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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.


  • Impersonal enunciation, or the place of film / Christian Metz ; translated with an introduction by Cormac Deane ; afterword by Dana Polan
    PN 1995 M44813 2016
    Christian Metz is best known for applying Saussurean theories of semiology to film analysis. In the 1970s, he used Sigmund Freud's psychology and Jacques Lacan's mirror theory to explain the popularity of cinema. In this final book, Metz uses the concept of enunciation to articulate how films "speak" and explore where this communication occurs, offering critical direction for theorists who struggle with the phenomena of new media.

    If a film frame contains another frame, which frame do we emphasize? And should we consider this staging an impersonal act of enunciation? Consulting a range of genres and national trends, Metz builds a novel theory around the placement and subjectivity of screens within screens, which pulls in--and forces him to reassess--his work on authorship, film language, and the position of the spectator. Metz again takes up the linguistic and theoretical work of Benveniste, Genette, Casetti, and Bordwell, drawing surprising conclusions that presage current writings on digital media. Metz's analysis enriches work on cybernetic emergence, self-assembly, self-reference, hypertext, and texts that self-produce in such a way that the human element disappears. A critical introduction by Cormac Deane bolsters the connection between Metz's findings and nascent digital-media theory, emphasizing Metz's keen awareness of the methodological and philosophical concerns we wrestle with today.

  • Visions of Japanese modernity : articulations of cinema, nation, and spectatorship, 1895-1925 / Aaron Gerow
    PN 1993.5 J3 G476 2010eb

  • American cinema of the 1920s : themes and variations / edited by Lucy Fischer
    PN 1993.5 U6 A447 2009eb

  • Upstaging the Cold War : American dissent and cultural diplomacy, 1940-1960 / Andrew J. Falk
    PN 1993.5 U6 F355 2011eb

  • Censorship and sexuality in Bombay cinema / Monika Mehta
    PN 1995.65 I4 M448 2011eb

  • Israeli cinema : identities in motion / edited by Miri Talmon and Yaron Peleg
    PN 1993.5 I86 I873 2011eb

  • "Evil" Arabs in American popular film : orientalist fear / Tim Jon Semmerling
    PN 1995.9 A68 S466 2006eb

  • Identity politics on the Israeli screen / Yosefa Loshitzky
    PN 1993.5 I86 L674 2001eb

  • The tenth muse : writing about cinema in the modernist period / Laura Marcus
    PN 1995 M373 2007eb

  • The age of new waves : art cinema and the staging of globalization / James Tweedie
    PN 1995 T844 2013eb

  • Opening Bazin : postwar film theory and its afterlife / edited by Dudley Andrew ; with Hervé Joubert-Laurencin
    PN 1998.3 B39 O646 2011eb

  • The global film book / Roy Stafford
    PN 1993.7 S73 2014eb

    The Global Film Bookis an accessible and entertaining exploration of the development of film as global industry and art form, written especially for students and introducing readers to the rich and varied cinematic landscape beyond Hollywood.

    Highlighting areas of difference and similarity in film economies and audiences, as well as form, genre and narrative, this textbook considers a broad range of examples and up to date industry data from Europe, Africa, Asia, Australasia and Latin America.

    Author Roy Stafford combines detailed studies of indigenous film and television cultures with cross border, global and online entertainment operations, including examples from Nollywood to Korean Cinema, via telenovelas and Nordic crime drama.

    The Global Film Bookdemonstrates a number of contrasting models of contemporary production, distribution and consumption of film worldwide, charting and analysing the past, present and potential futures for film throughout the world.

    The book also provides students with:

    a series of exploratory pathways into film culture worldwide illuminating analyses and suggestions for further readings and viewing, alongside explanatory margin notes and case studies a user friendly text design, featuring over 120 colour images a dynamic and comprehensive blog, online at www.globalfilmstudies.com, providing updates and extensions of case studies in the book and analysis of the latest developments in global film issues.

  • Out of Sync & Out of Work : History and the Obsolescence of Labor in Contemporary Culture / Joel Burges
    PN 1995.9 L28 B97 2018eb
    Out of Sync & Out of Work explores the representation of obsolescence, particularly of labor, in film and literature during a historical moment in which automation has intensified in capitalist economies. Joel Burges analyzes texts such as The Invention of Hugo Cabret , Wreck-It Ralph , Fantastic Mr. Fox , and Iron Council , and examines their "means" of production. Those means include a range of subjects and narrative techniques, including the "residual means" of including classic film stills in a text, the "obstinate means" of depicting machine breaking, the "dated means" of employing the largely defunct technique of stop-motion animation, and the "obsolete" means of celebrating a labor strike. In every case, the novels and films that Burges scrutinizes call on these means to activate the reader's/viewer's awareness of historical time. Out of Sync & Out of Work advances its readers' grasp of the complexities of historical time in contemporary culture, moving the study of temporality forward in film and media studies, literary studies, critical theory, and cultural critique.

  • No End in Sight : Polish Cinema in the Late Socialist Period / Anna Krakus
    PN 1993.5 P7 K736 2018eb

  • Pink-Slipped : What Happened to Women in the Silent Film Industries? / Jane M. Gaines
    PN 1995.9 W6 G33 2018eb

  • The Baroque Night / Spencer Golub
    PN 1995.9 F54 G65 2018eb
    In The Baroque Night , authorial idiosyncrasy hybridizes the concepts of "baroque" and "noir" across the fields of film, theater, literature, and philosophy, arguing for mental function as form, as an impossible object, a container in which the container itself is the thing contained. The book is an experiment in thinking difference and thinking differently, an ethics of otherness and the abstract. Spencer Golub inverts the unreality of the real and the reality of fiction, exposing the tropes of memory, identity, and authenticity as a scenic route through life that ultimately blocks the view.

    The Baroque Night draws upon materials that have not previously been included in studies of either the baroque or film noir, while offering new perspectives on other, more familiar sources. Leibniz's concepts of the monad and compossibility provide organizing thought models, and death, fear, and mental illness cast their anamorphic images across surfaces that are deeper and closer than they at first appear. Key characters and situations in the book derive from the works of Alfred Hitchcock, Henri-Georges Clozot, Jean-Pierre Melville, Oscar Wilde, Georges Perec, Patricia Highsmith, William Shakespeare, Jean Racine, Pierre Corneille, and Arthur Conan Doyle, among many others.

    This is virtuality and reality for the phobic, making it a fascinating and viable document of and episteme for the anxious age in which we (always) find ourselves living, though not yet fully alive. This performance of suspect evidence speaks to and in the ways we are organically inauthentic, the cause of our own causality and our own worst eyewitnesses to all that appears and disappears in space and time.


  • Critical Mass : Social Documentary in France from the Silent Era to the New Wave / Steven Ungar
    PN 1995.9 D6 U395 2018eb

    Thirty-five years of nonfiction films offer a unique lens on twentieth-century French social issues


    Critical Mass is the first sustained study to trace the origins of social documentary filmmaking in France back to the late 1920s. Steven Ungar argues that socially engaged nonfiction cinema produced in France between 1945 and 1963 can be seen as a delayed response to what filmmaker Jean Vigo referred to in 1930 as a social cinema whose documented point of view would open the eyes of spectators to provocative subjects of the moment.

    Ungar identifies Vigo's manifesto, his 1930 short À propos de Nice , and late silent-era films by Georges Lacombe, Boris Kaufman, André Sauvage, and Marcel Carné as antecedents of postwar documentaries by Eli Lotar, René Vautier, Alain Resnais, Chris Marker, and Jean Rouch, associated with critiques of colonialism and modernization in Fourth and early Fifth Republic France.

    Close readings of individual films alternate with transitions to address transnational practices as well as state- and industry-wide reforms between 1935 and 1960. Critical Mass is an indispensable complement to studies of nonfiction film in France, from Georges Lacombe's La Zone (1928) to Chris Marker's Le Joli Mai (1963).


  • Blood Circuits : Contemporary Argentine Horror Cinema / Jonathan Risner
    PN 1995.9 H6 R573 2018eb

  • The Bad Sixties : Hollywood Memories of the Counterculture, Antiwar, and Black Power Movements / Kristen Hoerl
    PN 1995.2 H64 2018eb

    Ongoing interest in the turmoil of the 1960s clearly demonstrates how these social conflicts continue to affect contemporary politics. In The Bad Sixties: Hollywood Memories of the Counterculture, Antiwar, and Black Power Movements , Kristen Hoerl focuses on fictionalized portrayals of 1960s activism in popular television and film. Hoerl shows how Hollywood has perpetuated politics deploring the detrimental consequences of the 1960s on traditional American values. During the decade, people collectively raised fundamental questions about the limits of democracy under capitalism. But Hollywood has proved dismissive, if not adversarial, to the role of dissent in fostering progressive social change.

    Film and television are salient resources of shared understanding for audiences born after the 1960s because movies and television programs are the most accessible visual medium for observing the decade's social movements. Hoerl indicates that a variety of television programs, such as Family Ties , The Wonder Years , and Law and Order , along with Hollywood films, including Forrest Gump , have reinforced images of the "bad sixties." These stories portray a period in which urban riots, antiwar protests, sexual experimentation, drug abuse, and feminism led to national division and moral decay. According to Hoerl, these messages supply distorted civics lessons about what we should value and how we might legitimately participate in our democracy.

    These warped messages contribute to "selective amnesia," a term that stresses how popular media renders radical ideas and political projects null or nonexistent. Selective amnesia removes the spectacular events and figures that define the late-1960s from their motives and context, flattening their meaning into reductive stereotypes. Despite popular television and film, Hoerl explains, memory of 1960s activism still offers a potent resource for imagining how we can strive collectively to achieve social justice and equality.

  • Hoodlum Movies : Seriality and the Outlaw Biker Film Cycle, 1966-1972 / Peter Stanfield
    PN 1995.9 M66 S73 2018eb
    From The Wild Angels in 1966 until its conclusion in 1972, the cycle of outlaw motorcycle films contained forty-odd formulaic examples. All but one were made by independent companies that specialized in producing exploitation movies for drive-ins, neighborhood theaters, and rundown inner city theaters. Despised by critics, but welcomed by exhibitors denied first-run films, these cheaply and quickly produced movies were made to appeal to audiences of mobile youths. The films are repetitive, formulaic, and eminently forgettable, but there is a story to tell about all of the above, and it is one worth hearing. Hoodlum Movies is not only about the films, its focus is on why and how these films were made, who they were made for, and how the cycle developed through the second half of the 1960s and came to a shuddering halt in 1972.

  • The Arts of Cinema / Martin Seel ; translated by Kizer S. Walker
    PN 1995 S4113 2018eb

    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.


  • Immanent Frames : Postsecular Cinema between Malick and von Trier / edited by John Caruana and Mark Cauchi
    PN 1995.9 R4 I66 2018eb
    Explores a growing number of films and filmmakers that challenge the strict boundaries between belief and unbelief. For some time now, thinkers across the humanities and social sciences have increasingly called into question the once-dominant view of the relationship between modernity and secularism, prompting some to speak of a "postsecular turn." Until now, film studies has largely been silent about this development, even though cinema itself has been a major vehicle for such reflection. This fact became inescapable in 2011 when Terrence Malick's The Tree of Life and Lars von Trier's Melancholia were released within days of each other. While these two audacious and controversial films present seemingly opposite perspectives--the former a thoughtful meditation on faith, the latter a portrayal of nontriumphalist atheism--together they raise critical questions about transcendence and immanence in modern life. These films are, however, only the most conspicuous of a growing body of works that call forth similar and related questions--what this collection aptly calls "postsecular cinema."

    Taking the nearly simultaneous release of The Tree of Life and Melancholia as its starting point and framing device, this pioneering collection sets out to establish the idea of postsecular cinema as a distinct body of films and a viable critical category. Adopting a film-philosophy approach, one group of essays examines Malick's and von Trier's films, while another looks at works by Chantal Akerman, Denys Arcand, the Dardenne brothers, and John Michael McDonagh, among others. The volume closes with two important interviews with Luc Dardenne and Jean-Luc Nancy that invite us to reflect more deeply on some of the central concerns of postsecular cinema.

    John Caruana is Associate Professor of Philosophy at Ryerson University.

    Mark Cauchi is Associate Professor in the Department of Humanities at York University.


  • Godard and the Essay Film : A Form That Thinks / Rick Warner
    PN 1998.3 G63 W37 2018eb

  • Cine-Ethiopia : The History and Politics of Film in the Horn of Africa / edited by Michael W. Thomas, Alessandro Jedlowski, and Aboneh Ashagrie
    PN 1993.5 E78 C56 2018eb
    Over the past decade, Ethiopian films have come to dominate the screening schedules of the many cinemas in Ethiopia's capital city of Addis Ababa, as well as other urban centers. Despite undergoing an unprecedented surge in production and popularity in Ethiopia and in the diaspora, this phenomenon has been broadly overlooked by African film and media scholars and Ethiopianists alike. This collection of essays and interviews on cinema in Ethiopia represents the first work of its kind and establishes a broad foundation for furthering research on this topic. Taking an interdisciplinary approach to the topic and bringing together contributions from both Ethiopian and international scholars, the collection offers new and alternative narratives for the development of screen media in Africa. The book's relevance reaches far beyond its specific locale of Ethiopia as contributions focus on a broad range of topics--such as commercial and genre films, diaspora filmmaking, and the role of women in the film industry--while simultaneously discussing multiple forms of screen media, from satellite TV to "video films." Bringing both historical and contemporary moments of cinema in Ethiopia into the critical frame offers alternative considerations for the already radically changing critical paradigm surrounding the understandings of African cinema.

  • The Limits of Auteurism : Case Studies in the Critically Constructed New Hollywood / Nicholas Godfrey
    PN 1995.9 A837 G64 2017eb
    The New Hollywood era of the late 1960s and early 1970s has become one of the most romanticized periods in motion picture history, celebrated for its stylistic boldness, thematic complexity, and the unshackling of directorial ambition. The Limits of Auteurism aims to challenge many of these assumptions. Beginning with the commercial success of Easy Rider in 1969, and ending two years later with the critical and commercial failure of that film's twin progeny, The Last Movie and The Hired Hand , Nicholas Godfrey surveys a key moment that defined the subsequent aesthetic parameters of American commercial art cinema.

    The book explores the role that contemporary critics played in determining how the movies of this period were understood and how, in turn, strategies of distribution influenced critical responses and dictated the conditions of entry into the rapidly codifying New Hollywood canon. Focusing on a small number of industrially significant films, this new history advances our understanding of this important moment of transition from Classical to contemporary modes of production.

  • Monster Cinema / Barry Keith Grant
    PN 1995.9 M6 G69 2018eb
    Monster Cinema introduces readers to a vast menagerie of movie monsters. Some are gigantic, like King Kong or the kaiju in Pacific Rim , while others are microscopic. Some monsters appear uncannily human, from serial killers like Norman Bates to the pod people in Invasion of the Body Snatchers . And of course, other movie monsters like demons, ghosts, vampires, and witches emerge from long folklore traditions. Film expert Barry Keith Grant considers what each type of movie monster reveals about what it means to be human and how we regard the world.

    Armed with an encyclopedic knowledge of film history, Grant presents us with an eclectic array of monster movies, from Nosferatu to Get Out . As he discovers, although monster movies might claim to be about Them! , they are really about the capacity for horror that lurks within each of us.

  • Screening Transcendence : Film under Austrofascism and the Hollywood Hope, 1933-1938 / Robert Dassanowsky
    PN 1993.5 A83 D377 2018eb

    During the 1930s, Austrian film production companies developed a process to navigate the competing demands of audiences in Nazi Germany and those found in broader Western markets. In Screening Transcendence , film historian Robert Dassanowsky explores how Austrian filmmakers during the Austrofascist period (1933-1938) developed two overlapping industries: "Aryanized" films for distribution in Germany, its largest market, and "Emigrantenfilm," which employed émigré and Jewish talent that appealed to international audiences.

    Through detailed archival research in both Vienna and the United States, Dassanowsky reveals what was culturally, socially, and politically at stake in these two simultaneous and overlapping film industries. Influenced by French auteurism, admired by Italian cinephiles, and ardently remade by Hollywood, these period Austrian films demonstrate a distinctive regional style mixed with transnational influences.

    Combining brilliant close readings of individual films with thoroughly informed historical and cultural observations, Dassanowsky presents the story of a nation and an industry mired in politics, power, and intrigue on the brink of Nazi occupation.


  • Directing / edited by Virginia Wright Wexman
    PN 1995.9 P7 D533 2017eb
    When a film is acclaimed, the director usually gets the lion's share of the credit. Yet the movie director's job--especially the collaborations and compromises it involves--remains little understood.

    The latest volume in the Behind the Silver Screen series, this collection provides the first comprehensive overview of how directing, as both an art and profession, has evolved in tandem with changing film industry practices. Each chapter is written by an expert on a different period of Hollywood, from the silent film era to today's digital filmmaking, providing in-depth examinations of key trends like the emergence of independent production after World War II and the rise of auteurism in the 1970s. Challenging the myth of the lone director, these studies demonstrate how directors work with a multitude of other talented creative professionals, including actors, writers, producers, editors, and cinematographers.

    Directing examines a diverse range of classic and contemporary directors, including Orson Welles, Tim Burton, Cecil B. DeMille, Steven Soderbergh, Spike Lee, and Ida Lupino, offering a rich composite picture of how they have negotiated industry constraints, utilized new technologies, and harnessed the creative contributions of their many collaborators throughout a century of Hollywood filmmaking.

  • The Modern British Horror Film / Steven Gerrard
    PN 1995.9 H6 G385 2017eb
    When you think of British horror films, you might picture the classic Hammer Horror movies, with Christopher Lee, Peter Cushing, and blood in lurid technicolor. Yet British horror has undergone an astonishing change and resurgence in the twenty-first century, with films that capture instead the anxieties of post-Millennial viewers.

    Tracking the revitalization of the British horror film industry over the past two decades, media expert Steven Gerrard also investigates why audiences have flocked to these movies. To answer that question, he focuses on three major trends: "hoodie horror" movies responding to fears about Britain's urban youth culture; "great outdoors" films where Britain's forests, caves, and coasts comprise a terrifying psychogeography; and psychological horror movies in which the monster already lurks within us.

    Offering in-depth analysis of numerous films, including The Descent , Outpost , and The Woman in Black , this book takes readers on a lively tour of the genre's highlights, while provocatively exploring how these films reflect viewers' gravest fears about the state of the nation. Whether you are a horror buff, an Anglophile, or an Anglophobe, The Modern British Horror Film is sure to be a thrilling read.

  • Rock 'n' Roll Movies / David Sterritt
    PN 1995.9 M86 S75 2017eb
    Rock 'n' Roll Movies presents an eclectic look at the many manifestations of rock in motion pictures, from teen-oriented B-movies to Hollywood blockbusters to avant-garde meditations to reverent biopics to animated shorts to performance documentaries. Acclaimed film critic David Sterritt considers the diverse ways that filmmakers have regarded rock 'n' roll, some cynically cashing in on its popularity and others responding to the music as sincere fans, some depicting rock as harmless fun and others representing it as an open challenge to mainstream norms.

  • American Music Documentary : Five Case Studies of Ciné-Ethnomusicology / Benjamin J. Harbert
    PN 1995.9 D6 H295 2018eb
    Documentary filmmakers have been making films about music for a half-century. American Music Documentary looks at five key films to begin to imagine how we might produce, edit, and watch films from an ethnomusicological point of view. Reconsidering Albert and David Maysles's Gimme Shelter, Jill Godmilow's Antonia: A Portrait of the Woman, Shirley Clarke's Ornette: Made in America, D.A. Pennebaker's and Chris Hegedus's Depeche Mode: 101, and Jem Cohen's and Fugazi's Instrument, Harbert lays the foundations for the study and practice of "ciné-ethnomusicology." Interviews with directors and rich analysis from the disciplinary perspectives of film studies and ethnomusicology make this book a critical companion to some of the most celebrated music documentaries of the twentieth century.

  • No Man an Island : The Cinema of Hou Hsiao-hsien, Second Edition / James Udden
    PN 1998.3 H687 U33 2009eb

  • Metacinema in Contemporary Chinese Film / G. Andrew Stuckey
    PN 1993.5 C4 S786 2018eb

  • The Image in Early Cinema : Form and Material / edited by Scott Curtis, Philippe Gauthier, Tom Gunning, and Joshua Yumibe
    PN 1995.25 I43 2018eb
    In The Image in Early Cinema, the contributors examine intersections between early cinematic form, technology, theory, practice, and broader modes of visual culture. They argue that early cinema emerged within a visual culture composed of a variety of traditions in art, science, education, and image making. Even as methods of motion picture production and distribution materialized, they drew from and challenged practices and conventions in other mediums. This rich visual culture produced a complicated, overlapping network of image-making traditions, innovations, and borrowing among painting, tableaux vivants, photography, and other pictorial and projection practices. Using a variety of concepts and theories, the contributors explore these crisscrossing traditions and work against an essentialist notion of media to conceptualize the dynamic interrelationship between images and their context.

  • Stan Brakhage the realm buster / edited by Marco Lori and Esther Leslie
    PN 1998.3 B74 S733 2018eb

    Stan Brakhage's body of work counts as one of the most important within post-war avant-garde cinema, and yet it has rarely been given the attention it deserves. Over the years, though, diverse and original reflections have developed, distancing his figure little by little from critical categories. This collection of newly commissioned essays, plus some important reprinted work, queries some of the consensus on Brakhage's films. In particular, many of these essays revolve around the controversial issues of representation and perception.

    This project sets out from the assumption that Brakhage's art is articulated primarily through opposing tensions, which donate his figure and films an extraordinary depth, even as they evince fleetingness, elusivity and paradoxicality. This collection aims not only to clarify aspects of Brakhage's art, but also to show how his work is involved in a constant mediation between antinomies and opposites. At the same time, his art presents a multifaceted object endlessly posing new questions to the viewer, for which no point of entry or perspective is preferred in respect to the others. Acknowledging this, this volume hopes that the experience of his films will be revitalised.

    Featuring topics as diverse as the technical and semantic ambiguity of blacks, the fissures in mimetic representation of the 'it' within the 'itself' of an image, the film-maker as practical psychologist through cognitive theories, the critique of ocularcentrism by mingling sight with other senses such as touch, films that can actually philosophise in a Wittgensteinian way, political guilt and collusion in aesthetic forms, a disjunctive, reflexive, and phenomenological temporality realising Deleuze's image-time, and the echoes of Ezra Pound and pneumophantasmology in the quest of art as spiritual revelation; this book addresses not only scholars, but also is a thorough and thought-provoking introduction for the uninitiated.

    Contributors include:


  • Roots of the New Arab Film / Roy Armes
    PN 1993.5 A65 A77 2018eb

    Roots of the New Arab Film deals with the generation of filmmakers from across North Africa and the Middle East who created an international awareness of Arab film from the mid-1980s onwards. These seminal filmmakers experienced the moment of national independence first-hand in their youth and retained a deep attachment to their homeland. Although these aspiring filmmakers had to seek their training abroad, they witnessed a time of filmic revival in Europe - Fellini and Antonioni in Italy, the French New Wave, and British Free Cinema.

    Returning home, these filmmakers brought a unique insider/outsider perspective to bear on local developments in society since independence, including the divide between urban and rural communities, the continuing power of traditional values and the status of women in a changing society. As they made their first films back home, the feelings of participation in a worldwide movement of new, independent filmmaking was palpable. Roots of the New Arab Film is a necessary and comprehensive resource for anyone interested in the foundations of Arab cinema.


  • Race and the Revolutionary Impulse in The Spook Who Sat by the Door / edited by Michael T. Martin, David C. Wall, and Marilyn Yaquinto
    PN 1997 S653 R33 2017eb

    Ivan Dixon's 1973 film The Spook Who Sat by the Door captures the intensity of social and political upheaval during a volatile period in American history. Based on Sam Greenlee's novel by the same name, the film is a searing portrayal of an American black underclass brought to the brink of revolution. This series of critical essays situates the film in its social, political, and cinematic contexts and presents a wealth of related materials, including an extensive interview with Sam Greenlee, the original United Artists' press kit, numerous stills from the film, and a transcription of the screenplay. This fascinating examination of a revolutionary work foregrounds issues of race, class, and social inequality that continue to incite protests and drive political debate.


  • The Voice of Technology : Soviet Cinema's Transition to Sound, 1928–1935 / Lilya Kaganovsky
    PN 1993.5 S65 K348 2018eb

    As cinema industries around the globe adjusted to the introduction of synch-sound technology, the Soviet Union was also shifting culturally, politically, and ideologically from the heterogeneous film industry of the 1920s to the centralized industry of the 1930s, and from the avant-garde to Socialist Realism. In The Voice of Technology: Soviet Cinema's Transition to Sound, 1928-1935, Lilya Kaganovsky explores the history, practice, technology, ideology, aesthetics, and politics of the transition to sound within the context of larger issues in Soviet media history. Industrialization and centralization of the cinema industry greatly altered the way movies in the Soviet Union were made, while the introduction of sound radically influenced the way these movies were received. Kaganovsky argues that the coming of sound changed the Soviet cinema industry by making audible, for the first time, the voice of State power, directly addressing the Soviet viewer. By exploring numerous examples of films from this transitional period, Kaganovsky demonstrates the importance of the new technology of sound in producing and imposing the "Soviet Voice."


  • Building Character : The Art and Science of Casting / Amy Cook
    PN 1995.9 C34 C663 2018eb

  • Orson Welles in Focus : Texts and Contexts / edited by James N. Gilmore and Sidney Gottlieb ; foreword by James Naremore
    PN 1998.3 W45 O77 2018eb

    Through his radio and film works, such as The War of the Worlds and Citizen Kane, Orson Welles became a household name in the United States. Yet Welles's multifaceted career went beyond these classic titles and included lesser-known but nonetheless important contributions to television, theater, newspaper columns, and political activism. Orson Welles in Focus: Texts and Contexts examines neglected areas of Welles's work, shedding light on aspects of his art that have been eclipsed by a narrow focus on his films. By positioning Welles's work during a critical period of his activity (the mid-1930s through the 1950s) in its larger cultural, political, aesthetic, and industrial contexts, the contributors to this volume examine how he participated in and helped to shape modern media. This exploration of Welles in his totality illuminates and expands our perception of his contributions that continue to resonate today.


  • Movement, Action, Image, Montage : Sergei Eisenstein and the Cinema in Crisis / Luka Arsenjuk
    PN 1998.3 E34 A88 2017eb

    A major new study of Sergei Eisenstein delivers fresh, in-depth analyses of the iconic filmmaker's body of work

    What can we still learn from Sergei Eisenstein? Long valorized as the essential filmmaker of the Russian Revolution and celebrated for his indispensable contributions to cinematic technique, Eisenstein's relevance to contemporary culture is far from exhausted. In Movement, Action, Image, Montage , Luka Arsenjuk considers the auteur as a filmmaker and a theorist, drawing on philosophers such as Georg Wilhelm Friedrich Hegel and Gilles Deleuze--as well as Eisenstein's own untranslated texts--to reframe the way we think about the great director and his legacy.

    Focusing on Eisenstein's unique treatment of the foundational concepts of cinema--movement, action, image, and montage--Arsenjuk invests each aspect of the auteur's art with new significance for the twenty-first century. Eisenstein's work and thought, he argues, belong as much to the future as the past, and both can offer novel contributions to long-standing cinematic questions and debates.

    Movement, Action, Image, Montage brings new elements of Eisenstein's output into academic consideration, by means ranging from sustained and comprehensive theorization of Eisenstein's practice as a graphic artist to purposeful engagement with his recently published, unfinished book Method , still unavailable in English translation. This tour de force offers new and significant insights on Eisenstein's oeuvre--the films, the art, and the theory--and is a landmark work on an essential filmmaker.


  • Michael Bay / by Lutz Koepnick
    PN 1998.3 B386 K64 2017eb

  • Early Film Culture in Hong Kong, Taiwan, and Republican China : Kaleidoscopic Histories / Emilie Yueh-yu Yeh, editor
    PN 1993.5 C4 E254 2018eb

  • Rx Hollywood : Cinema and Therapy in the 1960s / Michael DeAngelis
    PN 1995.9 P783 D33 2018eb

  • Main Street Movies : The History of Local Film in the United States / Martin L. Johnson
    PN 1993.5 U6 J656 2018eb

    "See yourself in the movies!"

    Prior to the advent of the home movie camera and the ubiquitousness of the camera phone, there was the local film. This cultural phenomenon, produced across the country from the 1890s to the 1950s, gave ordinary people a chance to be on the silver screen without leaving their hometowns. Through these movies, residents could see themselves in the same theaters where they saw major Hollywood motion pictures. Traveling filmmakers plied their trade in small towns and cities, where these films were received by locals as being part of the larger cinema experience. With access to the rare film clips under discussion, Main Street Movies documents the diversity and longevity of local film production and examines how itinerant filmmakers responded to industry changes to keep sponsors and audiences satisfied. From town pride films in the 1910s to Hollywood knockoffs in the 1930s, local films captured not just images of local people and places but also ideas about the function and meaning of cinema that continue to resonate today.


  • Spectacle of Property : The House in American Film / John David Rhodes
    PN 1995.9 D84 R46 2017eb

    Much of our time at the movies is spent in other people's homes. Cinema is, after all, often about everyday life. Spectacle of Property is the first book to address the question of the ubiquitous conjuncture of the moving image and its domestic architecture. Arguing that in cinema we pay to occupy spaces we cannot occupy, John David Rhodes explores how the house in cinema both structures and criticizes fantasies of property and ownership.

    Rhodes tells the story of the ambivalent but powerful pleasure we take in looking at private property onscreen, analyzing the security and ease the house promises along with the horrible anxieties it produces. He begins by laying out a theory of film spectatorship that proposes the concept of the "spectator-tenant," with reference to films such as Gone with the Wind and The Magnificent Ambersons . The book continues with three chapters that are each occupied with a different architectural style and the films that make use of it: the bungalow, the modernist house, and the shingle style house. Rhodes considers a variety of canonical films rarely analyzed side by side, such as Psycho in relation to Grey Gardens and Meet Me in St. Louis . Among the other films discussed are Meshes of the Afternoon , Mildred Pierce , A Star Is Born , Killer of Sheep , and A Single Man .

    Bringing together film history, film theory, and architectural history as no book has to date, Spectacle of Property marks a new milestone in examining cinema's relationship to realism while leaving us vastly more informed about, if less at home inside, the houses we occupy at the movies.


  • Screening Auschwitz : Wanda Jakubowska's The Last Stage and the Politics of Commemoration / Marek Haltof
    PN 1997 O68 H35 2018eb

  • Everybody Sing! : Community Singing in the American Picture Palace / Esther M. Morgan-Ellis
    PN 1995.9 A8 M67 2018eb

    During the 1920s, a visit to the movie theater almost always included a sing-along. Patrons joined together to render old favorites and recent hits, usually accompanied by the strains of a mighty Wurlitzer organ. The organist was responsible for choosing the repertoire and presentation style that would appeal to his or her patrons, so each theater offered a unique experience. When sound technology drove both musicians and participatory culture out of the theater in the early 1930s, the practice faded and was eventually forgotten.

    Despite the popularity and ubiquity of community singing--it was practiced in every state, in theaters large and small--there has been scant research on the topic. This volume is the first dedicated account of community singing in the picture palace and includes nearly one hundred images, such as photographs of the movie houses' opulent interiors, reproductions of sing-along slides, and stills from the original Screen Songs "follow the bouncing ball" cartoons.

    Esther M. Morgan-Ellis brings the era of movie palaces to life. She presents the origins of theater sing-alongs in the prewar community singing movement, describes the basic components of a sing-along, explores the unique presentation styles of several organists, and assesses the aftermath of sound technology, including the sing-along films and children's matinees of the 1930s.


  • The Long Take : Art Cinema and the Wondrous / Lutz Koepnick
    PN 1995 K6575 2017eb

    In The Long Take , Lutz Koepnick posits extended shot durations as a powerful medium for exploring different modes of perception and attention in our fast-paced world of mediated stimulations. Grounding his inquiry in the long takes of international filmmakers such as B#65533;la Tarr, Tsai Ming-liang, Abbas Kiarostami, Apichatpong Weerasethakul, and Michael Haneke, Koepnick reveals how their films evoke wondrous experiences of surprise, disruption, enchantment, and reorientation. He proceeds to show how the long take has come to thrive in diverse artistic practices across different media platforms: from the work of photographer Hiroshi Sugimoto to the screen-based installations of Sophie Calle and Tacita Dean, from experimental work by Francis Al#65533;s and Janet Cardiff to durational images in contemporary video games.

    Deeply informed by film and media theory, yet written in a fluid and often poetic style, The Long Take goes far beyond recent writing about slow cinema. In Koepnick's account, the long take serves as a critical hallmark of international art cinema in the twenty-first century. It invites viewers to probe the aesthetics of moving images and to recalibrate their sense of time. Long takes unlock windows toward the new and unexpected amid the ever-mounting pressures of 24/7 self-management.


  • A Dream of Resistance : The Cinema of Kobayashi Masaki / Stephen Prince
    PN 1998.3 M338885 P75 2017eb
    Celebrated as one of Japan's greatest filmmakers, Kobayashi Masaki's scorching depictions of war and militarism marked him as a uniquely defiant voice in post-war Japanese cinema. A pacifist drafted into Japan's Imperial Army, Kobayashi survived the war with his principles intact and created a body of work that was uncompromising in its critique of the nation's military heritage. Yet his renowned political critiques were grounded in spiritual perspectives, integrating motifs and beliefs from both Buddhism and Christianity.

    A Dream of Resistance is the first book in English to explore Kobayashi's entire career, from the early films he made at Shochiku studio, to internationally-acclaimed masterpieces like The Human Condition, Harakiri, and Samurai Rebellion , and on to his final work for NHK Television. Closely examining how Kobayashi's upbringing and intellectual history shaped the values of his work, Stephen Prince illuminates the political and religious dimensions of Kobayashi's films, interpreting them as a prayer for peace in troubled times. Prince draws from a wealth of rare archives, including previously untranslated interviews, material that Kobayashi wrote about his films, and even the young director's wartime diary. The result is an unprecedented portrait of this singular filmmaker.

  • Kelly Reichardt / by Katherine Fusco and Nicole Seymour
    PN 1998.3 R4325 F77 2017eb

  • Jan  Svankmajer / Keith Leslie Johnson
    PN 1998.3 S93 J75 2017eb

  • Demographic Angst : Cultural Narratives and American Films of the 1950s / Alan Nadel
    PN 1993.5 U6 N34 2017eb
    Prolific literature, both popular and scholarly, depicts America in the period of the High Cold War as being obsessed with normality, implicitly figuring the postwar period as a return to the way of life that had been put on hold, first by the Great Depression and then by Pearl Harbor.

    Demographic Angst argues that mandated normativity--as a political agenda and a social ethic--precluded explicit expression of the anxiety produced by America's radically reconfigured postwar population. Alan Nadel explores influential non-fiction books, magazine articles, and public documents in conjunction with films such as Singin' in the Rain, On the Waterfront, Sunset Boulevard, and Sayonara , to examine how these films worked through fresh anxieties that emerged during the 1950s.

  • Promiscuous Media : Film and Visual Culture in Imperial Japan, 1926-1945 / Hikari Hori
    PN 1993.5 J3 H67 2017eb

    In Promiscuous Media , Hikari Hori makes a compelling case that the visual culture of Showa-era Japan articulated urgent issues of modernity rather than serving as a simple expression of nationalism. Hori makes clear that the Japanese cinema of the time was in fact almost wholly built on a foundation of Russian and British film theory as well as American film genres and techniques. Hori provides a range of examples that illustrate how maternal melodrama and animated features, akin to those popularized by Disney, were adopted wholesale by Japanese filmmakers.

    Emperor Hirohito's image, Hori argues, was inseparable from the development of mass media; he was the first emperor whose public appearances were covered by media ranging from postcards to radio broadcasts. Worship of the emperor through viewing his image, Hori shows, taught the Japanese people how to look at images and primed their enjoyment of early animation and documentary films alike. Promiscuous Media links the political and the cultural closely in a way that illuminates the nature of twentieth-century Japanese society.


  • Nobody's girl Friday : the women who ran Hollywood / J.E. Smyth
    PN 1995.9 W6 S639 2018
    Looking back on her career in 1977, Bette Davis remembered with pride, "Women owned Hollywood for twenty years." She had a point. Between 1930 and 1950, over 40% of film industry employees were women, 25% of all screenwriters were female, one woman ran MGM behind the scenes, over a dozen women worked as producers, a woman headed the Screen Writers Guild three times, and press claimed Hollywood was a generation or two ahead of the rest of the country in terms of gender equality and employment.The first comprehensive history of Hollywood's high-flying career women during the studio era, Nobody's Girl Friday covers the impact of the executives, producers, editors, writers, agents, designers, directors, and actresses who shaped Hollywood film production and style, led their unions, climbed to the top during the war, and fought the blacklist.Based on a decade of archival research, author J.E. Smyth uncovers a formidable generation working within the American film industry and brings their voices back into the history of Hollywood. Their achievements, struggles, and perspectives fundamentally challenge popular ideas about director-based auteurism, male dominance, and female disempowerment in the years between First and Second Wave Feminism.Nobody's Girl Friday is a revisionist history, but it's also a deeply personal, collective account of hundreds of working women, the studios they worked for, and the films they helped to make. For many years, historians and critics have insisted that both American feminism and the power of women in Hollywood declined and virtually disappeared from the 1920s through the 1960s. But Smyth vindicates Bette Davis's claim. The story of the women who called the shots in studio-era Hollywood has never fully been told-until now.

  • Heavenly bodies : film stars and society / Richard Dyer
    PN 1995.9 S6D94 2004eb

    Richard Dyer's classic study of movie stars and stardom has been updated, with a new introduction by the author discussing the rise of celebrity culture and developments in the study of stars since publication of the first edition in 1986.

    Dyer's illuminating study is based around case studies of three major stars: Marilyn Monroe, Paul Robeson and Judy Garland. He draws on a wide range of sources, including the films in which each star appeared, to illustrate how each star's persona was constructed, and goes on to examine each within the context of particular issues in fan culture and stardom.

    Students of film and cultural studies will find this an invaluable part of there course reading.


  • Home, exile, homeland : film, media, and the politics of place / edited by Hamid Naficy
    PN 1995 H65 1999eb

  • 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.

  • Journey to Poland : documentary landscapes of the holocaust / Maurizio Cinquegrani
    PN 1995.9 H53 C56 2018
    Journey to Poland addresses crucial issues of memory and history in relation to the Holocaust as it unfolded in the territories of the Second Polish Republic. Aiming to understand the ways past events inform present-day landscapes, and the way in which we engage with memory, witnessing and representation, the book creates a coherent cinematic map of this landscape through the study of previously neglected film and TV documentaries that focus on survivors and bystanders, as well as on members of the post-war generation. Applying a spatial and geographical approach to a debate previously organised around other frameworks of analysis, Journey to Poland uncovers vital new perspectives on the Holocaust.

  • 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.

  • 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?"
page last updated on: Saturday 20 October 2018
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