Carceral Fantasies
- 472 stránek
- 17 hodin čtení
Film a kultura Série
Tato série se ponořila do hlubin kinematografie a zkoumá, jak filmy odrážejí a formují specifické sociální, historické a kulturní kontexty. Knihy v této edici propojují nejnovější poznatky kulturní teorie s filmovou historiografií. Cílem je pochopit složité vazby mezi filmovým uměním a světem, ve kterém vzniká a je vnímáno.
Doporučené pořadí čtení
Focusing on the aesthetics of camera movement, this book analyzes its significant role in shaping classical Hollywood cinema. Through detailed examinations of numerous films, it highlights how influential directors such as F. W. Murnau, Orson Welles, and Alfred Hitchcock employed camera techniques to enhance narrative depth and thematic richness. Patrick Keating provides a fresh perspective on the interplay between visual style and storytelling in film history.
More than two thousand amusement parks dotted the American landscape in the early twentieth century, thrilling the general public with the latest in entertainment and motion picture technology. Amusement parks were the playgrounds of the working class, combining numerous, mechanically-based spectacles into one unique, modern cultural phenomenon. Lauren Rabinovitz describes the urban modernity engendered by these parks and their media, encouraging ordinary individuals to sense, interpret, and embody a burgeoning national identity. As industrialization, urbanization, and immigration upended society before World War I, amusement parks tempered the shocks of racial, ethnic, and cultural conflict while shrinking the distinctions between gender and class. As she follows the rise of American parks from 1896 to 1918, Rabinovitz seizes on a simultaneous increase in cinema and spectacle audiences and connects both to the success of leisure activities in stabilizing society.--
Essays on the Essay Film
- 392 stránek
- 14 hodin čtení
This anthology of fundamental statements on the essay film offers a range of crucial historical and philosophical perspectives. It provides early critical articulations of the essay film as it evolved through the 1950s and 1960s, key contemporary scholarly essays, and a selection of writings by essay filmmakers.
Unspeakable Histories
- 272 stránek
- 10 hodin čtení
William Guynn reads seven films depicting atrocities, exploring the emotional resonance that still adheres to traumatic events and the dimensions of experience that historiography leaves untouched. Unspeakable Histories argues that the film medium triggers moments of heightened awareness in which the reality of the past may be recovered.
Specters of Slapstick and Silent Film Comediennes
- 384 stránek
- 14 hodin čtení
In Specters of Slapstick and Silent Film Comediennes, Maggie Hennefeld examines little-known silent films that, she argues, provide disturbing but suggestive images for comprehending gendered social upheavals in the early twentieth century. Hennefeld shows how slapstick comediennes were crucial to the emergence of film language and experimentation.
The Essay Film after Fact and Fiction
- 416 stránek
- 15 hodin čtení
Nora M. Alter argues that the essay film is a hybrid genre that fuses three major categories of film: feature, art, and documentary. Much like the written essay, its literary predecessor, the essay film draws on a variety of forms and approaches, fundamentally altering the shape of cinema. Alter traces the essay film's origins to early silent cinema, charting the genre's evolution with the advent of sound, its emergence as a recognized category of film in the postwar period, and the ways the genre developed in the later twentieth century. In addition to exploring the broader history of the essay film, Alter discusses the work of artists including Robert Smithson, Martha Rosler, Isaac Julien, John Akomfrah, Harun Farocki, and Hito Steyerl.
A new view of the master's oeuvre, focusing on his ambivalence toward the Emersonian way of thinking he longed to embrace but resisted for the sake of his art.
Of all the major Hollywood stars, Katharine Hepburn was the least conventional, conforming to none of the stereotypes of female superstardom. She was not an exotic outsider in Hollywood like Greta Garbo or Marlene Dietrich; nor was she a victim of the studios like Judy Garland or Marilyn Monroe; and she was certainly not a creature of the system like Joan Crawford and Lana Turner. Instead, she always appeared intelligent, willful and independent, able to develop her own persona within the confines of the studio system. Andrew Britton proposes a feminist reading of Hepburn's films, arguing that her persona raises problems about class, female sexuality, and women's oppression that strain to the limits the conventions of a cinema ultimately committed to the reassertion of bourgeois gender roles. Hepburn's work is also used to explore more general issues, such as the functioning of the star system. This is one of the very few analyses of American cinema to focus on a film star rather than a director or a genre and as such is essential reading for anyone interested in the movies. First published in the United Kingdom twenty years ago, this lavishly illustrated new edition features a foreword by the noted film critic Robin Wood.
Exploring several hundred years of Chinese cinema, this book considers how movies from China, Hong Kong, Taiwan, and the Chinese diaspora reflect changing views of the Chinese nation. Giving fresh perspectives on the key movements, themes, and filmmakers in Chinese cinema, it describes and analyzes the films of a variety of directors and actors.
Ed Sikov builds a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. Sikov primes the eye and mind in the special techniques of film analysis. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director's use of camera movement. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. Film Studies works with any screening list and can be used within courses on film history, film theory, or popular culture. Straightforward explanations of core critical concepts, practical advice, and suggested assignments on particular technical, visual, and aesthetic aspects further anchor the reader's understanding of the formal language and anatomy of film.
Challenges the primacy of motion in cinema and tests the theoretical limits of film aesthetics and representation.
Julie A. Turnock tracks the use and evolution of special effects in 1970s filmmaking, a development as revolutionary to film as the form's transition to sound in the 1920s.
Taken as a whole, the sixteen remarkable films discussed in this provocative new volume of essays represent the brilliant creativity that flourished in the name of German cinema between the wars. Encompassing early gangster pictures and science fiction, avant-garde and fantasy films, sexual intrigues and love stories, the classics of silent cinema and Germany's first talkies, each chapter illuminates, among other things: the technological advancements of a given film, its detailed production history, its critical reception over time, and the place it occupies within the larger history of the German studio and of Weimar cinema in general. Readers can revisit the careers of such acclaimed directors as F. W. Murnau, Fritz Lang, and G. W. Pabst and examine the debuts of such international stars as Greta Garbo, Louise Brooks, and Marlene Dietrich. Training a keen eye on Weimer cinema's unusual richness and formal innovation, this anthology is an essential guide to the revolutionary styles, genres, and aesthetics that continue to fascinate us today.
Cinema by Design
- 288 stránek
- 11 hodin čtení
A leading scholar in so many fields within cinema and media studies, Lucy Fischer demonstrates and celebrates here - intellectually and passionately - a topic that she owns: the architectural and design world of cinematic art nouveau. Timothy Corrigan, coeditor of Essays on the Essay Film
Silent Film Sound
- 462 stránek
- 17 hodin čtení
Reconsiders various aspects of sound practices during the entire silent film period. This book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema.
Deathwatch
- 288 stránek
- 11 hodin čtení
The first study to unpack American cinema's long history of representing death
After the Silents
- 400 stránek
- 14 hodin čtení
Viewing more than two hundred films from the period, Michael Slowik launches the first comprehensive study of a long-neglected phase in Hollywood's initial development
The Lumière Galaxy
- 312 stránek
- 11 hodin čtení
Travels from the remote corners of film history and theory to the most surprising sites on the internet and in our cities to prove the ongoing relevance of cinema
Maya Deren (1917-1961) was a Russian-born American filmmaker, theorist, poet, and photographer working at the forefront of the American avant-garde in the 1940s and 1950s. Influenced by Jean Cocteau and Marcel Duchamp, she is best known for her seminal film Meshes of the Afternoon (1943), a dream-like experiment with time and symbol, looped narrative, and provocative imagery. This book assesses the filmmaker's completed work alongside her incomplete projects, arguing that Deren's overarching aesthetic is founded on principles of contingency and openness, which give her work singular depth but also complicate its making. Combining documentary, experimental, and creative approaches to filmmaking, Deren created a wholly original experience for film audiences, and this critical retrospective illuminates these productive tensions, which continue to energize film.
Show Trial
- 424 stránek
- 15 hodin čtení
Thomas Doherty tells the story of the 1947 hearings into alleged Communist subversion in the movie industry. Show Trial is a character-driven inquiry into how the HUAC hearings ignited the Hollywood blacklist, providing a gripping new history of one of the most influential events of the postwar era.
Shivers Down Your Spine
- 320 stránek
- 12 hodin čtení
"Through a series of detailed historical case studies, Alison Griffiths explores the uncanny and unforgettable visceral power of the medieval cathedral, the panorama, the planetarium, the IMAX theater, and the science museum. Examining these structures as exemplary spaces of immersion and interactivity, Griffiths reveals the sometimes surprising: antecedents of modern media forms, suggesting the spectator's deepseated desire to become. Immersed in a virtual world. Shivers Down Your Spine demonstrates how immersive and interactive museum display techniques such as large video displays, reconstructed environments, and touch-screen computer interactives have redefined the museum space, fueling the opposition between public and private, science and spectacle, civic and corporate interests, voice and text, and life and death. In her remarkable study of sensual spaces, Griffiths explains why, for centuries, we keep coming back for more."--Jacket.
Cinema/Politics/Philosophy
- 248 stránek
- 9 hodin čtení
Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable.
Chow situates contemporary Chinese film within the broad context of Chinese history and culture, giving readers a glimpse of the unique shared identity that characterizes the current crop of outstanding filmmakers, such as Chen Kaige and Zhang Yimou.
Continental Strangers
- 276 stránek
- 10 hodin čtení
Hundreds of German-speaking film professionals took refuge in Hollywood during the 1930s and 1940s, making a lasting contribution to American cinema. Hailing from Austria, Hungary, Poland, Russia, and the Ukraine, as well as Germany, and including Ernst Lubitsch, Fred Zinnemann, Billy Wilder, and Fritz Lang, these multicultural, multilingual writers and directors betrayed distinct cultural sensibilities in their art. Gerd Gemünden focuses on Edgar G. Ulmer’s The Black Cat (1934), William Dieterle’s The Life of Emile Zola (1937), Ernst Lubitsch’s To Be or Not to Be (1942), Bertold Brecht and Fritz Lang’s Hangmen Also Die (1943), Fred Zinneman’s Act of Violence (1948), and Peter Lorre’s Der Verlorene (1951), engaging with issues of realism, auteurism, and genre while tracing the relationship between film and history, Hollywood politics and censorship, and exile and (re)migration.
Film und Stereotyp
Eine Herausforderung für das Kino und die Filmtheorie. Zur Geschichte eines Mediendiskurses
- 323 stránek
- 12 hodin čtení
Seit den 20er Jahren wird im Mainstream-Kino von Kritikern und Theoretikern die Neigung zu Klischees und konventionellen Bildern hervorgehoben, was zu intensiven Debatten führte. Jörg Schweinitz beschreibt diese Tendenz mit dem Begriff Stereotyp, der die Ambivalenz zwischen Funktionalität und kritischem Blick umfasst. Er untersucht Stereotyptheorien aus verschiedenen Disziplinen, um zentrale Aspekte filmischer Stereotypik zu modellieren. Besonders interessiert ihn, welche Denkweisen in den film- und kulturtheoretischen Diskussionen gegenüber der Herausforderung durch Stereotypen entwickelt wurden. Die Analyse beleuchtet die Entwicklung des Diskurses über das Thema im 20. Jahrhundert, wobei Autoren wie Hugo Münsterberg, Walther Rathenau, Béla Balázs und viele andere bedeutende Beiträge geleistet haben. Der Diskurs begann mit fundamentaler Kritik und entwickelte sich zur postmodernen Auseinandersetzung mit Stereotypen. In detaillierten Filmanalysen wird gezeigt, wie Filmemacher die Herausforderung durch Stereotypen aufnahmen. Es treten verschiedene ästhetische Modelle der Anverwandlung und Selbstreflexion von Stereotypen auf, von ironischer Reflexion bis hin zur Verklärung. So entsteht eine Geschichte des theoretischen und kinematographischen Diskurses zu einem zentralen Thema des Kinos, das auch über filmische Grenzen hinaus von medienwissenschaftlichem Interesse ist.
An inside look at parole board decision making and its consequences. číst celé
Pretty
- 408 stránek
- 15 hodin čtení
Lighting performs essential functions in Hollywood films, enhancing the glamour, clarifying the action, and intensifying the mood. Examining every facet of this understated art form, from the glowing backlights of the silent period to the shaded alleys of film noir, Patrick Keating affirms the role of Hollywood lighting as a distinct, compositional force.Closely analyzing Girl Shy (1924), Anna Karenina (1935), Only Angels Have Wings (1939), and T-Men (1947), along with other brilliant classics, Keating describes the unique problems posed by these films and the innovative ways cinematographers handled the challenge. Once dismissed as crank-turning laborers, these early cinematographers became skillful professional artists by carefully balancing the competing demands of story, studio, and star. Enhanced by more than one hundred illustrations, this volume counters the notion that style took a backseat to storytelling in Hollywood film, proving that the lighting practices of the studio era were anything but neutral, uniform, and invisible. Cinematographers were masters of multifunctionality and negotiation, honing their craft to achieve not only realistic fantasy but also pictorial artistry.
Post-Fordist Cinema
- 272 stránek
- 10 hodin čtení
Jeff Menne rewrites the history of the New Hollywood boom of the late 196s and 197s, arguing that auteur theory served to reconcile directors to Hollywood's corporate project. Post-Fordist Cinema sheds new light on the cultural myth of the great director and the birth of the creative economy.
The New European Cinema
Redrawing the Map
New European Cinema offers a compelling response to the changing cultural shapes of Europe, charting political, aesthetic, and historical developments through innovative readings of some of the most popular and influential European films of the 1990s. Made around the time of the revolutions of 1989 but set in post-World War II Europe, these films grapple with the reunification of Germany, the disintegration of the Balkans, and a growing sense of historical loss and disenchantment felt across the continent. They represent a period in which national borders became blurred and the events of the mid-twentieth-century began to be reinterpreted from a multinational European perspective. Featuring in-depth case studies of films from Italy, Germany, eastern Europe, and Scandinavia, Rosalind Galt reassesses the role that nostalgia, melodrama, and spectacle play in staging history. She analyzes Giuseppe Tornatore's Cinema Paradiso, Michael Radford's Il Postino, Gabriele Salvatores's Mediterraneo, Emir Kusturica's Underground, and Lars von Trier's Zentropa, and contrasts them with films of the immediate postwar era, including the neorealist films of Roberto Rossellini and Vittorio De Sica, socialist realist cinema in Yugoslavia, Billy Wilder's A Foreign Affair, and Carol Reed's The Third Man. Going beyond the conventional focus on national cinemas and heritage, Galt's transnational approach provides an account of how post-Berlin Wall European cinema inventively rethought the identities, ideologies, image, and popular memory of the continent. By connecting these films to political and philosophical debates on the future of Europe, as well as to contemporary critical and cultural theories, Galt redraws the map of European cinema
End of Cinema?
- 256 stránek
- 9 hodin čtení
Is a film watched on a video screen still cinema? Have digital compositing, motion capture, and other advanced technologies remade or obliterated the craft? Rooted in their hypothesis of the "double birth of media," André Gaudreault and Philippe Marion take a positive look at cinema's ongoing digital revolution and reaffirm its central place in a rapidly expanding media landscape. The authors begin with an overview of the extreme positions held by opposing camps in the debate over cinema: the "digitalphobes" who lament the implosion of cinema and the "digitalphiles" who celebrate its new, vital incarnation. Throughout, they remind readers that cinema has never been a static medium but a series of processes and transformations powering a dynamic art. From their perspective, the digital revolution is the eighth major crisis in the history of motion pictures, with more disruptions to come. Brokering a peace among all sides, Gaudreault and Marion emphasize the cultural practice of cinema over rigid claims on its identity, moving toward a common conception of cinema to better understand where it is headed next.
By locating the American indie in the historical context of the Sundance-Miramax era, the author considers indie cinema as an alternative American film culture.
Draws our eye to the role of scientific, medical, educational, and aesthetic observation in shaping modern conceptions of spectatorship
Movie Journal
- 496 stránek
- 18 hodin čtení
Selections from the author's column Movie journal published in the Village voice.
Impersonal Enunciation, or the Place of Film
- 280 stránek
- 10 hodin čtení
The late work of an avant-garde theorist adds clarity to the phenomenology of new media.
Projections of war
- 376 stránek
- 14 hodin čtení
In this cultural history of the USA during World War II, Thomas Doherty examines the interaction between Hollywood cinema and America's involvement in the war. He reveals how and why Hollywood marshalled its artistic resources on behalf of the war effort, giving a voice to many different groups' viewpoints: the motion picture industry itself; government agencies; and audiences at home and overseas.
After Uniqueness
- 312 stránek
- 11 hodin čtení
A historical-conceptual perspective on the concept of the political
Dreaming of Cinema
- 280 stránek
- 10 hodin čtení
Video games, YouTube channels, Blu-ray discs, and other forms of "new" media have made theatrical cinema seem "old." A sense of "cinema lost" has accompanied the ascent of digital media, and many worry film's capacity to record the real is fundamentally changing. Yet the Surrealist movement never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Returning to their interpretation of film's aesthetics and function, this book reads the writing, films, and art of Luis Buñuel, Salvador Dalí, Man Ray, André Breton, André Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell and recognizes their significance for the films of David Cronenberg, Nakata Hideo, and Atom Egoyan; the American remake of the Japanese Ring (1998); and a YouTube channel devoted to Rock Hudson. Offering a positive alternative to cinema's perceived crisis of realism, this innovative study enriches the meaning of cinematic spectatorship in the twenty-first century.
Hollywood's Copyright Wars
- 304 stránek
- 11 hodin čtení
Beginning with Thomas Edison's aggressive copyright disputes and concluding with recent lawsuits against YouTube, Hollywood's Copyright Wars follows the struggle of the film, television, and digital media industries to influence and adapt to copyright law. Though much of Hollywood's engagement with the law occurs offstage, in the larger theater of copyright, many of Hollywood's most valued treasures, from Modern Times (1936) to Star Wars (1977), cannot be fully understood without appreciating their legal controversies. Peter Decherney shows that the history of intellectual property in Hollywood has not always mirrored the evolution of the law and recounts these extralegal solutions and their impact on American media and culture.
The formal techniques two classic French filmmakers developed to explore cinema's philosophical potential.
When Movies Were Theater
- 432 stránek
- 16 hodin čtení
There was a time when seeing a movie meant more than seeing a film. The theater itself shaped the very perception of events on screen. This multilayered history tells the story of American film through the evolution of theater architecture and the surprisingly varied ways movies were shown, ranging from Edison's 1896 projections to the 1968 Cinerama premiere of Stanley Kubrick's 2001. William Paul matches distinct architectural forms to movie styles, showing how cinema's roots in theater influenced business practices, exhibition strategies, and film technologies.
What is the sentimental? How can we understand it by way of the visual and narrative modes of signification specific to cinema and through the manners of social interaction and collective imagining specific to a particular culture in transition? This book explores these questions through contemporary Chinese directors.
It's the Pictures That Got Small
- 422 stránek
- 15 hodin čtení
Private revelations from a prominent Hollywood screenwriter and producer who worked closely with Billy Wilder from the 1930s to the 1950s.
