Jest taki Urząd - Etnografia organizacji służby publicznej.pdf

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Action and Adventure Cinema - Yvonne Tasker(1).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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Historia kina amerykańskiego według Martina Scorsese_A....avi

Historia kina amerykańskiego według Martina Scorsese_A Pers...sonal Journey with Martin Scorsese Through American Movies.avi

produkcja: USA , Wielka Brytania gatunek: Dokumental ...

produkcja: USA , Wielka Brytania gatunek: Dokumentalny [1995] reżyseria Michael Henry Wilson , Martin Scorsese LEKTOR ORG. Zrealizowane na zamówienie Brytyjskiego Instytutu Filmowego z okazji 100-lecia powstania kina, dzieło Martina Scorsese, to próba osobistego podsumowania największych osiągnięć i najciekawszych nurtów w kinie. Monumentalne przedsięwzięcie, bo trwające aż 225 minut i próbujące skondensować kilkadziesiąt lat jakże obfitej gałęzi sztuki, podzielono na 3 części, które dodatkowo rozbite są na pomniejsze epizody. Scorsese opowiada najpierw jak słynne filmy oddziaływały na niego jako reżysera, by potem przybliżyć swoje opinie na temat obrazu, jako zwykły miłośnik kina. A podróż rozpoczyna się dosyć wcześnie, bo od absolutnych początków sztuki filmowej, reprezentowanych przez takich mistrzów jak D.W. Griffith, by skończyć się na roku 1969 - kiedy to Scorsese sam zaczął kręcić - jak stwierdził, dziwnie by się czuł, gdyby musiał komentować filmy swoje oraz innych, ale mu współczesnych twórców. Poza wypowiedziami Amerykanina, w obrazie usłyszymy również opinie innych wybitnych twórców, jak choćby Orson Welles czy Arthur Penn oraz zobaczymy fragmenty ich największych dzieł.

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The Complete History of American Film Criticism.pdf

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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Aliens R us the other in science fiction - edited by ....pdf

*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.

Aesthetics and film - Katherine Thomson-Jones.pdf

Aesthetics and Film is a philosophical study of the historically dominant form of moving image media. There are a number of questions raised throughout the history of film theory that have recently attracted philosophical attention. Is film an art in its

Alien sex the body and desire in cinema and theology.pdf

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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