Knockout_ The Boxer and Boxing in Americ - Leger Grindon.pdf

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Mary Ann Doane The Desire to Desire The Womans Film of....pdf

"Brilliantly argued and lucidly written... the definitive psychoanalytic account of the repression of woman in Hollywood cinema." -- Tania Modleski"... complex and challenging... " -- The Women"s Review of Books"... magnificently ambitious... some of the most original and intelligent essays in film theory today." -- Journal of Modern Literature"... deeply commited to the psychoanalytic approach... " -- Contemporary SociologyThe Desire to Desire traces the way in which female spectatorship is specified primarily by its lapses or failures, arguing that the women's film simultaneously asserts and denies female desire, attributing to the woman only an impossible gaze.

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This guide to Spanish film documents the film industry's interpretation of the isolating effects of the cultural traditionalism of the early twentieth century to the expanding international popularity of such films as Trueba's Belle Epoque, Aranda's Amantes, and Bigas Luna's Jamon, Jamon, and such actors as Victoria Abril, Carmen Maura, and Antonio Banderas. This is the first volume in a new Greenwood series that discusses, historically and critically, films, directors, and actors in film industries throughout the world. Each volume will include a detailed historical introduction and will provide an in-depth treatment of the most important films and individuals involved in the industry. End-of-entry bibliographies provide sources for further reading and appendixes provide additional useful information. The Guides will be valuable to scholars, students, and film buffs. Spanish cinema is in many ways a microcosm of the tensions and conflicts that have shaped the evolution of the nation over the course of this century. Spanish film as a cultural institution is rarely divorced from the political and social currents that have shaped the larger Spanish culture torn as it was between tendencies of localism and internationalism. It languished in industrial and artistic underdevelopment for many years under Franco; it is now, however, experiencing international recognition while remaining rooted in the specificity of its own popular cultural styles.

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This is the first book to provide a comprehensive and systematic account of the phenomenon of cinematic remaking. Drawing upon recent theories of genre and intertextuality, Film Remakes describes remaking as both an elastic concept and a complex situation, one enabled and limited by the interrelated roles and practices of industry, critics and audiences. This approach to remaking is developed across three broad sections: the first, remaking as industrial category, deals with issues of production, including commerce and authors; the second, remaking as textual category, considers genre, plots and structures; and the third, remaking as critical category, investigates issues of reception, including audiences and institutions. The film remake emerges as a particular case of repetition, a function of cinematic and discursive fields that is maintained by historically specific practices, such as copyright law and authorship, canon formation and media literacy, film criticism and reviewing. These points are made through the lively discussion of numerous historical and contemporary examples, including the remaking of classics (Double Indemnity, All That Heaven Allows, Psycho), foreign art-films (Yojimbo, Solaris, Le Samourai), cult movies (Gun Crazy, Planet of the Apes, Dawn of the Dead), and television properties (Batman, The Addams Family, Charlie's Angels).

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Mixing political and film analysis with exclusive interviews with Hollywood movers and shakers, Ben Dickenson dissects the social context of the last twenty-five years, from Reagan's Presidency to George W. Bush. He uncovers significant political realignments in the movie industry, in its aesthetic values and in the make-up of Hollywood talent and traces how successive presidents and globalization have opened the way for the anti-globalization movement in Hollywood, which in turn has led to changes in film output. The book brings the story of Hollywood radicalism up to and through the 2004 Presidential election.

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From the first published movie review in the late 1800s to the 21st-century era of the "great movie critics' wake," this chronicle reviews the nature, scope, and controversies in American film criticism. Moving through the Silent Era, the pre- and post-war years, the golden age of the 1970s, and the eventual decline of the 1980s and 1990s, this exhaustive overview includes biographical information on some of the most influential film critics--including Leonard Maltin, Roger Ebert, Pauline Kael, and James Agee--as well as a historical record and critical assessment of their work. Illuminating various past controversies, this invaluable reference documents the battles between auteur theorists and their opposing critics as well as between the critics and studios, filmmakers, and even themselves. Little-known aspects of film criticism lore are also related, such as the epic battles waged in print by Pauline Kael and Andrew Sarris, the studio boycotts of the "New York Times" and "New York Herald Tribune" over unflattering press, and the critics barred from attending premieres by studios for writing "negative" reviews. Honoring those who shed light on the artistic visions and storytelling sensibilities that have graced the big screen, this authoritative guide is a must-have for industry professionals, film historians, and movie buffs.

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Gerard Loughlin is one of the leading theologians working at the interface between religion and contemporary culture. In this exceptional work, he uses cinema and the films it shows to think about the church and the visions of desire it displays. Discusses various films, including the Alien quartet, Christopher Nolan’s Memento, Stanley Kubrick’s 2001: A Space Odyssey and A Clockwork Orange, Nicolas Roeg’s The Man Who Fell to Earth and Derek Jarman’s The Garden. Draws on a wide range of authors, both ancient and modern, religious and secular, from Plato to Levinas, from Karl Barth and Hans Urs von Balthasar to André Bazin and Leo Bersani. Uses cinema to think about the church as an ecclesiacinema, and films to think about sexual desire as erotic dispossession, as a way into the life of God. Written from a radically orthodox Christian perspective, at once both Catholic and critical.

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*Aliens R Us* explores the global culture of science fiction cinema, and in particular its presentation of contemporary images of the Other. Taking as a starting point the popularity of international forms such as Japanese Manga and Hong Kong sci-fi, in addition to the success of films such as The Matrix and television series such as Deep Space Nine, the contributors examine the science fiction genre as an international, populist form of social analysis. In doing so, they discuss issues such as Orientalism, technology, apocalyptic futures, xenophobia, militarism and the role of women. Most contemporary studies look at the generic characteristics of science fiction,with its allegorical rendering of contemporary life, usually in relation to America. This book moves beyond a purely generic study, assessing European and Asian film work, discussing their varying representations of the Other, and what this reveals about popular perceptions of global culture and society. Case studies include Independence Day, Star Trek: First Contact and Until the End of the World, in addition to chapters on Eco-Apocalypse and new French sci-fi and New Manchester Ecstasy sci-fi.

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