Filmoznawstwo - materiały - crassial

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The 21st Century Superhero_ Essays on Ge - Richard J. Gray.pdf

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Crash_ David Cronenberg's Post-Mortem on - Iain Si nclair.pdf

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International Exposure_ Perspectives On - Lisa Z. Sigel.pdf

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Hong Kong Cinema Since 1997_ The Post-No - Vivian P. Y. Lee.pdf

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Narration in the Fiction Film - David Bordwell.pdf

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28,7 MB
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Hindi Action Cinema - Valentina Vitali.pdf

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Youth Culture in Global Cinema - Timothy Shary.pdf

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Catholics in the Movies - Colleen Mcdannell.pdf

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Expanded Cinema - Gene Youngblood.pdf

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The DVD and the Study of Film_ The Attai - Mark Pa rker.pdf

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Savage Cinema_ Sam Peckinpah and the Ris - Stephen Prince.pdf

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The Brain Is the Screen_ Deleuze and the - Gregory Flaxman.pdf

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Early Cinema in Russia and its Cultural - Yuri Ts ivian.pdf

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The Age of the Dream Palace Cinema and Society in 1930s Britain.pdf

The period between the two world wars is often named "the golden age of the cinema" in Britain. This definitive and entertaining book on the cinema and cinema-goers of the era is herewith reissued with a new Introduction.Jeffrey Richards, described by Philip French as "a shrewd critic, a compulsive moviegoer, and a professional historian," tells the absorbing story of the cinema during the decade that produced Alfred Hitchcock's thrillers, the musicals of Jessie Matthews and Alexander Korda's epics. He examines the role of going to the pictures in people's lives during a tough period when, in the sumptuous buildings that housed local cinemas, people regularly spent a few pence to purchase ready-made dreams watching Gracie Fields, Robert Donat and the other stars of the day. He scrutinizes the film industry, censorship, cinema's influence, the nature of the star system and its images, as well as the films themselves, including the visions of Britain, British history and society that they created and represented.

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Action and Adventure Cinema - Yvonne Tasker.pdf

This exciting collection addresses action and adventure from the silent to the contemporary period exploring diverse questions of aesthetics, industry and ideology. Action has established itself as one of the leading commercial genres of the New Hollywood cinema, generating extensive debate in the process.

Contributors consider how action might best be defined, how it has developed historically, and how it works formally. The critical reception and standing of action and adventure cinema is considered in relation to questions of national culture, violence and the 'art' of cinema.

Themes explored include genre and definitions; early action, sensation and melodrama; authorship and action; national and transnational action-adventure traditions; action aesthetics; spectacle and narrative; stars and bodies; class; gender; race and ethnicity.

Attempting to evaluate the significance of this type of filmmaking for both popular cinema and film studies, the book underlines the central place of action and adventure within film history.

About the Author

Yvonne Tasker is Senior Lecturer in Film Studies at the University of East Anglia. She is author of Spectacular Bodies (1993), Working Girls (1998) and Fifty Contemporary Filmmakers (2002), all published by Routledge.

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Entertainment Industrialised The Emergence of the International Film Industry, 1890-1940.pdf

Entertainment Industrialised is the first study to compare the emergence and economic development of the film industry in Britain, France and the United States between 1890 and 1940. Gerben Bakker investigates the commercialisation and industrialisation of live entertainment in the nineteenth century and analyses the subsequent arrival of motion pictures, revealing that their emergence triggered a process of incessant creative destruction, development and productivity growth that continues in the entertainment industry today. He argues that cinema industrialised live entertainment by automating it, standardising it and making it tradeable, a process that was largely demand-led, and that a quality race between firms changed the structure of the international entertainment market. While a hundred years ago, European enterprises were supplying half of all films shown in the U.S., the quality race resulted in today's industry, in which a handful of American companies dominate the global entertainment business.

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Museum Movies The Museum of Modern Art and the Bir th of Art Cinema.pdf

Haidee Wasson provides a rich cultural history of cinema's transformation from a passing amusement to an enduring art form by mapping the creation of the Film Library of the Museum of Modern Art (MoMA), New York, established in 1935. The first North American film archive and museum, the film library pioneered an expansive moving image network, comprising popular, abstract, animated, American, Canadian, and European films. More than a repository, MoMA circulated these films nationally and internationally, connecting the modern art museum to universities, libraries, women's clubs, unions, archives, and department stores. Under the aegis of the museum, cinema also changed. Like books, paintings, and photographs, films became discrete objects, integral to thinking about art, history, and the politics of modern life.

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Film Genre Reader III - Edited by Barry Keith Gran t.pdf

From reviews of the second edition:"The fascinating, well-chosen essays in this volume represent almost all of the recent (and often competing) trends in film scholarship and present significant revisions of earlier genre theories and analysis. Grant shows that the generic core, however constituted and established, is but one atom in a complex structure of film experience, response, and meaning."—Choice"A terrific collection of essays on film theory and genre criticism.... With its numerous stills and an excellent bibliography, this work is ideal as an academic text or as an informative read for film buffs."—Bloomsbury ReviewFrom reviews of the first edition:"The most pedagogically useful text on genre analysis because of the comprehensive nature of its scope."—Film Quarterly"Ought to be considered by anyone teaching a course on theory and criticism of the American cinema."—Communication BooknotesSince 1986, Film Genre Reader has been the standard reference and classroom text for the study of genre in film, with nearly 20,000 copies in print. Barry Keith Grant has again revised and updated the book to reflect the most recent developments in genre study. This third edition adds new essays on teen films, the question of genre hybridity, and neo-noir and genre in the era of globalization, along with an updated bibliography. The volume includes over thirty essays by some of film's most distinguished critics and scholars of popular film, including John G. Cawelti, David Desser, Thomas Elsaesser, Steve Neale, Thomas Schatz, Paul Schrader, Steve Neale, Vivian Sobchack, Janet Staiger, Linda Williams, and Robin Wood.

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An Economic History of Film - John Sedgwick & Mich ael Pokorny.pdf

"This book provides an economic framework for understanding developments in film history. Film is a peculiar commodity with a unique set of characteristics. The topic hence is interesting and covered with aplomb by the contributors to the volume." "Experts from the UK and North America have come together in these pages and the result is a readable, insightful and enlightening book that will gain many fans amongst those with an interest in the economics of film, economic historians, film historians and aficionados of the movie industry generally."--BOOK JACKET.

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Hong Kong New Wave Cinema - Botang Zhuo.pdf

The increasingly popular films of the Hong Kong New Wave grapple with such issues as East-West cultural conflicts, colonial politics, the divide between rich and poor, the plight of women in a modernizing Asian city, and the identity crises provoked by Hong Kong’s estranged motherland. Comprehensive and penetrating, Hong Kong New Wave Cinema analyzes the specific films that grew out of this dynamic era and investigates the historical and social conditions that allowed the New Wave to flourish. Drawing on the auteur and genre theories, Pak Tong Cheuk here examines the cinematic style and aesthetics of New Wave directors, most of whom were educated at British and U.S. film schools. In addition to investigating the narrative content, structure, and mise-en-scène of individual films, this volume traces the overall development of the film and television industries in Hong Kong in the 1960s and 1970s. Cheuk’s intriguing study of the rise and fall of Hong Kong’s golden age of film establishes the New Wave as an era of great historical significance for scholars of cinema, popular culture, and the arts. “An interesting and detailed look at one of the most vital movements in the film industry during the latter part of the twentieth century. Pak’s work not only gives an informative overview of the origins of the movement, but goes into detail about the works of some of the most notable New Wave directors, including Tsui Hark, Ann Hui, and Patrick Tam, and the effects their pictures had on film-makers from all over the world.”—Neil Koch, HKfilm.net

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Contemporary New Zealand Cinema From New Wave to B lockbuster.pdf

New Zealand cinema burst onto the global stage in the 1970s and has maintained its high-profile international presence with such films as Whalerider, the Lord of the Rings trilogy and Once Were Warriors. Contemporary New Zealand Cinema is an astute analysis of this fascinating industry and the most thorough book available on a vibrant filmmaking culture. The book explores the industry, questions of aesthetics and form, nation and identity through the full range of filmmaking in New Zealand. It also highlights specific contexts, including Maori, documentary and short filmmaking, literary adaptations, the development of the national Film Commission, marketing and censorship, as well as questions of bicultural relations, spirituality, masculinity and disability--that have a created a cinema of global significance. Included is a comprehensive filmography that details all New Zealand feature and television films.

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Declarations of Independence American Cinema and t he Partiality of Independent Production.pdf

"A triumph for an informed, independent author unafraid to un-package the trade in cultural construction that simultaneously provides a socio-political reference through which critics and audience can attach certain films to popular movements and ideas." – Daniel Packer, Transition, Tradition

(_Transition, Tradition_ )

"[Berra''s] conclusion is well made – it''s almost impossible for the indie film to establish economic independence from the mainstream, but we can still celebrate the cultural significance of its ''independent spirit''" – Douglas Allen, University of California Magazine

(_UC Magazine_ )

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Cinematic Mythmaking Philosophy in Film - Irving S inger.pdf

"Combining the moviegoer's passion with the philosopher's analytic precision, Irving Singer shows how cinema has reinvigorated myths from times past to become our new folklore. Step by step we discover how films gather their iconic power and authority from Ovid, Homer, and others. Singer switches his critical abilities to maximum wattage, revealing that films work their magic by putting the banal and the ordinary in touch with the sublime." --Maria Tatar, John L. Loeb Professor of Germanic Languages and Literatures, Harvard University

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Motherhood Misconceived - Heather Addison.pdf

As celebrities sporting "baby bumps," politicians, Olympic athletes, and talk show guests, mothers are ubiquitous throughout U.S. media and popular culture. Like lightning rods, these high-profile mothers attract accolades and judgments associated with ideals of female sexuality, gender roles, and constructions of contemporary families. Motherhood Misconceived explores this widespread cultural fascination with motherhood through analyses of mothers in contemporary U.S. film, including both mainstream and independent cinematic representations. The contributors draw on a variety of critical approaches to consider the spectacle of pregnancy; mother-daughter relationships; mothers as predators, narcissists, and absent victims; and the ways in which cultural anxieties are displaced and projected onto marginalized mothers in films such as Fargo; Transamerica; Gas, Food, Lodging; Ordinary People; and Scream. Ideal for women's studies or film studies classes, Motherhood Misconceived will help students contextualize current debates about motherhood as they play out in popular and independent film.

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Show Sold Separately Promos, Spoilers, and Other M edia Paratexts.pdf

It is virtually impossible to watch a movie or TV show without preconceived notions because of the hype that precedes them, while a host of media extensions guarantees them a life long past their air dates. An onslaught of information from print media, trailers, internet discussion, merchandising, podcasts, and guerilla marketing, we generally know something about upcoming movies and TV shows well before they are even released or aired. The extras, or “paratexts,” that surround viewing experiences are far from peripheral, shaping our understanding of them and informing our decisions about what to watch or not watch and even how to watch before we even sit down for a show.

Show Sold Separately gives critical attention to this ubiquitous but often overlooked phenomenon, examining paratexts like DVD bonus materials for The Lord of the Rings, spoilers for Lost, the opening credits of The Simpsons, Star Wars actions figures, press reviews for Friday Night Lights, the framing of Batman Begins, the videogame of The Thing, and the trailers for The Sweet Hereafter. Plucking these extra materials from the wings and giving them the spotlight they deserve, Jonathan Gray examines the world of film and television that exists before and after the show.

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David Cronenberg Author or Filmmaker - Mark Browni ng.pdf

For more than thirty years, David Cronenberg has made independent films such as Scanners and A History of Violence which aim to disturb, surprise, and challenge audiences. He has also repeatedly drawn on literary fiction for inspiration, adapting themes from authors like William Burroughs, J. G. Ballard, and Patrick McGrath for the big screen; David Cronenberg: Author or Filmmaker? is the first book to explore how underground and mainstream fiction have influenced—and can help illuminate—his labyrinthine films.

Film scholar Mark Browning examines Cronenberg’s literary aesthetic not only in relation to his films’ obvious source material, but by comparing his movies to the writings of Vladimir Nabokov, Angela Carter, and Bret Easton Ellis. This groundbreaking volume addresses Cronenberg’s narrative structures and his unique conception of auteurism, as well as his films’ shocking psychological frameworks, all in the broader context of film adaptation studies. David Cronenberg is an essential read for anyone interested in the symbiotic relationship between literature and filmmaking.

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Italian Cinema - Maggie Gunsberg.pdf

Maggie Gunsberg examines popular genre cinema in Italy during the 1950s and 1960s, focusing on melodrama, commedia all'italiana, peplum, horror and the spaghetti western. These genres are explored from a gender standpoint which takes into account the historical and socio-economic context of cinematic production and consumption. An interdisciplinary feminist approach informed by current film theory and other perspectives (psychoanalytic, materialist, deconstructive), leads to the analysis of genre-specific representations of femininity and masculinity as constructed by the formal properties of film.

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Best of British Cinema and Society From 1930 to Pr esent - Anthony Aldgate.pdf

This is a revised and expanded edition of the classic book on film history. The authors examine how aspects of British society are reflected in and shaped by cinema. Films studied include, among others, Sanders of the River, A Canterbury Tale, The Life and Death of Colonel Blimp, The Guinea Pig, The Blue Lamp, The Ladykillers, I'm All Right Jack, The Loneliness of the Long Distance Runner, If . . . , and Scandal.

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The Bent Lens 2nd Edition - Lisa Daniel.pdf

panning gay and lesbian filmmaking from 1914 through present day, The Bent Lens showcases 2300 titles from 45 countries, including feature films, documentaries and short films. In addition to a synopsis of each film, other details included are cast, writer, director, genre, year of release, running time and even distributor contact details. All films are listed in an easy-to-read A-Z format, but each film is also indexed by country, director and genre. The Bent Lens: 2nd Edition also includes essays from experts Judith Halberstam, Barbara Hammer, Helen Hok-Sze Leung and Daniel Mudie Cunningham exploring gay and lesbian film traditions and how gay identity is viewed in Western and non-Western cultures. And finally, this remarkable guide includes a complete listing of gay and lesbian film festivals around the world, making The Bent Lens a must for all film and video aficionados.

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The Hidden Art of Hollywood In Defense of the Stud io Era Film.pdf

Although we tend to accord our highest praise to films with strong messages, Hollywood is resolutely unserious in its goals, and closer perhaps to music than to literature in this regard. Thus, in order to appreciate Hollywood's classic movies, we have to understand them as the result of a style of filmmaking that justifies itself through the grace and beauty of its form. This beauty, when seen, challenges our notion of film as the poorer cousin of the high arts, or as worthwhile only when it serves a social purpose. "The Hidden Art of Hollywood" draws from a huge fund of recorded interviews with the directors, writers, cinematographers, set designers, producers, and actors who were a part of the studio process, in order to give the filmmakers themselves the chance to explain a very elusive phenomenon: the glancing beauty of the Hollywood film. While the greatness of the classic Hollywood film is, for many of us, settled business, there are also a great number who have difficulty understanding why these films--which can often seem dated and unrealistic compared to modern fare--are taken as seriously as they are. Although we tend to accord our highest praise to films with strong and often didactic messages, Hollywood is resolutely unserious in its goals, and closer perhaps to music than to literature in this regard. Thus, in order to appreciate classic American movies, we have to understand them as the result of a style of filmmaking that justifies itself not through ideas or social relevance, but through the grace and beauty of its form. The beauty of the Hollywood film challenges our notion of film as the poorer cousin of the high arts, or as worthwhile only when it serves a social purpose. In his effort to answer the many questions that classic American cinema suggests, author John Fawell considers previous criticism of Hollywood, but also draws from a huge fund of recorded interviews with the directors, writers, cinematographers, set designers, producers, and actors who were a part of the studio process, in order to give the filmmakers themselves the chance to explain a very elusive phenomenon: the glancing beauty of the Hollywood film. The films of certain great auteurs, including Charlie Chaplin, Ernst Lubitsch, Preston Sturges, Alfred Hitchcock, Billy Wilder, John Ford, and Orson Welles, receive particular attention here, but this book is organized by ideas rather than films or artists, and it draws from a wide array of Hollywood films, both successes and failures, to make its points.

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