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Author: Robert B. Ray
Publisher: Indiana University Press
ISBN: 9780253214386
Category : Performing Arts
Languages : en
Pages : 196
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Book Description
He is a member of The Vulgar Boatmen, whose records include You and Your Sister, Please Panic, and Opposite Sex.ContentsForeword by James NaremoreImpressionism, Surrealism, and Film Theory: Path Dependence, or How a Tradition in Film Theory Gets LostThe Bordwell Regime and the Stakes of KnowledgeSnapshots: The Beginnings of PhotographyTrackingHow to Start and Avant-GardeHow to Teach Cultural StudiesThe Best Way to Understand PostmodernismThe Mystery of Edward HopperFilm and LiteratureConclusion
Author: Robert B. Ray
Publisher: Indiana University Press
ISBN: 9780253214386
Category : Performing Arts
Languages : en
Pages : 196
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Book Description
He is a member of The Vulgar Boatmen, whose records include You and Your Sister, Please Panic, and Opposite Sex.ContentsForeword by James NaremoreImpressionism, Surrealism, and Film Theory: Path Dependence, or How a Tradition in Film Theory Gets LostThe Bordwell Regime and the Stakes of KnowledgeSnapshots: The Beginnings of PhotographyTrackingHow to Start and Avant-GardeHow to Teach Cultural StudiesThe Best Way to Understand PostmodernismThe Mystery of Edward HopperFilm and LiteratureConclusion
Author: Greg Siegel
Publisher: Duke University Press
ISBN: 0822376237
Category : Social Science
Languages : en
Pages : 312
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Book Description
In Forensic Media, Greg Siegel considers how photographic, electronic, and digital media have been used to record and reconstruct accidents, particularly high-speed crashes and catastrophes. Focusing in turn on the birth of the field of forensic engineering, Charles Babbage's invention of a "self-registering apparatus" for railroad trains, flight-data and cockpit voice recorders ("black boxes"), the science of automobile crash-testing, and various accident-reconstruction techniques and technologies, Siegel shows how "forensic media" work to transmute disruptive chance occurrences into reassuring narratives of causal succession. Through historical and philosophical analyses, he demonstrates that forensic media are as much technologies of cultural imagination as they are instruments of scientific inscription, as imbued with ideological fantasies as they are compelled by institutional rationales. By rethinking the historical links and cultural relays between accidents and forensics, Siegel sheds new light on the corresponding connections between media, technology, and modernity.
Author: Robert Beverley Ray
Publisher: Oxford University Press
ISBN: 0195322916
Category : Juvenile Nonfiction
Languages : en
Pages : 423
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Book Description
Speaking about the kind of filmmaking now known as Classic Hollywood, the most popular and influential cinema ever invented, Vincente Minnelli once gave away its secret: "I feel that a picture that stays with you is made up of a hundred or more hidden things. They're things that the audience is not conscious of, but that accumulate." How would we go about finding those things? What method would enable us to retrieve them, and by doing so, to understand better how Hollywood films got made? The ABCs of Classic Hollywood attempts to answer those questions by looking closely at four movies from the 1930-1945 period when the American Studio System reached the peak of its economic and cultural power: Grand Hotel, The Philadelphia Story, The Maltese Falcon, and Meet Me in St. Louis. To avoid the predictable generalizations that have plagued Film Studies, Ray works with the movies' details, treated as initially mysterious, but promising, clues: e.g., Grand Hotel's coffin and room assignments; The Philadelphia Story's diving board and license plate PA55; The Maltese Falcon's clocks and missing bed; Meet Me in St. Louis's violinist and ribboned cat. By producing at least 26 entries for each of these films (one for every letter of the alphabet), Ray demonstrates that a movie's details contain the record of the work and ideas that produced them, the endless negotiation between commercial efficiency and seductive enchantment. In our unconscious memories, we recognize something in the movies, something tantalizing and just out of reach. This book unlocks those memories, making them conscious and explicit, so that they will help us understand the most powerful and important storytelling system ever designed.
Author: Catherine Russell
Publisher: Bloomsbury Publishing USA
ISBN: 1441107770
Category : Performing Arts
Languages : en
Pages : 98
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Book Description
Catherine Russell's highly accessible book approaches Japanese cinema as an industry closely modeled on Hollywood, focusing on the classical period - those years in which the studio system dominated all film production in Japan, from roughly 1930 to 1960. Respectful and thoroughly informed about the aesthetics and critical values of the Japanese canon, Russell is also critical of some of its ideological tendencies, and her analyses provide new insights on class and gender dynamics. Russell locates Japanese cinema within a global system of reception, and she highlights the importance of the industrial production context of these films. Including studies of landmark films by Ozu, Kurosawa and other directors, this book provides a perfect introduction to a crucial and often misunderstood area of Japanese cultural output. With a critical approach that highlights the "everydayness" of Japanese studio-era cinema, Catherine Russell demystifies the canon of great Japanese cinema, treating it with fewer auteurist and Orientalist assumptions than many other scholars and critics.
Author: Will Godfrey
Publisher: Cambridge Scholars Publishing
ISBN: 1443815187
Category : Performing Arts
Languages : en
Pages : 152
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Book Description
Crash Cinema: Representation in Film is a collection of essays that emerged from Crash Cinema an annual symposium that is an integral part of the Bradford Film Festival at the National Media Museum (UK). The symposium was created by academics and curators who share the common aim of promoting the importance of film both as an academic study and for critical public appreciation. Films can be enjoyed as entertainment, they can educate and inform and they can excite and disturb. Films are powerful pieces of culture. The films that we now ‘consume’ do more than simply amuse or horrify. Cinema not only thrills us but also communicates to us about ourselves and in the twentieth and twenty-first century moving images have become the dominant form of this communication. Bombarded by images, we inhabit a media intensive world in which every aspect of life is pervaded by visual signs. In these circumstances it becomes increasingly significant to engage with the politics of representation. Through this vital process we can acknowledge that all cultural forms, whether in high art or the mass media, are in the broadest sense political. We can also appreciate that it is a complex agenda of interests that shapes specific ideological meanings. Fulsomely equipped, we can apply this essential tool to the exciting task of decoding the political, social and cultural meanings articulated through the making, promotion and consumption of film. This book aims to offer an arena for the analysis of these representations. Representations cannot depict the ‘truth’ and the essays in this book do not claim to search for the ‘truth’. We ask whose ‘truth’ is being represented, how is it represented and why is it represented like that? We also ask how do representations tell us something about the culture within which they are created. Yet the essays in this volume are not ‘stuck’ in the representational concerns of the past and try instead to uncover the power of cinema to shock and surprise whether that be through visceral impact, subversive content, experiments with identity or the exploration of the taboo. Representation, as defined by the eleven essays in this book, is a fluid and dynamic approach to the study of film. The study of film, to which this book contributes some unique case studies, is as popular as ever and has withstood growing challenge from the new media such as CG Animations, the internet and computer, console and online gaming. This is because the pleasure of film is still the most humanistic and because the sophistication of the representations offered by cinematic expression remain ever more complex and pleasurable to decipher. This book can therefore be read by any student, academic, writer or filmmaker hooked on these delights.
Author: Mark Betz
Publisher: U of Minnesota Press
ISBN: 0816640351
Category : Performing Arts
Languages : en
Pages : 363
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Book Description
Examining European art films of the 1950s and 1960s, Mark Betz argues that it istime for film analysis to move beyond prevailing New Wave historiography, mired in outdated notions of nationalism and dragged down by decades of auteurist criticism. Focusing on the cinemas of France and Italy, Betz reveals how the flowering of European art films in the postwar era is inseparable from the complex historical and political frameworks of the time.
Author: David T. Johnson
Publisher: Indiana University Press
ISBN: 0253030129
Category : Performing Arts
Languages : en
Pages : 257
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Book Description
What role does love—of cinema, of cinema studies, of teaching and learning—play in teaching film? For the Love of Cinema brings together a wide range of film scholars to explore the relationship between cinephilia and pedagogy. All of them ask whether cine-love can inform the serious study of cinema. Chapter by chapter, writers approach this question from various perspectives: some draw on aspects of students' love of cinema as a starting point for rethinking familiar films or generating new kinds of analyses about the medium itself; others reflect on how their own cinephilia informs the way they teach cinema; and still others offer new ways of writing (both verbally and audiovisually) with a love of cinema in the age of new media. Together, they form a collection that is as much a guide for teaching cinephilia as it is an energetic dialogue about the ways that cinephilia and pedagogy enliven and rejuvenate one another.
Author: Clive Myer
Publisher: Columbia University Press
ISBN: 023150456X
Category : Performing Arts
Languages : en
Pages : 491
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Book Description
Critical Cinema: Beyond the Theory of Practice purges the obstructive line between the making of and the theorising on film, uniting theory and practice in order to move beyond the commercial confines of Hollywood. Opening with an introduction by Bill Nichols, one of the world's leading writers on nonfiction film, this volume features contributions by such prominent authors as Noel Burch, Laura Mulvey, Peter Wollen, Brian Winston and Patrick Fuery. Seminal filmmakers such as Peter Greenaway and Mike Figgis also contribute to the debate, making this book a critical text for students, academics, and independent filmmakers as well as for any reader interested in new perspectives on culture and film.
Author: John Richardson
Publisher: Oxford University Press
ISBN: 0195367367
Category : Music
Languages : en
Pages : 336
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Book Description
In An Eye for Music, John Richardson navigates key areas of current thought - from music theory to film theory to cultural theory - to explore what it means that the experience of music is now cinematic, spatial, and visual as much as it is auditory.
Author: Murray Pomerance
Publisher: Edinburgh University Press
ISBN: 0748693572
Category : Performing Arts
Languages : en
Pages : 224
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Book Description
The various essays in this volume, all written by prominent experts in the field, offer critical discussions of every feature film Cukor directed and include a rich trove of valuable information about their production histories.
