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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.

  • Women in Soviet film : the thaw and post-thaw periods / edited by Marina Rojavin and Tim Harte
    PN 1995.9 W6W6655 2018eb

    This book illuminates and explores the representation of women in Soviet cinema from the late 1950s, through the 1960s, and into the 1970s, a period when Soviet culture shifted away, to varying degrees, from the well-established conventions of socialist realism. Covering films about working class women, rural and urban women, and women from the intelligentsia, it probes various cinematic genres and approaches to film aesthetics, while it also highlights how Soviet cinema depicted the ambiguity of emerging gender roles, pressing social issues, and evolving relationships between men and women. It thereby casts a penetrating light on society and culture in this crucial period of the Soviet Union's development.

  • When the movies mattered : the New Hollywood revisited / edited by Jonathan Kirshner and Jon Lewis
    PN 1993.5 U65W47 2019

    In When the Movies Mattered Jonathan Kirshner and Jon Lewis gather a remarkable collection of authors to revisit the unique era in American cinema that was New Hollywood. Ten eminent contributors, some of whom wrote about the New Hollywood movement as it unfolded across the 1960s and 1970s, assess the convergence of film-industry developments and momentous social and political changes that created a new type of commercial film that reflected those revolutionary influences in American life.

    Even as New Hollywood first took shape, film industry insiders and commentators alike realized its significance. At the time, Pauline Kael compared the New Hollywood to the "tangled, bitter flowering of American letters in the 1850s" and David Thomson dubbed the era "the decade when movies mattered." Thomson's words provide the impetus for this volume in which a cohort of seasoned film critics and scholars who came of age watching the movies of this era reflect upon and reconsider this golden age in American filmmaking.

    Contributors: Molly Haskell, Heather Hendershot, J. Hoberman, George Kouvaros, Phillip Lopate, Robert Pippin, David Sterritt, David Thomson

  • Beyond the witness : Holocaust representation and the testimony of images : three films by Yael Hersonski, Harun Farocki and Eyal Sivan / Rebecka Katz Thor
    PN 1995.9 H53K38 2018

  • Jean-Luc Godard's political filmmaking / Irmgard Emmelhainz
    PN 1995.9 P6E45 2019eb

  • Cinematic intermedialities and contemporary Holocaust memory / Victoria Grace Walden
    PN 1995.9 H5W35 2019eb

  • In Search of Marie-Antoinette in The 1930s : Stefan Zweig, Irving Thalberg, and Norma Shearer / T. Lawrence Larkin

  • The director and directing : craft, process and aesthetic in contemporary theatre / Adam J. Ledger
    PN 1995.9 P7L43 2019eb

  • Locating classical receptions on screen : masks, echoes, shadows / editors, Ricardo Apostol and Anastasia Bakogianni

  • Nationalism in contemporary Western European cinema / James Harvey

  • Cinema / Gilles Deleuze ; translated by Hugh Tomlinson and Barbara Habberjam
    PN 1995 D39313 1986
    Discusses the theoretical implications of the cinematographic image based on Henri Bergson's theories."

  • Anger : the unauthorized biography of Kenneth Anger / Bill Landis
    PN 1998.3 A54L36 1995
    Known worldwide for his bestselling Hollywood Babylon books, Kenneth Anger is also an underground filmmaker with tremendous influence (Fireworks; Scorpio Rising; Lucifer Rising). This unauthorized biography takes readers into his lurid, dramatic life, and reveals encounters with Keith Richard, Anais Nin, Jimmy Paige, Mick Jagger, and others. 40 photos.

  • Deviant eyes, deviant bodies : sexual re-orientations in film and video / Chris Straayer
    PN 1995.9 H55S77 1996
    This work encourages the study of commercial film and video aimed at the non-traditional viewer, moving beyond the male gaze as the dominant form of spectatorship. Straayer argues that women and other others engage with films in ways that go beyond this mode of patriarchal desire.

  • Cinematic geographies and multicultural spectatorship in America / Amy Lynn Corbin
    PN 1995.9 L29 C68 2015eb

  • Philosophy in Stan Brakhage's Dog star man : world, metaphor, interpretation / Alberto Baracco

  • Comic books incorporated : how the business of comics became the business of Hollywood / Shawna Kidman
    PN 1997.85 K46 2019
    Comic Books Incorporated tells the story of the US comic book business, reframing the history of the medium through an industrial and transmedial lens. Comic books wielded their influence from the margins and in-between spaces of the entertainment business for half a century before moving to the center of mainstream film and television production. This extraordinary history begins at the medium's origin in the 1930s, when comics were a reviled, disorganized, and lowbrow mass medium, and surveys critical moments along the way--market crashes, corporate takeovers, upheavals in distribution, and financial transformations. Shawna Kidman concludes this revisionist history in the early 2000s, when Hollywood had fully incorporated comic book properties and strategies into its business models and transformed the medium into the heavily exploited, exceedingly corporate, and yet highly esteemed niche art form we know so well today.

  • Typography and motion graphics : the 'reading-image' / Michael Betancourt
    PN 1995.9 C65B49 2019eb

  • Welcome to fear city : crime film, crisis, and the urban imagination / Nathan Holmes
    PN 1995.9 C513 H65 2018
    Analyzes how location-shot crime films of the 1970s reflected and influenced understandings of urban crisis.

  • Specters of slapstick & silent film comediennes / Maggie Hennefeld
    PN 1995.9 C55H46 2018eb
    "In Specters of Slapstick, Hennefeld focuses on silent film comediennes and the function of the female body in early slapstick. Laughter is a kind of grating against the absurdity of society, argues Hennefeld. But while male bodies in slapstick tried to violently fight or "escape" their surroundings--slipping on a banana peel and falling, for example--female bodies exhibited a fluidity that reflected an attempt to morph into their changing surroundings. In one slapstick film, a maid humorously cuts off her limbs in order to finish all her household chores in time. In others, women transform into fairies or spiders; all underscore an attempt to assimilate their bodies to the demands of changing environments. This eradicates the traditional opposition between performer and audience, making the "laughing spectator" a more active part of the film experience. As Hennefeld analyzes early slapstick film historiography in light of this theory, she examines larger themes like the evolution of gender, the body, and their place in cinematic comedy"--

  • Shimmering images : trans cinema, embodiment, and the aesthetics of change / Eliza Steinbock
    PN 1995.9 S47 S47 2019
    In Shimmering Images Eliza Steinbock traces how cinema offers alternative ways to understand gender transitions through a specific aesthetics of change. Drawing on Barthes's idea of the "shimmer" and Foucault's notion of sex as a mirage, the author shows how sex and gender can appear mirage-like on film, an effect they label shimmering. Steinbock applies the concept of shimmering--which delineates change in its emergent form as well as the qualities of transforming bodies, images, and affects--to analyses of films that span time and genre. These include examinations of the fantastic and phantasmagorical shimmerings of sex change in Georges Méliès's nineteenth-century trick films and Lili Elbe's 1931 autobiographical writings and photomontage in Man into Woman . Steinbock also explores more recent documentaries, science fiction, and pornographic and experimental films. Presenting a cinematic philosophy of transgender embodiment that demonstrates how shimmering images mediate transitioning, Steinbock not only offers a corrective to the gender binary orientation of feminist film theory; they open up new means to understand trans ontologies and epistemologies as emergent, affective, and processual.

  • Migrant anxieties : Italian cinema in a transnational frame / Áine O'Healy
    PN 1995.9 E44 O34 2019

    During a period of heightened global concerns about the movement of immigrants and refugees across borders, Migrant Anxieties explores how filmmakers in Italy have probed the tensions accompanying the country's shift from an emigrant nation to a destination point for over five million immigrants over the course of three decades. Áine O'Healy traces a phenomenology of anxiety that is not only present at the sociopolitical level but also interwoven into the narrative strategies of over 30 films produced since 1990, throwing into sharp relief the interface between the local and the global in this transnational era. Starting with the representation of post-communist migrations to Italy from Eastern Europe and subsequent arrivals from Africa through the controversial frontier of Lampedusa, O'Healy explores topics as diverse as the configuration of migrant labor, affective surrogacy, Italian whiteness, and the legacy of Italy's colonial history. Showing how contemporary filmmaking practices in Italy are linked to changes in the broader media landscape, O'Healy analyzes the ways in which both Italian and migrant filmmakers are reimagining Italian society and remapping the nation's borderscape.

  • Liberating Hollywood : women directors and the feminist reform of 1970s American cinema / Maya Montañez Smukler
    PN 1995.9 W6 S638 2019
    Liberating Hollywood examines the professional experiences and creative output of women filmmakers during a unique moment in history when the social justice movements that defined the 1960s and 1970s challenged the enduring culture of sexism and racism in the U.S. film industry. Throughout the 1970s feminist reform efforts resulted in a noticeable rise in the number of women directors, yet at the same time the institutionalized sexism of Hollywood continued to create obstacles to closing the gender gap. Maya Montañez Smukler reveals that during this era there were an estimated sixteen women making independent and studio films: Penny Allen, Karen Arthur, Anne Bancroft, Joan Darling, Lee Grant, Barbara Loden, Elaine May, Barbara Peeters, Joan Rivers, Stephanie Rothman, Beverly Sebastian, Joan Micklin Silver, Joan Tewkesbury, Jane Wagner, Nancy Walker, and Claudia Weill. Drawing on interviews conducted by the author, Liberating Hollywood is the first study of women directors within the intersection of second wave feminism, civil rights legislation, and Hollywood to investigate the remarkable careers of these filmmakers during one of the most mythologized periods in American film history.

  • Independent female filmmakers : a chronicle through interviews, profiles, and manifestos / edited by Michele Meek
    PN 1995.9 P7I53 2019eb

    Independent Female Filmmakers collects original and previously published essays, interviews, and manifestos from some of the most defining and groundbreaking independent female filmmakers of the last 40 years. Featuring material from the seminal magazine The Independent Film and Video Monthly --a leading publication for independent filmmakers for several decades -- as well as new interviews conducted with the filmmakers, this book, edited by Michele Meek, presents a unique perspective into the ethnically and culturally diverse voices of women filmmakers whose films span narrative, documentary, and experimental genres and whose work remains integral to independent film history from the 1970s to the present.

    Independent Female Filmmakers also includes a biographical profile of each filmmaker, as well as an online resource with links to additonal interviews and a sample course syllabus.

    The filmmakers in this book include:

    * Lisa Cholodenko (High Art, The Kids Are All Right)

    * Martha Coolidge (Valley Girl, Real Genius, Introducing Dorothy Dandridge)

    * Cheryl Dunye (The Watermelon Woman, Stranger Inside)

    * Miranda July (The Future, Me And You And Everyone We Know)

    * Barbara Kopple (Harlan County USA, Wild Man Blues)

    * Maria Maggenti (The Incredibly True Adventures of Two Girls in Love)

    * Deepa Mehta (Fire, Earth, Water)

    * Trinh T. Minh-ha (Surname Viet, Given Name Nam, Night Passage)

    . . . and more!

  • Film criticism as a cultural institution / Huw Walmsley-Evans
    PN 1995 W348 2018eb

    At the beginning of the 21st century film criticism was described as in crisis. The decline of print journalism, a series of lay-offs of prominent critics, and the rise of "amateur" reviewing online spurred a conversation about the decline, even death, of film criticism. This discourse flourished in part because film criticism has been little examined in scholarship to date. This book takes a deeper look at film criticism by focusing on its institutional contours. This is achieved through a combination of archival research and interviews with prominent film critics and stakeholders, including Adrian Martin (LOLA), Stephanie Zacharek (Time), Peter Bart (Variety), and Andrew Sarris (The Village Voice).

    Film Criticism as a Cultural Institution first examines the contemporary crisis conversation surrounding film criticism, comparing this to historical precedents. It then provides what today's crisis conversation does not: an account of film criticism's institutional formations. Using primarily U.S. and Australian case studies based on interviews, observation and archival research--as well as accounts from other national schools--the book maps contemporary film criticism. Across various sites, such as publications or online spaces, and organisations, such as film critics circles, it elucidates film criticism's institutional practices, tasks, comportments, and personae.

    Looking at the history of conversations about film criticism shows us that "crisis" has always been a leitmotif. While acknowledging the considerable changes and challenges that film criticism faces today, this book situates these within an historical context and proposes an institutional framework that allows us to move beyond crisis discourse. Looking at film criticism in this way allows us to see that the very question of what counts as film criticism is continually contested within an institutional ecology made up of distinctive critical comportments addressed to distinctive audiences.

  • Cinema against doublethink : ethical encounters with the lost pasts of world history / David Martin-Jones
    PN 1995.2 M37 2019eb

    When is it OK to lie about the past? If history is a story, then everyone knows that the "official story" is told by the winners. No matter what we may know about how the past really happened, history is as it is recorded: this is what George Orwell called doublethink. But what happens to all the lost, forgotten, censored, and disappeared pasts of world history? Cinema against Doublethink uncovers how a world of cinemas acts as a giant archive of these lost pasts, a vast virtual store of the world's memories. The most enchanting and disturbing films of recent years - Uncle Boonmee who can Recall his Past Lives, Nostalgia for the Light, Even the Rain, The Act of Killing, Carancho, Lady Vengeance - create ethical encounters with these lost pasts, covering vast swathes of the planet, crossing huge eras of time. Analysed using the philosophies of Gilles Deleuze (the time-image) and Enrique Dussel (transmodern ethics) the multitudinous cinemas of the world are shown to speak out against doublethink, countering this biggest lie of all with their myriad "false" versions of world history. Cinema, acting against doublethink, remains a powerful agent for reclaiming the truth of history for the "post-truth" era.

  • African American cinema through Black lives consciousness / edited by Mark A. Reid
    PN 1995.9 N4A37 2019eb

  • This thing of darkness : Eisenstein's Ivan the Terrible in Stalin's Russia / Joan Neuberger
    PN 1997 I77 N484 2019

    Sergei Eisenstein's unfinished masterpiece, Ivan the Terrible , was no ordinary movie. Commissioned by Joseph Stalin in 1941 to justify state terror in the sixteenth century and in the twentieth, the film's politics, style, and epic scope aroused controversy even before it was released. In This Thing of Darkness , Joan Neuberger offers a sweeping account of the conception, making, and reception of Ivan the Terrible that weaves together Eisenstein's expansive thinking and experimental practice with a groundbreaking new view of artistic production under Stalin. Drawing on Eisenstein's unpublished production notebooks, diaries, and manuscripts, Neuberger's riveting narrative chronicles Eisenstein's personal, creative, and political challenges and reveals the ways cinematic invention, artistic theory, political critique, and historical and psychological analysis went hand in hand in this famously complex film.

    Neuberger's bold arguments and daring insights into every aspect of Eisenstein's work during this period, together with her ability to lucidly connect his wide-ranging late theory with his work on Ivan , show the director exploiting the institutions of Soviet artistic production not only to expose the cruelties of Stalin and his circle but to challenge the fundamental principles of Soviet ideology itself. Ivan the Terrible , she argues, shows us one of the world's greatest filmmakers and one of the 20th century's greatest artists observing the world around him and experimenting with every element of film art to explore the psychology of political ambition, uncover the history of recurring cycles of violence and lay bare the tragedy of absolute power.

  • Early cinema in Asia / edited by Nick Deocampo
    PN 1993.5 A75 E22 2017

    Early Cinema in Asia explores how cinema became a popular medium in the world's largest and most diverse continent. Beginning with the end of Asia's colonial period in the 19th century, contributors to this volume document the struggle by pioneering figures to introduce the medium of film to the vast continent, overcoming geographic, technological, and cultural difficulties. As an early form of globalization, film's arrival and phenomenal growth throughout various Asian countries penetrated not only colonial territories but also captivated collective states of imagination. With the coming of the 20th century, the medium that began as mere entertainment became a means for communicating many of the cultural identities of the region's ethnic nationalities, as they turned their favorite pastime into an expression of their cherished national cultures. Covering diverse locations, including China, India, Japan, Philippines, Malaysia, Thailand, Iran, and the countries of the Pacific Islands, contributors to this volume reveal the story of early cinema in Asia, helping us to understand the first seeds of a medium that has since grown deep roots in the region.

  • Mental disorders in popular film : how Hollywood uses, shames, and obscures mental diversity / Erin Heath
    PN 1995.9 M463 H43 2019
    Contemporary Hollywood films commonly use mental disorders as a magnifier by which social, political, or economic problems become enlarged in order to critique societal conditions. Cinema has a long history of amplifying human emotion or experience for dramatic effect. The heightened representations of people with mental disorder often elide one category of literal truths for the benefit of different moral or emotional reasons. With films like Fight Club, The Silence of the Lambs, The Dark Knight, and Black Swan, this book address characters identified by film or media as people who are crazy, mentally ill, developmentally delayed, insane, have autism spectrum disorder, associative personality disorder, or who have other mental disorders. Despite the vast array of differences in people's experiences, film often marginalizes people with mental disorders in ways that make it important to be inclusive of these varied experiences. These characters also commonly become subject to the structures of hierarchy and control that actual people with mental disorders encounter. Cinematic patterns of control and oppression heavily influence the narratives of those considered crazy by the outside world.

  • Andy Warhol's The Chelsea girls / edited by Geralyn Huxley and Greg Pierce ; additional contributions by Rajendra Roy, Gus Van Sant, and Signe Warner Watson
    PN 1997 C45225A53 2018
    Andy Warhol's The Chelsea Girls had its premiere at the Film-Maker's Cinémathèque on 15 September 1966. It sold out a 200-seat theatre and went on to become the first film to move from the underground to commercial cinema. Since 1972, when Warhol pulled all of his films out of distribution, the public has had extremely limited access to The Chelsea Girls , outside of museum screenings. In honour of the 20th Anniversary of The Andy Warhol Museum and what would have been Warhol's 85th birthday, hundreds of Warhol's films - some never seen before - have been converted to a digital format with the partnership of The Andy Warhol Museum, The Museum of Modern Art, New York, and the Moving Picture Company (MPC), a Technicolor Company.

    This book is an in-depth look at Warhol's most famous film. It includes all newly digitized film stills, never-before-published transcripts, unpublished archival materials, and expanded information about each of the individual films that comprise the three- plus hour film. As the film alternates sound between the left and right screens, the book reproduces the transcript in complete form as one hears it, with imagery from the corresponding reels. There is also a full transcription of the unheard reels in the back of the book. This is a substantial contribution to the scholarship on Warhol's complex and most commercial film.

  • Vicious circuits : Korea's IMF cinema and the end of the American century / Joseph Jonghyun Jeon
    PN 1995.9 E27 J46 2019

    In December of 1997, the International Monetary Fund announced the largest bailout package in its history, aimed at stabilizing the South Korean economy in response to a credit and currency crisis of the same year. Vicious Circuits examines what it terms "Korea's IMF Cinema," the decade of cinema following that crisis, in order to think through the transformations of global political economy at the end of the American century. It argues that one of the most dominant traits of the cinema that emerged after the worst economic crisis in the history of South Korea was its preoccupation with economic phenomena. As the quintessentially corporate art form--made as much in the boardroom as in the studio--film in this context became an ideal site for thinking through the global political economy in the transitional moment of American decline and Chinese ascension. With an explicit focus of state economic policy, IMF cinema did not just depict the economy; it also was this economy's material embodiment. That is, it both represented economic developments and was itself an important sector in which the same pressures and changes affecting the economy at large were at work. Joseph Jonghyun Jeon's window on Korea provides a peripheral but crucial perspective on the operations of late US hegemony and the contradictions that ultimately corrode it.

  • Bruce LaBruce : ride, queer, ride! / edited by Noam Gonick
    PN 1998.3 L32A3 1996

  • Transgender cinema / Rebecca Bell-Metereau
    PN 1995.9 T684 B45 2019
    Transgender Cinema gives readers the big picture of how trans people have been depicted on screen. Beginning with a history of trans tropes in classic Hollywood cinema, from comic drag scenes in Chaplin's The Masquerader to Garbo's androgynous Queen Christina , and from psycho killer queers to The Rocky Horror Picture Show 's outrageous queen, it examines a plethora of trans portrayals that subsequently emerged from varied media outlets, including documentary films, television serials, and world cinema. Along the way, it analyzes milestones in trans representation, like The Crying Game, Boys Don't Cry, Hedwig and the Angry Inch, and A Fantastic Woman .

    As it traces the evolution of trans people onscreen, Transgender Cinema also considers the ongoing controversies sparked by these movies and series both within LGBTQ communities and beyond. Ultimately it reveals how film and television have shaped not only how the general public sees trans people, but also how trans people see themselves.

  • Italian political cinema : public life, imaginary, and identity in contemporary Italian film / edited by Giancarlo Lombardi and Christian Uva
    PN 1995.9 P6 I83 2016
    Despite the powerful anti-political impulses that have pervaded Italian society in recent years, Italian cinema has sustained and renewed its longstanding engagement with questions of politics, both in the narrow definition of the term, and in a wider understanding that takes in reflections on public life, imaginary, and national identity. This book explores these political dimensions of contemporary Italian cinema by looking at three complementary strands: the thematics of contemporary political film from a variety of perspectives; the most prominent directors currently engaged in this filone ; and case studies of the films that best represent this engagement. Conceived and edited by two Italian film scholars working in radically different academic settings, Italian Political Cinema brings together a wide array of critical positions and research from Italy, France, the Netherlands, the United Kingdom, Canada, and the United States. The tripartite structure and international perspective create a volume that is an accessible entry-point into a subject that continues to attract critical and cultural attention, both inside and outside of academia.

  • Zoological surrealism : the nonhuman cinema of Jean Painlevé / James Leo Cahill
    PN 1998.3 P34525 C34 2019
    An archive-based, in-depth analysis of the surreal nature and science movies of the pioneering French filmmaker Jean PainlevéBefore Jacques-Yves Cousteau, there was Jean Painlevé, a pioneering French scientific and nature filmmaker with a Surrealist's eye. Creator of more than two hundred films, his studies of strange animal worlds doubled as critical reimaginations of humanity. With an unerring eye for the uncanny and unexpected, Painlevé and his assistant Geneviève Hamon captured oneiric octopuses, metamorphic crustaceans, erotic seahorses, mythic vampire bats, and insatiable predatory insects. Zoological Surrealism draws from Painlevé's early oeuvre to rethink the entangled histories of cinema, Surrealism, and scientific research in interwar France. Delving deeply into Painlevé's archive, James Leo Cahill develops an account of "cinema's Copernican vocation"d--how it was used to forge new scientific discoveries while also displacing and critiquing anthropocentric viewpoints. From Painlevé's engagements with Sergei Eisenstein, Georges Franju, and competing Surrealists to the historiographical dimensions of Jean Vigo's concept of social cinema, Zoological Surrealism taps never-before-examined sources to offer a completely original perspective on a cutting-edge filmmaker. The first extensive English-language study of Painlevé's early films and their contexts, it adds important new insight to our understanding of film while also contributing to contemporary investigations of the increasingly surreal landscapes of climate change and ecological emergency.

  • Mon cinéma : 350 films à voir et à revoir / Marc-André Lussier ; préface de René Homier-Roy
    PN 1995 L876 2018

  • La sagesse du septième art : répondre aux grandes questions avec le cinéma anglo-saxon / Jean-Philippe Costes
    PN 1993.5 A1C678 2018

  • Cinéma en 30 secondes : les idées, genres, réalisateurs et acteurs les plus importants de l'histoire du 7e art, expliqués en moins d'une minute / sous la direction de Pamela Hutchinson ; collaboration, Nikki Baughan [and 5 others] ; illustrateur, Nicky Ackland-Snow ; traduit de l'anglais par André Gagnon
    PN 1994 A514 2019

  • Sleeping with strangers : how the movies shaped desire / David Thomson
    PN 1995.9 M46 T57 2019
    Film can make us want things we can not have. But, while sometimes rapturous, the interaction of onscreen beauty and private desire speaks to a crisis in American culture, one that pits delusions of male supremacy against feminist awakening and the spirit of gay resistance. Combining criticism, his encyclopedic knowledge of film history, and memoir, David Thomson examines how film has found the fault lines in traditional masculinity and helped to point the way past it toward women's a more nuanced understanding of what it means to be a person desiring others. Ranging from advertising to pornography, Rudolph Valentino to Moonlight, Rock Hudson to Call Me By Your Name, Katharine Hepburn and Cary Grant to Phantom Thread, Thomson shows us the art and the artists we love under a new light. He illuminates the way in which film as art, entertainment, and business has been a polite cover for a kind of erotic seance. And he makes us see how the way we watch our movies is a kind of training for how we try to live.

  • La fiction cinématographique, cheval de Troie de l'histoire : (A. Téchiné, R.W. Fassbinder, W. Schroeter) / Alphonse Cugier
    PN 1995.2 C84 2018

  • The collaborative art of filmmaking : from script to screen / Linda Seger
    PN 1995.9 P7 S38 2019

    The Collaborative Art of Filmmaking: From Script to Screen explores what goes into the making of Hollywood¿s greatest motion pictures. Join veteran script consultant Linda Seger as she examines contemporary and classic screenplays on their perilous journey from script to screen. This fully revised and updated edition includes interviews with over 80 well-known artists in their fields including writers, producers, directors, actors, editors, composers, and production designers. Their discussions about the art and craft of filmmaking ¿ including how and why they make their decisions ¿ provides filmmaking and screenwriting students and professionals with the ultimate guide to creating the best possible "blueprint" for a film and to also fully understand the artistic and technical decisions being made by all those involved in the process.

  • Cinema without reflection : Jacques Derrida's echopoiesis and narcissism adrift / Akira Mizuta Lippit
    PN 1995 L57 2016
    Cinema without Reflection traces an implicit film theory in Jacques Derrida's oeuvre, especially in his frequent invocation of the myth of Echo and Narcissus. Derrida's reflections on the economies of image and sound that reverberate in this story, along with the spectral dialectics of love, mirrors, and poiesis, serve as the basis for a theory of cinema that Derrida perhaps secretly imagined. Following Derrida's interventions on Echo and Narcissus across his thought on the visual arts, Akira Mizuta Lippit seeks to return to a theory of cinema adrift in Derrida's philosophy. Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

  • Magic, monsters, and make-believe heroes : how myth and religion shape fantasy culture / Douglas E. Cowan
    PN 1995.9 F36C69 2019
    Magic, Monsters, and Make-Believe Heroes looks at fantasy film, television, and participative culture as evidence of our ongoing need for a mythic vision--for stories larger than ourselves into which we write ourselves and through which we can become the heroes of our own story. Why do we tell and retell the same stories over and over when we know they can't possibly be true? Contrary to popular belief, it's not because pop culture has run out of good ideas. Rather, it is precisely because these stories are so fantastic, some resonating so deeply that we elevate them to the status of religion. Illuminating everything from Buffy the Vampire Slayer to Dungeons and Dragons , and from Drunken Master to Mad Max, Douglas E. Cowan offers a modern manifesto for why and how mythology remains a vital force today.

  • In theaters everywhere : a history of the Hollywood wide release, 1913-2017 / Brian Hannan
    PN 1993.5 U6 H336 2019
    Conflicts among Hollywood studios and exhibitors have been going on for years. At their heart are questions about how films should be released--where, when and at what speed. Both sides of this disagreement are losers, with exhibitors using the law via various Consent Decrees and studios retaliating by tightly controlling output. In the Silent Era, movies were not released nearly as widely as they are now. This book tells the story of how the few became the many. It explores the contraction of the release cycle, the maximization of the marketing dollar, and the democratization of consumer access. It also offers a comprehensive list of wide releases and rebuts much of what previous scholars have found.

  • Cold War film genres / edited by Homer B. Pettey
    PN 1993.5 U6 C65 2018
    From the mid-1940s to the late 1980s American film studios enjoyed commercial success in a range of often overlooked genres, employing a new realism to depict social class structures, capitalist desires and the expansion of the marketplace, and to turn American cultural values comically andsubversively against themselves. With case studies of the Cold War comedy, the "rogue cop" film, the brainwashing thriller and the urban romances that defined the "new woman", Cold War Film Genres explores these myriad productions, redefining American cinematic history with a more inclusive view ofthe types of films that post-war audiences actually enjoyed, and that the studios provided for them.

  • Ageing femininity on screen : the older woman in contemporary cinema / Niall Richardson
    PN 1995.9 A433R53 2019
    What can feminism, queer theory and media studies bring to our understanding of cinema and television's older leading ladies? Addressing the groundswell of scholarly interest in age and its representation, Ageing Femininity analyses contemporary screen depictions of older women that have attempted to challenge the history of negative stereotypes such as the grotesque hag or the dotty old dear. Studying recent examples of age-affirmation film and television, this important book considers how issues of cinematic genre (ranging from heritage cinema to the action movie), narrative, aesthetics and strategies of performance, such as age camp and age drag, can promote a sensibility of "successful ageing" on the screen.

  • John Waters / by John G. Ives ; photographs by f-Stop Fitzgerald
    PN 1998.3 W38 I94 1992

  • Dirty movies : an illustrated history of the stag film, 1915-1970 / Al Di Lauro and Gerald Rabkin ; with an introductory essay by Kenneth Tynan
    PN 1995.9 S45 D5 1976

  • I am making art / John Baldessari
    PN 1995.9 E96B35 2000z
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