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Cinema - Concordia University Libraries Recent Acquisitions

Titles in the call number range PN 1993 - PN 1999 (Cinema) that were added to the Concordia University Libraries collection in the last 90 days.


  • Cult media : re-packaged, re-released and restored / Jonathan Wroot, Andy Willis, editors
    PN1995.9.C84

  • Virtual weaponry : the militarized internet in Hollywood war films / Aaron Tucker
    PN1995.9.I573

  • The long take : critical approaches / John Gibbs, Douglas Pye, editors
    PN1995.9.P7

  • Art cinema and theology the word was made film / Justin Ponder
    PN1995.5

  • Reassessing the Hitchcock touch : industry, collaboration, and filmmaking / Wieland Schwanebeck, editor
    PN1998.3.H58

  • Formations of masculinity in post-communist Hungarian cinema : labyrinthian men / György Kalmár
    PN1993.5.H8

  • Documentary and disability / Catalin Brylla, Helen Hughes, editors
    PN 1995.9 D6 D63 2017eb

  • BLACK MASCULINITY ON FILM native sons and white lies
    PN1995.9.N4

  • The techne of giving : cinema and the generous form of life / Timothy C. Campbell
    PN 1993.5 I88 C24625 2017

    Over the last five years, corporations and individuals have given more money, more often, to charitable organizations than ever before. What could possibly be the downside to inhabiting a golden age of gift-giving? That question lies at the heart of Timothy Campbell's account of contemporary giving and its social forms. In a milieu where gift-giving dominates, nearly everything given and received becomes the subject of a calculus--gifts from God, from benefactors, from those who have. Is there another way to conceive of generosity? What would giving and receiving without gifts look like?

    A lucid and imaginative intervention in both European philosophy and film theory, The Techne of Giving investigates how we hold the objects of daily life--indeed, how we hold ourselves--in relation to neoliberal forms of gift-giving. Even as instrumentalism permeates giving, Campbell articulates a resistant techne locatable in forms of generosity that fail to coincide with biopower's assertion that the only gifts that count are those given and received. Moving between visual studies, Winnicottian psychoanalysis, Foucauldian biopower, and apparatus theory, Campbell makes a case for how to give and receive without giving gifts. In the conversation between political philosophy and classic Italian films by Visconti, Rossellini, and Antonioni, the potential emerges of a generous form of life that can cross between the visible and invisible, the fated and the free.


  • Searching for wisdom in movies : from the Book of Job to sublime conversations / Richard Gilmore
    PN1995
    In this volume, Richard Gilmore explores film as a channel through which to engage in philosophical reflection and analyzes the relationship between philosophy and film. This book argues that philosophy and film can and should be used for the amelioration of life's difficulties and the promotion of life's boons. Gilmore identifies how philosophy and film complement and enrich one another and explores their relationship by connecting classic wisdom texts to significant movies. For example, the volume analyzes the Coen brothers' films The Big Lebowski and A Serious Man in light of The Book of Job . Gilmore considers the ancient idea of philosophy as "spiritual exercise" and a way of life. The volume concludes by examining what the author labels "sublime conversations" as the highest expression of philosophy. The book identifies and dissects these conversations in movies directed by the likes of Robert Bresson, Yasujirō Ozu, Jean-Luc Godard, and Ingmar Bergman, among others.

  • Not according to plan : filmmaking under Stalin / Maria Belodubrovskaya
    PN 1993.5 R9 B385 2017

    In Not According to Plan , Maria Belodubrovskaya reveals the limits on the power of even the most repressive totalitarian regimes to create and control propaganda. Belodubrovskaya's revisionist account of Soviet filmmaking between 1930 and 1953 highlights the extent to which the Soviet film industry remained stubbornly artisanal in its methods, especially in contrast to the more industrial approach of the Hollywood studio system. Not According to Plan shows that even though Josef Stalin recognized cinema as a "mighty instrument of mass agitation and propaganda" and strove to harness the Soviet film industry to serve the state, directors such as Eisenstein, Alexandrov, and Pudovkin had far more creative control than did party-appointed executives and censors.

    The Stalinist party-state, despite explicit intent and grandiose plans to build a "Soviet Hollywood" that would release a thousand features per year, failed to construct even a modest mass propaganda cinema. Belodubrovskaya's wealth of evidence shows that the regime's desire to disseminate propaganda on a vast scale was consistently at odds with its compulsion to control quality and with Stalin's intolerance of imperfection. Not According to Plan is a landmark in Soviet cultural history and the global history of cinema.


  • Reinventing Hollywood : how 1940s filmmakers changed movie storytelling / David Bordwell
    PN 1993.5 U65 B654 2017
    In the 1940s, American movies changed. Flashbacks began to be used in outrageous, unpredictable ways. Soundtracks flaunted voice-over commentary, and characters might pivot from a scene to address the viewer. Incidents were replayed from different characters' viewpoints, and sometimes those versions proved to be false. Films now plunged viewers into characters' memories, dreams, and hallucinations. Some films didn't have protagonists, while others centered on anti-heroes or psychopaths. Women might be on the verge of madness, and neurotic heroes lurched into violent confrontations. Combining many of these ingredients, a new genre emerged--the psychological thriller, populated by women in peril and innocent bystanders targeted for death.

    If this sounds like today's cinema, that's because it is. In Reinventing Hollywood, David Bordwell examines for the first time the full range and depth of trends that crystallized into traditions. He shows how the Christopher Nolans and Quentin Tarantinos of today owe an immense debt to the dynamic, occasionally delirious narrative experiments of the Forties. With verve and wit, Bordwell examines how a booming movie market during World War II allowed ambitious writers and directors to push narrative boundaries. Although those experiments are usually credited to the influence of Citizen Kane , Bordwell shows that similar impulses had begun in the late 1930s in radio, fiction, and theatre before migrating to film. And despite the postwar recession in the industry, the momentum for innovation continued. Some of the boldest films of the era came in the late forties and early fifties, as filmmakers sought to outdo their peers.

    Through in-depth analyses of films both famous and virtually unknown, from Our Town and All About Eve to Swell Guy and The Guilt of Janet Ames , Bordwell assesses the era's unique achievements and its legacy for future filmmakers. The result is a groundbreaking study of how Hollywood storytelling became a more complex art. Reinventing Hollywood is essential reading for all lovers of popular cinema.

  • Hollyweird science : from spaceships to microchips / Kevin R. Grazier, Stephen Cass
    PN1995.9.S265

  • Bodies in suspense : time and affect in cinema / Alanna Thain
    PN 1995.9 S668 T47 2017

    Bodies in Suspense presents a powerful new way to think through postdigital cinema and the affective turn in critical theory. According to Alanna Thain, suspense films allow us to experience the relation between two bodies: that of the film and that of the viewer. Through the "time machine" of suspense, film form, gender, genre, and spectatorship are revealed in innovative and different ways. These films not only engage us directly in ethical concerns, but also provide a key for understanding corporeal power in the digital era.

    Offering a new framework for understanding cinematic suspense, Bodies in Suspense argues that the "body in time" enables us to experience the temporal dimension of the body directly. This is the first book to link two contemporary frames of analysis: questions of cinematic temporality and contemporary affect theory. Thain conducts close readings of influential suspense films by Alfred Hitchcock, David Lynch, Christian Marclay, Rian Johnson, and Lou Ye, and sets forth a compelling new theory of cinema, reading for the productivity of the "crime of time" that stages the duplicity of cinematic bodies. Through these films that foreground doubled characters and looping, Thain explores Gilles Deleuze's claim that "the direct time-image is the phantom which has always haunted cinema."

    A vital new addition to film theory, corporeality and affect theory, feminist theory, and the philosophy of time--and one of the first books to explore David Lynch's Hollywood trilogy-- Bodies in Suspense asks us to pay attention, above all, to the ways in which the condition of spectatorship creates a doubling sensation with important philosophical repercussions.


  • Shakespeare, Bakhtin, and film : a dialogic lens / Keith Harrison
    PN1995.9.P42

  • Space and subjectivity in contemporary brazilian cinema
    PN 1993.5 B6 S69 2017eb

    This edited volume seeks to provide new perspectives on space and subjectivity in contemporary Brazilian cinema for the first time in English. Through diverse theoretical and methodological approaches, contributors discuss the themes of space and subjectivity in their connection to various topics and concepts, including: territorialization and marginalized subjectivities; intensity, affect and spatial experience; utopia, memory and urban architecture; natural spaces and landscapes; gendered and queer spaces; domestic spaces, social differences and class struggle.


  • Death, Image, Memory The Genocide in Rwanda and its Aftermath in Photography and Documentary Film
    PN1995.9.G37
    This book explores how photography and documentary film have participated in the representation of the 1994 genocide in Rwanda and its aftermath. This in-depth analysis of professional and amateur photography and the work of Rwandan and international filmmakers offers an insight into not only the unique ability of images to engage with death, memory and the need for evidence, but also their helplessness and inadequacy when confronted with the enormity of the event. 
    Focusing on a range of films and photographs, the book tests notions of truth, evidence, record and witnessing - so often associated with documentary practice - in the specific context of Rwanda and the wider representational framework of African conflict and suffering. Death, Image, Memory is an inquiry into the multiple memorial and evidentiary functions of images that transcends the usual investigations into whether photography and documentary film can reliably attest to the occurrence and truth of an event. 

  • Children's reading of film and visual literacy in the primary curriculum a progression framework model / Jeannie Hill Bulman
    PN 1995 B85 2017eb

  • Off the page : screenwriting in the era of media convergence / Daniel Bernardi and Julian Hoxter
    PN 1996 B467 2017
    Off the Page examines the business and craft of screenwriting in the era of media convergence. Daniel Bernardi and Julian Hoxter use the recent history of screenwriting labor coupled with close analysis of scripts in the context of the screenwriting paraindustry--from "how to write a winning script" books to screenwriting software--to explore the state of screenwriting today. They address the conglomerate studios making tentpole movies, expanded television, Indiewood, independent animation, microbudget scripting, the video games industry, and online content creation. Designed for students, producers, and writers who want to understand what studios want and why they want it, this book also examines how scripting is developing in the convergent media, beneath and beyond the Hollywood tentpole. By addressing specific genres across a wide range of media, this essential volume sets the standard for anyone in the expanded screenwriting industry and the scholars that study it.

  • Representing talent : Hollywood agents and the making of movies / Violaine Roussel
    PN 1993.5 U65 R75 2017
    Audiences love the glitz and glamour of Hollywood, but beyond the red carpet and behind the velvet curtain exists a legion of individuals who make showbiz work : agents. Whether literary, talent, or indie film, agents are behind the scenes brokering power, handling mediation, and doing the deal-making that keeps Hollywood spinning. In Representing Talent , Violaine Roussel explores the little-known but decisive work of agents, turning the spotlight on how they help produce popular culture.

    The book takes readers behind the scenes to observe the day-to-day activities of agents, revealing their influence on artistic careers and the prospects of Hollywood's forthcoming projects. Agents are crucial to understanding how creative and economic power are intertwined in Hollywood today. They play a key role in the process by which artistic worth and economic value are evaluated and attributed to people and projects. Roussel's fieldwork examines what "having relationships" really means for agents, and how they perform the relationship work that's at the heart of their professional existence and success. Representing Talent helps us to understand the players behind the definition of entertainment itself, as well as behind its current transformations.

  • Documents in Canadian film / edited by Douglas Fetherling
    PN 1993.5 C3 D62 1988
    Documents in Canadian Film is a collection of readings about the past, present and future of Canadian cinema. It deals with French as well as English language films -- and the links and tensions between the two. It focuses on experimental as well as narrative and documentary work, and on the debate surrounding the attractions and limitations of each.

    Drawn from official papers as well as from scholarly and popular periodicals, Doucments in Canadian Film presents textual evidence of Canada's rich cinematic heritage and the continuing struggle to enlarge film's place in the society. Figures dealt with include Gordon Sparling, John Grierson, Norman McLaren, Claude Jutra, Joyce Wieland and Richard Leiterman, as seen through their own eyes or those of foreign and domestic observers.


  • The Routledge companion to Latin American cinema / edited by Marvin D'Lugo, Ana M. López, and Laura Podalsky
    PN 1993.5 L3 R68 2018

    The Routledge Companion to Latin American Cinema is the most comprehensive survey of Latin American cinemas available in a single volume. While highlighting state-of-the-field research, essays also offer readers a cohesive overview of multiple facets of filmmaking in the region, from the production system and aesthetic tendencies, to the nature of circulation and reception. The volume recognizes the recent "new cinemas" in Argentina, Brazil, Chile, and Mexico, and, at the same time, provides a much deeper understanding of the contemporary moment by commenting on the aesthetic trends and industrial structures in earlier periods. The collection features essays by established scholars as well as up-and-coming investigators in ways that depart from existing scholarship and suggest new directions for the field.


  • The complete Hitchcock / Paul Condon and Jim Sangster
    PN 1998.3 H58 C66 1999
    A comprehensive guide to all Hitchcock's works including TV series and early silent films, as well as Hollywood classics. Biographical essays cover Hitchcock and many of the actors in his films, and a modern perspective examines his influences on other film-makers over the years.

  • Cinéastes québécois : dossier de presse / Bibliothèque du Séminaire de Sherbrooke
    PN 1998 A2C535X 1981

  • The private eye, the cowboy, and the very naked girl : movies from Cleo to Clyde / by Judith Crist
    PN 1994 C697 1970

  • Le cinéma français au présent : I. Réalités et perspectives / René Bonnell [and others]
    PN 1993.5 F7 C5 1977
page last updated on: Wednesday 13 December 2017
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