Hollywood and War provides analyses of some of the most important productions constituting the war film genre, and pays particular attention to how the constituent elements of that genre emerged and have been continually reproduced and recast from the Spanish-American War, World War I, and World War II, through the Korean War and Vietnam to conflicts in the Gulf and the current war against terrorism. Hollywood and War also discusses the complex institutional relations between Hollywood and the U.S. military, government, and American society. Features: * War and its depiction in the media is a 'hot' topic at present. * The reader features a large array of international and highly renowned authors. * The american focus will appeal to US consumers -- Publisher's blurb.
Transnational Cinema: The Film Reader provides an overview of the key concepts and debates within the developing field of transnational cinema. Bringing together seminal essays from a wide range of sources, this volume engages with films that fashion their narrative and aesthetic dynamics in relation to more than one national or cultural community. The reader is divided into four sections: From National to Transnational Cinema Global Cinema in the Digital Age Motion Pictures: Film, Migration and Diaspora Tourists and Terrorists.
With case studies on such figures as Hitchcock, Godard and Almovodar, this anthology is devoted to the subject of colour in film and its history, production and technology. It is suitable for students starting a film studies course.
African American Performers and Audiences in 1930s Hollywood
Author: Miriam J. Petty
Publisher: Univ of California Press
Category: Performing Arts
Stealing the Show is a study of African American actors in Hollywood during the 1930s, a decade that saw the consolidation of stardom as a potent cultural and industrial force. Petty focuses on five performers whose Hollywood film careers flourished during this period—Louise Beavers, Fredi Washington, Lincoln “Stepin Fetchit” Perry, Bill “Bojangles” Robinson, and Hattie McDaniel—to reveal the “problematic stardom” and the enduring, interdependent patterns of performance and spectatorship for performers and audiences of color. She maps how these actors—though regularly cast in stereotyped and marginalized roles—employed various strategies of cinematic and extracinematic performance to negotiate their complex positions in Hollywood and to ultimately “steal the show.” Drawing on a variety of source materials, Petty explores these stars’ reception among Black audiences and theorizes African American viewership in the early twentieth century. Her book is an important and welcome contribution to the literature on the movies.
Krone der Schöpfung? Vor 100 000 Jahren war der Homo sapiens noch ein unbedeutendes Tier, das unauffällig in einem abgelegenen Winkel des afrikanischen Kontinents lebte. Unsere Vorfahren teilten sich den Planeten mit mindestens fünf weiteren menschlichen Spezies, und die Rolle, die sie im Ökosystem spielten, war nicht größer als die von Gorillas, Libellen oder Quallen. Vor 70 000 Jahren dann vollzog sich ein mysteriöser und rascher Wandel mit dem Homo sapiens, und es war vor allem die Beschaffenheit seines Gehirns, die ihn zum Herren des Planeten und zum Schrecken des Ökosystems werden ließ. Bis heute hat sich diese Vorherrschaft stetig zugespitzt: Der Mensch hat die Fähigkeit zu schöpferischem und zu zerstörerischem Handeln wie kein anderes Lebewesen. Anschaulich, unterhaltsam und stellenweise hochkomisch zeichnet Yuval Harari die Geschichte des Menschen nach und zeigt alle großen, aber auch alle ambivalenten Momente unserer Menschwerdung.
This book claims that film theory is not just about Eisenstein any more. While film theory has produced a significant body of influential scholarship, defining the cutting edge of critical analysis for the past two decades, the majority of this work has focused on classic Hollywood, European cinema, and avant-garde films. More recent films, particularly blockbusters, are generally absent from this field of study, relegated to the realm of popular reviewing. This book attempts to fill this gap by providing provocative analyses of such films as The Silence of the Lambs, Dances With Wolves, Terminator II, Pretty Woman, Truth or Dare, Mystery Train and Jungle Fever. Within the field of film study, these essays argue for the continuing need to engage in critical, ideological dialogues, and within the broader context of the academy, this collection debates cultural authority, canonicity, multiculturalism, and radical pedagogy. Film Theory Goes to the Movies employs a variety of critical approaches, from industry analysis to reception study, to close readings informed by feminist, deconstructive, and postmodernist theory.
The Routledge Companion to Religion and Film brings together a lively and experienced team of contributors to introduce students to the key topics in religion and film and to investigate the ways in which the exciting subject of religion and film is developing for more experienced scholars. Divided into four parts, the Companion: analyzes the history of the interaction of religion and film, through periods of censorship as well as appreciation of the medium studies religion-in-film, examining how the world’s major religions, as well as Postcolonial, Japanese and New Religions, are depicted by and within films uses diverse methodologies to explore religion and film, such as psychoanalytical, theological and feminist approaches, and audience reception analyzes religious themes in film, including Redemption, the Demonic, Jesus or Christ Figures, Heroes and Superheroes considers films as diverse as The Passion of the Christ, The Matrix, Star Wars and Groundhog Day. This definitive book provides an accessible resource to this emerging field and is an indispensable guide to religion and film for students of Religion, Film Studies, and beyond.
Walter Benjamin beschreibt in dem Aufsatz Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit die geschichtlichen, sozialen und ästhetischen Prozesse, die mit der technischen Reproduzierbarkeit des Kunstwerkes zusammenhängen. In die Reihe der kunstsoziologischen Arbeiten Benjamins gehören auch die beiden hier zum ersten Mal in Buchform veröffentlichten Texte: Kleine Geschichte der Photographie (1931) und Eduard Fuchs, der Sammler und der Historiker (1937). Sie erhärten Benjamins Einsichten am Einzelfall.
Stars are central to the cinema experience, and this collection offers a variety of fresh and informed perspectives on this important but sometimes neglected area of film studies.This book takes as its focus film stars from the past and present, from Hollywood, its margins and beyond and analyses them through a close consideration of their films and the variety of contexts in which they worked. The book spreads the net wide, looking at past stars from Rosalind Russell and Charlton Heston to present day stars including Sandra Bullock, Jackie Chan and Jim Carrey, as well as those figures who have earnt themselves a certain film star cachet such as Prince, and the martial artist Cynthia Rothrock. The collection will be essential reading for students and lecturers of film studies, as well as to those with a general interest in the cinema.
All that Hollywood Allows explores the representation of gender in popular Hollywood melodramas of the 1950s. Both a work of feminist film criticism and theory and an analysis of popular culture, this provocative book examines from a cultural studies perspective top-grossing film melodramas, such as A Streetcar Named Desire, From Here to Eternity, East of Eden, Imitation of Life and Picnic. Stereotypically viewed as a complacent and idyllic time, the 1950s were actually a time of dislocation and great social change. Jackie Byars argues that mass media texts of the period, especially films, provide evidence of society's consuming preoccupation with the domestic sphere - the nuclear family and its values - and she shows how Hollywood melodramas interpreted and extended societal debates concerning family structure, sexual divisions of labour, and gender roles. Her readings of these films assess a variety of critical methodologies and approaches to textual analysis, some central to feminist film studies and some previously bypassed by scholars in the field.
The movie industry boomed in the twentieth century, and is still going strong today. However, the economics of movies has been curiously under explored until now. Innovative and informative, this accessible book, which includes contributions from some of the leading experts in the area, is a huge step forward in our understanding of this important topic.
In this exciting new book, Gelley considers the collaboration between Rossellini and Ingrid Bergman in light of the neorealist aesthetic. This study re-examines the director's postwar works in relation to the contemporary discussion on Italian national identity: rather than marking a radical break with the director's early neorealist successes, Rossellini's films with Bergman in fact extend the boundaries of neorealism and challenge the standard reading of its basic tenets, especially the relationship between character and setting. Gelley reassesses the relationship between European postwar and American cinema, looking at how the image of the Hollywood star was translated and transformed when it was imported into Rossellini's Italy. Rossellini's insertion of the Hollywood star into the native landscape had a significant influence on the director's approach to the neorealist aesthetic. His filming of the encounter between Bergman and the Italian landscape involves not only a re-interpretation and transformation of the Hollywood star persona, but also a challenge to the idealized notion of an authentic Italian national collective free of foreign influence. The disruption of Bergman's character into the Italian landscape became one means whereby the director was able to explore the ambivalence inherent in any attempt to construct a national identity.
This is the first book to offer a thorough examination of the relationship that Stanley Cavell’s celebrated philosophical work has to the ways in which the United States has been imagined and articulated in its literature. Establishing the contours of Cavell’s most significant readings of American philosophical and cultural activity, the volume explores how his philosophy and the kind of reading it demands have an important relation to broader considerations of the American national imaginary. Focused, coherent, and original essays from a wide range of philosophers and critics consider how his investigations of Henry David Thoreau and Ralph Waldo Emerson, for example, represent a sustained engagement with the ways in which philosophy might provide us with new ways of thinking and of living. This is the first detailed and comprehensive treatment of "America" as a category of enquiry in Cavell’s writing, engaging with the terms of Cavell’s various configurations of the nation and offering readings of American texts that illustrate the possibilities that Cavell’s work has, in turn, for literary and film criticism. This study of the role played by philosophy in the articulation of the American self-imaginary highlights the ways in which the reading of literature, and the practice of philosophy, are conjoined in the ethical and political project of national self-definition.
Shafer's study challenges the conventional historical assumption that British feature films during the Thirties were mostly oriented to the middle-class. Instead, he makes the critical distinction between films intended for West End and international circulation and those intended primarily for domestic, working-class audiences. Far from being alientated by a 'middle-class institution', working men and women flocked to see pictures featuring such music-hall luminaries as Gracie Fields and George Formby.
Stephen Keane's history of the disaster genre offers a detailed analysis of films such as The Towering Inferno, Independence Day, Titanic, and The Day After Tomorrow. He looks at the ways in which disaster movies can be read in relation to both contextual considerations and the increasing commercial demands of contemporary Hollywood. In this second edition, he adds new material regarding cinematic representations of disaster in the wake of 9/11 and an analysis of disaster movies in light of recent natural disasters. Keane continually reworks this previously unexplored genre.
In dieser spannenden Pionierarbeit werden erstmals Schlüsselkonzepte der aktuellen Gender-Politik und Queer Theorie wie Ironie, Parodie, Camp, Maske/Maskerade, Mimesis/Mimikry, Cyborg, Transsexualität und Dildo wissenschaftlich aufbereitet. Mit Hilfe einer neuen Art der Wissensvermittlung verbindet die Autorin anspruchsvolle sozial- und kulturwissenschaftliche Theorien mit praktischen Beispielen aus den Cultural Studies. Der subversive Charakter queerer Motive wird am Beispiel zeitgenössischer Rock- und Popmusik aufgezeigt und in Beziehung zu klassischen Diskursen der abendländischen Philosophiegeschichte gesetzt.
Amanda Howell offers a new perspective on the contemporary pop score as the means by which masculinities not seen—or heard—before become a part of post-World War II American cinema. Popular Film Music and Masculinity in Action addresses itself to an eclectic mix of film, from Elvis and Travolta star vehicles to Bruckheimer-produced blockbuster action, including the work of musically-innovative directors, Melvin Van Peebles, Martin Scorsese, Gregg Araki, and Quentin Tarantino. Of particular interest is the way these films and their representations of masculinity are shaped by generic exchanges among contemporary music, music cultures, and film, combining American cinema's long-standing investment in violence-as-spectacle with similarly body-focused pleasures of contemporary youth music. Drawing on scholarship of popular music and the pop score as well as feminist film and media studies, Howell addresses an often neglected area of gender representation by considering cinematic masculinity as an audio-visual construction. Through her analyses of music’s role in action and other film genres that share its investment in violence, she reveals the mechanisms by which the pop score has helped to reinvent gender—and gendered fictions of male empowerment—in contemporary screen entertainment.
Screen Ages is a valuable guide for students exploring the complex and vibrant history of US cinema and showing how this film culture has grown, changed and developed. Covering key periods from across American cinema history, John Alberti explores the social, technological and political forces that have shaped cinematic output and the varied impacts cinema of on US society. Each chapter has a series of illuminating key features, including: ‘Now Playing’, focusing on films as cinematic events, from The Birth of a Nation to Gone with the Wind to Titanic, to place the reader in the social context of those viewing the films for the first time ‘In Development’, exploring changing genres, from the melodrama to the contemporary super hero movies, ‘The Names Above and Below the Title’, portraying the impact and legacy of central figures, including Florence Lawrence, Orson Welles and Wes Anderson Case studies, analyzing key elements of films in more depth Glossary terms featured throughout the text, to aid non-specialist students and expand the readers understanding of changing screen cultures. Screen Ages illustrates how the history of US cinema has always been and continues to be one of multiple screens, audiences, venues, and markets. It is an essential text for all those wanting to understand of power of American cinema throughout history and the challenges for its future. The book is also supported by a companion website, featuring additional case studies, an interactive blog, a quiz bank for each chapter and an online chapter, ‘Screen Ages Today’ that will be updated to discuss the latest developments in American cinema.