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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.

  • Commentaires / Chris Marker
    PN 1995.9 D6 M3 1961

  • Art and film since 1945 : Hall of mirrors / organized by Kerry Brougher ; with essays by Kerry Brougher [and others]
    PN 1995.25 B76 1996

  • Double-takes : intersections between Canadian literature and film / edited by David R. Jarraway
    PN 1995.3 D69 2013eb
    Over the past forty years, Canadian literature has found its way to the silver screen with increasing regularity. Beginning with the adaptation of Margaret Laurence's A Jest of God to the Hollywood film Rachel, Rachel in 1966, Canadian writing would appear to have found a doubly successful life for itself at the movies: from the critically acclaimed Kamouraska and The Apprenticeship of Duddy Kravitz in the 1970s through to the award-winning Love and Human Remains and The English Patient in the 1990s. With the more recent notoriety surrounding the Oscar-nominated Away from Her , and the screen appearances of The Stone Angel and Fugitive Pieces , this seems like an appropriate time for a collection of essays to reflect on the intersection between literary publication in Canada, and its various screen transformations. This volume discusses and debates several double-edged issues: the extent to which the literary artefact extends its artfulness to the film artefact, the degree to which literary communities stand to gain (or lose) in contact with film communities, and perhaps most of all, the measure by which a viable relation between fiction and film can be said to exist in Canada, and where that double-life precisely manifests itself, if at all.

  • Warriors, witches, whores : women in Israeli cinema / Rachel S. Harris
    PN 1993.5 I86 H36 2017eb

    Warriors, Witches, Whores: Women in Israeli Cinema is a feminist study of Israel's film industry and the changes that have occurred since the 1990s. Working in feminist film theory, the book adopts a cultural studies approach, considering the creation of a female-centered and thematically feminist film culture in light of structural and ideological shifts in Israeli society. Author Rachel S. Harris situates these changes in dialogue with the cinematic history that preceded them and the ongoing social inequalities that perpetuate women's marginalization within Israeli society.

    While no one can deny Israel's Western women's advancements, feminist filmmakers frequently turn to Israel's less impressive underbelly as sources for their inspiration. Their films have focused on sexism, the negative impact of militarism on women's experience, rape culture, prostitution, and sexual abuse. These films also tend to include subjects from society's geographical periphery and social margins, such as female foreign workers, women, and refugees. Warriors, Witches, Whores is divided into three major sections and each considers a different form of feminist engagement. The first part explores films that situate women in traditionally male spheres of militarism, considering the impact of interjecting women within hegemonic spaces or reconceptualizing them in feminist ways. The second part recovers the narratives of women's experience that were previously marginalized or silenced, thereby creating a distinct female space that offers new kinds of storytelling and cinematic aesthetics that reflect feminist expressions of identity. The third part offers examples of feminist activism that reach beyond the boundaries of the film to comment on social issues. This section demonstrates how feminists use film (and work within the film industry) in order to position women in society. While there are thematic overlaps between the chapters, each section marks structural differences in the modes of feminist response.

    Warriors, Witches, Whores considers the ways social and political power have affected the representation of women and looks to how feminist filmmakers have fought against these inequities behind the camera and in the stories they tell. Students and scholars of film, gender, or cultural studies will appreciate this approachable monograph.

  • Fascism and millennial American cinema Leighton Grist

  • The precarious in the cinemas of the Americas Constanza Burucua, Carolina Sitnisky, editors

  • Adultery and the female star / Edward Gallafent

  • Affective Moments in the Films of Martel, Carri, and Puenzo / Inela Selimović

  • Fairytale and Gothic Horror : Uncanny Transformations in Film / Laura Hubner

  • When movies mattered : reviews from a transformative decade / Dave Kehr
    PN 1995 K395 2011

    If you have ever wanted to dig around in the archives for that perfect Sunday afternoon DVD and first turned to a witty weekly column in the New York Times , then you are already familiar with one of our nation's premier film critics. If you love movies--and the writers who engage them--and just happen to have followed two of the highest circulating daily papers in the country, then you probably recognize the name of the intellectually dazzling writer who has been penning pieces on American and foreign films for over thirty years. And if you called the City of the Big Shoulders home in the 1970s or 1980s and relied on those trenchant, incisive reviews from the Chicago Reader and the Chicago Tribune to guide your moviegoing delight, then you know Dave Kehr.

    When Movies Mattered presents a wide-ranging and illuminating selection of Kehr's criticism from the Reader --most of which is reprinted here for the first time--including insightful discussions of film history and his controversial Top Ten lists. Long heralded by his peers for both his deep knowledge and incisive style, Kehr developed his approach to writing about film from the auteur criticism popular in the '70s. Though Kehr's criticism has never lost its intellectual edge, it's still easily accessible to anyone who truly cares about movies. Never watered down and always razor sharp, it goes beyond wry observations to an acute examination of the particular stylistic qualities that define the work of individual directors and determine the meaning of individual films.

    From current releases to important revivals, from classical Hollywood to foreign fare, Kehr has kept us spellbound with his insightful critical commentaries. When Movies Mattered will secure his place among our very best writers about all things cinematic.

  • Parameters of disavowal : colonial representation in South Korean cinema / Jinsoo An
    PN 1993.5 K6 A74 2018
    A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.

    The colonial experience of the early twentieth century shaped Korea's culture and identity, leaving a troubling past that was subtly reconstructed in South Korean postcolonial cinema. Relating postcolonial discourses to a reading of Manchurian action films, kisaeng and gangster films, and revenge horror films, Parameters of Disavowal shows how filmmakers reworked, recontextualized, and erased ideas and symbols of colonial power. In particular, Jinsoo An examines how South Korean films privileged certain sites, such as the kisaeng house and the Manchurian frontier, generating unique meanings that challenged the domination of the colonial power, and how horror films indirectly explored both the continuing trauma of colonial violence and lingering emotional ties to the colonial order. Espousing the ideology of nationalism while responding to a new Cold War order that positioned Japan and South Korea as political and economic allies, postcolonial cinema formulated distinctive ways of seeing and imagining the colonial past.

  • Cinema, state socialism and society in the Soviet Union and Eastern Europe, 1917-1989 : re-visions / edited by Sanja Bahun and John Haynes
    PN 1995.9 S6 C54 2014

    This book presents a comprehensive re-examination of the cinemas of the Soviet Union and Central and Eastern Europe during the communist era. It argues that, since the end of communism in these countries, film scholars are able to view these cinemas in a different way, no longer bound by an outlook relying on binary Cold War terms. With the opening of archives in Eastern Europe and the former Soviet Union, much more is known about these states and societies; at the same time, the field has been reinvigorated by its opening up to more contemporary concepts, themes and approaches in film studies and adjacent disciplines. Taking stock of these developments, this book presents a rich, varied tapestry, relating specific films to specific national and transnational circumstances, rather than viewing them as a single, monolithic "Cold War Communist" cinema.

  • Hitler in the movies : finding Der Führer on film / Sidney Homan and Hernán Vera
    PN 1995.9 H514 H66 2016
    In Hitler in the Movies: Finding Der F hrer on Film, a Shakespearean and a sociologist explore the fascination our popular culture has with Adolf Hitler. What made him ... Hitler? Do our explanations tell us more about the perceiver than the actual historical figure? We ask such question by viewing the Hitler character in the movies. How have directors, actors, film critics, and audiences accounted for this monster in a medium that reflects public tastes and opinions? The book first looks at comedic films, such as Chaplain's The Great Dictator or Ernst Lubitsch's To Be or Not to Be (1942), along with the Mel Brooks's 1983 version. Then, there is the Hitler of fantasy, from trash films like The Saved Hitler's Brain to a serious work like The Boys from Brazil where Hitler is cloned. Psychological portraits include Anthony Hopkins's The Bunker, the surreal The Empty Mirror, and Max, a portrait of Hitler in his days in Vienna as a would-be artist. Documentaries and docudramas range from Leni Reinfenstahl's iconic The Triumph of the Will or The Hidden F hrer, to the controversial Hitler: A Film from Germany and Quentin Tarantino's fanciful Inglourious Basterds. Hitler in the Movies also considers the ways Der F hrer remains today, as a ghostly presence, if not an actual character. Why is he still with us in everything from political smears to video games to merchandise? In trying to explain this and the man himself, what might we learn about ourselves and our society?

  • Hollywood's spies : the undercover surveillance of Nazis in Los Angeles / Laura B. Rosenzweig
    PN 1995.9 N36 R67 2017
    Finalist, Celebrate 350 Award in American Jewish Studies
    Tells the remarkable story of the Jewish moguls in Hollywood who established the first anti-Nazi Jewish resistance organization in the country in the 1930s In April 1939, Warner Brothers studios released the first Hollywood film to confront the Nazi threat in the United States. Confessions of a Nazi Spy, starring Edward G. Robinson, told the story of German agents in New York City working to overthrow the U.S. government. The film alerted Americans to the dangers of Nazism at home and encouraged them to defend against it. Confessions of a Nazi Spy may have been the first cinematic shot fired by Hollywood against Nazis in America, but it by no means marked the political awakening of the film industry's Jewish executives to the problem. Hollywood's Spies tells the remarkable story of the Jewish moguls in Hollywood who paid private investigators to infiltrate Nazi groups operating in Los Angeles, establishing the first anti-Nazi Jewish resistance organization in the country--the Los Angeles Jewish Community Committee (LAJCC). Drawing on more than 15,000 pages of archival documents, Laura B. Rosenzweig offers a compelling narrative illuminating the role that Jewish Americans played in combating insurgent Nazism in the United States in the 1930s. Forced undercover by the anti-Semitic climate of the decade, the LAJCC partnered with organizations whose Americanism was unimpeachable, such as the American Legion, to channel information regarding seditious Nazi plots to Congress, the Justice Department, the FBI and the Los Angeles Police Department. Hollywood's Spies corrects the decades-long belief that American Jews lacked the political organization and leadership to assert their political interests during this period in our history and reveals that the LAJCC was one of many covert "fact finding" operations funded by Jewish Americans designed to root out Nazism in the United States.

  • Australian screen in the 2000s / Mark David Ryan; Ben Goldsmith, editors
    PN 1993.5 A8 A977 2017eb

  • Adaptation, awards culture, and the value of prestige / Colleen Kennedy-Karpat, Eric Sandberg, editors

  • Representing religion in world cinema : filmmaking, mythmaking, culture making / edited by S. Brent Plate
    PN 1995.5 R47 2003eb
    Religious traditions have provided a seemingly endless supply of subject matter for film, from the Ten Commandments to the Mahabharata . At the same time, film production has engendered new religious practices and has altered existing ones, from the cult following of The Rocky Horror Picture Show to the 2001 Australian census in which 70,000 people indicated their religion to be 'Jedi Knight'. Representing Religion in World Cinema begins with these mutual transformations as the contributors query the two-way interrelations between film and religion across cinemas of the world. Cross-cultural and interdisciplinary by nature, this collection by an international group of scholars draws on work from religious studies, film studies, and anthropology, as well as theoretical impulses in performance, gender, ethnicity, colonialism, and postcolonialism.

  • Deleuze and cinema : the film concepts / Felicity Colman
    PN 1995 C621 2011
    No Marketing Blurb

  • Cinema against spectacle : technique and ideology revisited / by Jean-Louis Comolli ; translated and edited by Daniel Fairfax
    PN 1995 C623713 2015
    Jean-Louis Comolli's six-part essay Technique and Ideologyhad a revolutionary effect on film theory and history when it first appeared in Cahiers du Cinéma in 1971. In 2009, Comolli revisited his earlier text, arguing that the present age, marked by the total dominance of media-filtered spectacle over image production, makes the need for an 'emancipated, critical spectator' more pressing than ever. In this volume, Daniel Fairfax presents annotated translations of these two texts to provide an overview of Comolli's activity as both a theorist and a filmmaker.

  • Film, art, and the third culture : a naturalized aesthetics of film / Murray Smith
    PN 1995 S5364 2017
    In the mid-1950s C.P. Snow began his campaign against the "two cultures" - the debilitating divide, as he saw it, between traditional "literary intellectual" culture, and the culture of the sciences, urging in its place a "third culture" which would draw upon and integrate the resources ofdisciplines spanning the natural and social sciences, the arts and the humanities. Murray Smith argues that, with the ever-increasing influence of evolutionary theory and neuroscience, and the pervasive presence of digital technologies, Snow's challenge is more relevant than ever. Working out how the "scientific" and everyday images of the world "hang" together is no simple matter. In Film, Art, and the Third Culture, Smith explores this question in relation to the art, technology, and science of film in particular, and to the world of the arts and aesthetic activity moregenerally. In the first part of his book, Smith explores the general strategies and principles necessary to build a "third cultural" or naturalized approach to film and art - one that roots itself in an appreciation of scientific knowledge and method. Smith then goes on to focus on the role ofemotion in film and the other arts, as an extended experiment in the "third cultural" integration of ideas on emotion spanning the arts, humanities and sciences. While acknowledging that not all of the questions we ask are scientific in nature, Smith contends that we cannot disregard the insightswrought by taking a naturalized approach to the aesthetics of film and the other arts.

  • The films of Roberto Rossellini / Peter Bondanella
    PN 1998.3 R67 B66 1993
    The Films of Roberto Rossellini traces the career of one of the most influential Italian filmmakers through close analysis of the seven films that mark important turning points in his evolution: The Man with a Cross (1943), Open City (1945), Paisan (1946), The Machine to Kill Bad People (1948-52), Voyage in Italy (1953), General della Rovere (1959) and The Rise to Power of Louis XIV (1966). Beginning with Rossellini's work within the fascist cinema, it discusses his invention of neorealism, a new cinematic style that resulted in several classics during the immediate postwar period. Almost immediately, however, Rossellini's continually evolving style moved beyond mere social realism to reveal other aspects of the camera's gaze, as is apparent in the films he made with Ingrid Bergman during the 1950s; though unpopular, these works had a tremendous impact on the French New Wave critics and directors. Rossellini's late career marks a return to his nonrealist period, now critically reexamined, in such works as the commercially successful General della Rovere, and his eventual turn to the creation of didactic films for television.

  • Semiotics and the analysis of film / Jean Mitry ; translated by Christopher King
    PN 1995 M54813 2000
    First published in France as La Semiologie en Question, this study has become a classic analysis of the value of semiotics in film analysis. a film-maker and theoretician, Mitry poses the question that if cinema is a language can it be understood thought the techniques of linguistic analysis? In effect, he interrogates semiology by representing its basic propositions and approaches, comparing them with scientific humanist aesthetics. Mitry's study ranges across film language, its syntax, grammar and code, signs an signification, montage, images, narrative structures, symbols and metaphors, and the rhythm of film.

  • Acting for film / Cathy Haase
    PN 1995.9 A26 H33 2003
    Aspiring film and television actors will discover exercises for relaxing the face to achieve maximum expressiveness; maintaining proper eye focus in front of the camera and conveying the "beats" of a scene, even in the shortest takes. They'll also learn tested techniques for adapting to the styles of different directors; modulating voice and breath for maximum effect; preparing for the first day on the set; enduring multiple takes and on-the-set waiting; and much, much more. For any performer who intends to make a living in front of the camera, Acting for Film is the most authoritative resource!

  • Napoleon : Abel Gance's classic film / Kevin Brownlow ; research collaborators, Bambi Ballard [and others]
    PN 1997 N3283 B77 2004
    No Marketing Blurb

  • The director's cut : picturing Hollywood in the 21st century : conversations with 21 contemporary filmmakers / edited by Stephan Littger ; foreword by Dan Kleinman
    PN 1998.2 D545 2006

    In The Director's Cut, 21 Hollywood filmmakers share the thrilling accounts of their creative journeys into the film industry's most coveted positions. Together, their films have won dozens of Oscars.

    Each conversation provides a revealing and in-depth exploration of each director's artistic roots - giving readers an unparalleled understanding of the very different environments and attitudes that these outstanding filmmakers have experienced and embraced in their careers and personal lives.

    The directors in this book have been chosen on grounds of their reputation, sustained popularity at the box office, and diversity of background - both professional (genre, style, etc) and personal (family, origin, etc). The book truly reflects the variety of talent that has arrived from all over the world to make movies in Hollywood today.

    Thanks to the candid honesty and openness of these directors, this collection offers illuminating insights into their creative decision-making processes and the key biographical moments in their lives.

    Stephan Littger's own background as a young filmmaker and an Oxford graduated psychologist enables him to approach these star directors in an empathetic and focused manner, helping them to talk openly about the years of emotional struggle, personal doubt and tentative success that are part of every filmmaker's life.

    The Director's Cut should become a standard volume for aspiring filmmakers. And it's also a compelling and entertaining read for committed moviegoers and anyone interested in the marriage between artistic creation and commercial success.

  • Mock classicism : Latin American film comedy, 1930-1960 / Nilo Couret
    PN 1995.9 C55 C687 2018
    In Mock Classicism Nilo Couret presents an alternate history of Latin American cinema that traces the popularity and cultural significance of film comedies as responses to modernization and the forerunners to a more explicitly political New Latin American Cinema of the 1960s. By examining the linguistic play of comedians such as Cantinflas, Oscarito and Grande Otelo, Niní Marshall, and Luis Sandrini, the author demonstrates aspects of Latin American comedy that operate via embodiment on one hand and spatiotemporal emplacement on the other. Taken together, these parallel examples of comedic practice demonstrate how Latin American film comedies produce a "critically proximate" spectator who is capable of perceiving and organizing space and time differently. Combining close readings of films, archival research, film theory, and Latin American history, Mock Classicism rethinks classicism as a discourse that mediates and renders the world and argues that Latin American cinema became classical in distinct ways from Hollywood.

  • Antigone : une adaptation de la pièce de Sophocle / Antonio D'Alfonso
    PN 1997.2 A594 2017

  • From film practice to data process : production aesthetics and representational practices of a film industry in transition / Sarah Atkinson
    PN 1995.9 T43 A85 2018
    To what extent have digital innovations transformed the UK film industry? What new practices and processes are emerging within the contemporary UK filmmaking landscape? What impact is this having upon filmmaking professionals?

    The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. By focusing on the pivotal year of 2012, and by considering the input of every single contributor to the process, this book illuminates how this period of analogue to digital transition is impacting upon working practices, cultures, opportunities and structures in the industry, and examines the various causative forces behind their adoptions and resistances. With an in-depth case study of Sally Potter's 2012 film Ginger & Rosa, and drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is a groundbreaking examination of film production in its totality, in a moment of profound change.

  • The film experience : an introduction / Timothy Corrigan, Patricia White
    PN 1995 C655 2018

    The experience of watching films can begin with journeying to imaginary worlds, witnessing re-creations of history, observing stars in familiar and unfamiliar roles, and exploring the laughter, thrills, or emotions of different genres. Understanding the full depth and variety of these experiences starts with that enjoyment. But it also requires knowledge of the technology, business, history, and visual language of cinema. The Film Experience brings all of this together in one comprehensive book.

    The Film Experience: An Introduction aims to help students learn these film languages and synthesize them into a cohesive understanding of the medium that will, in turn, enhance their own film experiences. The new edition places special emphasis on representation throughout the history of film, highlighting voices and groups from the past that interact with the medium's future. More than ever, the book places important historical developments in the modern, accessible context of ever-changing film technology, economics, and narrative. Throughout the book (and online through its LaunchPad Solo), perfect examples and digital tools bring this material to life.

  • Shock value / by John Waters
    PN 1998 A3 W3488 1981

  • De dos / [ce numéro a été coordonné par Michelle Humbert et Cyril Neyrat]
    PN 1995.9 B62 D67 2001

  • Theory of film practice. Translated by Helen R. Lane. Introd. by Annette Michelson
    PN 1995 B8513
page last updated on: Sunday 19 August 2018
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