Classical Film Violence PDF Download
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Author: Stephen Prince
Publisher: Rutgers University Press
ISBN: 9780813532813
Category : Performing Arts
Languages : en
Pages : 350
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Book Description
Examines the interplay between the aesthetics and the censorship of violence in classic Hollywood films from 1930 to 1968, the era of the Production Code, when filmmakers were required to have their scripts approved before they could start production. A stylistic history of American screen violence that is grounded in industry documentation. [back cover].
Author: Stephen Prince
Publisher: Rutgers University Press
ISBN: 9780813532813
Category : Performing Arts
Languages : en
Pages : 350
Get Book Here
Book Description
Examines the interplay between the aesthetics and the censorship of violence in classic Hollywood films from 1930 to 1968, the era of the Production Code, when filmmakers were required to have their scripts approved before they could start production. A stylistic history of American screen violence that is grounded in industry documentation. [back cover].
Author: J. David Slocum
Publisher: Routledge
ISBN: 1135204918
Category : Performing Arts
Languages : en
Pages : 320
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Book Description
American cinema has always been violent, and never more so than now: exploding heads, buses that blow up if they stop, racial attacks, and general mayhem. From slapstick's comic violence to film noir, from silent cinema to Tarantino, violence has been an integral part of America on screen. This new volume in a successful series analyzes violence, examining its nature, its effects, and its cinematic and social meaning.
Author: Stephen Prince
Publisher: Rutgers University Press
ISBN: 081354257X
Category : Performing Arts
Languages : en
Pages : 281
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Book Description
In this volume, Stephen Prince has collected essays reviewing the history of the horror film and the psychological reasons for its persistent appeal, as well as discussions of the developmental responses of young adult viewers and children to the genre. The book focuses on recent postmodern examples such as The Blair Witch Project. In a daring move, the volume also examines Holocaust films in relation to horror. Part One features essays on the silent and classical Hollywood eras. Part Two covers the postWorld War II era and discusses the historical, aesthetic, and psychological characteristics of contemporary horror films. In contrast to horror during the classical Hollywood period, contemporary horror features more graphic and prolonged visualizations of disturbing and horrific imagery, as well as other distinguishing characteristics. Princes introduction provides an overview of the genre, contextualizing the readings that follow. Stephen Prince is professor of communications at Virginia Tech. He has written many film books, including Classical Film Violence: Designing and Regulating Brutality in Hollywood Cinema, 19301968, and has edited Screening Violence, also in the Depth of Field Series.
Author: Stephen Prince
Publisher: A&C Black
ISBN: 9780485300956
Category : Philosophy
Languages : en
Pages : 294
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Book Description
Following the release in 1967 of "Bonnie and Clyde" and "The Dirty Dozen", violence has been seen as a defining feature of the modern film. Is it art or exploitation? Danger or liberation? This volume provides an exmination of the history and effects of graphic violence on film.
Author: Alison Young
Publisher: Routledge
ISBN: 1134008724
Category : History
Languages : en
Pages : 196
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Book Description
A crucial question in the analysis of legal practices concerns the processes of identification with, in and as law – a question of how and by what route law achieves its ends. While it is conventional to interpret the practices of law through the institutional sources of the legal tradition, The Scene of Violence considers how law and legal practices figure in the cultural field; and, specifically, in film.
Author: D. Sullivan
Publisher: Springer
ISBN: 1137276894
Category : Performing Arts
Languages : en
Pages : 393
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Book Description
Mortality is a recurrent theme in films across genres, periods, nations, and directors. This book brings together an accomplished set of authors with backgrounds in film analysis, psychology, and philosophy to examine how the knowledge of death, the fear of our mortality, and the ways people cope with mortality are represented in cinema.
Author: Eric Lichtenfeld
Publisher: Wesleyan University Press
ISBN: 9780819568014
Category : Performing Arts
Languages : en
Pages : 408
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Book Description
An authoritative and entertaining history of the action film
Author: Joram ten Brink
Publisher: Columbia University Press
ISBN: 0231850247
Category : Performing Arts
Languages : en
Pages : 345
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Book Description
Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them
Author: Ellen C. Scott
Publisher: Rutgers University Press
ISBN: 0813571375
Category : Performing Arts
Languages : en
Pages : 269
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Book Description
From Al Jolson in blackface to Song of the South, there is a long history of racism in Hollywood film. Yet as early as the 1930s, movie studios carefully vetted their releases, removing racially offensive language like the “N-word.” This censorship did not stem from purely humanitarian concerns, but rather from worries about boycotts from civil rights groups and loss of revenue from African American filmgoers. Cinema Civil Rights presents the untold history of how Black audiences, activists, and lobbyists influenced the representation of race in Hollywood in the decades before the 1960s civil rights era. Employing a nuanced analysis of power, Ellen C. Scott reveals how these representations were shaped by a complex set of negotiations between various individuals and organizations. Rather than simply recounting the perspective of film studios, she calls our attention to a variety of other influential institutions, from protest groups to state censorship boards. Scott demonstrates not only how civil rights debates helped shaped the movies, but also how the movies themselves provided a vital public forum for addressing taboo subjects like interracial sexuality, segregation, and lynching. Emotionally gripping, theoretically sophisticated, and meticulously researched, Cinema Civil Rights presents us with an in-depth look at the film industry’s role in both articulating and censoring the national conversation on race.
Author: Jon Towlson
Publisher: McFarland
ISBN: 0786494743
Category : Performing Arts
Languages : en
Pages : 241
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Book Description
Critics have traditionally characterized classic horror by its use of shadow and suggestion. Yet the graphic nature of early 1930s films only came to light in the home video/DVD era. Along with gangster movies and "sex pictures," horror films drew audiences during the Great Depression with sensational content. Exploiting a loophole in the Hays Code, which made no provision for on-screen "gruesomeness," studios produced remarkably explicit films that were recut when the Code was more rigidly enforced from 1934. This led to a modern misperception that classic horror was intended to be safe and reassuring to audiences. The author examines the 1931 to 1936 "happy ending" horror in relation to industry practices and censorship. Early works like Murders in the Rue Morgue (1932) and The Raven (1935) may be more akin to The Texas Chain Saw Massacre (1974) and Hostel (2005) than many critics believe.
