Black And White Bioscope recovers a neglected chapter in the histories of world cinema and Africa. It tells the story of movie production in Africa that long predated francophone African films and Nollywood that are the focus of most histories of this industry.

At the same time as Hollywood was starting, a film industry in Southern Africa was surging ahead in integrating production, distribution, and exhibition. African Film Productions Limited made silent movies using technical and acting talent from Britain, the United States, and Australia, as well as from Africa. These included not only the original “long trek movie” and the prototype for the movies Zulu and Zulu Dawn but also the first King Solomon's Mines and the original Blue Lagoon, featuring African actors such as Goba, Tom Zulu, and Msoga Mwana, who starred as the black revolutionary in Prester John.

In this lavishly illustrated book, fifty movies are reconstructed with graphic photographs and plot synopses—plus quotations from reviews—so that readers can rediscover this long-lost treasure trove of silent cinema.

A unique cocktail of personal memoir, cultural criticism and Hollywood history by the one and only Quentin Tarantino.

In addition to being among the most celebrated of contemporary filmmakers, Quentin Tarantino is possibly the most joyously infectious movie lover alive. For years he has touted in interviews his eventual turn to writing books about films. Now, with CINEMA SPECULATION, the time has come, and the results are everything his passionate fans - and all movie lovers - could have hoped for.

Organized around key American films from the 1970s, all of which he first saw as a young moviegoer at the time, this book is as intellectually rigorous and insightful as it is rollicking and entertaining.

At once film criticism, film theory, a feat of reporting, and wonderful personal history, it is all written in the singular voice recognizable immediately as QT's and with the rare perspective about cinema possible only from one of the greatest practitioners of the artform ever.

Where is the place of the voice in film? Where others have focused on Hollywood film, this volume aims to extend the field to other cinemas from around the world, encompassing Latin America, Asia and Africa amongst others. Traditional theoretical accounts, based on classical narrative cinema, examine the importance of the voice in terms of a desired perfect match between visuals and sonic effects. But, as the chapters of this volume illustrate, what is normative in one film industry may not apply in another. The widespread practices of dubbing, postsynch sound and "playback singing" in some countries, for instance, provide an alternative means of understanding the location of the voice in the soundtrack. Through seventeen original chapters, this volume situates the voice in film across a range of diverse national, transnational and cultural contexts, presenting readings which challenge traditional readings of the voice in film in exciting new ways. By taking a comparative view, this volume posits that the voice may be best understood as a mobile object, one whose trajectory follows a broader network of global flows. The various chapters explore the cultural transformations the voice undergoes as it moves from one industry to another. In doing so, the volume addresses sound practices which have been long been neglected, such as dubbing and non-synch sound, as well the ways in which sound technologies have shaped nationally specific styles of vocal performance. In addressing the place of the voice in film, the book intends to nuance existing theoretical writing on the voice while applying these critical insights in a global context.

Marlene Dietrich and Leni Riefenstahl, born less than a year apart, lived so close to each other that Riefenstahl could see into Dietrich's Berlin flat. Coming of age in the Weimar Republic, both sought fame in Germany's silent film industry. While Dietrich's depiction of Lola Lola in The Blue Angel catapulted her to Hollywood stardom, Riefenstahl-who missed out on the part-insinuated herself into Hitler's inner circle and directed Nazi propaganda films, most famously, Triumph of the Will. Dietrich could never truly go home again, while Riefenstahl was contaminated by her political associations. Moving deftly between two stories never before told together, Karin Wieland contextualises these lives, chronicling revolutions in politics, fame and sexuality on a grand stage.

'One of the best business books I've read in years.' BILL GATES THE #1 NEW YORK TIMES BESTSELLER A SUNDAY TIMES BOOK OF THE YEAR 2019 _____________________________ The CEO of Disney, one of Time's most influential people of 2019, shares the ideas and values he embraced to reinvent one of the most beloved companies in the world and inspire the people who bring the magic to life. Robert Iger became CEO of The Walt Disney Company in 2005, during a difficult time. Morale had deteriorated, competition was intense, and technology was changing faster than at any time in the company's history. His vision came down to three clear ideas: Recommit to the concept that quality matters, embrace technology instead of fighting it, and think bigger-think global-and turn Disney into a stronger brand in international markets. Fourteen years later, Disney is the largest, most respected media company in the world, counting Pixar, Marvel, Lucasfilm and 21st Century Fox among its properties. Its value is nearly five times what it was when Iger took over, and he is recognized as one of the most innovative and successful CEOs of our era. In The Ride of a Lifetime, Robert Iger shares the lessons he's learned while running Disney and leading its 200,000 employees, and he explores the principles that are necessary for true leadership, including: Optimism. Even in the face of difficulty, an optimistic leader will find the path toward the best possible outcome and focus on that, rather than give in to pessimism and blaming. Courage. Leaders have to be willing to take risks and place big bets. Fear of failure destroys creativity. Decisiveness. All decisions, no matter how difficult, can be made on a timely basis. Indecisiveness is both wasteful and destructive to morale. Fairness. Treat people decently, with empathy, and be accessible to them. 'Bob Iger has not only lived up to ninety-six years of groundbreaking history but has moved the Disney brand far beyond anyone's expectations, and he has done it with grace and audacity. This books shows you how that happened.' STEVEN SPIELBERG

Certain films seem to encapsulate perfectly the often abstract ethical situations that confront the media, from truth-telling and sensationalism to corporate control and social responsibility. Using these movies--including "Ace in the Hole," "All the President's Men," "Network," and "Twelve Angry Men"--as texts, authors Howard Good and Michael Dillon demonstrate that, when properly framed and contextualized, movies can be a powerful lens through which to examine media practices.

Moreover, cinema can present human moral conduct for evaluation and analysis more effectively than a traditional case study can. By presenting ethical dilemmas and theories within a dramatic framework, "Media Ethics Goes to the Movies" offers a unique perspective on what it means for media professionals to be both technically competent and morally informed.

One of the most significant contributors to the early years of the motion picture industry, Harold Lloyd was also a shrewd businessman and became the wealthiest man in Hollywood at the peak of his career. Perhaps more than any other major star of the silent era, his characters mirrored his times and captivated his contemporaries. His experiments with camera placement and motion were vital to the evolution of filmmaking techniques. This book includes a short biography of Lloyd and detailed information about all of his performances. The biography overviews his childhood, his adolescent stage career, his work in silent and talking pictures, his family life, and the work of his major contemporaries. A chapter on his film work includes entries for all of his shorts and features, including cameo roles and newsreels. Other chapters describe Lloyd's radio and television work, sheet music and recordings inspired by his films, and his many awards and honors. An annotated bibliography cites books, magazines, newspapers, oral histories, and interviews. Eleven photographs illustrate his work.

A riotous and revealing story of Hollywood’s most spectacular flops and how they ended careers, bankrupted studios and changed film history.

From grand follies to misunderstood masterpieces, disastrous sequels to catastrophic literary adaptations, Box Office Poison tells a hugely entertaining alternative history of Hollywood, through a century of its most notable flops. What can these films tell us about the Hollywood system, the public’s appetite–or lack of it–and the circumstances that saw such flops actually made? Away from the canon, this is the definitive take on these ill-fated, but essential celluloid failures.

Robey covers a vast century of flops, including: Intolerance; Queen Kelly; Freaks; Sylvia Scarlett; The Magnificent Ambersons; Land of the Pharoahs; Doctor Dolittle; Sorcerer; Dune; The Adventures of Baron Munchausen; Nothing But Trouble; The Hudsucker Proxy; Cutthroat Island; Speed 2: Cruise Control; Babe: Pig in the City; Supernova; Rollerball; The Adventures of Pluto Nash; Gigli; Alexander; Catwoman; A Sound of Thunder; Speed Racer; Synecdoche, New York; Pan; and Cats.

From Daily Telegraph film critic Tim Robey, this is a brilliantly fun exploration of human nature and stupidity in some of the greatest film flops throughout history.

This book is thorough, well organized, and useful. It establishes background on the Australian understanding of the American dream, Austalian photography, image, and subject matter, and American influence on Australian cinema. Brief chapters summarize film theory, applicable mass communication theory, and financial practices of the Australian motion picture industry. Choice . . . presents an examination of major movies made in Australia in the late 1970s and early 1980s. The author argues that part of the reason for the success of Australian cinema in recent years may lie with America's identification with a simpler culture, an almost `wild west' atmosphere. To explore his thesis the author first offers a short history of the Australian cinema, and then a theory of film as mass communication. Communication Booknotes Lewis introduces Australian films from the 1920's and 30's and then focuses on thirty films produced between 1975 and 1987. He suggests that part of the reason for Australia's film success may lie in America's identification with a simpler culture and the portrayal of wild west type territory which is often found in Australian films. He also points out that various aspects of American culture have seeped into Australian culture and now appear in their films, making them more appealing to an American audience. He concludes this insightful study with a projection analysis for the future of Australian cinema. With its up-to-date content and analytical approach, this book will be valuable to anyone concerned with mass communication and society, cinema studies, media, or U.S.-Australian relations.

Over the past decade, there has been a huge increase in ordinary people's access to video production technology. These essays explore the theoretical significance of this trend and its impact on society, as well as examining a wide range of case studies, from camcorders and camera phones to YouTube and citizen journalism --Provided by publisher.

Transnational Cinematography Studies introduces new perspectives to the discipline of film and media studies. First, this volume focuses on a crucial yet largely unexplored area in film and media studies: the substantial communication between critical studies of cinema and film production practices. This book integrates theories and practices of cinematographic technology. Secondly, Transnational Cinematography Studies expands the scope of film and media studies into the arena of transnationalism. Cinema is now discussed in terms of globalization of audio-visual cultures, with regard to such issues as Hollywood film studios' so-called "runaway productions" and multi-national co-productions; Hollywood remakes of Asian horror films or Hong-Kong martial arts films; and the growing significance of international film festivals. However, this volume proposes that globalization is not in itself new in the history of cinema, and that cinema has always been at the forefront of transnational culture from the beginning of its history.

The Annual Index to Motion Picture Credits covers films eligible for the Academy Awards, as well as other films, released in the Los Angeles area, which do not meet the Academy's requirements. Each film entry includes title, production and releasing companies, approximate completion date, running time, MPAA rating, producer, director, art director, cinematographer, film editor, costume designer, sound, music, writers, and cast. In addition to the complete entry, many elements are indexed: by ten major crafts (actors, art direction, cinematographers, costume designers, directors, film editors, music, producers, sound, and writers) showing individual name and films; by releasing company; by individual name with reference to the craft and film; and by character name. Choice magazine described an earlier edition of the Annual Index to Motion Picture Credits as well done. Recommended for all large libraries.

In 1985, Universal Pictures released Terry Gilliam's film, Brazil, under protest. Gilliam had mounted the first director's guerilla campaign against a major Hollywood studio to circumvent his mo being sliced to bits or shelved. LA Times film writer and writer Jack Mathews was right in the th the battle, acting as intermediary between the President of Universal, Sid Sheinberg and Gilliam and producer Arnon Milchan. This is a blow-by-blow account of that epic and historic fight as it happene 1985 as well as from the more sober perspective of a dozen years after.

Mix one American director with a German producer on a period extravaganza, set the locations in Italy and Spain and start the cameras rolling without enough money to do the job. Then sit back and watch disaster strike. That is the scenario Andrew Yule has painstakiingly reconstructed. The more problems and reverses, the greater our interest: costly postponements, overwhelming language difficulties, elephants and tigers turning on their trainers, illnesses, sets not being ready, special effects breaking down and cameo stars (from Marlon Brando to Sean Connery) backing out of the project. You name it, Andrew Yule reports it!

In the first book-length study of this topic, D.W. McKiernan examines the way mainstream commercial cinema represents society's complex relationship with the idea and practice of community in the context of rapidly changing social conditions. Films examined include "Fond Kiss," "The Idiots" and "Monsoon Wedding."

From Hollywood blockbusters to art films, distributors play an important role in getting films in front of audiences and thus in shaping the nature of film culture. Of central concern to "Reaching Audiences" are the distribution practices developed to counter Hollywood's dominance of the marketplace, designed to ensure audiences have access to a more diverse moving image culture. Through a series of case studies, the book tracks the inventive distribution and exhibition initiatives developed over the last forty years by small companies on the periphery of the United Kingdom's film industry--practices now being replicated by a new generation of digital distributors. Although largely invisible to outsiders, the importance of distribution networks is widely recognized in the industry, and this book is a key contribution to our understanding of the role they play.

This book describes and critically addresses the innovations and shifts made in the revision of the Audiovisual Media Services Directive (AVMSD) adopted by the European Parliament and Council in 2018. Reflecting on European Union regulation and policy practice in all its Member States, the book's unique approach places in-depth case study topics against the broader theoretical background. Taking a Europe-wide angle, an international team of authors focuses on key aspects of the AVMSD: the expansion of its scope to include video-sharing-platforms such as YouTube; the update of the rules for commercial communications; the first attempt for harmonized, minimal requirements at EU level regarding transparency of media ownership; new rules to ensure that video-on-demand services offer, invest in, and prioritise European content; the obligation on television distributors and smart TV manufacturers to pass on broadcasters' signal without any interference, alteration or modification; and, the formalisation and consolidation of new forms of collaboration among national regulatory authorities. This thorough analysis of the cornerstone of European media policy makes this edited collection a crucial reference for scholars and students of media and cultural industries, media law and policy, European and EU media policy, and technology studies.

This title combines, in a unique and innovative way, analytical approaches from literary narratology, film studies and new media studies.This title examines the recent cinematic trend of 'modular' narrative form, in which the temporal flow of the narrative is disrupted. It identifies and describes four different models of cinematic modular narrative. There is increasing academic interest in the topic of narrative complexity in film, illustrated by significant recent attention in journal articles, but this is the first monograph to study the phenomenon exclusively. It combines analytical approaches from literary narratology, film studies and new media studies. It includes analysis of a number of 'cult' films that are popular among film students both in the UK and the US e.g. Run Lola Run, 21 Grams, and Memento.Since the early 1990s there has been a trend towards narrative complexity within popular cinema. This book examines a number of contemporary films that play overtly with narrative structure, raising questions of chance and destiny, memory and history, simultaneity and the representation of time.

- A new edition of a successful textbook on an established, growing and core area of film study, this book is specifically aimed at students taking film business courses. - The only book to look at the film business outside of Hollywood and to teach how to finance films within an international context. - Includes real life examples and case studies from UK, Europe and the USA, including new dedicated chapters on Netflix and the Chinese Film Industry.

"The most detailed and up-to-date book on independent cinema, an invaluable reference work." - Molly Haskell, "Washington Post"

"Thoughtful and substantial." - Stuart Klawans, "The Nation"

"An indispensable text for anyone who wants to understand the independent world." - David Ansen of "Newsweek"

"At a time when independent American films are more visible and important than ever before, this is an invaluable study. Emanuel Levy's writing is wise, passionate, and amazingly well-informed." - Roger Ebert

"The time is ripe for an intelligent, informed, well-organized book on the world of independent cinema - and Emanuel Levy has given us just that." - Leonard Maltin

A Los Angeles Times Bestseller

The most important development in American culture of the last two decades is the emergence of independent cinema as a viable alternative to Hollywood. Indeed, while Hollywood's studios devote much of their time and energy to churning out big-budget, star-studded event movies, a renegade independent cinema that challenges mainstream fare continues to flourish with strong critical support and loyal audiences.

Cinema of Outsiders is the first and only comprehensive chronicle of contemporary independent movies from the late 1970s up to the present. From the hip, audacious early works of maverick David Lynch, Jim Jarmusch, and Spike Lee, to the contemporary Oscar-winning success of indie dynamos, such as the Coen brothers ("Fargo"), Quentin Tarentino ("Pulp Fiction"), and Billy Bob Thornton ("Sling Blade"), Levy describes in a lucid and accessible manner the innovation and diversity of American indies in theme, sensibility, and style.

Documenting the socio-economic, political and artistic forces that led to the rise of American independent film, Cinema of Outsiders depicts the pivotal role of indie guru Robert Redford and his Sundance Film Festival in creating a showcase for indies, the function of film schools in supplying talent, and the continuous tension between indies and Hollywood as two distinct industries with their own structure, finance, talent and audience.

Levy describes the major cycles in the indie film movement: regional cinema, the New York school of film, African-American, Asian American, gay and lesbian, and movies made by women. Based on exhaustive research of over 1,000 movies made between 1977 and 1999, Levy evaluates some 200 quintessential indies, including "Choose Me," "Stranger Than Paradise," "Blood Simple," "Blue Velvet," "Desperately Seeking Susan," "Slacker," "Poison," "Reservoir Dogs," "Gas Food Lodging," "Menace II Society," "Clerks," "In the Company of Men," "Chasing Amy," "The Apostle," "The Opposite of Sex," and "Happiness,"

Cinema of Outsiders reveals the artistic and political impact of bold and provocative independent movies in displaying the cinema of "outsiders"-the cinema of the "other America."

This volume provides a collection of original essays from leading scholars in the field exploring the contemporary debates, concerns and controversies ongoing in Spanish film industry, culture and scholarship. The essays reveal the far-reaching shifts that have occurred in the Spanish film scene, making essential reading for all interested in European cinema.

The Companion Encyclopedia of Middle Eastern and North African Film is a unique, one volume work which illuminates a fascinating variety of cinema which is little known outside its own area. The Encyclopedia is divided into nine chapters, each written by a leading scholar in the field. Each chapter covers the history and major issues of film within that area, as well as providing bibliographies of the leading films, directors and actors. The areas covered are: Central Asia, Egypt, Iran, Lebanon, Syria, Iraq, Kuwait, Libya, The Magreb, Palestine, Turkey. This Encyclopedia will be an invaluable reference tool for students and scholars of Film and Media Studies. It contains more than 60 black and white photographs of featured films, includes references and suggestions for further reading at the end of each chapter, and the volume concludes with comprehensive name, film and general indexes.

eBook available with sample pages: 0203426495

Provides an introduction to the products and context of the new Australian film industry which arose toward the end of the 1960s. Traces the development of Australian film, in terms of prominent directors and stars, consistent themes, styles and evolving genres. The evolution of the film genres peculiar to Australia, and the adaptation of conventional Hollywood forms (such as the musical and the road movie) are examined in detail through textual readings of landmark films. Films and trends discussed include: the period film and Picnic at Hanging Rock; the Gothic film and the Mad Max trilogy; camp and kitsch comedy and the Adventures of Pricilla, Queen of the Desert. The key issue of the revival (the definition, representation and propagation of a national image) is woven through analysis of the new Australian cinema. -- .