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Cinema - Concordia University Libraries Recent Acquisitions

Titles in the call number range PN 1993 - PN 1999 (Cinema) that were added to the Concordia University Libraries collection in the last 90 days.

  • Cinematic urban geographies / François Penz, Richard Koeck, editors

    This book proposes new methodological tools and approaches in order to tease out and elicit the different facets of urban fragmentation through the medium of cinema and the moving image, as a contribution to our understanding of cities and their topographies. In doing so it makes a significant contribution to the literature in the growing field of cartographic cinema and urban cinematics, by charting the many trajectories and points of contact between film and its topographical context. Under the influence of new technologies, the opening and the availability of previously unexplored archives but also the contribution of new scholars with novel approaches in addition to new work by experienced academics, Cinematic Urban Geographies demonstrates how we can reread the cinematic past with a view to construct the urban present and anticipate its future. 

  • The search for "reality" : the art of documentary filmmaking / edited by Michael Tobias
    PN 1995.9 D6 S37 1998
    This ambitious new book from the internationally acclaimed author, producer and director, Michael Tobias, brings together the voices of renowned documentary filmmakers from around the world as they probe one of the most widely followed, urgent and fascinating of art forms - the documentary. Nearly 40 contributors from a dozen countries - directors, writers, producers, cinematographers, editors, distributors and broadcasters - explore the complexities of non-fiction filmmaking from the trenches of their profession. This book is for every filmmaker who wants to inspire, motivate or touch audiences through the powerful medium of documentary filmmaking. Contributors include: Jeremy Hogarth (Australia) Eduard Schrieber (Germany) Ian Mutsu (Japan) Stefan Jarl (Sweden) David Wolper (U.S) Alexis Krasilkovsky (Russia/U.S.) Christopher Fryman (Japan) Ren Yuan (China) Arnold Shapiro (U.S.) Richard Leacock (U.K.) Jens Meuer (Germany)

  • The film experience : an introduction / Timothy Corrigan, Patricia White
    PN 1995 C655 2015

    In our culture, watching movies is a universal experience - but understanding film may not be. The Film Experience reaches out to students, connecting their experiences watching movies with better understanding and knowledge of the medium's full scope. And with its game-changing new video program in LaunchPad Solo (see below), this thoroughly updated new edition makes it easier than ever to link each student's personal viewing to a greater overall understanding of film.

    Timothy Corrigan and Patricia White's classroom favorite is both authoritative and joyful about watching, analyzing, and understanding film. With clips from classic and contemporary films ( Rear Window, Life of Pi, Moonrise Kingdom, Chinatown , and many others) plus hundreds of movie images and other graphics, the thoroughly revised new edition covers everything from editing to cinematography to narrative genres, all in a cultural context that reinforces why films and film study matter. The book's features--Form in Action, Film in Focus, and Concepts at Work --combine text, stills, and links to videos online to explore specific films, scenes, and trends in depth.

  • Film noir reader / edited by Alain Silver and James Ursini
    PN 1995.9 F54 F57 1998
    An anthology on film noir, this book contains early writings on the genre as well as more recent literature, some published here for the first time. The book includes eight essays which classify and analyze the period and its product, case studies of individual films and filmakers, and new material which considers such issues as narrative structure, the femme fatale, the influence of film noir on early television, and the rebirth of the genre in the neo-noir films of more recent times.

  • Domitor 2008 : les cinémas périphériques dans la période des premiers temps = peripheral early cinema = los cines periféricos de los origenes = els cinèmes periferics dels orìgens / sous la direction de François Amy de la Bretèque [and others]
    PN 1995.75 D66 2010

  • Sujetos, espacios y temporalidades en el cine argentino reciente : a veinte años del NCA / edited by Gastón Lillo ; autores, Isis Sadek, James Cisnernos, Amanda Holmes, Sol Paz-Mackay, Gastón Lillo
    PN 1993.5 A7 S85 2015

  • Cosmopolitan film cultures in Latin America, 1896-1960 / edited by Rielle Navitski and Nicolas Poppe
    PN 1993.5 L3 C68 2017

    Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumi#65533;re Cin#65533;matographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.

  • A companion to Alfred Hitchcock / edited by Thomas Leitch and Leland Poague
    PN 1998.3 H58 C63 2011
    The most comprehensive volume ever published on Alfred Hitchcock, covering his career and legacy as well as the broader cultural and intellectual contexts of his work. Contains thirty chapters by the leading Hitchcock scholars Covers his long career, from his earliest contributions to other directors silent films to his last uncompleted last film Details the enduring legacy he left to filmmakers and audiences alike

  • Surrealism, cinema, and the search for a new myth / Kristoffer Noheden

  • Globalization and contemporary Chinese cinema : Zhang Yimou's genre films / Xuelin Zhou

  • Heading North the north of England in film and television / Ewa Maziecrska, editor

  • Digital platforms and feminist film discourse : women's cinema 2.0 / Rosanna Maule
    This project offers a critical overview of how online activities and platforms are becoming an important source for the production and promotion of women's films. Inspired by a transnational feminist framework, Maule examines blogs, websites, online services and projects related to women's filmmaking in an interrogation of the very meaning of women's cinema at the complex intersection with digital technology and globalization. It discusses women's cinema 2.0 as a resistant type of cinematic expression and brings attention to the difficulties inherent in raising and expanding visibility for women's filmic expression within a global sphere dominated by neo-liberalism and post-feminism. The author pays close attention to the challenges and contradictions involved in bringing a niche area of filmmaking and feminist discourse to the broad and diverse communities of the Internet and global media market, while also highlighting the changing forms of media and feminism.

  • Economic Impacts of the Canadian Film Centre (Phase Two)
    PN 1993.5 C2E26 2015eb

  • Director's cut : my life in film / Ted Kotcheff with Josh Young ; foreword by Mariska Hargitay
    PN 1998.3 K6765A3 2017
    Raised in the slums of Toronto during the Depression, Ted Kotcheff learned storytelling on the streets before taking a stagehand job at CBC. Discovering his skills with actors and production, Kotcheff went on to direct some of the greatest films of the 1970s, including The Apprenticeship of Duddy Kravitz, Wake in Fright and North Dallas Forty. After directing '80s blockbusters First Blood and Weekend at Bernie's, Kotcheff helped produce the groundbreaking TV show Law & Order: Special Victims Unit. Witty and fearless, Director's Cut is not just a memoir, but a close-up on life and craft.

  • Great Canadian film directors / edited by George Melnyk
    PN 1993.5 C2G74 2007eb
    Great Canadian Film Directors is the first major study that reflects the cultural and linguistic diversity of Canada's most dynamic film directors. The 19 essays in this collection focus on each filmmaker's ability to create a vision that both reveals and redefines our national cultures. Together, these essays, by established and emerging scholars, highlight the diversity, imaginative power, and talent of Canadian filmmakers. This collection's value is in its contemporary analysis of major figures as well as critical discussions of the work of women directors and young filmmakers. Filmographies and selected bibliographies for each director provide film students and the movie-going public with an unrivalled study of a cinema that now garners world attention.

  • Film and video intermediality : the question of medium specificity in contemporary moving images / Janna Houwen
    PN 1995.9 P42 H68 2017
    In Film and Video Intermediality , Janna Houwen innovatively rewrites the concept of medium specificity in order to answer the questions "what is meant by video?" and "what is meant by film?" How are these two media (to be) understood? How can film and video be defined as distinct, specific media? In this era of mixed moving media, it is vital to ask these questions precisely and especially on the media of video and film. Mapping the specificity of film and video is indispensable in analyzing and understanding the many contemporary intermedial objects in which film and video are mixed or combined.

  • A companion to Francois Truffaut / edited by Dudley Andrew and Anne Gillain
    PN 1998.3 T78 C75 2013

    The 34 essays of this collection by leading international scholars reassess Truffaut′s impact on cinema as they locate the unique quality of his thematic obsessions and his remarkable narrative techniques.  Almost 30 years after his death, we are presented with strikingly original perspectives on his background, influences, and importance.Bridges a gap in film scholarship with a series of 34 original essays by leading film scholars that assess the lasting impact of Truffaut s work

    Provides striking new readings of individual films, and new perspectives on Truffaut s background, influences, and importance Offers a wide choice of critical perspectives ranging from current reflections in film theories to articles applying methodologies that have recently been neglected or considered controversial Includes international viewpoints from a range of European countries, and from Japan, New Zealand, and Brazil Draws on Truffaut s archives at the BiFI (Bibliotheque du film) in Paris Includes an extended interview with French filmmaker Arnaud Desplechin concerning Truffaut s shifting stature in French film culture and his manner of thought and work as a director

  • Sexography : sex work in documentary / Nicholas de Villiers
    PN 1995.9 S47 D48 2017

    The turn of the twenty-first century has witnessed an eruption of nonfiction films on sex work. The first book to examine a cross-section of this diverse and transnational body of work, Sexography confronts the ethical questions raised by ethnographic documentary and interviews with sexually marginalized subjects. Nicholas de Villiers argues that carnal and cultural knowledge are inextricably entangled in ethnographic sex work documentaries.

    De Villiers offers a reading of cinema as a technology of truth and advances a theory of confessional and counterconfessional performance by the interviewed subject who must negotiate both loaded questions and stigma. He pays special attention to the tactical negotiation of power in these films and how cultural and geopolitical shifts have affected sex work and sex workers. Throughout, Sexography analyzes the films of a range of non-sex-worker filmmakers, including Jennie Livingston, Pier Paolo Pasolini, Shohini Ghosh, and Cui Zi'en, as well as films produced by sex workers. In addition, it identifies important parallels and intersections between queer and sex worker rights activist movements and their documentary historiography.

    De Villiers ultimately demonstrates how commercial sex is intertwined with culture and power. He advocates shifting our approach from scrutinizing the motives of those who sell sex to examining the motives and roles of the filmmakers and transnational audiences creating and consuming films about sex work.

  • Avant-doc : intersections of documentary and avant-garde cinema / Scott MacDonald
    PN 1995.9 D6 A947 2015
    MacDonald explores the cinematic territory between the traditional categories of "documentary" and "avant-garde" film, through candid, in-depth conversations with filmmakers whose work has challenged these categories. Arranged in an imaginative chronology and written to be accessible to anyfilm-interested reader, the interviews in Avant-Doc chart half a century of thinking by inventive filmmakers such as Robert Gardner, Ed Pincus, Alfred Guzzetti, Ross McElwee, Leonard Retel Helmrich, Michael Glawogger, Susana de Sousa Dias, Jonathan Caouette, Pawel Wojtasik, and Todd Haynes. Recentbreakthroughs by Amie Siegel, Jane Gillooly, Jennifer Proctor, Betzy Bromberg, and Godfrey Reggio are discussed; and considerable attention is paid to Harvard's innovative Sensory Ethnography Lab, producer of Sweetgrass, Leviathan, and Manakamana. A rare interview with pioneering scholar AnnetteMichelson begins Avant-Doc's meta-conversation.

  • The Alexander Medvedkin reader / compiled by Alexander Medvedkin, Jay Leyda, and Nikita Lary ; translated and edited by Nikita Lary and Jay Leyda
    PN 1998.3 M433 A44 2016
    Filmmaker Alexander Medvedkin (1900-89), a contemporary of Sergei Eisenstein and Alexander Dovzhenko, is celebrated today for his unique form of "total" documentary cinema, which aimed to bridge the distance between film and life, as well as for his use of satire during a period when the Soviet authorities preferred that laughter be confined to narrowly prescribed channels. This collection of selected writings by Medvedkin is the first of its kind and reveals how his work is a crucial link in the history of documentary film.

    Although he was a dedicated Communist, Medvedkin's satirical approach and social critiques ultimately led to his suppression by the Soviet regime. State institutions held back or marginalized his work, and for many years, his films were assumed to have been lost or destroyed. These texts, many assembled for this volume by Medvedkin himself, document for the first time his considerable achievements, experiments in film and theater, and attempts to develop satire as a major Soviet film genre. Through scripts, letters, autobiographical writings, and more, we see a Medvedkin supported and admired by figures like Eisenstein, Dovzhenko, and Maxim Gorky.

  • Entrecruzamientos : cine, historia y literatura en México, 1910-1960 / Ángel Miquel
    PN 1993.5 M6 M57 2015

  • Writing for the screen / edited by Anna Weinstein
    PN 1996 W745 2017

    Writing for the Screen is a collection of essays and interviews exploring the business of screenwriting. This highly accessible guide to working in film and television includes perspectives from industry insiders on topics such as breaking in; pitching; developing and nurturing business relationships; juggling multiple projects; and more. Writing for the Screen is an ideal companion to screenwriting and filmmaking classes, demystifying the industry and the role of the screenwriter with real-world narratives and little-known truths about the business. With insight from working professionals, you'll be armed with the information you need to pursue your career as a screenwriter.

    Contains essays by and interviews with screenwriting consultants, television writers, feature writers, writer-directors of independent film, producers, and professors. Offers expert opinions on how to get started, including preparing your elevator pitch, finding mentors, landing an internship, and moving from an internship to the next step in your career. Reveals details about taking meetings, what development executives are looking for in a screenwriter, how and when to approach a producer, and how to pitch. Explores strategies for doing creative work under pressure, finding your voice, choosing what to write, sticking with a project over the long haul, overcoming discrimination, and reinventing yourself as a writer. Illuminates the business of screenwriting in the United States (New York and Los Angeles) as compared to other countries around the globe, including England, Ireland, Peru, France, Australia, and Belgium.

  • Introduction to documentary / Bill Nichols
    PN 1995.9 D6 N539 2017eb

    The third edition of Bill Nichols's best-selling text provides an up-to-date introduction to the most important issues in documentary history and criticism. A new chapter, "I Want to Make a Documentary: Where Do I Start?" guides readers through the steps of planning and preproduction and includes an example of a project proposal for a film that went on to win awards at major festivals. Designed for students in any field that makes use of visual evidence and persuasive strategies, Introduction to Documentary identifies the genre's distinguishing qualities and teaches the viewer how to read documentary film. Each chapter takes up a discrete question, from "How did documentary filmmaking get started?" to "Why are ethical issues central to documentary filmmaking?" Here Nichols has fully rewritten each chapter for greater clarity and ease of use, including revised discussions of earlier films and new commentary on dozens of recent films from The Cove to The Act of Killing and from Gasland to Restrepo.

  • How the essay film thinks / Laura Rascaroli
    PN 1995.9 E96 R37 2017
    This book offers a novel understanding of the epistemological strategies that are mobilized by the essay film, and of where and how such strategies operate. Against the backdrop of Theodor W. Adorno's discussion of the essay form's anachronistic, anti-systematic and disjunctive mode ofresistance, and capitalizing on the centrality of the interstice in Gilles Deleuze's understanding of the cinema as image of thought, the book discusses the essay film as future philosophy-as a contrarian, political cinema whose argumentation engages with us in a space beyond the verbal. A diverserange of case studies discloses how the essay film can be a medium of thought on the basis of its dialectic use of audiovisual interstitiality. The book shows how the essay film's disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing-all of these emerging as interstitial spaces of intelligence that illustrate how essayistic meaning can be sustained, often in contexts ofpolitical, historical or cultural extremity. The essayistic urge is not to be identified with a fixed generic form, but is rather situated within processes of filmic thinking that thrive in gaps.

  • After unique- ness : a history of film and video art in circulation / Erika Balsom
    PN 1995.9 A8 B35 2017
    Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity--or both at once.

    From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.

  • The act of documenting : documentary film in the 21st century / Brian Winston, Gail Vanstone and Wang Chi
    PN 1995.9 D6 W56 2017
    Documentary has never attracted such audiences, never been produced with such ease from so many corners of the globe, never embraced such variety of expression. The very distinctions between the filmed, the filmer and the spectator are being dissolved. The Act of Documenting addresses what this means for documentary's 21st century position as a genus in the "class" cinema; for its foundations as, primarily, a scientistic, eurocentric and patriarchal discourse; for its future in a world where assumptions of photographic image integrity cannot be sustained. Unpacked are distinctions between performance and performativy and between different levels of interaction, linearity and hypertextuality, engagement and impact, ethics and conditions of reception. Winston, Vanstone and Wang Chi explore and celebrate documentary's potentials in the digital age.

  • Gay pornography : representations of sexuality and masculinity / John Mercer
    PN 1995.9 G35 M47 2017
    Gay pornography, online and onscreen, is a controversial and significantly under-researched area of cultural production. In the first book of its kind, Gay Pornography: Representations of Sexuality and Masculinity explores the iconography, themes and ideals that the genre presents. Indeed, John Mercer argues that gay pornography cannot be regarded as one-dimensional, but that it offers its audience a vision of plural masculinities that are more nuanced and ambiguous than they might seem. Mercer examines how the internet has generated an exponential growth in the sheer volume and variety of this material, and facilitated far greater access to it. He uses both professional and amateur examples to explore how gay pornography has become part of a wider cultural context in which modern masculinities have become 'saturated' by their constantly evolving status and function in popular culture.

  • Italian style : fashion & film from early cinema to the digital age / Eugenia Paulicelli
    PN 1993.5 I88 P38 2016
    This is the first in-depth, book-length study on fashion and Italian cinema from the silent film to the present. Italian cinema launched Italian fashion to the world. The book is the story of this launch. The creation of an Italian style and fashion as they are perceived today, especially by foreigners, was a product of the post World War II years. Before then, Parisian fashion had dominated Europe and the world. Just as fashion was part of Parisian and French national identity, the book explores the process of shaping and inventing an Italian style and fashion that ran parallel to, and at times took the lead in, the creation of an Italian national identity. In bringing to the fore these intersections, as well as emphasizing the importance of craft in cinema, fashion and costume design, the book aims to offer new visions of films by directors such as Nino Oxilia, Mario Camerini, Alessandro Blasetti, Federico Fellini, Michelangelo Antonioni, Luchino Visconti and Paolo Sorrentino, of film stars such as Lyda Borelli, Francesca Bertini, Pina Menichelli, Lucia Bos#65533;, Monica Vitti, Marcello Mastroianni, Toni Servillo and others, and the costume archives and designers who have been central to the development of Made in Italy and Italian style.

  • Filmurbia : screening the suburbs / David Forrest, Graeme Harper, Jonathan Rayner, editors
    PN 1995.9 S74 F55 2017eb

  • British Women Film Directors in the New Millennium
    PN 1995.9 W6 H63 2017eb
    This book focuses on the output of women film directors in the period post Millennium when the number of female directors working within the film industry rose substantially. Despite the fact that nationally and internationally women film directors are underrepresented within the industry, there is a wealth of talent currently working in Britain. During the early part of the 2000s, the UKFC instigated policies and strategies for gender equality and since then the British Film Institute has continued to encourage diversity. British Women Directors in the New Millennium therefore examines the production, distribution and exhibition of female directors' work in light of policy. The book is divided into two sections: part one includes a historical background of women directors working in the twentieth century before discussing the various diversity funding opportunities available since 2000. The second part of the book examines the innovation, creativity and resourcefulness of British female film directors, as well as the considerable variety of films that they produce, selecting specific examples for analysis in the process.    

  • From martyrs to murderers : images of teachers and teaching in hollywood films / Robert L. Dahlgren
    PN1995.9 S253

  • Confessional cinema : religion, film, and modernity in Spain's development years, 1960-1975 / Jorge Pérez
    PN 1995.9 R4 P47 2017

    In Confessional Cinema , Jorge P#65533;rez analyzes how cinema engaged the shifting role of religion during the last fifteen years of Francisco Franco's dictatorship. P#65533;rez interrogates the assumption that after 1957, when the Franco regime recast itself in a secular and modernizing fashion, religion vanished from the cultural field. Instead, Spanish cinema addressed the transformation within Spanish Catholicism following Vatican II and Spain's modernization processes.

    Confessional Cinema offers the first analysis of a neglected body of Spanish films, "nun films," which focus on the active role of religious women in the transformation of Spanish Catholicism. P#65533;rez argues that commercial films, despite being less aesthetically accomplished, delved more than oppositional, art-house films into the fluctuating zeitgeist of the development years regarding the transformations within Spanish Catholicism. Confessional Cinema offers a provocative and original analysis of the significance of religion not from a theological point of view, but rather as a socio-political force and cultural determinant in the Spanish public sphere of this period, known as desarrollismo (development years) from 1960-1975.

  • The essay film : dialogue, politics, utopia / edited by Elizabeth A. Papazian and Caroline Eades
    PN 1995.9 E96 E87 2016
    With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema--fiction film, popular cinema, and documentary, video installation, and digital essay.

    A wide range of filmmakers are covered, from Dziga Vertov ( Man with a Movie Camera , 1928), Chris Marker ( Description of a Struggle , 1960), Nicol#65533;s Guill#65533;n Landri#65533;n ( Coffea Ar#65533;biga , 1968), Pier Paolo Pasolini ( Notes for an African Oresteia , 1969), Chantal Akerman ( News from Home , 1976) and Jean-Luc Godard ( Notre musique , 2004) to Nanni Moretti ( Palombella Rossa , 1989), Mohammed Soueid ( Civil War , 2002), Claire Denis ( L'Intrus , 2004) and Terrence Malick ( The Tree of Life , 2011), among others. The volume argues that the essayistic in film--as process, as experience, as experiment--opens the road to key issues faced by the individual in relation to the collective, but can also lead to its own subversion, as a form of dialectical thought that gravitates towards crisis.

  • A companion to Italian cinema / edited by Frank Burke
    PN 1993.5 I88 C595 2017

    Written by leading figures in the field, A Companion to Italian Cinema re-maps Italian cinema studies, employing new perspectives on traditional issues, and fresh theoretical approaches to the exciting history and field of Italian cinema.

    Offers new approaches to Italian cinema, whose importance in the post-war period was unrivalled Presents a theory based approach to historical and archival material Includes work by both established and more recent scholars, with new takes on traditional critical issues, and new theoretical approaches to the exciting history and field of Italian cinema Covers recent issues such as feminism, stardom, queer cinema, immigration and postcolonialism, self-reflexivity and postmodernism, popular genre cinema, and digitalization A comprehensive collection of essays addressing the prominent films, directors and cinematic forms of Italian cinema, which will become a standard resource for academic and non-academic purposes alike

  • The environmental documentary : cinema activism in the twenty-first century / John A. Duvall
    PN 1995.9 E78 D88 2017

    The Environmental Documentary provides the first extensive coverage of the most important environmental films of the decade, including their approach to their topics and their impacts on public opinion and political debate. While documentaries with themes of environmental activism date back at least to Pare Lorenz's films of the 1930's, no previous decade has produced the number and quality of films that engage environmental issues from an activist viewpoint. The convergence of high profile issues like climate change, fossil fuel depletion, animal abuse, and corporate malfeasance has combined with the miniaturization of high quality recording equipment and the expansion of documentary programming, to produce an unprecedented number of important and influential documentary productions.

    The text examines the processes of production and distribution that have produced this explosion in documentaries. The films range from a high-profile Hollywood production with theatrical distribution like An Inconvenient Truth , to shorter independently produced films like The End of Suburbia that have reached a small audience of activists through video distribution, interviews with many of the filmmakers, and word of mouth.

  • Producer to producer : a step-by-step guide to low-budget independent film producing / by Maureen A. Ryan
    PN 1995.9 P7 R93 2017
    This is a comprehensive bible to low-budget film producing for emerging and professional producers. Structured to guide the reader through production meetings, every aspect of the film-production pro-cess is outlined in detail. Invaluable checklists -- which begin 12 weeks before shooting and continue through principal (and secondary) photography and postproduction -- keep the filmmaker on track and on target. Ryan is co-producer of James Marsh's Man on Wire, winner of the 2009 Academy Award for Best Documentary

  • Essays on the essay film / edited by Nora M. Alter and Timothy Corrigan
    PN 1995.9 E96 E88 2017
    The essay--with its emphasis on the provisional and explorative rather than on definitive statements--has evolved from its literary beginnings and is now found in all mediums, including film. Today, the essay film is, arguably, one of the most widely acclaimed and critically discussed forms of filmmaking around the world, with practitioners such as Chris Marker, Hito Steyerl, Errol Morris, Trinh T. Minh-ha, and Rithy Panh. Characteristics of the essay film include the blending of fact and fiction, the mixing of art- and documentary-film styles, the foregrounding of subjective points of view, a concentration on public life, a tension between acoustic and visual discourses, and a dialogic encounter with audiences.

    This anthology of fundamental statements on the essay film offers a range of crucial historical and philosophical perspectives. It provides early critical articulations of the essay film as it evolved through the 1950s and 1960s, key contemporary scholarly essays, and a selection of writings by essay filmmakers. It features texts on the foundations of the essay film by writers such as Hans Richter and Andr#65533; Bazin; contemporary positions by, among others, Phillip Lopate and Michael Renov; and original essays by filmmakers themselves, including Laura Mulvey and Isaac Julien.

  • Devotional cinema / Nathaniel Dorsky
    PN 1995.9 R4 D67 2014
    Literary Nonfiction. Cinema Studies. Revised 3rd Edition. Devotional Cinema offers an exploration into the language of film, reprised from a lecture on religion and cinema delivered at Princeton University. The new edition includes additions and changes related to the author's understanding of Carl Theodor Dreyer's The Passion of Joan of Arc as well as other smaller clarifications. Dorsky has been making and exhibiting films within the avant-garde tradition since 1964.

  • The queer film festival : popcorn and politics / Stuart James Richards
    PN 1993.44 G39 2016e

    This book examines the queer film festival and opens the discussion on social enterprises and sustainable lesbian, gay, bisexual, transgender and intersex (LGBTI) organisations. With over 220 events worldwide and some of the bigger budgets exceeding $1 million, the queer film festival has grown to become a staple event in all cosmopolitan cities' arts calendars. While activism was instrumental in establishing these festivals, the pink dollar has been a deciding factor in its financial sustainability. Pretty gay boys with chiselled abs are a staple feature, rather than underground experimental faire. Community arts events, such as these, are now a creative industry. While clearly having a social purpose, they must also concern themselves with the bottom line. For all the contradictory elements of its organisational growth, this conflict makes the queer film festival an integral site for analysis. This book takes a multidisciplinary approach in examining the queer film festival as a representative snapshot of the current state of queer cinema and community based film festivals. The book looks at queer film festivals in San Francisco, Hong Kong and Melbourne to argue for the importance of these institutions remaining as community events. 

  • Les cinémas d'Asie : nouveaux regards / sous la direction de Nathalie Bittinger
    PN 1993.5 A75 C567 2016

  • Le cinéma au XXe siècle : entre loi du marché et règles de l'art / Julien Duval
    PN 1993.5 A1 D76 2016

  • Impossible puzzle films : a cognitive approach to contemporary complex cinema / Miklós Kiss and Steven Willemsen
    PN 1995 K57 2017
    Narrative complexity is a trend in contemporary cinema. Since the late 1990s there has been a palpable increase in complex storytelling in movies. But how and why do complex movies create perplexity and confusion? How do we engage with these challenges? And what makes complex stories so attractive? By blending film studies, narrative theory and cognitive sciences, Kiss and Willemsen look into the relation between complex storytelling and the mind. Analysing the effects that different complex narratives have on viewers, the book addresses how films like Donnie Darko, Mulholland Drive or Primer strategically create complexity and confusion, and, by using the specific category of the 'impossible puzzle film', it examines movies that use baffling paradoxes, impossible loops, and unresolved ambiguities in their stories and storytelling. By looking at how these films play on our mind's blind spots, this innovative book explains their viewing effects in terms of the mental state of cognitive dissonance that they evoke.

  • The Hollywood meme : transnational adaptations in world cinema / Iain Robert Smith
    PN 1995.9 R45 S55 2017
    This is the uncharted history of Hollywood reworkings from a Turkish Star Trek to a Bollywood Godfather. Did you know that there was a Turkish remake of The Exorcist in which Catholicism was replaced with Islam? Or that in 1966, a film was produced in the Philippines entitled James Batman inwhich James Bond and Batman team up to fight crime? Or that a Bollywood remake of Memento has been one of the biggest box-office successes in India of all time? The Hollywood Meme is the first comprehensive study of the unlicensed adaptations of American popular culture that appear in nationalcinema traditions around the world. Tracing the diverse ways in which US films, TV series and comic books have been appropriated and transformed in the film industries of Turkey, India and the Philippines, the book provides a new paradigm for understanding the global impact of Hollywood. It contains twelve detailed case studiesincluding a Turkish reworking of Star Trek titled Turist Omer Uzay Yolunda (1973), a Filipino musical spoof named Alyas Batman en Robin (1993) and a Bollywood remake of The Godfather titled Sarkar (2005). It examines the global phenomenon of unlicensed film adaptations of American popular culture.It provides a historical introduction to the relationship between Hollywood and the popular film industries of Turkey, India and the Philippines. It offers a new methodology for studying film adaptation building upon Richard Dawkins' concept of the "meme".

  • Aboriginal screen culture : celebrating 10 years of imaginenative / Dana Claxton
    PN 1995.9 I48 C45 2009

  • Skepticism films : knowing and doubting the world in contemporary cinema / Philipp Schmerheim
    PN 1995.9 S5533 S36 2016

    Cinema has always displayed an affinity to characters with distorted or even hallucinatory relations to reality. With films such as The Truman Show , the Matrix films or Inception , contemporary filmmakers add another layer to this canon of film characters: unwitting ordinary victims of deception for whom the skepticist fear that the world is not real but a simulation, fake environment or a dream has become true. These are 'skepticism films': dramatized, fictional configurations of the thought experiments which are part and parcel of philosophical reflection on knowledge and doubt.

    Skepticism Films: Knowing and Doubting the World in Contemporary Cinema introduces skepticism films as updated configurations of skepticist thought experiments which exemplify the pervasiveness of philosophical ideas in popular culture. Philipp Schmerheim defends a pluralistic film-philosophical position according to which films can be, but need not be, expressions of philosophical thought in their own right. It critically investigates the influence of ideas of skepticism on film-philosophical theories and develops a typology of skepticism films by analyzing The Truman Show, Inception, The Matrix, Vanilla Sky, The Thirteenth Floor, Moon and other contemporary skepticism films. With its focus on skepticism as one of the most significant philosophical problems, Skepticism Films provides a better understanding of the dynamic interplay between film, theories of film and philosophy.

  • Le fantôme de Truffaut : une initiation au cinéma / Frédéric Sojcher
    PN 1998.3 S595 A3 2013

  • Orson Welles / Simon Callow
    PN 1998.3 W45 C36 1995
page last updated on: Thursday 21 September 2017
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