes throughout his oeuvre including nationalism, martyrdom, and violence; obsession and desire; and the intertwined histories of racism, surveillance, and carceral politics. Most interestingly, he also discusses his love for his fellow artists, past and present, including Miles Davis, Jean-Luc Godard, Prince, Yvonne Rainer, Paul Robeson, Jean Vigo, and Andy Warhol. McQueen is one of the most celebrated British filmmakers of his generation, an artist as committed to avant-garde film and lyric forms of documentary as he is to producing landmark historical dramas. A deeply humane artist with a clear ethical drive, McQueen nevertheless explores the sublime sense of scale that cinema affords its viewers in his films. While he remains best known for his feature film 12 Years a Slave--winner of three Academy Awards including Best Picture--McQueen has been a fixture of major contemporary museum and gallery exhibitions for decades, beginning with the short experimental works that garnered him the prestigious Turner Prize in 1999. His acclaimed installations include the diptychs Caribs' Leap/Western Deep and Gravesend/Unexploded, works that interrogate film form as they challenge documentary norms, not unlike his recent four-and-a-half-hour epic Occupied City that investigates the Nazi occupation of Amsterdam.
John Ford璽€(TM)s Cavalry Trilogy
The study analyzes John Ford's films Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950) for their historical portrayal of the frontier cavalry. Ford is acknowledged as one of America's foremost chroniclers and mythmakers. His films comprise a significant body of film and cultural history, reflect his values and attitudes, and offer conflicts between historical accuracy and cinematic considerations. The analysis begins by examining the personal and business influences shaping Ford's work. The study then examines each film for historical accuracy in the areas of people, places, and events: uniforms, equipment, and accouterments; the profession and garrison life; and finally, the American Indian and military operations.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Cinema and the Indian National Emergency
The Indian National Emergency of 1975 to 1977, saw the suspension of civil liberties, increasing censorship, and extra-judicial state control. It is recognised as one of the most tumultuous periods in the history of postcolonial India, and its socio-political consequences have been exhaustively studied. Despite this, the profound cinematic implications of this event have remained relatively unexplored. This book examines the strained relationship between the state and the Indian film industry during this 21 month period of political upheaval. Each of the essays, written from a broad range of critical perspectives, consider the various modes of state suppression adopted, from increasing levels of film censorship to police surveillance of film productions and exhibitions. Contributors analyse controversial films such as Aandhi (1975) and Nasbandi (1978), which were banned for the duration of the Emergency, and overtly political films such as Kissa Kursi Ka (1977), the prints of which were permanently confiscated owing to the film's criticisms of the state. They also consider the political and aesthetic dilemmas of state-sponsored films such as Ashadh Ka Ek Din (1971), which was made to be explicitly apolitical and came to be known as a key work of New Indian Cinema.
Darkness in Primetime
Darkness in Primetime: How Classic-Era TV Foresaw Modern Society's Descent into Hell reveals how television shows of the 1950s and 1960s, with shocking accuracy, envisioned a world of 24/7 surveillance, thought control, disinformation, persecution, and the loss of freedom-a world disturbingly similar to our own.From science fiction legends like The Twilight Zone, The Outer Limits, and Star Trek to dramatic anthologies such as Studio One, Playhouse 90, and Kraft Television Theatre, each of the 21 programs explored in this book presents a vision of a dystopian future that feels all too familiar today.With rare insight into the political, cultural, and historical currents of their time, Mitchell Hadley brings these episodes out of the shadows and into the harsh light of our present moment-showing how they are even more relevant now than they were 60 or 70 years ago.The powerful and prophetic stories brought to life in these programs-paired with Hadley's dramatic and insightful examination of their creation-offer a compelling and eye-opening journey into television's most prescient era.Mitchell Hadley is a television historian who has explored classic-era TV's impact on American culture, history, and politics at itsabouttv.com for more than 15 years. He is the author of The Electronic Mirror: What Classic TV Tells Us About Who We Were and Who We Are, as well as two novels: The Collaborator, set amid Vatican intrigue, and The Car, an existential mystery. He lives with his wife in northeastern Indiana.Christian Toto is the founder of hollywoodintoto.com and host of the Hollywood in Toto podcast.
Brideshead Revisited
This is a reference book on the 1981 television serial Brideshead Revisited. It includes the eleven episodes in original air date order, complete cast listings, numerous photographs, and a story synopsis for each episode. Brideshead Revisited was a 1981 British television serial starring Jeremy Irons and Anthony Andrews. It was produced by Granada Television for broadcast by the ITV network, and starred Jeremy Irons and Anthony Andrews.
Fantastic Spaces
While the connection between Ireland and the otherworldly has long been a staple of literature and the arts, it finds its most consistent and compelling expression in the medium of cinema. In the first comprehensive scholarly study of the fantastic in Irish film, Fantastic Spaces explores how the spatial dimensions of supernatural phenomena in Irish cinema interpret and engage with the dynamic changes that have swept across Ireland over the past four decades. Drawing on a wide range of both canonical and lesser-known Irish films, Matthew J. Fee closely examines how the fantastic--including a multiplicity of supernatural occurrences and creatures drawn from Irish folklore as well as global popular culture--functions to make meaning across a period of profound social, political, and cultural transformation in Ireland. From providing platforms for female agency and interrogating rural heritage and nostalgia, to articulating anxieties over modernization and globalization and questioning national identities, the fantastic spaces of Irish cinema reveal a sophisticated capacity to grapple with the complexities and contradictions of historical change.
Cinema and Secularism
Cinema and Secularism is the first collection to make the relationship between cinema and secularism thematic, utilizing a number of different methodological approaches to examine their identification and differentiation across film theory, film aesthetics, film history, and throughout global cinema.The emergence of moving images and the history of cinema historically coincide with the emergence of secularism as a concept and discourse. More than historically coinciding, however, cinema and secularism would seem to have-and many contemporary theorists and critics seem to assume-a more intrinsic, almost ontological connection to each other. While early film theorists and critics explicitly addressed questions about secularism, religion, and cinema, once the study of film was professionalized and secularized in the Western academy in both film studies and religious studies, explicit and critical attention to the relationship between cinema and secularism rapidly declined. Indeed, if one canvases film scholarship today, one will find barely any works dedicated to thinking critically about the relationship between cinema and secularism. Extending the recent "secular turn" in the humanities and social sciences, Cinema and Secularism provokes critical reflection on its titular concepts. Making contributions to theory, philosophy, criticism, and history, the chapters in this pioneering volume collectively interrogate the assumption that cinema is secular, how secularism is conceived and related to cinema differently in different film cultures, and whether the world is disenchanted or enchanted in cinema. Coming from intellectually diverse backgrounds in film studies, religious studies, and philosophy, the interdisciplinary contributors to this book cover films and traditions of thought from America, Europe, Africa, the Middle East, South Asia, and East Asia. In these ways, Cinema and Secularism opens new areas of inquiry in the study of film and contributes to the ongoing interrogation of secularism more broadly.
The Drive-In
The Drive-Inmeaningfully contributes to the complex picture of outdoor cinema that has been central to American culture and to a history of US cinema based on diverse viewing experiences rather than a select number of films. Drive-in cinemas flourished in 1950s America, in some summer weeks to the extent that there were more cinemagoers outdoors than indoors. Often associated with teenagers interested in the drive-in as a 'passion pit' or a venue for exploitation films, accounts of the 1950s American drive-in tend to emphasise their popularity with families with young children, downplaying the importance of a film programme apparently limited to old, low-budget or independent films and characterising drive-in operators as industry outsiders. They retain a hold on the popular imagination. The Drive-Inidentifies the mix of generations in the drive-in audience as well as accounts that articulate individual experiences, from the drive-in as a dating venue to a segregated space. Through detailed analysis of the film industry trade press, local newspapers and a range of other primary sources including archival records on cinemas and cinema circuits in Arkansas, California, New York State and Texas, this book examines how drive-ins were integrated into local communities and the film industry and reveals the importance and range of drive-in programmes that were often close to that of their indoor neighbours.
American Disaster Movies of the 1970s
American Disaster Movies of the 1970s is the first scholarly book dedicated to the disaster cycle that dominated American cinema and television in the 1970s.Through examining films such as Airport (1970), The Poseidon Adventure (1972), Two-Minute Warning (1976) and The Swarm (1978), alongside their historical contexts and American contemporaneous trends, the disaster cycle is treated as a time-bound phenomenon. This book further contextualises the cycle by drawing on the longer cultural history of modernist reactions to modern anxieties, including the widespread dependence on technology and corporate power. Each chapter considers cinematic precursors, such as the 'ark movie', and contemporaneous trends, such as New Hollywood, vigilante and blaxploitation films, as well as the immediate American context: the end of the civil rights and countercultural era, the Watergate crisis, and the defeat in Vietnam.As Scott Freer argues, the disaster movie is a modern, demotic form of tragedy that satisfies a taste for the macabre. It is also an aesthetic means for processing painful truths, and many of the dramatized themes anticipate present-day monstrosities of modernity.
Hollywood's Others
We tend to think about movie stars as either glamorous or relatable. But in the 1920s and 1930s, when the Hollywood star system was taking shape, a number of unusual stars appeared on the silver screen, representing groups from which the American mainstream typically sought to avert its eyes. What did it mean for a white entertainment columnist to empathize with an ambiguously gendered Black child star? Or for boys to idolize Lon Chaney, famous for portraying characters with disabilities? Hollywood's Others explores the affective ties between white, non-disabled audiences and the fascinatingly different stars with whom they identified--but only up to a point. Katherine Fusco argues that stardom in this era at once offered ways for viewers to connect across group boundaries while also policing the limits of empathy. Examining fan magazines alongside film performances, she traces the intense audience attachment to atypical celebrities and the ways the film industry sought to manage it. Fusco considers Shirley Temple's career in light of child labor laws and changing notions of childhood; shows how white viewers responded to Black music in depictions of the antebellum South; and analyzes the gender politics of conspiracy theories around celebrity suicides. Shedding light on marginalized stardoms and the anxieties they provoked, Hollywood's Others challenges common notions about film's capacity to build empathy.
Hollywood's Others
We tend to think about movie stars as either glamorous or relatable. But in the 1920s and 1930s, when the Hollywood star system was taking shape, a number of unusual stars appeared on the silver screen, representing groups from which the American mainstream typically sought to avert its eyes. What did it mean for a white entertainment columnist to empathize with an ambiguously gendered Black child star? Or for boys to idolize Lon Chaney, famous for portraying characters with disabilities? Hollywood's Others explores the affective ties between white, non-disabled audiences and the fascinatingly different stars with whom they identified--but only up to a point. Katherine Fusco argues that stardom in this era at once offered ways for viewers to connect across group boundaries while also policing the limits of empathy. Examining fan magazines alongside film performances, she traces the intense audience attachment to atypical celebrities and the ways the film industry sought to manage it. Fusco considers Shirley Temple's career in light of child labor laws and changing notions of childhood; shows how white viewers responded to Black music in depictions of the antebellum South; and analyzes the gender politics of conspiracy theories around celebrity suicides. Shedding light on marginalized stardoms and the anxieties they provoked, Hollywood's Others challenges common notions about film's capacity to build empathy.
The Art of DreamWorks the Bad Guys 2
A gorgeous, all-encompassing look at the making of The Bad Guys 2, the sequel to DreamWorks Animation's original blockbuster In the next action-packed chapter by DreamWorks Animation, based on Aaron Blabey's New York Times bestselling book series, The Bad Guys 2 follows the crackerjack crew as they are hijacked into a globe-trotting heist masterminded by a new team of criminals they never saw coming: the Bad Girls! With never-before-seen production art, insider perspectives, and script-to-screen details, The Art of DreamWorks The Bad Guys 2 is packed with goodies, including: Exclusive interviews with the writers, artists, and filmmakers Hundreds of character designs, concept art, sketches, storyboards, and color keys from the making of the movie An exclusive 64-page insert featuring the original beat boards created by director Pierre Perifel and production designer Luc Desmarchelier A preface by acclaimed actor Anthony Ramos, who voices Mr. Pirhana in the film A foreword by the esteemed director of The Bad Guys and The Bad Guys 2, Pierre Perifel
Debating Authenticity
Debating Authenticity merges phenomenology, paratextual analysis, genre studies, cultural theory, and trans scholarship to investigate emerging debates regarding trans media's authorship, authenticity, and aesthetics across the first two decades of the twenty-first century. By questioning how trans people, both on-and offscreen, are deployed within mainstream cultural industries as representatives of political and cultural progressiveness Paige Macintosh interrogates consultancy roles and their authorship status. Building on trans scholars' new attention to trans aesthetics, they also consider how scholars might productively counter the charged debates currently informing trans media scholarship by reconsidering the categorisation of trans media and beginning to reroute the power of canonisation from cis industry elites to trans viewers. Looking to genre studies - particularly the intersections of gothic horror, science fiction, and spectacle-driven genres like the musical or melodrama - Macintosh outlines their own variation of trans aesthetics, one that is capable of countering trans cinemas melancholic tendencies.
East Asian Auteurism, Cinephilia and the Media Platform Era
This book makes a critical intervention in the scholarship of East Asian cinema by examining how the platform-driven cinephilic engagement evokes a new imaginary of auteurs. While East Asian filmmakers continue to provide world screens with vibrant and innovative works in recent years, their names and visions have been intensely scrutinised and renegotiated by global cinephiles on digital media platforms such as Facebook, Letterboxd, MUBI, X, and Bilibili. The novel cinephilic experiences potentially problematises the authorial intent and structure legitimised by the traditional cinema, thus, challenging what film authorship means. This monograph employs a dual structuring of auteurism and digital cinephilia to contend how East Asian auteurs' brands are recoded, re-mobilised, and reassessed by platform users. As the first book-length account in the area, this volume calls for conceptual rethought of the auteur function in East Asia at the crossroads of film studies, audience/cinephilia studies, and new media studies.
Doing Documentary, Becoming Subjects
Doing Documentary, Becoming Subjects explores a range of contemporary nonfiction films, including autobiography, essay film and animated documentary, to understand how these films depict identities being constructed, altered and performed. By applying concepts such as performativity and Deleuze and Guattari's metaphysics, this book aims to show how the self in documentary is in constant states of becoming at the same time as the films are themselves brought into existence.
Animation in Spain
This book provides a comprehensive account of Spanish animation history, from its early days through to the arrival of CGI. It examines the two main centers of production, Barcelona and Madrid, as well as evolving animation hubs in the Basque Country and Galicia. This book also pays tribute to the women who were significant to the animation industry and had been invisible for many years, highlighting more recent attempts to achieve equality in the Spanish animation industry thanks to help from the government and women's associations looking to balance the inequality in this domain. This book will be of great interest to academics, students, and professionals working and researching in the field of animation.
The Ethics of Documentary Film
Documentary film has been an important vehicle to interrogate the world since the inception of film more than a hundred years ago. The Ethics of Documentary Film reformulate some of the foundational notions in documentary films studies and practice, relating to archive and the production of knowledge. Published in a particular moment in time, post pandemic and in the middle of the climate change debates and the traumas of new conflicts in the world, it gives voice to all of the important contemporary debates and offers ideas about different international approaches to documentary. With particular focus on the question of to what extent a documentary film can be defined as an ethical project, the various contributions look at issues of history, the hidden stories, and issues of the ethics of representation to provide new insights into the role documentary film can play within society.
Caro and Jeunet
Covering punk, DIY production, intertextuality, performance, and vigilantism through close film analysis and cultural studies research, this book offers a much-needed look at Caro and Jeunet's forty-plus years of artistic innovation.
Suzanne Collins
Suzanne Collins had an idea one day. That idea became a story. The story became The Hunger Games. The Hunger Games became a series of books about a bleak dystopian future that would go on to captivate fans around the world and spawn film and theatrical adaptations that would further the notion of fantasy and reality. But the mystery remains...Just who is Suzanne Collins and how her personal and professional odyssey resulted in every writer's dream? The Games Keepers Story tells the tale of Collins' life and times and how her imagination has rocked the literary world. Buckle up and prepare for the ride. This is the story behind the story. The life story of Suzanne Collins is pulling out of the station. Next stop. The Hunger Games.
Godzilla: The First 70 Years
An epic celebration of Godzilla's 70th anniversary, exploring every aspect of the creation, design, and evolution of King of the Monsters in Toho Studios' films and TV series from 1954 to the present Godzilla: The First 70 Years is a narrative and visual history of Japan's King of the Monsters, chronicling the triumphs, challenges, and meaning of seven decades of city-trashing, kaiju-smashing mayhem. It's also a tribute to Godzilla's creators and costars--the filmmakers, special-effects wizards, cast members, even the stuntmen inside the monster suit--and an appreciation of the behind-the-scenes artistry involved in bringing Godzilla to cinematic life, then and now. Extensive visuals detail the evolution of kaiju design, as well as profile the creative contribution and SFX developments across seven decades of exceptional filmmaking and innovation. Exclusive behind-the-scenes photography, production materials, posters, and lobby cards showcase: The Showa Era films (1954-1975) The Heisei Era films (1984-1995) The Millennium Series (1999-2004) Animated works Shin Godzilla (Japan's Picture of the Year, 2016) Academy Award-winning 2023 box-office phenomenon Godzilla Minus One
Sally Wainwright
The first and only book length study of British screenwriter, director and producer Sally Wainwright. Authors Gorton and Johnson brings together Wainwright's key television series and television films with theoretical work on the concept of emotion and feminist television criticism, exploring Wainwright's contributions to British television through the heroic female characters she creates. The book covers a wide range of theoretical work on melodrama, genre and emotion to explore Wainwright's televisual texts, offering analysis of globally recognised television series such as Happy Valley, Last Tango in Halifax, and Gentleman Jack.
The Craft of Criticism
With contributions from 35 leading media scholars, this collection provides a comprehensive overview of the main methodologies of critical media studies.Fully revised and updated throughout, the chapters in this second edition address various methods of textual analysis, as well as reception studies, policy studies, production studies, and contextual, multi-method approaches, like intertextuality and cultural geography. Film and television are at the heart of the collection, which also addresses digital technologies and new research tools in such areas as software studies, gaming, and social media. Each chapter includes an intellectual history of a particular method or approach, a discussion of why and how it was used to study a particular medium or media, relevant examples of influential work in the area, and an in-depth review of a case study drawn from the author's own research.Together, the chapters in this collection give media scholars and critics a complete toolbox of essential critical media studies methodologies.
Creating Experimental Documentary Films
This book explores the continued development and practice of experimental documentary film making with evolving trends in still photography, visual arts, journalism, installation art, docudrama, interactive media, music, poetry, and creative nonfiction. Through examples, observations, analyses, and exercises, readers will gain an understanding of the traditional principles of documentary and simultaneously challenge those conventions.While exploring the responsibilities of a documentary director to be fair and objective, the book weaves through arguments around truth and propaganda and offers practical lessons about how to create hybrid forms of documentary films. Written by a documentary filmmaker with decades of experience, the text provides a comprehensive overview of how documentary narratives are written and created in the research, pre-production, production and post-production phases. New, inclusive audiences and methods of distribution, interactivity, and immersion are also introduced as part of the changing landscape of the documentary genre.This book is designed for students who are approaching documentary for the first time as well as documentary filmmakers who are searching for new approaches, new subject matter, and languages of cinematic expression.
Creating Experimental Documentary Films
This book explores the continued development and practice of experimental documentary film making with evolving trends in still photography, visual arts, journalism, installation art, docudrama, interactive media, music, poetry, and creative nonfiction. Through examples, observations, analyses, and exercises, readers will gain an understanding of the traditional principles of documentary and simultaneously challenge those conventions.While exploring the responsibilities of a documentary director to be fair and objective, the book weaves through arguments around truth and propaganda and offers practical lessons about how to create hybrid forms of documentary films. Written by a documentary filmmaker with decades of experience, the text provides a comprehensive overview of how documentary narratives are written and created in the research, pre-production, production and post-production phases. New, inclusive audiences and methods of distribution, interactivity, and immersion are also introduced as part of the changing landscape of the documentary genre.This book is designed for students who are approaching documentary for the first time as well as documentary filmmakers who are searching for new approaches, new subject matter, and languages of cinematic expression.
The 100 Movie Question Challenge
Think you know a bit about movies do you? Are you ready to test your inner film geek and take the 100 movie question challenge? Inside this book are 100 carefully crafted questions designed to test your knowledge to the max. Are you ready to take the ultimate movie quiz?
Cinema of Flames
This text attempts to go deeper than the imagery and address some of the general concerns of the cross-cultural representation and self-representation of the Balkans in the media.
They Kill People
A deep dive into the grit and glamor of America's favorite criminal couple and the nation's love affair with guns. On May 23, 1934, two borderline inept but ruthless criminals named Clyde Barrow and Bonnie Parker met their end in a hail of semiautomatic gunfire on a rural road in the Louisiana backcountry. The duo had terrorized Depression-era Middle America with a string of robberies and a brazen daylight prison escape, killing nearly a dozen police officers along the way. A legend was born. Thirty-two years later, a movie crew gathered on a Warner Bros. studio ranch to re-create the scene of Bonnie and Clyde's violent demise. It was the end of a difficult shoot. Almost everyone involved knew they were on to something, but getting there had taken a toll on relationships both professional and personal. The result was destined to become what is arguably the landmark film of the New Hollywood era. Nothing like it had ever been attempted anything similar had, in fact, been forbidden by censorship. When the lights finally came up after an agonizing moment of black, Hollywood would never be the same. Almost sixty years since it exploded onto American screens, Bonnie and Clyde still retains the power to shock, amaze, and provoke, as fresh and relevant today as when it was first released in 1967. The movie's resonance goes well beyond the peerless filmmaking of director Arthur Penn, producer-star Warren Beatty, and their talented team of collaborators. Bonnie and Clyde taps into a dark wellspring in the American psyche. Produced in a time of great social upheaval, with a country divided under a deeply polarizing president, the film addresses troubling questions about our country's founding myth and its obsession with firearms, questions that remain part of our national debate. They Kill People is the story of the making of Bonnie and Clyde. It is the story of the outlaws whose real lives were anything but glamorous. Most of all, it is the story of how violence and a predilection for firearms became a fundamental part of American identity.
Peaky Blinders
Since it first hit our screens in 2013, Peaky Blinders has become a global phenomenon; Tommy Shelby is a force to be reckoned with. Experience the evolution of the Shelby family with exclusive insider access as you go behind-the-scenes of all six seasons in this official companion to the award-winning series.This impressive visual guide offers full access to Peaky Blinders and brings together interviews from the incredible cast and crew alongside hundreds of official photographs. Fans will discover the exclusive backstage stories of the awe-inspiring stunts and special effects, as well as the iconic costumes, unforgettable soundtrack, and atmospheric set which have transported millions of fans to the 1920s Birmingham underworld.Features exclusive interviews with: Cillian MurphyPaul AndersonSophie RundleThe late Benjamin Zephaniah and Helen McCroryAlongside tributes to them from creator Steven KnightAs Tommy Shelby is reimagined in a new feature-length movie The Immortal Man, coming soon on Netflix, this is the ultimate way to reacquaint yourself with the hit series. This is the Peaky Blinders as never seen before: sharp suits, even sharper blades, no details spared.
Food For Ravens
Winner of a Royal Television Society Award, this is the text of the television drama broadcast by the BBC starring Brian Cox and Sinead Cusack. Food for Ravens is a powerful political drama about one of the great politicians of the Twentieth Century, Aneurin (Nye) Bevan.
African Film Festivals and Transnational Flows of Living Cultural Heritage
This open access book investigates how flows of knowledge that arise from the African continent travel and are transformed through new contexts of presentation and engagement in new locations. Through case studies on Africa-themed film festivals in Africa, Europe and the Americas, the book explores potential methods of catalyzing a "transnational flow" from inception to end that involves attention to process, rather than studying festivals as static cultural products with discrete and isolated categories of programming, presentation, documentation, and networking. The chapters probe how festivals interact with place and location and create journeys of discovery in translating and contextualizing films for specific populations and audiences. The book also focuses on how dialogue is created in a festival-knowledge forum that respects the living nature of cultural heritage as it is received from its original context, presented during film festivals, and passed on to future generations for safeguarding.
The Nightmares of Presence
From haunted houses to sandy beaches, The Nightmares of Presenceexplores the role of setting in inspiring fear and wonder through audiovisual media. With an emphasis on horror and the Gothic, this book takes case studies from Spain to propose new approaches to the spaces and places of fear and fantasy. With the primary aim of marrying the spatial turn in cultural and film studies with genre study of horror and Gothic film, Professor Ann Davies explores how different landscapes, spaces and places enable the subject to interact with the terrors they encounter and confront. Case studies include internationally renowned films, lesser known films which have not received distribution beyond Spain, and films made both in Spanish and English, including The Devil's Backbone(Guillermo del Toro), [.REC ](Jaume Balaguer籀), Insensibles(Painless, Juan Carlos Medina), 聶Qui矇n puede matar a un ni簽o? (Who Can Kill A Child?, Narciso Ib獺簽ez Serrador), Los cronocr穩menes(Time Crimes, Nacho Vigalondo), and El d穩a de la bestia (The Day of the Beast), among others.
Cockfight
There is no shortage of loaded -- and often gendered -- symbolism in the sport of cockfighting. And this becomes a starting point for author Kier-La Janisse (who broke new ground in film criticism with her 2012 book House of Psychotic Women) to investigate the themes of obsession, competition, mobility and nobility that dominate the hyper-masculine world of Monte Hellman's existential and controversial film, Cockfighter (1974), based on the 1962 novel by crime writer Charles Willeford (Miami Blues). Infamously touted as the only movie that producer Roger Corman ever lost money on, Cockfighter stars character actor Warren Oates as Frank Mansfield, a career cocker who has taken a vow of silence until he can win the Cockfighter of the Year Award. Surrounded by fellow cockfighters played by Harry Dean Stanton, Ed Begley, Jr, Steve Railsback, Richard B. Shull and even author/screenwriter Charles Willeford himself, the film traverses the underground cockfighting world of the Deep South, with a highly detailed documentation of this unique subculture brought vividly to life by esteemed cinematographer Nestor Almendros. Densely illustrated and featuring interviews with director Monte Hellman, producer Roger Corman and several surviving cast and crew members, Janisse's study explores the many mythologies that intersect in Cockfighter, approaching the story and its backdrop through a variety of lenses, using a combination of cultural criticism, production history and even personal anecdotes, as the author delves into the contradictory world of cockfighting in the American South. At its core it is a story about work, honour, conviction and finding religion and beauty in strange places.
Exploring Film through Bad Cinema
Exploring Film through Bad Cinema offers an overview of the practice of film analysis through a specific focus on the concept of "bad" cinema within a series of broad cultural and historical contexts.Providing a wide-ranging discussion of film from multiple perspectives, including history, aesthetics, and criticism, this broad theoretical engagement illustrates the ways in which the registers of value that we apply to film are inseparable from the wider discourses of taste that shape our culture. While loosely chronological, it is largely thematic in arrangement as it applies the traditional methods of film studies to in-depth discussions of some of the most notoriously (and compellingly) bad films in cinema history. Situating its analysis of a wide variety of films and filmmakers in terms of period, genre, and issues such as the emergence of narrative cinema, canon formation, and the politics of cultural hierarchy, it provides an in-depth consideration of the multiple and complex social and aesthetic discourses that shape our qualitative assessments of film.Designed for both the lay reader and student of film, Exploring Film through Bad Cinema engages with a wide range of topics from film history and film theory to postmodernism, exploitation, and cult cinema. This theoretically and historically sophisticated analysis will appeal to researchers and scholars in film studies as well as cognate disciplines such as screen studies, visual studies, and cultural studies.
Ian McKellen
The definitive biography of Sir Ian McKellen from an acclaimed biographer In 2001, Ian McKellen put on the robe and pointed hat of a wizard named Gandalf and won a place in the hearts of Tolkien fans worldwide. Though his role in the film adaptation of Lord of the Rings introduced him to a new audience, McKellen had a thriving career a lifetime before his visit to Middle Earth. He made his West End acting debut in 1964 in James Saunders's A Scent of Flowers, but it was in 1980 that he took Broadway by storm when he played Antonio Salieri in Peter Shaffer's Tony-Award-winning play Amadeus. He has starred in over four hundred plays and films and he is that rare character: a celebrity whose distinguished political and social service has transcended his international fame to reach beyond the stage and screen. The breadth of his career--professional, personal and political--has been truly staggering: Macbeth (opposite Judi Dench), Iago, King Lear, Chekhov's Sorin in The Seagull and Becket's tramp Estragon (opposite Patrick Stewart) in Waiting for Godot. Add to all this his tireless political activism in the cause of gay equality and you have a veritable phenomenon. Garry O'Connor's Ian McKellen: A Biography probes the heart of the actor, recreating his greatest stage roles and exploring his personal life. Ian McKellen will show readers what makes a great actor tick. His life story has been a constantly developing drama and this biography is the next chapter.
Television Primer of Production and Direction
Television Primer of Production and Direction, by Louis A. Sposa, offers a foundational look into the nascent field of television broadcasting in the mid-20th century. This book provides an overview of the technical and creative aspects of early television production and direction. While techniques and technology have vastly evolved, this primer offers valuable insights into the pioneering days of television.This book will appeal to historians of media, broadcasting students, and anyone interested in the roots of modern television.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Television Primer of Production and Direction
Television Primer of Production and Direction, by Louis A. Sposa, offers a foundational look into the nascent field of television broadcasting in the mid-20th century. This book provides an overview of the technical and creative aspects of early television production and direction. While techniques and technology have vastly evolved, this primer offers valuable insights into the pioneering days of television.This book will appeal to historians of media, broadcasting students, and anyone interested in the roots of modern television.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Cinema; Its Present Position and Future Possibilities
"The Cinema; Its Present Position and Future Possibilities" offers a fascinating glimpse into the nascent years of the film industry. Published in 1917, this work by the National Council Of Public Morals. Cinema Commission Of Inquiry, examines the state of cinema and speculates on its future role in society. The book likely explores the social, cultural, and moral implications of this new form of entertainment. It provides a valuable historical record of early attitudes toward cinema and the debates surrounding its influence, making it an important resource for scholars and enthusiasts interested in the history of film and media.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Who's Who On the Screen
Who's Who On the Screen, compiled by Charles Donald Fox and published around 1920, offers a fascinating glimpse into the lives and careers of early film actors and actresses. This biographical directory provides details on the performers who graced the silver screen during the silent era and the dawn of talkies. A valuable resource for film historians, researchers, and anyone interested in the early days of Hollywood, this book captures a pivotal moment in entertainment history. Discover the personal stories, career highlights, and often fleeting fame of the individuals who pioneered the art of cinematic storytelling. This vintage volume serves as a comprehensive guide to understanding the stars who shaped the industry and captivated audiences worldwide. An essential addition to any collection focusing on the history of film and the evolution of celebrity culture.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Who's Who On the Screen
Who's Who On the Screen, compiled by Charles Donald Fox and published around 1920, offers a fascinating glimpse into the lives and careers of early film actors and actresses. This biographical directory provides details on the performers who graced the silver screen during the silent era and the dawn of talkies. A valuable resource for film historians, researchers, and anyone interested in the early days of Hollywood, this book captures a pivotal moment in entertainment history. Discover the personal stories, career highlights, and often fleeting fame of the individuals who pioneered the art of cinematic storytelling. This vintage volume serves as a comprehensive guide to understanding the stars who shaped the industry and captivated audiences worldwide. An essential addition to any collection focusing on the history of film and the evolution of celebrity culture.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Tomboy
C矇line Sciamma's 2011 film Tomboy is the central work in the French filmmaker's coming-of-age trilogy. Bracketed between La Naissance des pieuvres / Waterlilies (2007), an examination of girlhood and teenage desire, and the 2014 film Bande de filles / Girlhood, about the lives of a group of Black girls in their late teens living in the Paris suburbs, Tomboy is a quiet, understated examination of gender and queer selfhood amidst the shifting sands of late childhood and early adolescence. Tomboy is an intimate and luminous film, tender but stark, and never sentimental. Written, cast, and filmed in a matter of months, it follows the experiences and burgeoning friendships of a ten-year-old child who moves to a new town during the summer holidays. First introducing themself as Mika禱l, they are, we later learn, Laure to their parents and younger sister. Sciamma's film is not interested in why the character is passing but in how. Cristina Johnston focuses on specific elements of Mika禱l/Laure's haptic and spatial experience, showing how the filmmaker's signature engagement with surfaces and textures allows queer potentialities to unfold organically. While Johnston centres her analysis on Tomboy, she also connects the film to broader themes within Sciamma's trilogy, public reception of the films, and the significance of Sciamma's identity as a queer director. Ultimately the book offers insight into a film that deserves to be watched and appreciated for its nuanced portrayal of childhood, queerness, and passing as experience rather than ideology.
New German Cinema and Its Global Contexts
Rediscovering a momentous cinema movement, its canonization, and its recasting through global discourse. The last of the so-called new waves in film, New German Cinema of the 1970s and early 1980s represents much more than a national phenomenon; it impacted and was influenced by films from around the world. Filmmakers such as the famous troika of Rainer Werner Fassbinder, Werner Herzog, and Wim Wenders, as well as directors, such as Margarethe von Trotta, Helma Sanders-Brahms, and Helke Sander, and Volker Schl繹ndorff received much critical acclaim both in Germany and abroad. These directors, their films, and their often-infamous reputations constitute one of the most intriguing and consequential legacies of European cinema and world culture. In this groundbreaking view of New German Cinema through a global lens, editors Marco Abel and Jaimey Fisher approach these celebrated years of German art film from diverse and innovative perspectives. Contributors explore these films' transnational circuits of production, distribution, and exhibition, as well as how the films were made and received, thereby inviting us to reexamine the roots of what New German Cinema was and imagine what it might yet become.
Ida Lupino
This book contributes to a welcome new wave focusing on the importance of female filmmakers, providing a reappraisal of Ida Lupino, a cinematic figure of significant importance. Given her ability to move between popular and independent cinemas and her status as both a Hollywood star and director/writer/producer of socially relevant films overlooked by the mainstream, Lupino is a particularly interesting case study. Employing a range of critical approaches, including feminist theory, auteur theory and critical theory, this book investigates key themes and motifs that developed across Lupino's unusual and unique career as one of the most significant female players in film history. Investigating her oeuvre as actress, director, writer and producer, it discusses Lupino as a complex and important filmmaker whose career, on both sides of the camera, requires substantially more critical attention than it has been awarded thus far.
Cinema Craftmanship
"Cinema Craftmanship: A Book for Photoplaywrights" by Frances Taylor Patterson, originally published in 1920, serves as a guide to the art and technique of screenwriting during the silent film era. This book offers insights into the construction of compelling narratives for the screen, emphasizing visual storytelling and character development. Patterson's work provides a historical perspective on the early days of cinema, revealing the creative processes and challenges faced by photoplaywrights. Explore the foundations of cinematic storytelling and discover the principles that shaped the film industry.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Cinema Craftmanship
"Cinema Craftmanship: A Book for Photoplaywrights" by Frances Taylor Patterson, originally published in 1920, serves as a guide to the art and technique of screenwriting during the silent film era. This book offers insights into the construction of compelling narratives for the screen, emphasizing visual storytelling and character development. Patterson's work provides a historical perspective on the early days of cinema, revealing the creative processes and challenges faced by photoplaywrights. Explore the foundations of cinematic storytelling and discover the principles that shaped the film industry.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
