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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.


  • 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
    PN1995.9.E96

  • Le partage de l'intime : histoire, esthétique, politique : cinéma / sous la direction de Frédérique Berthet et Marion Froger ; avec les textes de Frédérique Berthet, Suzanne Beth, Martine Beugnet, Marion Froger, Silvestra Mariniello, Magali Uhl, Sophie Wahnich, Daniel Weinstock, Pierre Zaoui
    PN 1995.9 I575P37 2018eb

  • Femmes, nation et nature dans le cinéma québécois / Julie Ravary-Pilon
    PN 1995.9 W6R38 2018eb

  • 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.

  • Scratch, crackle & pop! : a whole grains approach to making films without a camera / Steven Woloshen ; foreword by Marco de Blois ; edited by Alexandra Grimanis
    PN 1995.9 E96 W65 2015

  • 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.

  • 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

  • Politics in Gotham : the Batman universe and political thought / Damien K. Picariello, editor
    PN1995.9.B34 P65 2019eb

  • Observational filmmaking for education : digital video practices for researchers, teachers and children / Nigel Meager
    PN1995.9.C5118

  • 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.

  • Hollywood heroines : the most influential women in film history / Laura L.S. Bauer, editor
    PN 1995.9.W6 H68 2019

    This is a topical resource that provides a comprehensive look at the most influential women in Hollywood cinema across a wide-range of occupations rarely found together in a single volume.

    * Provides the reader with an invaluable, complete, and easy-to-understand view of film history and filmmaking while simultaneously highlighting the most important women, making the subject of Hollywood and film more transparent as a whole

    * Enables a fuller understanding of the many complicated challenges women have faced historically and currently in Hollywood filmmaking

    * Offers a unique blend of film history and industry information, cohesively presenting them both in one place

    * Reaches beyond the more commonly discussed categories of women who have had important roles throughout Hollywood film history, such as directors and actresses, although they too are included

    * Examines women's visibility and representation in Hollywood in the context of the history of the film industry for students


  • The apartment complex : urban living and global screen cultures / Pamela Robertson Wojcik, editor
    PN 1995.9 C513 A63 2018eb
    From the bachelor pad that Jack Lemmon's C. C. Baxter loans out to his superiors in Billy Wilder's The Apartment (1960) to the crumbling tenement in a dystopian Taipei in Tsai Ming-liang's The Hole (1998), the apartment in films and television series is often more than just a setting: it can motivate or shape the narrative in key ways. Such works belong to a critical genre identified by Pamela Robertson Wojcik as the apartment plot, which comprises specific thematic, visual, and narrative conventions that explore modern urbanism's various forms and possibilities. In The Apartment Complex a diverse group of international scholars discuss the apartment plot in a global context, examining films made both within and beyond the Hollywood studios. The contributors consider the apartment plot's intersections with film noir, horror, comedy, and the musical, addressing how different national or historical contexts modify the apartment plot and how the genre's framework allows us to rethink the work of auteurs and identify productive connections and tensions between otherwise disparate texts.

    Contributors. Steven Cohan, Michael DeAngelis, Veronica Fitzpatrick, Annamarie Jagose, Paula J. Massood, Joe McElhaney, Merrill Schleier, Lee Wallace, Pamela Robertson Wojcik

  • 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.


  • Politics and the media : film and television for the political scientist and historian / edited by M.J. Clark
    PN 1995.9 D6P67 1979

  • 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.

  • European film and television co-production : policy and practice / edited by Julia Hammett-Jamart, Petar Mitric, Eva Novrup Redvall
    PN 1995.9 P7 E87 2018eb

  • 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.

  • Migrant and diasporic film and filmmaking in New Zealand / Arezou Zalipour, editor
    PN1995.9.E44 M54 2019eb

  • The British horseracing film : representations of the 'sport of kings' in British cinema / Stephen Glynn
    PN1995.9S67

  • The child in contemporary Latin American cinema / Deborah Martin
    PN1993.5.L29

  • Philippine cinema and the cultural economy of distribution / Michael Kho Lim
    PN1993.5.P5

  • Professional and business ethics through film : the allure of cinematic presentation and critical thinking / Jadranka Skorin-Kapov
    PN1995.5

  • Runaway Hollywood : internationalizing postwar production and location shooting / Daniel Steinhart
    PN 1995.9 P7 S695 2019
    After World War II, as cultural and industry changes were reshaping Hollywood, movie studios shifted some production activities overseas, capitalizing on frozen foreign earnings, cheap labor, and appealing locations. Hollywood unions called the phenomenon "runaway" production to underscore the outsourcing of employment opportunities. Examining this period of transition from the late 1940s to the early 1960s, Runaway Hollywood shows how film companies exported production around the world and the effect this conversion had on industry practices and visual style. In this fascinating account, Daniel Steinhart uses an array of historical materials to trace the industry's creation of a more international production operation that merged filmmaking practices from Hollywood and abroad to produce movies with a greater global scope.

  • Wes Anderson's symbolic storyworld : a semiotic analysis / Warren Buckland
    PN 1998.3 A526 B83 2019eb

  • 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.

  • Psychoanalytic perspectives on virtual intimacy and communication in film / edited by Andrea Sabbadini, Ilany Kogan and Paola Golinelli
    PN 1995.9 I575 P79 2019eb

  • 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.


  • New nonfiction film : art, poetics, and documentary theory / Dara Waldron
    PN 1995.9 D6 W25 2018
    New Nonfiction Film: Art, Poetics and Documentary Theory is the first book to offer a lengthy examination of the relationship between fiction and documentary from the perspective of art and poetics. The premise of the book is to propose a new category of nonfiction film that is distinguished from - as opposed to being conflated with - the documentary film in its multiple historical guises; a premise explored in case-studies of films by distinguished artists and filmmakers (Abbas Kiarostami, Ben Rivers, Chantal Akerman, Ben Russell Pat Collins and Gideon Koppel). The book builds a case for this new category of film, calling it the 'new nonfiction film,' and argues, in the process, that this kind of film works to dismantle the old distinctions between fiction and documentary film and therefore the axioms of Film and Cinema Studies as a discipline of study.

  • 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.

  • In person : reenactment in postwar and contemporary cinema / Ivone Margulies
    PN 1995.9 R3 M36 2019
    In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. In Persontheorizes this figure's protean temporality and revisionist capabilities and it considers its import in terms of social representativity and exemplarity. Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-holocaust testimonial cinemas. The book contextualizes Zavattini's proposal that in neorealism everyone should act his own story in a sortof anti-individualist, public display (Love in the City and We the Women). It checks the convergence between verite experiments, a heightened self-critique in France and the reception of psychodrama in France (Chronicle of a summer and The Human Pyramid) in the late fifties. And, through Bazin, itreflects on the quandaries of celebrity biopics: how the circularity of the star's iconography is checked by her corporeal limits (Sophia her Own Story and the docudrama Torero!). In Person traces a shift from the exemplary and transformative ethos of fifties reenactment towards the un-redemptive stance of contemporary reenactment films such as Lanzmann's Shoah, Zhang Yuan's Sons, Andrea Tonacci's Hills of Chaos. It defines continuities between verite testimony (Chronicle,and Moi un Noir) and later para-juridical films such as the Karski Report and Rithy Panh's S21, the Khmer Rouge Killing Machine suggesting the power of co-presence and in person actualization for an ethics of viewership.

  • Immediations : the humanitarian impulse in documentary / Pooja Rangan
    PN 1995.9 D6 R364 2017
    Endangered life is often used to justify humanitarian media intervention, but what if suffering humanity is both the fuel and outcome of such media representations? Pooja Rangan argues that this vicious circle is the result of immediation , a prevailing documentary ethos that seeks to render human suffering urgent and immediate at all costs. Rangan interrogates this ethos in films seeking to "give a voice to the voiceless," an established method of validating the humanity of marginalized subjects, including children, refugees, autistics, and animals. She focuses on multiple examples of documentary subjects being invited to demonstrate their humanity: photography workshops for the children of sex workers in Calcutta; live eyewitness reporting by Hurricane Katrina survivors; attempts to facilitate speech in nonverbal autistics; and painting lessons for elephants. These subjects are obliged to represent themselves using immediations--tropes that reinforce their status as the "other" and reproduce definitions of the human that exclude non-normative modes of thinking, being, and doing. To counter these effects, Rangan calls for an approach to media that aims not to humanize but to realize the full, radical potential of giving the camera to the other.

  • Architectures of revolt : the cinematic city circa 1968 / edited by Mark Shiel
    PN 1995.9 C513 A73 2018
    Coinciding with the fiftieth anniversary of the worldwide mass protest movements of 1968--against war, imperialism, racism, poverty, misogyny, and homophobia--the exciting anthology Architectures of Revolt explores the degree to which the real events of political revolt in the urban landscape in 1968 drove change in the attitudes and practices of filmmakers and architects alike.In and around 1968, as activists and filmmakers took to the streets, commandeering public space, buildings, and media attention, they sought to re-make the urban landscape as an expression of utopian longing or as a dystopian critique of the established order. In Architectures of Revolt, the editor and contributors chronicle city-specific case studies from Paris, Berlin, Milan, and Chicago to New York, Los Angeles, Mexico City, and Tokyo. The films discussed range from avant-garde and agitprop shorts to mainstream narrative feature films. All of them share a focus on the city and, often, particular streets and buildings as places of political contestation and sometimes violence, which the medium of cinema was uniquely equipped to capture.Contributors include: Stephen Barber, Stanley Corkin, Jesse Lerner, Jon Lewis, Gaetana Marrone, Jennifer Stob, Andrew Webber, and the editor.

  • 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 and subversively 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 of the types of films that post-war audiences actually enjoyed, and that the studios provided for them.

  • Drawn from life : issues and themes in animated documentary cinema / edited by Jonathan Murray and Nea Ehrlich
    PN 1995.9 D6 D695 2019
    The first anthology to explore the field of animated documentaries from a diverse range of scholarly and practice-based perspectives. Defines the central characteristics of the animated documentary film. Challenges and extends orthodox definitions of documentary cinema as well as animation. Surveys a diverse range of film works, genres, production techniques, historical eras and cultural contexts.

  • Global cinema networks / edited by Elena Gorfinkel and Tami Williams
    PN 1995 G5435 2018
    Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection's esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from "international" to "world" to "transnational" to "global" frames.

  • Affectual erasure : representations of indigenous peoples in Argentine cinema / Cynthia Margarita Tompkins
    PN 1995.9 I49 T66 2018
    Comprehensive examination of how Indigenous peoples have been represented in Argentine film.


  • Hollywood in Havana : US cinema and revolutionary nationalism in Cuba before 1959 / Megan Feeney
    PN 1993.5 C8 F44 2019
    In the 1940s and '50s, Havana was a locus for American movie stars, with glamorous visitors including Errol Flynn, Bette Davis, Joan Crawford, and Marlon Brando. In fact, Hollywood was seemingly everywhere in pre-Castro Havana, with movie theaters three to a block in places, widely circulated silver screen fanzines, and terms like "cowboy" and "gangster" becoming part of Cuban vernacular speech. Hollywood in Havana takes this historical backdrop as the catalyst for a startling question: Did exposure to half a century of Hollywood pave the way for the Cuban Revolution of 1959?
    Megan Feeney argues that American movies helped condition Cuban audiences to expect and even demand purer forms of Cuban democracy and national sovereignty after seeing freedom-fighting and rebellious values and behaviors on display in wartime dramas and film noirs. At the same time, influential Cuban intellectuals worked to translate cinematic ethics into revolutionary rhetoric--which, ironically, led to pointed critiques of the US presence in Cuba and which were eventually used to subvert American foreign policy. Hollywood in Havana adds to our evolving notions of how American cinema has been internalized and localized around the world, while also broadening our views of the ongoing history of US-Cuban interactions, both cultural and political.

  • A life-coaching approach to screen acting / Daniel Dresner
    PN 1995.9 A26 D74 2019
    Combining life-coaching and screen-acting tools and techniques in one accessible handbook, this guide empowers actors to overcome personal inhibitions and approach their work, characters and careers with the assuredness to produce powerful, real and believable acting on screen.Structured to build confidence and understanding of yourself before you take on the role of someone else, this book offers the tools and techniques to give you the necessary conviction and self-assurance to perform uninhibited. Dresner then examines essential elements of a screen actor's craft, such as emotions, imagination, nerves, focus, listening, improvisation and line-learning.Published in partnership with The Actor's Centre, the book includes online videos of coaching sessions with professional actors and is ideal for readers and teachers looking to replicate the method in their own training.

  • African film studies : an introduction / Boukary Sawadogo
    PN 1993.5 A357 S29 2019

    African Film Studies: An Introduction is an accessible and authoritative textbook on African cinema as a field of study. The book provides a succinct and comprehensive study of the history, aesthetics, and theory of Sub-Saharan African cinematic productions that is grounded in the field of film studies instead of textual interpretations from other disciplines.

    Bringing African cinema out of the margins into the discipline of mainstream film studies and showcasing the diverse cinematic expressions of the continent, the book covers:

    Overview of African cinema(s) - Questions our assumptions about the continent's cinematic productions and defines the characteristics of African cinema across linguistic, geographic, and filmic divides. History of African and African-American Cinema - Spans the history of film in Africa from colonial import and 'appropriation of the gaze' to the quest for individuality. It also establishes parallels in the historical development of black African cinema and African-American cinema. Aesthetics - Introduces new research on previously unexplored aesthetic dimensions such as cinematography, animation, and film music Theoretical Approaches - Addresses a number of theoretical approaches and critical frameworks developed by scholars in the study of African cinema

    All chapters include case studies, suggestions for further reading, and screening lists to deepen the reader's knowledge with no prior knowledge of African cinema required students, teachers, and general film enthusiasts would all benefit from this accessible and engaging book.


  • Nollywood central / Jade L. Miller
    PN 1993.5 N55 M55 2016
    Nollywood is often portrayed by the popular press as an unruly industry, with mysteriously fast and cheap production and shadowy distribution networks. In the first overview of Nigeria's burgeoning video film industry, Jade L. Miller reveals that this portrayal is over-simplistic and often untrue. Investigating Nollywood's complete global production and distribution chain, Nollywood Central presents a full portrait of the Nollywood industry as both highly organised and strategically structured. In doing so, it interrogates the position and rise of new cultural industry hubs, demonstrating how a creative industry can emerge, be sustainable and circulate globally even though it exists outside of formal global networks and government-supported infrastructure. Deepening understanding of this prolific industry while at the same time contributing to debates surrounding global flows of culture, this is a critical resource for students and scholars of Media and Communication Studies, Film Studies, Television Studies and African Studies.

  • Crosscurrents : how film policy developed in Quebec, 1960-1983 / Constance Dilley
    PN 1993.5 C2 D54 2018

  • Le partage de l'intime : histoire, esthétique, politique : cinéma / sous la direction de Frédérique Berthet et Marion Froger
    PN 1995.9 I575 P37 2018

  • 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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