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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.


  • Film in the anthropocene : philosophy, ecology, and cybernetics / Daniel White
    PN1995.9.P42

  • The talent industry : television, cultural intermediaries and new digital pathways / Raymond Boyle
    PN1995.9.A26

  • On Replacement Cultural, Social and Psychological Representations / edited by Jean Owen, Naomi Segal
    PN1993

  • Memories of resistance and the Holocaust on film / Mercedes Camino
    PN1995.9.H53

  • Archiveology : Walter Benjamin and archival film practices / Catherine Russell
    PN 1993.4 R874 2018
    In Archiveology Catherine Russell uses the work of Walter Benjamin to explore how the practice of archiveology--the reuse, recycling, appropriation, and borrowing of archival sounds and images by filmmakers--provides ways to imagine the past and the future. Noting how the film archive does not function simply as a place where moving images are preserved, Russell examines a range of films alongside Benjamin's conceptions of memory, document, excavation, and historiography. She shows how city films such as Nicole Védrès's Paris 1900 (1947) and Thom Andersen's Los Angeles Plays Itself (2003) reconstruct notions of urban life and uses Christian Marclay's The Clock (2010) to draw parallels between critical cinephilia and Benjamin's theory of the phantasmagoria. Russell also discusses practices of collecting in archiveological film and rereads films by Joseph Cornell and Rania Stephan to explore an archival practice that dislocates and relocates the female image in film. In so doing, she not only shows how Benjamin's work is as relevant to film theory as ever; she shows how archiveology can awaken artists and audiences to critical forms of history and memory.

  • Fantasy / Jacqueline Furby and Claire Hines
    PN 1995.9 F36F86 2012

    Fantasyaddresses a previously neglected area within film studies. The book looks at the key aesthetics, themes, debates and issues at work within this popular genre and examines films and franchises that illustrate these concerns. Contemporary case studies include:

    Alice in Wonderland(2010) Avatar (2009) The Dark Knight(2008) Edward Scissorhands(1990) Lord of the Rings(2001-2003) Pirates of the Caribbean(2003-2007) Prince of Persia: The Sands of Time(2010) Shrek(2001) Twelve Monkeys(1995)

    The authors also consider fantasy film and its relationship to myth, legend and fairy tale, examining its important role in contemporary culture. The book provides an historical overview of the genre, its influences and evolution, placing fantasy film within the socio-cultural contexts of production and consumption and with reference to relevant theory and critical debates.

    This is the perfect introduction to the world of fantasy film and investigates the links between fantasy film and gender, fantasy film and race, fantasy film and psychoanalysis, fantasy film and technology, fantasy film storytelling and spectacle, fantasy film and realism, fantasy film and adaptation, and fantasy film and time.


  • Medicinema : doctors in films / Brian Glasser
    PN 1995.9 P44G58 2010
    Cinema and medicine have been inextricably linked since the earliest days of film, with doctors appearing in fictional films before criminals, the clergy or even cowboys. But why have healthcare professionals - often played by major stars - featured so prominently in film history, and what does this have to tell us now? Responding to Alexander, Lenahan and Pavlov's Cinemeducation (Radcliffe, 2005) which focused on the uses of cinema in medical teaching, this book instead examines what film has to say about medicine, its practitioners, and their cultural meaning. Drawing on a miscellany of films from the dawn of cinema to the 2000s, from horror and westerns to war films and art cinema, and informed by a film and cultural studies-based approach, this will be a valuable text for students of medical or film history, researchers in the medical humanities, and medical practitioners with an interest in the portrayal and cultural representation of their profession.

  • Stars / Richard Dyer ; with a supplementary chapter and bibliography by Paul McDonald
    PN 1998 D94 1998
    No Marketing Blurb

  • Commentaires / Chris Marker
    PN 1995.9 D6 M3 1961

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

  • The arts of cinema / Martin Seel ; translated by Kizer S. Walker
    PN 1995 S4113 2018

    In The Arts of Cinema , Martin Seel explores film's connections to the other arts and the qualities that distinguish it from them. In nine concise and elegantly written chapters, he explores the cinema's singular aesthetic potential and uses specific examples from a diverse range of films--from Antonioni and Hitchcock to The Searchers and The Bourne Supremacy --to demonstrate the many ways this potential can be realized. Seel's analysis provides both a new perspective on film as a comprehensive aesthetic experience and a nuanced understanding of what the medium does to us once we are in the cinema.


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

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

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

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

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


  • Fascism and millennial American cinema Leighton Grist
    PN1993.5.U6

  • The precarious in the cinemas of the Americas Constanza Burucua, Carolina Sitnisky, editors
    PN1993.5.L3

  • Adultery and the female star / Edward Gallafent
    PN1995.9.M27

  • Affective Moments in the Films of Martel, Carri, and Puenzo / Inela Selimović
    PN1996

  • Fairytale and Gothic Horror : Uncanny Transformations in Film / Laura Hubner
    PN1995.9.H6

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

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

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

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


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

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

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

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


  • Sortir du noir / Georges Didi-Huberman
    PN 1997.2 S27 2015

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

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

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

  • Film, art, and the third culture : a naturalized aesthetics of film / Murray Smith
    PN 1995 S5364 2017
    In the mid-1950s C.P. Snow began his campaign against the 'two cultures' - the debilitating divide, as he saw it, between traditional 'literary intellectual' culture, and the culture of the sciences, urging in its place a 'third culture' which would draw upon and integrate the resources of disciplines spanning the natural and social sciences, the arts and the humanities. Murray Smith argues that, with the ever-increasing influence of evolutionary theory and neuroscience, and the pervasive presence of digital technologies, Snow's challenge is more relevant than ever.

    Working out how the 'scientific' and everyday images of the world 'hang' together is no simple matter. In Film, Art, and the Third Culture, Smith explores this question in relation to the art, technology, and science of film in particular, and to the world of the arts and aesthetic activity more generally. In the first part of his book, Smith explores the general strategies and principles necessary to build a 'third cultural' or naturalized approach to film and art - one that roots itself in an appreciation of scientific knowledge and method. Smith then goes on to focus on the role of emotion in film and the other arts, as an extended experiment in the 'third cultural' integration of ideas on emotion spanning the arts, humanities and sciences. While acknowledging that not all of the questions we ask are scientific in nature, Smith contends that we cannot disregard the insights wrought by taking a naturalized approach to the aesthetics of film and the other arts.

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

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

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

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



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


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