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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.


  • Expanding the Black Film Canon : Race and Gender across Six Decades / Lisa Doris Alexander
    PN 1995.9 N4A44 2019
    If the sheer diversity of recent hits from Twelve Years a Slave and Moonlight to Get Out , Black Panther , and BlackkKlansman tells us anything, it might be that there's no such thing as "black film" per se. This book is especially timely, then, in expanding our idea of what black films are and, going back to the 1960s, showing us new and interesting ways to understand them.

    When critics and scholars write about films from the Blaxploitation movement--such as Cotton Comes to Harlem , Shaft , Superfly , and Cleopatra Jones --they emphasize their importance as films made for black audiences. Consequently, Lisa Doris Alexander points out, a film like the highly popular, Oscar-nominated Blazing Saddles --costarring and co-written by Richard Pryor--is generally left out of the discussion because it doesn't fit the profile of what a black film of the period should be. This is the kind of categorical thinking that Alexander seeks to broaden, looking at films from the 60s to the present day in the context of their time. Applying insights from black feminist thought and critical race theory to one film per decade, she analyzes what each can tell us about the status of black people and race relations in the United States at the time of its release.

    By teasing out the importance of certain films excluded from the black film canon, Alexander hopes to expand that canon to include films typically relegated to the category of popular entertainment--and to show how these offer more nuanced representations of black characters even as they confront, negate, or parody the controlling images that have defined black filmic characters for decades.

  • Cinemagritte : René Magritte within the frame of film history, theory, and practice / Lucy Fischer
    PN 1995.9 A76F57 2019

  • Heroes of the borderlands : the Western in Mexican film, comics, and music / Christopher Conway
    PN 1993.5 M4C585 2019

  • The Palgrave handbook of the philosophy of film and motion pictures / Noël Carroll, Laura T. Di Summa, Shawn Loht, editors
    PN 1995 P35 2019

  • The films of Arturo Ripstein : the sinister gaze of the world / Manuel Gutiérrez Silva, Luis Duno Gottberg, editors
    PN1993.5.M4

  • War representation in British cinema and television : From Suez to Thatcher, and beyond / Kevin M. Flanagan
    PN1995.9.W3

  • Filmmaking as research : Screening memories / Diane Charleson
    PN1995.9.P7

  • Biography and history in film Thomas S. Freeman, David L. Smith, editors
    PN1995.9.B55

  • Antonioni [by] Ian Cameron & Robin Wood
    PN 1998 A3 A64 1971

  • Rainer Werner Fassbinder : identité allemande et crise du sujet / Claire Kaiser
    PN 1998 A3K35 2015

  • Global art cinema : new theories and histories / edited by Rosalind Galt, Karl Schoonover
    PN 1995 G543 2010
    "Art cinema" has for over fifty years defined how audiences and critics imagine film outside Hollywood, but surprisingly little scholarly attention has been paid to the concept since the 1970s. And yet in the last thirty years art cinema has flourished worldwide. The emergence of East Asianand Latin American new waves, the reinvigoration of European film, the success of Iranian directors, and the rise of the film festival have transformed the landscape of world cinema. This book brings into focus art cinema's core internationalism, demonstrating its centrality to understanding film asa global phenomenon.The book reassesses the field of art cinema in light of recent scholarship on world film cultures. In addition to analysis of key regions and films, the essays cover topics including theories of the film image; industrial, aesthetic, and political histories; and art film's intersections with debateson genre, sexuality, new media forms, and postcolonial cultures. Global Art Cinema brings together a diverse group of scholars in a timely conversation that reaffirms the category of art cinema as relevant, provocative, and, in fact, fundamental to contemporary film studies.

  • Video structure meaning / Brian C. O'Connor and Richard L. Anderson
    PN 1995 O368 2019eb

    For over a century, motion pictures have entertained us, occasionally educated us, and even served a few specialized fields of study.

    Now, however, with the precipitous drop in prices and increase in image quality, motion pictures are as widespread as paperback books and postcards once were. Yet, theories and practices of analysis for particular genres and analytical stances, definitions, concepts, and tools that span platforms have been wanting. Therefore, we developed a suite of tools to enable close structural analysis of the time-varying signal set of a movie. We take an information-theoretic approach (message is a signal set) generated (coded) under various antecedents (sent over some channel) decoded under some other set of antecedents. Cultural, technical, and personal antecedents might favor certain message-making systems over others. The same holds true at the recipient end--yet, the signal set remains the signal set.

    In order to discover how movies work--their structure and meaning--we honed ways to provide pixel level analysis, forms of clustering, and precise descriptions of what parts of a signal influence viewer behavior. We assert that analysis of the signal set across the evolution of film--from Edison to Hollywood to Brakhage to cats on social media--yields a common ontology with instantiations (responses to changes in coding and decoding antecedents).


  • Metropolis / Thomas Elsaesser
    PN 1997 M436E45 2012
    Metropolis is a monumental work. On its release in 1925, after sixteen months'filming, it was Germany's most expensive feature film, a canvas for directorFritz Lang's increasingly extravagant ambitions. Lang, inspired by the skyline ofNew York, created a whole new vision of cities. One of the greatest works ofscience fiction, the film also tells human stories about love and family.Thomas Elsaesser explores the cultural phenomenon of Metropolis: its differentversions (there is no definitive one), its changing meanings, and its role as adatabase of twentieth-century imagery and ideologies.In his foreword to this special edition, published to celebrate the 20thanniversary of the BFI Film Classics series, Elsaesser discusses the impact ofthe 27 minutes of 'lost' footage discovered in Buenos Aires in 2008, andincorporated in a restored edition, which premiered in 2010.

  • 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.


  • Nonfiction sound and story for film and video : a practical guide for filmmakers and digital content creators / Amy DeLouise & Cheryl Ottenritter
    PN 1995.9 D6D45 2020eb

    This book guides nonfiction storytellers in the art of creatively and strategically using sound to engage their audience and bring stories to life.

    Sound is half of film and video storytelling, and yet its importance is often overlooked until a post-production emergency arises. Written by two experienced creators--one a seasoned nonfiction producer/director with a background in music, and one a sound designer who owns a well-regarded mix studio--this book teaches nonfiction producers, filmmakers, and branded content creators how to reimagine their storytelling by improving sound workflow from field to post. In addition to real-world examples from the authors' own experiences, interviews with and examples from industry professionals across many genres of nonfiction production are included throughout.

    Written in a conversational style, the book pinpoints practical topics and considerations like 360 video and viewer accessibility. As such, it is a vital point of reference for all nonfiction filmmakers, directors, and producers, or anyone wanting to learn how to improve their storytelling.

    An accompanying Companion Website offers listening exercises, production sound layout diagrams, templates, and other resources.


  • 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

  • Films for the colonies : cinema and the preservation of the British Empire / Tom Rice
    PN 1993.5 G7R45 2019
    Films for the Colonies examines the British Government's use of film across its vast Empire from the 1920s until widespread independence in the 1960s. Central to this work was the Colonial Film Unit, which produced, distributed, and, through its network of mobile cinemas, exhibited instructional and educational films throughout the British colonies. Using extensive archival research and rarely seen films, Films for the Colonies provides a new historical perspective on the last decades of the British Empire. It also offers a fresh exploration of British and global cinema, charting the emergence and endurance of new forms of cinema culture from Ghana to Jamaica, Malta to Malaysia. In highlighting the integral role of film in managing and maintaining a rapidly changing Empire, Tom Rice offers a compelling and far-reaching account of the media, propaganda, and the legacies of colonialism.

  • 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

  • The science of screenwriting : the neuroscience behind storytelling strategies / Paul Joseph Gulino and Connie Shears
    PN 1996 G857 2018
    In a world awash in screenwriting books, The Science of Screenwriting provides an alternative approach that will help the aspiring screenwriter navigate this mass of often contradictory advice: exploring the science behind storytelling strategies. Paul Gulino, author of the best-selling Screenwriting: The Sequence Approach , and Connie Shears, a noted cognitive psychologist, build, chapter-by-chapter, an understanding of the human perceptual/cognitive processes, from the functions of our eyes and ears bringing real world information into our brains, to the intricate networks within our brains connecting our decisions and emotions. They draw on a variety of examples from film and television -- The Social Network, Silver Linings Playbook and Breaking Bad -- to show how the human perceptual process is reflected in the storytelling strategies of these filmmakers. They conclude with a detailed analysis of one of the most successful and influential films of all time, Star Wars , to discover just how it had the effect that it had.

  • 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 20th century 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.

  • 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.

  • 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.

  • 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.

  • Des sons dans l'espace : à l'écoute du space opera / par Michel Chion
    PN 1995.7 C4718 2019

  • Czech cinema revisited : politics, aesthetics, genres and techniques / Lucie Cesalkova´ (ed.)
    PN 1993.5 C94C944 2017

  • 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
Updated: Friday 13 December 2019
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