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A brief guide to finding and accessing e-books via UCL Explore.
Print books for Film Studies are located in the Art collection in the UCL Main Library and cover the philosophy of film, film in society, the industry and its economics, technical aspects, film genres, and film history, shelved according to the following sequence:
ART Q: Film and television: general
ART QB: Philosophy and psychology
ART QC: Society and cinema
ART QE: The industry and its economics
ART QH: Production
ART QJ: Technical aspects
ART QK: Genres
ART QM: History (including film in specific countries)
ART QN: People in film and television
Print books for Media Studies can be found in the IOE Library and the Science Library. The following guides have more information about the collections which are most relevant to Media Studies.
School of Slavonic and East European Studies (SSEES) library: includes major holdings of the history and literature of East Germany and other German-speaking areas, Finland and the Baltic region. Also includes the Bain Graffy Film Collection, a collection of films from and about Russia and Central and Eastern Europe that includes features films, animation, documentaries and other material.
Fighting Stars provides a rich and diverse account of the emergence and legacies of Hong Kong martial arts cinema stars. Tracing the meanings and influence of stars such as Bruce Lee, Jackie Chan, Michelle Yeoh, Jet Li, Zhang Ziyi , and Donnie Yen against the shifting backdrops of the Hong Kong film industry, the contributors to this important volume highlight martial arts stars' cultural reach, both on a local and global scale. Each of the chapters, written by a host of renowned international scholars, focuses on an individual film star, considering issues such as martial arts practices and philosophies, gender and age, national identities and conflicts, cinematic genres and aesthetic choices in order to understand their local and transnational cultural influence.
Contemporary Directors' Cinema refreshes the argument about the role of the director through the practice of evaluative criticism. The book identifies what makes nine recent films successful achievements by their directors and collaborators. Each chapter gives some context for the director's work, but the central argument focuses on the style, form and themes of each film, while explicating aspects of point of view and tone. Contemporary Directors' Cinema argues that in each of its nine case studies the director's work is central to the achievement of economy, unity, eloquence, subtlety, depth, vigour, vividness and intensity. By offering critical readings of nine films from mainstream film culture, Contemporary Directors' Cinema demonstrates that cinema remains vital as a directors' medium.
The African Gaze is a comprehensive exploration of postcolonial and contemporary photography and cinema from Africa. Drawing from archival imagery and documents, interviews with the photographers and filmmakers (in some cases family members/close associates if the artist is deceased), and contributions from writers, scholars, and curators, it maps a comprehensive introduction to African moving and still imagery. This is a hugely important and timely publication--engagement with Black and African histories is stronger than ever before (and long overdue). The major names of African photography, such as Malick Sidibé, Sanlé Sory, and Seydou Keïta, have become highly collectible in the art market, while African cinema, pioneered by filmmakers such as Ousmane Sembène in 1960s Senegal, is now recognized for its creative innovation and storytelling. For anyone drawn to African photography and film, this book will provide an exciting and accessible overview. Featuring interviews with Samuel Fosso and Souleymane Cissé.
Comprehending Cinema is a collection of in-depth interviews and panoramic essays that models a generalist approach to modern audiovisual media, prioritizing remarkable cinematic accomplishments that can get lost within our overwhelming modern mediascape. The 18 interviewees featured in this publication include Oscar-winning documentarians Daniel Lindsay and TJ Martin; Dean Fleischer Camp, whose Marcel the Shell with Shoes On was an internet smash, then an Oscar nominee; canonical filmmakers Guy Maddin and Su Friedrich, still building on remarkable careers; renowned poet (and cineaste) John Ashbery; Irish independent Tadhg O'Sullivan who is entranced by the moon; indefatigable cine-historian, Paul Cronin; LA artist Jennifer West, who collaborated with 11,500 visitors on New York City's High Line to produce a new kind of City Symphony; Penny Lane, whose documentary films continually surprise; a collaborative filmmaking team who provide an immersive motion study of a crowd taking selfies with the Mona Lisa; cine-explorers Lucien Castaing-Taylor and Véréna Paravel; master of the cine-archive Bill Morrison; cine-scientist Erin Espelie; video-essayist Chloé Galibert-Laîné; and the Alloy Orchestra, who entertained silent-film audiences for three decades.
The cinema of Iran is celebrated both locally and internationally, yet elements of this diverse field remain comparatively understudied. This book brings together a diverse range of scholars to explore contemporary Iranian cinema in its local and international contexts from a range of perspectives including aesthetic, socio-political comparative approaches. Its chapters analyse the work of well-known filmmakers on the international film circuit such as Abbas Kiarostami, Mohammad Reza Aslani and Jaffar Panahi, as well as internationally lesser-known domestic films such as those of Kamal Tabrizi and the 'Sacred Defence' films of the Iran-Iraq war. The book further widens its scope with chapters which also examine the material practices of the Iranian film industry itself, including chapters on the process by which Iranian films become 'accessible' to international audience. Finally, it considers, too, representations of Iranians in foreign cinemas, and how these have in turn affected Iranian films.
This is the first volume dedicated to the subject of apocalyptic video games. Its two dozen papers engage the subject comprehensively, from game design to player experience, and from the perspectives of content, theme, sound, ludic textures, and social function. The volume offers scholars, students, and general readers a thorough overview of this unique expression of the apocalyptic imagination in popular culture, and novel insights into an important facet of contemporary digital society.
Invisible Digital helps us makes sense of something we cannot see by presenting an innovative approach to digital images and digital culture. At its heart is a novel method for exploring software used in the creation of moving images as markers of converging cultural, organizational and technological influences. The three main case studies of Invisible Digital are the animated feature Moana (2016) and the computer games No Man's Sky (2016) and Everything (2017). The approach of Invisible Digital is informed by relational theories and the concept of entanglement based on materialist perspectives, combined with insights from work that more explicitly interrogates algorithms and algorithmic culture. These analyses of software provide a widely applicable method through which moving image studies can contribute more fully to the wider and growing debates about algorithmic culture.
Podcasting's stratospheric rise has inspired a new breed of audio reporting. Offering immersive storytelling for a binge-listening audience as well as reaching previously underserved communities, podcasts have become journalism's most rapidly growing digital genre, buoying a beleaguered news industry. Yet many concerns have been raised about this new medium, such as the potential for disinformation, the influence of sponsors on content, the dominance of a few publishers and platforms, and at-times questionable adherence to journalistic principles. David O. Dowling critically examines how podcasting and its evolving conventions are transforming reporting-and even reshaping journalism's core functions and identity. He considers podcast reporting's most influential achievements as well as its most consequential ethical and journalistic shortcomings, emphasizing the reciprocal influences between podcasting and traditional and digital journalism.
Video games are both physically and cognitively demanding--so what does that mean for those with a disability or mental illness? Though they may seem at odds, Ability Machines illuminates just how vital video games are to understanding our bodies and abilities. In Ability Machines, Sky LaRell Anderson shows us how video games can help us imagine what our abilities mean and how they engage us physically, behaviorally, and cognitively to envision our agency beyond limitations.
Featuring abundant examples and images, Introduction to Documentary, Fourth Edition is designed to facilitate a rich understanding of how cinema can be used to document the historical world as it is seen by a wide variety of filmmakers. Subjectivity, expressivity, persuasiveness, and credibility are crucial factors that move documentary film away from objective documentation and toward the thought-provoking realm of arguments, perceptions, and perspectives that draw from a filmmaker's unique sensibility to help us see the world as we have not seen it before. Exploring ethics, history, different modes of documentary, key social issues addressed, and both the origins and evolution of this form, this updated volume also offers guidance on how to write about documentaries and how to begin the process of making one.
This book offers a historical, cultural, political and socio-economic analysis of the British media. It examines how facts and events are reported and interpreted, but also how ideas and opinions circulate and are recycled, with attention being paid to British traits and tropes in these domains. This in-depth study of "issues" and "singularity" aims at understanding how the British media have helped shape the country's culture and representations, thereby providing its people with a sense of togetherness. Volume 1 focuses on the press, the internet and cinema as mass media, from the prolific and innovative Victorian era - the matrix of the modern world - to the turn of the 21st century with the challenge of digitalisation.
Scripting Empire recovers the literary and cultural history of West Indian and West African writing at the BBC in order to rethink the critical mid-century decades of shrinking British sovereignty, late modernism, and mass migration to the metropole. Between the 1930s and the 1960s, a remarkable group of black Atlantic artists and intellectuals became producers, editors, and freelancers at the corporation, including Una Marson, Langston Hughes, Louise Bennett, Wole Soyinka, Derek Walcott, Amos Tutuola, V.S. Naipaul, Sam Selvon, Cyprian Ekwensi, Stuart Hall, and C.L.R. James. Operating at the interface of a range of literary and broadcast genres, this loose network of African Caribbean writers and thinkers prompt a reassessment of the aesthetic, formal, and political fallout of decolonization between the outbreak of World War II and the first airings of post-colonial independence.
Situated at the intersection of film and media studies, literary theory, and continental philosophy, The Traces of Jacques Derrida's Cinema provides a trenchant account of the role of cinema in the oeuvre of one of the most influential philosophers of the twentieth century, Jacques Derrida (1930-2004). The book is animated by Derrida's self-confessed passion for the movies, his reluctance to write about film despite the range of his corpus, and the generative encounters arising between his legacy and the field of film and media studies as a result. Given the expanse of its references, interdisciplinarity, and consideration of Derrida's approach to the experience of both spectatorship and the act of being filmed, The Traces of Jacques Derrida's Cinema contributes to the ongoing close analyses of the philosopher's work while also providing a rigorous introduction to deconstruction.
Cinematic Encounters with Disaster takes Hollywood's disaster movies and their codified versions of natural disaster, post-apocalyptic survival, and extra-terrestrial threat as the starting point for an analytical trajectory that works toward new understandings of how cinema shapes and informs our conceptions of disaster and catastrophe. It examines a range of films from distinct regional and industrial contexts: Hollywood, indie movies, different kinds of documentaries from the US and elsewhere, and auteurist-realist cinema from Europe and Asia. Moving across and beyond critical and industrial categories that often inform thinking about cinema, this book contends that different approaches to film style can push us to imagine disaster in distinct ways, with distinct ethical connotations.
* One of the most influential directors ever * Chantal Akerman's film Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles was named best film of all time by magazine Sight and Sound * With her unique and hyper-personal style, the Belgian director transformed both the film and art world * This book is a posthumous collective portrait of Akerman as one of thé filmmakers of our time, with contributions from people who admired her and worked closely with her Filmmaker and artist Chantal Akerman was one of the most fearless filmmakers of her generation. Her work blurs the boundaries of time and space, of film and art. It can be seen in cinemas and museums worldwide. She may be largely unknown to the general public, but she is revered by cinephiles, visual artists and filmmakers. The impact of her oeuvre on world cinema became abundantly clear when Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles was named best film of all time by British magazine Sight and Sound.
In The Movies of Racial Childhoods Celine Parreñas Shimizu examines early twenty-first-century cinematic representations of Asian and Asian American children. Drawing on psychoanalysis and her own perspective as a mother grieving for a deceased child, Shimizu considers how cinema renders Asian American children through sexualized racial difference, infantilization, and premature adultification. She looks at how Asian American childhood is characterized in film through experiences of alienation and trauma and contends that childhood development requires finding freedom and self-sovereignty through agentic attunement. In analyzing films that focus on queer Asian American youth such as Spa Night (2016) and Driveways (2019) and those that explore the trauma of being an immigrant like Yellow Rose (2019) and The Half of It (2020), Shimizu demonstrates that films can prompt viewers to evaluate their own childhood development.
In 1980s India, the Ramsay Brothers and other filmmakers produced a wave of horror movies about soul-sucking witches, knife-wielding psychopaths, and dark-caped vampires. Seeing Things is about the sudden cuts, botched makeup effects, continuity errors, and celluloid damage found in these movies. Kartik Nair reads such "failures" as clues to the conditions in which the films were made, censored, and seen, offering a view from below of the world's largest film culture. By combining close analysis with extensive archival research and original interviews, Seeing Things reveals the spectral materialities informing the genre's haunted houses, grotesque bodies, and graphic violence.
Across more than 30 chapters spanning migration, queerness, and climate change, this handbook captures how the interdisciplinary and intersectional endeavor of Age(ing) studies has shaped contemporary literary and film studies. In the early 21st century, the literary study of age and ageing in its cultural context has 'come of age': it has come to supplement and challenge a public discourse on ageing seen mainly as a political and demographic 'problem' in many countries of the world. Following a tripartite structure, it looks first at literary and film genres and how they have been shaped by knowledge about age and ageing, incorporating both narrative genres as well as poetry, drama and imagery. The second section includes chapters on key themes and concepts in Age(ing) Studies with examples from film and literature. The third section brings together case studies focussing on individual artists, national traditions and global ageing.
Film has long been defined as a temporal art, most famously by André Bazin and Andrei Tarkovsky. Yet more fundamentally it has always been a spatial art, transporting its audiences imaginatively to spaces and places other than those they literally inhabit. In the digital era, this spatial illusion and paradox has been greatly expanded - by the predominance of domestic film viewing, along with new extra-terrestrial perspectives, and the promise of novel kinesthetic experiences with Virtual Reality and "immersion". The international authors in this collection address the history and aesthetics of screen media as spatial transposition, in a range of exemplary analyses that run from the landscapes of John Ford's westerns to Chantal Akerman's claustrophobic domestic spaces, from the conventions of the English country house film to Patrick Keiller's Robinson roaming a changed country, and from the experiences of Covid pandemic confinement to those of un-homed van-dwellers in Chloe Zhao's award-winning NOMADLAND.
In recent years, the enduring appeal of Alfred Hitchcock to film studies has been evidenced by the proliferation of innovative approaches to the director's work. Adding to this pattern of innovation, the edited collection One Shot Hitchcock: A Contemporary Approach to the Screen utilizes formal analysis to interrogate key single shots from across Alfred Hitchcock's long career. This collection reveals the value of analyzing the single shot - within this small, cinematic unit is a code that unlocks a series of revelations about cinema as an artistic practice and a theoretical study. Each chapter examines one shot from a single film, beginning with The Lodger (1927) and ending with Frenzy (1972). If Hitchcock is known as a director of suspense films and films about murder, the shots discussed in One Shot Hitchcock are his crime scenes.
Hollywood is haunted by the ghost of playwright and novelist Oscar Wilde. This is the story of his haunting, told for the first time. Set within the rich evolving context of how the American entertainment industry became cinema, and how cinema become the movies, it reveals how Wilde helped to shape Hollywood in the early twentieth century. It begins with his 1882 American tour, and traces the ongoing popularity of his plays and novel in the early twentieth century, after his ignominious death. Following the early filmmakers, writers and actors as they headed West in the Hollywood boom, it uncovers how and why they took Wilde's spirit with them. There, in Hollywood, in the early days of silent cinema, Wilde's works were adapted. They were also beginning to define a new kind of style -- a 'Wilde-ish spirit', as Ernst Lubitsch called it -- filtering into the imaginations of Lubitsch himself, as well as Alla Nazimova, Ben Hecht, Samuel Hoffenstein and many others.
Christopher Falzon argues in this book for a new way of understanding film as philosophy. Inspired and informed by the work of Michel Foucault, Falzon shows how a motion picture can operate not simply as a thought experiment but as a form of experience-centred, experimental reflection. It is film's ability to show viewers things that challenge their way of thinking, giving them experiences that can make them think differently, that gives the film its status as philosophy. Through these cinematic experiences, not only cultural norms and presuppositions but also cinematic conventions, and even established philosophical positions, can be interrogated and questioned. Experiments in Film and Philosophy explores three films in the light of this new way of thinking about philosophy and film: Jean-Luc Godard's Breathless, Rubin Ötlund's Force Majeure, and Jonathon Glazer's Under the Skin.
This book asks "How can legal doctrine be turned into filmic art?" By "legal doctrine" Stanley Fish does not mean the sonorous abstractions that usually accompany the self-presentation of law--Justice, Equity, Equality, Liberty, Autonomy, and the like. Rather he has in mind the specific rules and procedures invoked and analyzed by courts on the way to declaring a decision--lawyer/client confidentiality, the distinction between interdicted violence and the violence performed by the legal system, the interplay of positive law and laws rooted in morality, the difference between civilian law and military law, the death penalty, the admissibility of different forms of evidence. In the movies he discusses, these and other points of doctrine and procedure do not serve as a background, occasionally visited, to the substantive issues that drive the plot and provide the characters with choices; they declare the plot, and character is formed and tested in relationship to their demands.
Celluloid Democracy tells the story of the Korean filmmakers, distributors, and exhibitors who reshaped cinema in radically empowering ways through the decades of authoritarian rule that followed Korea's liberation from Japanese occupation. Employing tactics that ranged from representing the dispossessed on the screen to redistributing state-controlled resources through bootlegging, these film workers explored ideas and practices that simultaneously challenged repressive rule and pushed the limits of the cinematic medium. Drawing on archival research, film analysis, and interviews, Hieyoon Kim examines how their work foregrounds a utopian vision of democracy where the ruled represent themselves and access resources free from state suppression. The first book to offer a history of film activism in post-1945 South Korea, Celluloid Democracy shows how Korean film workers during the Cold War reclaimed cinema as an ecology in which democratic discourses and practices could flourish.
Maverick Movies tells the improbable story of New Line Cinema, a company that cut a remarkable path through the American film industry and movie culture. Founded in 1967 as an art film distributor, New Line made a small fortune running John Waters's Pink Flamingos at midnight screenings in the 1970s and found reliable returns with the Nightmare on Elm Street franchise in the 1980s. By 2001, the company competed with the major Hollywood studios and reached global box office success with the Lord of the Rings franchise. Blurring boundaries between high and low culture, between independent film and Hollywood, and between the margins and the mainstream, New Line Cinema epitomizes Hollywood's shift in focus from the mass audience fostered by the classic studios to the multitude of niche audiences sought today.
This Handbook offers new and previously unexplored comparative approaches to the field of New Cinema History. The volume brings together contributions focussing on historical and contemporary comparative case studies of cinema-going practices, cinema distribution, exhibition and reception from a global perspective. Engaging with a wealth of empirical and archive-based sources the volume explores a wide range of methodological and theoretical approaches. This Handbook is a key addition to debates on the relationship between film industry and cinema-going practices across different political and cultural geographical dimensions.
An exploration of the consequences of unbridled expansion of neoliberal values within India through the lens of popular film and culture. The neoliberal self, far from being a stable marker of urban, liberal, millennial Indian identity, is replete with contradictions and oppositions. This study of the unstable neoliberal identity lays bare the sense of precarity and inherent inequality that neoliberal regimes confer upon their subjects. This analysis draws upon theories of feminist media studies, popular culture analyses, and film studies to critique mainstream Hindi cinema texts produced in the last two decades. Rele Sathe also examines a variety of peripheral subjects and texts, including the film star, the urban space, web series, YouTube videos, and social media content.
Drawing on cultural policy, queer and feminist theory, materialist media studies, and postcolonial historiography, Bliss Cua Lim analyzes the crisis-ridden history of Philippine film archiving--a history of lost films, limited access, and collapsed archives. Rather than denigrate underfunded Philippine audiovisual archives in contrast to institutions in the global North, The Archival Afterlives of Philippine Cinema shows how archival practices of making do can inspire alternative theoretical and historical approaches to cinema. Lim examines formal state and corporate archives, analyzing restorations of the last nitrate film and a star-studded lesbian classic as well as archiving under the Marcos dictatorship. She also foregrounds informal archival efforts: a cinephilic video store specializing in vintage Tagalog classics; a microcuratorial initiative for experimental films; and guerilla screenings for rural Visayan audiences.
In this capacious transnational film history, renowned scholar Masha Salazkina proposes a groundbreaking new framework for understanding the cinematic cultures of twentieth-century socialism. Taking as a point of departure the vast body of work screened at the Tashkent International Festival of Cinemas of Asia, Africa, and Latin America in the 1960s and 1970s, World Socialist Cinema maps the circulation of films between the Soviet Bloc and the countries of the Global South in the mid- to late twentieth century, illustrating the distribution networks, festival circuits, and informal channels that facilitated this international network of artistic and intellectual exchange. Building on decades of meticulous archival work, this long-anticipated film history unsettles familiar stories to provide an alternative to Eurocentric, national, and regional narratives, rooted outside of the capitalist West.
At the forefront of the entertainment industries of the late nineteenth and early twentieth centuries were singular actors: Sarah Bernhardt, Gabrielle Réjane, and Mistinguett. Talented and formidable women with global ambitions, these performers forged connections with audiences across the world while pioneering the use of film and theatrics to gain international renown. Transnational Trailblazers of Early Cinema traces how these women emerged from the Parisian periphery to become world-famous stars. Building upon extensive archival research in France, England, and the United States, Victoria Duckett argues that, through intrepid business prowess and the use of early multimedia to cultivate their celebrity image, these three artists strengthened ties between countries, continents, and cultures during pivotal years of change.
In Describing Cinema, award-winning film scholar Timothy Corrigan explores the art and poetics of writing about film. Part theory, part rhetoric, and part pedagogy, the text examines and demonstrates acts of describing scenes, shots, and sequences in films as the most common and most underestimated way viewers respond to movies. Describing Cinema represents a global range of movies from Hollywood to Morocco to Rome, made from the 1940s to the present. As Corrigan shows, energetic and careful descriptions can serve as exceptionally rich ways to demonstrate and celebrate the activities, varieties, and challenges of a central generative movement in the viewing and interpretation of films.
Activism and Post-activism: Korean Documentary Cinema, 1981--2022 is a new book about nonfiction filmmaking in the private and independent sectors of South Korean cinema and media from the early 1980s to the present day. Drawing on the methodologies of documentary studies, experimental film and video, digital cinema, local discourses on independent documentary, and the literature on the social changes of South Korea, author Jihoon Kim historicizes the formation and development of Korean independent documentary in close dialogue with South Korea's social movements. From the 1980s mass anti-dictatorship movement to twenty-first-century labor issues, feminism, LGBT rights, environmental justice, and key events such as the Sewol Ferry disaster and the Candlelight Protests, Kim offers a comprehensive history of Korean social change documentaries in terms of their activist tradition.
Arriving in cinema when synchronized sound had just been adopted, director Rouben Mamoulian demonstrated key early methods for making sound aid storytelling, for giving films a crisper sense of rhythm, for creating musicals set in backstage, fairy-tale, and folk environments, for providing intricate and arresting colour palettes, and for rendering sexual content more palpable under industry censorship. Mamoulian also wrote many articles throughout his lifetime and gave interviews and lectures where he advanced his complex ideas about the potentials of various artforms, including cinema. In addition, he left an extensive paper record of his work, including heavily annotated scripts for each of the sixteen films he directed. Mamoulian also enjoyed major success on the stage. He directed the original landmark productions of Porgy, Porgy and Bess, Oklahoma!, and Carousel, and his efforts in this domain informed his film work. Defining Cinema takes a holistic look at Mamoulian's oeuvre by examining both his stage and his screen work, and also brings together insights from his correspondence, his theories on film, and analysis of the films themselves.
This is a book about Palestinians elsewhere and Palestinian elsewheres. Articulating an ambiguous right to remain out-of-place as a spatialized response to the fossilized present, the films and filmmakers in this book examine Palestine, as a place and idea, from the dissonance of exile. An Atonal Cinema: Resistance, Counterpoint and Dialogue in Transnational Palestine theorizes a transnational consciousness within contemporary Palestinian cinema as one which articulates an 'atonal' cinema, utilizing contrapuntal dialogue as a mode of resistance with which to respond critically to the 'place-myth' of Palestine in films produced within Palestine but without Palestinians. Drawing on a genealogy of Edward Said's atonal thinking of counterpoint, I argue that the films in this book display a 'double-consciousness', through which Palestine is simultaneously elided and re-inscribed in a contrapuntal dialogue between the 'here' of its contemporary reality and the 'elsewhere' of its historical image.
Screen Deep is a book about the immense potential of screen storytelling to defeat an evil both historic and urgently topical: racism. Everyone watches TV and movies. Everyone has an interest in building a more just and equitable world. Screen Deep goes beyond the many film books and anti-racist manuals by demonstrating the connection between these two aspects of modern life.
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.
The magic and mastery of anime springs to life in this gorgeous celebration of the genre that features more than 150 full-color frames. Covering an enormous range of talent--from Isao Takahata, Katsuhiro Ôtomo, and Makoto Shinkai to Studio Ghibli and Mamoru Oshii--it demonstrates how anime makes room for limitless creativity. Unfettered by the physical constraints of nature's laws, these artists realize our deepest emotions and our wildest dreams.
An inspirational trove of film posters and ephemera, photographs, artwork and more from the collection of Spike Lee For nearly four decades, Spike Lee has made movies that demand our attention. His extensive filmography reflects an unflinching critique of race relations in the United States, from the Student Academy Award(R)-winning short Joe's Bed-Stuy Barbershop: We Cut Heads and the ever-relevant Do the Right Thing to the more recent Oscar(R)-winning BlacKkKlansman and Da 5 Bloods. A lifelong cinephile and film scholar, Lee draws inspiration from other artists working across a range of eras, genres and global cinemas.
This edited collection provides an insightful look at the career and output of American horror director Wes Craven, whose most famous films - such as The Last House on the Left (1972), A Nightmare on Elm Street (1984) and Scream (1996) - came to define the form in the later decades of the 20th century. Also paying attention to Craven's more underrated work, from Deadly Friend (1986) through to his melodrama Music of the Heart (1999), this academic study argues that the filmmaker's influence can still be felt on cinema today, many years after his passing. Featuring 16 chapters and an extensive introduction, this addition to the ReFocus line will prove to be essential reading for scary movie connoisseurs and brings a valuable contribution to the growing field of horror film studies.
In Black Boys: The Aesthetics of British Urban Film, Nwonka offers the first dedicated analysis of Black British urban cinematic and televisual representation as a textual encounter with Blackness, masculinity and urban identity where the generic construction of images and narratives of Black urbanity is informed by the (un)knowable allure of Black urban Otherness. Foregrounding the textual Black urban identity as a historical formation, and drawing on a range of theoretical frameworks that allow for an examination of the emergence and continued social, cultural and industrial investment in the fictitious and non-fictitious images of Black urban identities and geographies, Nwonka convenes a dialogue between the disciplines of Film and Television Studies, Philosophy, Cultural Studies, Black Studies, Sociology and Criminology.
While the historical influence of psychoanalysis on Hollywood cinema has received considerable attention, the same cannot be said for its influence on British cinema. This book examines the central position that psychoanalysis occupies in British cinema in the years immediately following the Second World War. Plummer uses a critical theory framework to understand the role that psychoanalysis plays in British culture at this time as an historical discourse, and in British cinema as a narrative, a cultural, and an ideological discourse.
Against the long historical backdrop of 1492, Columbus, and the Conquest, Robert Stam's wide-ranging study traces a trajectory from the representation of indigenous peoples by others to self-representation by indigenous peoples, often as a form of resistance and rebellion to colonialist or neoliberal capitalism, across an eclectic range of forms of media, arts, and social philosophy.
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.
Watership Down (Martin Rosen, 1978) is as controversial as it is beloved. Whether due to the tear-jerking hit song 'Bright Eyes' or its notorious representation of violence inflicted by and upon animated rabbits, the film retains the ability to move and shock audiences of all ages, remaining an important cultural touchstone decades after its original release. This open access collection unites scholars and practitioners from a diversity of perspectives to consider the ongoing legacy of this landmark of British cinema and animation history.
Media and Gender Adaptation examines how fans and professionals change the gender of characters when they adapt existing work. Using research into fans, and case studies on Sherlock Holmes, Ghostbusters and Doctor Who, it illustrates the foundation of the process and ways the works engage with and critique media and gender at a political level. The default maleness of narratives in media are reworked to be inclusive of other points of view. Regendering as an adaptational technique relies on audience familiarity with existing works, however it also reveals an increasing trend in aggressive backlash against interpretations of media that include marginalised and minority communities. Combining analysis of fanfiction, television and big budget Hollywood productions, Media and Gender Adaptation also analyses fan responses to regendering in popular media.
Cinema in the Arab world has been the subject of varied and rigorous studies, but most have focused on films as text, providing in-depth analyses of plot, style, ideologies, or examination of the biographies of prominent directors or actors. This innovative new volume shifts the focus on Arab cinema off-screen, to examine the histories, politics, and conditions of distribution, exhibition, and cinema-going in the Arab world.
Although Michelangelo Antonioni became one of the icons of "modernist" cinema in the 1960s, his position in the pantheon of great directors has never been quite secure. Unlike his famous contemporaries, such as Ingmar Bergman and Luchino Visconti, whose essential contribution to the art of cinema is hardly ever questioned, Antonioni's work has been repeatedly denigrated from many angles for both aesthetic and political reasons.
A new way to teach media studies that centers students' lived experiences and diverse perspectives from around the world. From the intimate to the mundane, most aspects of our lives--how we learn, love, work, and play--take place in media. Taking an expansive, global perspective, this introductory textbook covers what it means to live in, rather than with, media. Mark Deuze focuses on the lived experience--how people who use smartphones, the internet, and television sets;make sense of their digital environment--to investigate the broader role of media in society and everyday life.
This collection convenes diverse analyses of David Lynch's newly conceived, dreamlike neo-noir representations of the American West, a first in studies of regionalism and indigeneity in his films. Twelve essays and three interviews address Lynch's image of the American West and its impact on the genre. Fans and scholars of David Lynch's work will find a study of his interpretations of the West as place and myth, spanning from his first feature film, Eraserhead (1977), through the third season of Twin Peaks in 2017. Symbols of the West in Lynch's work can be as obvious as an Odessa, Texas street sign or as subtle as the visual themes rooted in indigenous artistry. Explorations of cowboy masculinity, violence, modern frontier narratives and representations of indigeneity are all included in this collection.
Having become widely accessible as a consumer technology in the 1960s, video is ever-present today-on our phones and our screens, defining new spaces and experiences, shaping our ideas and politics, and spreading disinformation, documentation, evidence, fervor. Signals: The Politics of Video charts the ways in which artists have both championed and questioned the promise of video, revealing a history that has been planetary, critical, and activist from its very beginnings. The Museum of Modern Art has been at the forefront of bringing video into museums-pioneering the collection, conservation, and definition of a new artistic medium. Signals aims to renew and revise our understanding of art and video, both within and outside the museum.
A series of philosophical meditations on the nature of aesthetics across a wide array of filmmaking styles. Images, whether filmic or not, cannot be replaced by words. Yet words can make images. This is the general thesis underlying So What, a collection of essays on canonical filmmakers like Luchino Visconti and Orson Welles; more experimental directors, such as Marguerite Duras and Albert Serra; and visual artists, including Hollis Frampton and Agnes Martin.
For observers of the European film scene, Federico Fellini's death in 1993 came to stand for the demise of Italian cinema as a whole. Exploring an eclectic sampling of works from the new millennium, Italian Film in the Present Tense confronts this narrative of decline with strong evidence to the contrary. Millicent Marcus highlights Italian cinema's new sources of industrial strength, its re-placement of the Rome-centred studio system with regional film commissions, its contemporary breakthroughs on the aesthetic front, and its vital engagement with the changing economic and socio-political circumstances in twenty-first-century Italian life.
Visions of Invasion: Alien Affects, Cinema, and Citizenship in Settler Colonies explores how the US government mobilizes media and surveillance technologies to operate a highly networked, multidimensional system for controlling migrants. Author Michael Lechuga focuses on three arenas where a citizenship control assemblage manufactures alienhood: Hollywood extraterrestrial invasion film, federal antimigration and border security legislation, and various immigration enforcement protocols implemented along the Mexico-United States border.
The Eye of the Cinematograph investigates the ethical and aesthetic implications of the automatic formation of the body’s image by the camera. Drawing on Emmanuel Levinas’ thought, Manafi asks what happens when the other makes their body available to the gaze of the camera to be automatically recorded, and this giving of the body is preserved within the image, juxtaposed with other images to allude to a story that might otherwise remain untold.
A look at the emergence of queer women characters in popular storytelling and the wide-ranging effects of this mainstream representation. The twenty-first century has seen LGBTQ+ rights emerge at the forefront of public discourse and national politics in ways that would once have been hard to imagine. In Lesbians on Television, Kate McNicholas Smith maps concurrent contemporary shifts in lesbian visibility within popular media, focusing on the small screens of Europe and North America.
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