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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.


  • The eloquent screen a rhetoric of film / Gilberto Perez ; foreword by James Harvey
    PN 1995 P3965 2019eb

    A lifetime of cinematic writing culminates in this breathtaking statement on film's unique ability to move us

    Cinema is commonly hailed as "the universal language," but how does it communicate so effortlessly across cultural and linguistic borders? In The Eloquent Screen , influential film critic Gilberto Perez makes a capstone statement on the powerful ways in which film acts on our minds and senses.

    Drawing on a lifetime's worth of viewing and re-viewing, Perez invokes a dizzying array of masters past and present--including Chaplin, Ford, Kiarostami, Eisenstein, Malick, Mizoguchi, Haneke, Hitchcock, and Godard--to explore the transaction between filmmaker and audience. He begins by explaining how film fits into the rhetorical tradition of persuasion and argumentation. Next, Perez explores how film embodies the central tropes of rhetoric--metaphor, metonymy, allegory, and synecdoche--and concludes with a thrilling account of cinema's spectacular capacity to create relationships of identification with its audiences.

    Although there have been several attempts to develop a poetics of film, there has been no sustained attempt to set forth a rhetoric of film--one that bridges aesthetics and audience. Grasping that challenge, The Eloquent Screen shows how cinema, as the consummate contemporary art form, establishes a thoroughly modern rhetoric in which different points of view are brought into clear focus.


  • Seeing politics : film, visual method, and international relations / Sophie Harman
    PN 1995.9 P6H37 2019

  • The myth of colorblindness race and ethnicity in American cinema / Sarah E. Turner, Sarah Nilsen, editors
    PN1995.9.M56

  • New perspectives on the war film / Clémentine Tholas, Janis L. Goldie, Karen A. Ritzenhoff, editors
    PN 1995.9 W3N49 2019

  • Darkness calls : a critical investigation of neo-noir / Sue Short
    PN1995.9.F54

  • Film history : an introduction / Kristin Thompson, David Bordwell
    PN 1993.5 A1T45 2010
    Written by two of the leading scholars in film studies Film History: An Introduction is a comprehensive global survey of the medium that covers the development of every genre in film from drama and comedy to documentary and experimental. As with the authors' bestselling Film Art: An Introduction (now in its eighth edition) concepts and events are illustrated with frame enlargements taken from the original sources giving students more realistic points of reference than competing books that rely on publicity stills. The third edition of Film History is thoroughly updated and includes the first comprehensive overviews of the impact of globalization and digital technology on the cinema. Any serious film scholar--professor undergraduate or graduate student--will want to read and keep Film History.Visit the author's blog at http://www.davidbordwell.net/blog/.

  • Cinematic encounters : interviews and dialogues / Jonathan Rosenbaum
    PN 1994 R567 2018eb

  • Revisiting star studies : cultures, themes and methods / edited by Sabrina Qiong Yu and Guy Austin
    PN 1995 R439 2017eb

  • Music, collective memory, trauma and nostalgia in European cinema after the Second World War / edited by Michael Baumgartner, Cleveland State University, USA, and Ewelina Boczkowska, Youngstown State University, USA
    PN 1995.9 M86M86 2020eb

    In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20thcentury were remembered and understood. Exploring one of the most integral elements of the cinematic experience--music--the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory.

    Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia.


  • The Assassin Hou Hsiao-hsien's World of Tang China / edited by Peng Hsiao-yen
    PN 1997.2 A679A83 2019
    The Assassin tells the story of a swordswoman who refrains from killing. Hou Hsiao-hsien astonishes his audience once again by upsetting almost every convention of the wuxia (martial arts) genre in the film. This collection offers eleven readings, each as original and thought-provoking as the film itself, beginning with one given by the director himself. Contributors analyze the elliptical way of storytelling, Hou's adaptation of the source text (a tale from the Tang dynasty, also included in this volume), the film's appropriation of traditional Chinese visual aesthetics, as well as the concept of xia (knight-errant) that is embedded in Confucian, Daoist, and Buddhist worldviews. There are also discussions of the much-celebrated sonic design of The Assassin: the nearly exclusive use of a diegetic film score is a statement on the director's belief in cinematic reality. Underlying all the chapters is a focus on how Hou reinvents Tang-dynasty China in contemporary culture. The meticulously recreated everyday reality of the Tang world in the film highlights the ethnic and cultural diversity of the dynasty. It was a time when Sogdian traders acted as important intermediaries between Central Asia and the Tang court, and as a result Sogdian culture permeated the society. Taking note of the vibrant hybridity of Tang culture in the film, this volume shows that the historical openness to non-Chinese elements is in fact an essential part of the Chineseness expressed in Hou's work. The Assassin is a gateway to the remote Tang-dynasty world, but in Hou's hands the concerns of that premodern world turn out to be highly relevant to the world of the audience.

  • Todd Solondz / Julian Murphet
    PN1998.3.S598

  • Disney's Star Wars : forces of production, promotion, and reception / William Proctor and Richard McCulloch, editors
    PN 1995.9 S695D57 2019

  • Trauma and disability in Mad Max : beyond the road warrior's fury / Mick Broderick, Katie Ellis
    PN1995.9.H34

  • The films of Lars Von Trier and philosophy provocations and engagements / José A. Haro, William H. Koch, editors
    PN1998.3.T747

  • Screening the World : Global Development of the Multiplex Cinema / Stuart Hanson
    PN1995

  • Broadway and Hollywood: a history of economic interaction
    PN 1993.5.U6 M225 1974

  • Da Starace ad Antonioni; diario critico di un ex balilla
    PN 1993.5.I88 R4

  • Cinema militans / Menno ter Braak
    PN 1995.9.P6 B7 1929

  • Singapore cinema : new perspectives / edited by Liew Kai Khiun and Stephen Teo
    PN 1993.5 S45S56 2017

    This book outlines and discusses the very wide range of cinema which is to be found in Singapore. Although Singapore cinema is a relatively small industry, and relatively new, it has nevertheless made an impact, and continues to develop in interesting ways. The book shows that although Singapore cinema is often seen as part of diasporic Chinese cinema, it is in fact much more than this, with strong connections to Malay cinema and the cinemas of other Southeast Asian nations. Moreover, the themes and subjects covered by Singapore cinema are very wide, ranging from conformity to the regime and Singapore¿s national outlook, with undesirable subjects overlooked or erased, to the sympathetic depiction of minorities and an outlook which is at odds with the official outlook. The book will be useful to readers coming new to the subject and wanting a concise overview, while at the same time the book puts forward many new research findings and much new thinking.


  • Screenplays / Werner Herzog ; translated from the German by Alan Greenberg and Martje Herzog
    PN 1997.3.H4

  • Film history : an introduction / Kristin Thompson, David Bordwell
    PN 1993.5 A1T45 2019

    Written by two of the leading scholars in film studies, Film History: An Introduction 4e is a comprehensive, global survey of the medium that covers the development of every genre in film, from drama and comedy to documentary and experimental. Concepts and events are illustrated with frame enlargements taken from the original sources, giving students more realistic points of reference.


  • Bollywood cinema : temples of desire / Vijay Mishra
    PN 1993.5 I8M46 2002eb
    India is home to Bollywood - the largest film industry in the world. Movie theaters are said to be the "temples of modern India," with Bombay producing nearly 800 films per year that are viewed by roughly 11 million people per day. In Bollywood Cinema, Vijay Mishra argues that Indian film production and reception is shaped by the desire for national community and a pan-Indian popular culture. Seeking to understand Bollywood according to its own narrative and aesthetic principles and in relation to a global film industry, he views Indian cinema through the dual methodologies of postcolonial studies and film theory. Mishra discusses classics such as Mother India (1957) and Devdas (1935) and recent films including Ram Lakhan (1989) and Khalnayak (1993), linking their form and content to broader issues of national identity, epic tradition, popular culture, history, and the implications of diaspora.

  • Dining with madmen : fat, food, and the environment in 1980s horror / Thomas Fahy
    PN 1995.9 H6F25 2019eb

  • The supermarket of the visible : toward a general economy of images / Peter Szendy ; translated by Jan Plug
    PN 1995 S96613 2019

  • Queer timing : the emergence of lesbian sexuality in early cinema / Susan Potter
    PN 1995.9 L48P68 2019eb

  • An archive of the catastrophe : the unused footage of Claude Lanzmann's Shoah / Jennifer Cazenave
    PN 1997 S4755C39 2019

  • Cinematic encounters 2 : portraits and polemics / Jonathan Rosenbaum
    PN 1994 R567 2019

  • Subject to reality : women and documentary film / Shilyh Warren
    PN 1995.9 D6W37 2019

  • Gaelic games on film : from silent films to Hollywood hurling, horror and the emergence of Irish cinema / Seán Crosson
    PN 1995.9 S67C76 2019

  • Hitchcock's People, Places, and Things John Bruns
    PN 1998.3 H58B78 2019

  • The supernatural sublime : the wondrous ineffability of the everyday in films from Mexico and Spain / Raúl Rodríguez-Hernández and Claudia Schaefer
    PN 1995.9 S8R57 2019
    The Supernatural Sublime explores the long-neglected element of the supernatural in films from Spain and Mexico by focusing on the social and cultural contexts of their production and reception, their adaptations of codes and conventions for characters and plot, and their use of cinematic techniques to create the experience of emotion without explanation. Deploying the overarching concepts of the supernatural and the sublime, Raúl Rodríguez-Hernández and Claudia Schaefer detail the dovetailing of the unnatural and the experience of limitlessness associated with the sublime.

    The Supernatural Sublime embeds the films in the social histories of twentieth- and twenty-first-century Mexico and Spain, both of which made a forced leap into modernity after historical periods founded on official ideologies and circumscribed visions of the nation. Evoking Kant's definition of the experience of the sublime, Rodríguez-Hernández and Schaefer concentrate on the unrepresentable and the contradictory that oppose purported universal truths and instead offer up illusion, deception, and imagination through cinema, itself a type of illusion: writing with light.

  • Hitchcock and the censors / John Billheimer
    PN 1998.3 H58B55 2019eb

    Throughout his career, Alfred Hitchcock had to deal with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect, and all forms of indecency, real or imagined. From 1934 to 1968, the Motion Picture Production Code Office controlled the content and final cut on all films made and distributed in the United States. Code officials protected sensitive ears from standard four-letter words, as well as a few five-letter words like tramp and six-letter words like cripes . They also scrubbed "excessively lustful" kissing from the screen and ensured that no criminal went unpunished.

    During their review of Hitchcock's films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. Code reviewers dictated the ending of Rebecca (1940), absolved Cary Grant of guilt in Suspicion (1941), edited Cole Porter's lyrics in Stage Fright (1950), decided which shades should be drawn in Rear Window (1954), and shortened the shower scene in Psycho (1960).

    In Hitchcock and the Censors, author John Billheimer traces the forces that led to the Production Code and describes Hitchcock's interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming -- and occasionally tricking -- the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. By examining Hitchcock's priorities in dealing with the censors, this work highlights the director's theories of suspense as well as his magician-like touch when negotiating with code officials.


  • From El Dorado to Lost horizons : traditionalist films in the Hollywood renaissance, 1967-1972 / Ken Windrum
    PN 1993.5 U6W56 2019eb

  • Ridley Scott : a biography / Vincent LoBrutto
    PN1998.3.S393

    With celebrated works such as Alien, Blade Runner, Thelma & Louise , and Gladiator, Ridley Scott has secured his place in Hollywood. This legendary director and filmmaker has had an undeniable influence on art and the culture of filmmaking, but is also a respected media businessman.

    In Ridley Scott: A Biography , Vincent LoBrutto delves into Ridley Scott's oeuvre in a way that allows readers to understand the yin and yang of his exceptional career. Presented is a unique crosscut between the biographical facts of Ridley Scott's personal life -- his birth and early days in northeast England, his life in New York City -- and his career in Hollywood as a director and producer of television commercials, TV series, miniseries, and feature films. Every film is presented, analyzed, and probed for a greater understanding of the visionary, his personality, and his thought process, for a deeper perception of his astounding work and accomplishments. The voices of cast and crew who have worked with Ridley Scott, as well as the words of the man himself, are woven throughout this book for a fully realized, critical biography, revealing the depth of the artist and his achievements.


  • West African screen media comedy, TV series, and transnationalization / by Boukary Sawadogo
    PN1995
    The culturally rooted comic traditions of koteba theater and joking kinship have shaped West African comedies through various forms of humor. Débrouillardis e (hustle) has turned the urban scene into a comic scene, a site for individual realization. To highlight the ever-growing production and success of comedies and other popular genres, West African Screen Media: Comedy, TV Series, and Transnationalization explores the distribution and reception of selected productions by emphasizing the public's strong resonance with local stories and a character-based comedy involving popular comedians. In contrast to art films or "auteur films" that tend to be confined to the festival circuit, comedies and popular genres reach a far wider audience through local distribution networks, satellite TV channels, pirated DVDs, and online distribution platforms. This book engages a discussion of contemporary African media productions as seen outside the usual frameworks of cinéma engagé , the art house, or auteur approaches. While examining production and distribution through the lenses of proximity, appropriation, and transnationalization, this volume invites readers to reconsider the way genre films, as well as other kinds of productions, have been previously evaluated and in doing so addresses the critical neglect of comedy and other popular genres in the scholarship on African cinema.

  • Movie circuits : curatorial approaches to cinema technology / Gabriel Menotti
    PN1995.9.T43
    Movie Circuits is a book about cinema; more precisely, it is about how technological changes are negotiated within the operation of the medium, thus resulting in the preservation, obsolescence and expansion of its conventional apparatus. Based on an active effort to take distance from traditional disciplines, the author produces scholarship from the standpoint of the flusserian functionaries of the apparatus. He deploys his empirical, hands-on experience with the medium underpinnings, both as a projectionist and a curator, as a form of practice-based approach able to pierce through the veils of the scientific paradigm and medial ideology alike, in order to better comprehend the relationship between moving image and media technology. Departing from the modes of organization of cinema promoted by different cultural practices, from art making to piracy, the volume does a critical revision of current theories, putting into question the institutional character of medium ontology.

  • Women at work in twenty-first-century European cinema / Barbara Mennel
    PN 1995.9 W6M46 2019eb

  • Aesthetic spaces : the place of art in film / Brigitte Peucker
    PN 1995.25 P462 2019
    Films provide valuable spaces for aesthetic experimentation and analysis, for cinema's openness to other media has always allowed it to expand its own. In Aesthetic Spaces , Brigitte Peucker shows that when painterly or theatrical conventions are appropriated by the medium of film, the dissonant effects produced open it up to intermedial reflection and tell us a great deal about cinema itself.

    The films studied in these chapters include those by Abbas Kiarostami, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Carl Th. Dreyer, Peter Greenaway, Rainer Werner Fassbinder, Ingmar Bergman, Jacques Rivette, Fritz Lang, F. W. Murnau, Lars von Trier, Spike Jonze, ric Rohmer, Lech Majewski, and others. Where two media are in evidence in these films, there is usually a third, and often theater mediates between film and painting. Aesthetic Spaces interrogates issues of cinematic space and mise-en-sc ne from different but interconnected theoretical perspectives, organizing its chapters around some of the formal principles--space, spectator, frame, color and lighting, props, d cor, and actor--that shape films.

    Drawing on the older arts to renew cinema, the films examined deploy paintings as material: Poussin and Bruegel, Rembrandt, Hals and Klimt, and medieval illustrations and modernist abstractions are used to expand our notions of cinematic space. Peucker shows that when different media come together in film, they create effects of dissonance out of which new modes of looking may arise.

  • The films of Douglas Sirk : exquisite ironies and magnificent obsessions / Tom Ryan
    PN 1998.3 S57R93 2019

  • Women adapting : bringing three serials of the roaring twenties to stage and screen / Bethany Wood
    PN 1997.85 W585 2019

  • 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


  • Star wars after Lucas : a critical guide to the future of the galaxy / Dan Golding
    PN 1995.9 S695G65 2019

    Politics, craft, and cultural nostalgia in the remaking of Star Wars for a new age

    A long time ago, in a galaxy far, far away--way back in the twenty-first century's first decade-- Star Wars seemed finished. Then in 2012 George Lucas shocked the entertainment world by selling the franchise, along with Lucasfilm, to Disney. This is the story of how, over the next five years, Star Wars went from near-certain extinction to what Wired magazine would call "the forever franchise," with more films in the works than its first four decades had produced.

    Focusing on The Force Awakens (2015), Rogue One (2016), The Last Jedi (2017), and the television series Rebels (2014-18), Dan Golding explores the significance of pop culture nostalgia in overcoming the skepticism, if not downright hostility, that greeted the Star Wars relaunch. At the same time he shows how Disney, even as it tapped a backward-looking obsession, was nonetheless creating genuinely new and contemporary entries in the Star Wars universe.

    A host of cultural factors and forces propelled the Disney-engineered Star Wars renaissance, and all figure in Golding's deeply informed analysis: from John Williams's music in The Force Awakens to Peter Cushing's CGI face in Rogue One , to Carrie Fisher's passing, to the rapidly changing audience demographic. Star Wars after Lucas delves into the various responses and political uses of the new Star Wars in a wider context, as in reaction videos on YouTube and hate-filled, misogynistic online rants. In its granular textual readings, broad cultural scope, and insights into the complexities of the multimedia galaxy, this book is as entertaining as it is enlightening, an apt reflection of the enduring power of the Star Wars franchise.


  • This thing of darkness : Eisenstein's Ivan the Terrible in Stalin's Russia / Joan Neuberger
    PN 1997 I77N484 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.


  • Bumpy road : the making, flop, and revival of Two-lane blacktop / Sylvia Townsend
    PN 1997 T652T69 2019
    Bumpy Road: The Making, Flop, and Revival of "Two-Lane Blacktop" chronicles the genesis, production, box-office debacle, resurrection, near-canonization, and lasting influence of director Monte Hellman's 1971 existentialist car-racing movie. Hellman's unconventional choices for the film included casting three nonactors--musicians James Taylor and Dennis Wilson, as well as his girlfriend, Laurie Bird--in lead roles; shooting the movie in sequence from west to east on Route 66; and refusing to show the actors the full script, instead giving each his or her lines for the day.

    Before its release, Esquire put the film on its cover as the magazine's choice for movie of the year and printed the entire screenplay, leading moviegoers to expect a crowd-pleaser. Audiences anticipated that Two-Lane Blacktop would be an action-packed car-racing movie and were disappointed when nobody won or even finished the race, no one got the girl, the two leading men barely spoke, and the leading lady was foul-mouthed and promiscuous. Universal Studios Chairman Lew Wasserman found the film subversive and refused to release it on video.

    Years after it flopped, however, the movie soared in stature, and it is now revered by such contemporary directors as Quentin Tarantino and Richard Linklater. It was included in the National Film Registry and was released on DVD and Blu-ray by the prestigious Criterion Collection and the highly regarded Masters of Cinema series.

    Author Sylvia Townsend conducts a comprehensive examination of the film, its reception, and the resurgence of interest it has more recently generated. Interviewing individuals involved in and influenced by the film, including James Taylor, Richard Linklater, Gary Kurtz, and scriptwriter Rudy Wurlitzer, Townsend provides an inside look at the cult classic.

  • The Brighton School and the birth of British film / Frank Gray
    PN 1993.5 G7G37 2019

  • Gatekeeping in the evolving business of independent film distribution / Roderik Smits
    PN 1995.9 D57S65 2019eb

  • Crosscurrents : how film policy developed in Quebec, 1960-1983 / Constance Dilley
    PN1993.5.C2

  • Sound, Media, Ecology
    PN1993-PN1999HQ75-76

  • Screening the Author : The Literary Biopic / Hila Shachar
    PN 1997.85 S33 2019

  • The remembered film / Victor Burgin
    PN 1995 B855 2004eb
    Most books about cinema, whether popular or academic, concentrate on what we might call the "inside" of the film: from star performances to narrative structures. The relatively few books about the "outside" of films speak mainly of such aspects of production and reception as the organization of the film industry and the sociology of audiences: the Hollywood studio system, for example, or fan clubs. The Remembered Film is unique in addressing a previously overlooked aspect of cinema: the isolated fragments of films, iconic images or scenes, that fleetingly cross our perceptions and thoughts in the course of everyday life.

    Victor Burgin examines a kaleidoscope of film fragments drawn from a variety of media, the internet, memory and fantasy. Among these are sequences of such brevity they might almost be stills. Such "sequence-images", as Burgin calls them, are neither strictly "image" nor "image sequence" and have not been considered before by either film or photography theory. He also considers some typical individual experiences "sampled" from mainstream cinema. He reflects on such disparate occurrences as the association in memory of fragments from otherwise unrelated films, of the relation of a recollected film image to an architectural setting, or of a feeling "marked" by an image remembered from a film.

    The Remembered Film provides a radical new way of thinking about film outside conventional cinema, and in relation to our everyday lives. It will appeal to a wide audience interested in film and media.

  • Portrayals of Jews in contemporary Argentine cinema : rethinking Argentinidad / Mirna Vohnsen
    PN 1993.5 A7V64 2019
    Runner-up for the AHGBI-Spanish Embassy Doctoral Publication Prize for 2017 Notwithstanding the current visual prominence of Jewish life and Jewish culture on the Argentine big screen, surprisingly little has been written about Jewish film characterization in academic scholarship. In order to fill this lacuna, Portrayals of Jews in Contemporary Argentine Cinemaexplores the depiction of the Jews of Argentina in modern Argentine cinema with particular attention to the ways in which Jews and Jewishness interact with issues of national identity. The central aim of the book is to investigate how Argentine cinema negotiates the argentinidad of Jewish Argentines, thereby adding to the mosaic that is the imagined community of Argentina. To this end, key films by both Jewish and non-Jewish directors are scrutinized, shedding light on three main areas: the masculinity of the Jewish gaucho, the effects of the 1994 AMIA bombing and family relations, including fatherhood and the intermarriage between Jews and Gentiles. Organized around these topics, the book comprises four chapters and with the exception of the first, which is a historical exposition of Jewish presence in Argentina and Argentine film, all subsequent ones take a theme-centered approach. Mirna Vohnsen is a faculty member in Spanish and Latin American Studies at Maynooth University.

  • Inhospitable world : cinema in the time of the anthropocene / Jennifer Fay
    PN 1993.5 U6F355 2018
    In recent years, environmental and human rights advocates have suggested that we have entered the first new geological epoch since the end of the ice age: the Anthropocene. In this new epoch, humans have come to reshape unwittingly both the climate and natural world; humankind has caused massextinctions of plant and animal species, polluted the oceans, and irreversibly altered the atmosphere. Ironically, our efforts to make the planet more hospitable to ourselves seem to be driving us toward our inevitable extinction. A force of nature, humanity is now decentered as the agent ofhistory. As Jennifer Fay argues, this new situation is to geological science what cinema has always been to human culture.Film, like the Anthropocene, is a product of the industrial revolution, but arises out of a desire to preserve life and master time and space. It also calls for the creation of artificial worlds, unnatural weather, and deadly environments for entertainment, scientific study, and devising militarystrategy. Filmmaking stages, quite literally, the process by which worlds and weather come into being and meaning, and it mimics the forces that are driving this new planetary inhospitality. Cinema, in other words, provides an image of "nature" in the age of its mechanical reproducability. Fayargues that cinema exemplifies the philosophical, political, and perhaps even logistical processes by which we can adapt to these forces and also imagine a world without humans in it. Whereas standard ecological criticism attends to the environmental crisis as an unraveling of our natural state,this book looks to film (from Buster Keaton, to Jia Zhangke, to films of atomic testing and early polar exploration) to consider how it reflects upon the creation and destruction of human environments. What are the implications of ecological inhospitality? What role might cinema and media theoryplay in challenging our presumed right to occupy and populate the world? As an art form, film enjoys a unique relationship to the material, elemental world it captures and produces. Through it, we may appreciate the ambitions to design an unhomely planet that may no longer accommodate us.

  • The cinema of Agnès Varda : resistance and eclecticism / Delphine Bénézet
    PN 1998.3 V368B46 2014
    Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980-81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director's multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.

  • The Palgrave handbook of children's film and television / Casie Hermansson, Janet Zepernick, editors
    PN 1995.9 C45P35 2019

  • Crime scenery in postwar film and photography Henrik Gustafsson
    PN1995.9.S4

  • Non-cinema : global digital filmmaking and the multitude / William Brown
    PN 1995.9 P7B667 2018
    Non-Cinema: Global Digital Film-making and the Multitude provides an original film-philosophy through which to understand low budget digital filmmaking from around the globe. It draws upon a wide range of western and non-western philosophers, physicists, theorists of 'Third Cinema,' and contemporary film theorists and film-philosophers in order to argue that the future of cinema lies at the margins, in the extreme, the overlooked and the under-funded - the sort that distributors, exhibitors and audiences would not consider to be cinema at all, hence "non-cinema." Analysing numerous films, William Brown argues that contemporary low-budget digital cinema is also through its digital form a political cinema that suggests that we are not detached observers of the world, but entangled participants therewith. Non-Cinema constructs this argument by looking at work by established filmmakers like Jean-Luc Godard, Abbas Kiarostami, Jafar Panahi and Michael Winterbottom, as well as lesser known work from places as diverse as Asia, the Middle East, Europe, the Americas and Africa.

  • Spectacular bodies : gender, genre, and the action cinema / Yvonne Tasker
    PN 1995.9 S697T37 1993eb
    While films such as Rambo, Thelma and Louise and Basic Instinct have operated as major points of cultural reference in recent years, popular action cinema remains neglected within contemporary film criticism.
    Spectacular Bodies unravels the complexities and pleasures of a genre often dismissed as `obvious' in both its pleasure and its politics, arguing that these controversial films should be analysed and understood within a cinematic as well as a political context.
    Yvonne Tasker argues that today's action cinema not only responds to the shifts in gendered, sexual and racial identities which took place during the 1980s, but reflects the influences of other media such as the new video culture. Her detailed discussion of the homoeroticism surrounding the muscleman hero, the symbolic centrality of blackness within the crime narrative, and the changing status of women within the genre, addresses the constitution of these identities through the shifting categories of gender, class, race, sex, sexuality and nation. Spectacular Bodies also examines the ambivalence of supposedly secure categories of popular cinema, questioning the existing terms of film criticism in this area and addressing the complex pleasures of this neglected form.

  • The Routledge companion to new cinema history / edited by Daniël Biltereyst, Richard Maltby and Philippe Meers
    PN 1995 R6854 2019

    The Routledge Companion to New Cinema History presents the most recent approaches and methods in the study of the social experience of cinema, from its origins in vaudeville and traveling exhibitions to the multiplexes of today.

    Exploring its history from the perspective of the cinemagoer, the study of new cinema history examines the circulation and consumption of cinema, the political and legal structures that underpinned its activities, the place that it occupied in the lives of its audiences and the traces that it left in their memories. Using a broad range of methods from the statistical analyses of box office economics to ethnography, oral history, and memory studies, this approach has brought about an undisputable change in how we study cinema, and the questions we ask about its history. This companion examines the place, space, and practices of film exhibition and programming; the questions of gender and ethnicity within the cinematic experience; and the ways in which audiences gave meaning to cinemagoing practices, specific films, stars, and venues, and its operation as a site of social and cultural exchange from Detroit and Laredo to Bandung and Chennai. Contributors demonstrate how the digitization of source materials and the use of digital research tools have enabled them to map previously unexplored aspects of cinema¿s business and social history and undertake comparative analysis of the diversity of the social experience of cinema across regional, national, and continental boundaries.

    With contributions from leading scholars in the field, The Routledge Companion to New Cinema History enlarges and refines our understanding of cinema¿s place in the social history of the twentieth century.


  • Coming together : the cinematic elaboration of gay male life, 1945-1979 / Ryan Powell
    PN 1995.9 H55P69 2019
    In Coming Together , Ryan Powell captures the social and political vitality of the first wave of movies made by, for, and about male-desiring men in the United States between World War II and the 1980s. From the underground films of Kenneth Anger and the Gay Girls Riding Club to the gay liberation-era hardcore films and domestic dramas of Joe Gage and James Bidgood, Powell illuminates how central filmmaking and exhibition were to gay socializing and worldmaking. Unearthing scores of films and a trove of film-related ephemera, Coming Together persuasively unsettles popular histories that center Stonewall as a ground zero for gay liberation and visibility. Powell asks how this generation of movie-making--which defiantly challenged legal and cultural norms around sexuality and gender--provided, and may still provide, meaningful models for living.

  • Seeing politics : film, visual method, and international relations / Sophie Harman
    PN 1995.9 P6H37 2019
    Visual politics and the aesthetic turn in international relations have emphasized the power of the image in world politics. Postcolonial and decolonial feminist theory shows the urgent need to rethink research and teaching methods. What happens when these concepts converge and such thinking is translated into practice? Engaging with a broad range of topics ? the politics of everyday life, health, HIV/AIDS, Africa, post-colonialism, gender/feminist theory, visuality, film, and method ? in Seeing Politics Sophie Harman looks at scholars who are pushing the boundaries of how they do research, how they communicate their research to a broader audience, and what counts as scholarship in world politics. Through a detailed exploration of the political process of film production, from inception and co-production to distribution and exhibition, she addresses the tricky transnational relationships, government gatekeeping, and global hierarchies of film governance that control and marginalize the stories and people we see. Fundamentally, Seeing Politics is about how narrative feature film challenges and advances the discipline of international relations, revealing aspects of politics that would otherwise remain unseen and unaddressed. Film is not just a way of communicating research. It is a method that produces research and visibility, advancing research practice and knowledge in international relations. Innovative and compelling, this book is about the politics of seeing, being seen, and what stops us from seeing.

  • From self-portrait to selfie : representing the self in moving image / edited by Muriel Tinel-Temple, Laura Busetta and Marlène Monteiro (eds)
    PN 1995.9 P65F76 2019

    Self-portraiture is a singular form within the broad field of first-person film and video - not so much an account of the filmmaker's intimate life as a representation of the artist at a given instant. With deep roots in the Western tradition of painting and literature, self-portraiture in the moving image can be considered to be a hybrid practice, not fitting into the traditional definition of documentary or fiction, as it breaks the boundaries of both genres.

    The investigative and self-reflexive stance of the self-portrait raises questions about intimacy, the appearance and corporeality of the subject and, more importantly, the medium itself. Today the understanding and definition of this practice is being challenged by the emergence of new forms of self-portraiture brought about by digital media, such as the selfie phenomenon. Against this backdrop, this book reassesses the significance of the self-portrait in the moving image and new media by exploring a varied and international body of works.


  • Dziga Vertov : die Vertov-Sammlung im Österreichischen Filmmuseum = Dziga Vertov : the Vertov Collection at the Austrian Film Museum / [herausgegeben von Österreichisches Filmmuseum, Thomas Tode, Barbara Wurm]
    PN 1998.3 V474D95 2006
    For the Russian filmmaker and film theorist Dziga Vertov (1896-1954), cinema was both a bold aesthetic experiment and a document of contemporary life. This English/German bilingual catalogue includes films, photographs, posters, letters and a large number of previously unpublished sketches, drawings, and writings.

  • Socialist senses : film, feeling, and the Soviet subject, 1917-1940 / Emma Widdis
    PN 1993.5 R9W525 2017

    This major reimagining of the history of Soviet film and its cultural impact explores the fundamental transformations in how film, through the senses, remade the Soviet self in the 1920s and 1930s. Following the Russian Revolution, there was a shared ambition for a 'sensory revolution' to accompany political and social change: Soviet men and women were to be reborn into a revitalized relationship with the material world. Cinema was seen as a privileged site for the creation of this sensory revolution: film could both discover the world anew, and model a way of inhabiting it. Drawing upon an extraordinary array of films, noted scholar Emma Widdis shows how Soviet cinema, as it evolved from the revolutionary avant-garde to Socialist Realism, gradually shifted its materialist agenda from emphasizing the external senses to instilling the appropriate internal senses (consciousness, emotions) in the new Soviet subject.


  • Wake up mes bons amis! : la représentation de la nation dans le cinéma de Pierre Perrault , 1961-1971 / Mathieu Bureau Meunier
    PN 1998.3 P454 B87 2019

  • The cultural politics of contemporary Hollywood film : power, culture and society / Chris Beasley and Heather Brook
    PN 1995.9 P6B38 2019
    Adopting and developing a 'cultural politics' approach, this comprehensive study explores how Hollywood movies generate and reflect political myths about social and personal life that profoundly influence how we understand power relations. Instead of looking at genre, it employs three broad categories of film. 'Security' films present ideas concerning public order and disorder, citizen-state relations and the politics of fear. 'Relationalities' films highlight personal and intimate politics, bringing norms about identities, gender and sexuality into focus. In 'socially critical' films, particular issues and ideas are endowed with more overtly political significance. The book considers these categories as global political technologies implicated in hegemonic and 'soft power' relations whose reach is both deep and broad.

  • Materializing memories : dispositifs, generations, amateurs / edited by Susan Aasman, Andreas Fickers, and Joseph Wachelder
    PN 1995.9 S6M38 2018
    A multitude of devices and technological tools now exist to make, share, and store memories and moments with family, friends, and even strangers. Memory practices such as home movies, which originated as the privilege of a few, well-to-do families, have now emerged as ubiquitous and immediate cultures of sharing. Departing from the history of home movies, this volume offers a sophisticated understanding of technologically mediated, mostly ritualized memory practices, from early beginnings in the fin-de-si¿cle to today. Departing from a longue dur¿e perspective on home movie practices, Materializing Memories moves beyond a strict historical study to grapple with highly theorized fields, such as media studies, memory studies, and science and technology studies (STS). The contributors to this volume reflect on these different intellectual backgrounds and perspectives, but all chapters share a common framework by addressing practices of use, user configurations, and relevant media landscapes. Grasping the cultural dynamics of such multi-faceted practices requires a multidimensional conceptual approach, here achieved by centering around three concepts as central analytical lenses: dispositifs , generations, and amateurs.

  • Film censorship : regulating America's screen / Sheri Chinen Biesen
    PN 1995.62 B54 2018
    Film Censorship is a concise overview of Hollywood censorship and efforts to regulate American films. It provides a lean introductory survey of U.S. cinema censorship from the pre-Code years and classic studio system Golden Age--in which film censorship thrived--to contemporary Hollywood. From the earliest days of cinema, movies faced controversy over screen images and threats of censorship. This volume draws extensively on primary research from motion picture archives to unveil the fascinating behind-the-scenes history of cinema censorship and explore how Hollywood responded to censorial constraints on screen content in a changing American cultural and industrial landscape.

    This primer on American film censorship considers the historical evolution of motion-picture censorship in the United States spanning the Jazz Age Prohibition era, lobbying by religious groups against Hollywood, industry self-censorship for the Hays Office, federal propaganda efforts during wartime, easing of regulation in the 1950s and 1960s, the MPAA ratings system, and the legacy of censorship in later years. Case studies include The Outlaw, The Postman Always Rings Twice, Scarface, Double Indemnity, Psycho, Bonnie and Clyde, Midnight Cowboy, and The Exorcist , among many others.
Updated: Monday 11 November 2019
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