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.

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.

Exploring the multiple aesthetic and cultural links between French and Japanese cinema, The Cinematic Influence is packed with vivid examples and case studies of films by Akira Kurosawa, Jean-Luc Godard, Hirokazu Kore-eda, Claire Denis, Naomi Kawase, Michel Gondry and many others. It illustrates the vast array of cinematic connections that mark a long history of mutual influence and reverence between filmmakers in France and Japan. The book provides new insights into the ways that national cinemas resist Hollywood to maintain and strengthen their own cultural practices and how these national cinemas perform the task of informing and enlightening other cultures about what it means to be French or Japanese. This book also deepens our understandings of film's role as a viable cultural and economic player in individual nations. Importantly, the reader will see that film operates as a form of cultural exchange between France and Japan, and more broadly, Europe and Asia. This is the first major book to investigate the crossover between these two diverse national cinemas by tracking their history of shared narrative and stylistic techniques.

Film is dead! Three little words that have been heard around the world many times over the life of the cinema. Yet, some 120 years on, the old dog's ability to come up with new tricks and live another day remains as surprising and effective as ever. This book is an exploration of film's ability to escape its own 'The End' title card. It charts the history of cinema's development through a series of crises that could, should, ought to have 'ended' it. From its origins to Covid - via a series of unlikely friendships with sound, television and the internet - the book provides industry professionals, scholars and lovers of cinema with an informing and intriguing journey into the afterlife of cinema and back to the land of the living. It is also a rare collaboration between an Oscar-winning filmmaker and a film scholar, a chronicle of their attempt to bridge two worlds that have often looked at each other with as much curiosity as doubt, but that are bound by the deep love of cinema that they both share.

Featuring a lineup of distinguished academics, this collection remedies the absence of scholarly attention to French cinematic legend Isabelle Huppert. This volume deconstructs Huppert’s star persona and public profile through critical and theoretical analysis of her various screen roles—from her very early appearances alongside Romy Schneider in César et Rosalie (Sautet, 1972) and Gérard Depardieu in Les Valseuses (1974) to a number of celebrated collaborations with high-profile European auteurs such as Catherine Breillat, Claire Denis, Jean-Luc Godard, Michael Haneke and Joseph Losey, and with more popular auteurs such as Claude Chabrol and François Ozon. Known for a cerebral internalization of characterization, a technical mastery of extreme emotions, and a singular brand of icy intellectualism, Huppert’s performances continue to impress, stun and surprise audiences. By focusing on several theoretical questions that relate to image, identity, sexuality and place, this volume situates Huppert’s star persona in the more practical creative contexts of performance, authorship, genre and collaboration. This volume contrasts complementary critical accounts of her stardom by working across the different periods and territories of her career.

Filmmakers and cinema industries across the globe invest more time, money and creative energy in projects and ideas that never get produced than in the movies that actually make it to the screens. Thousands of projects are abandoned in pre-production, halted, cut short, or even made and never distributed – a “shadow cinema” that exists only in the archives. This collection of essays by leading scholars and researchers opens those archives to draw on a wealth of previously unexamined scripts, correspondence and production material, reconstructing many of the hidden histories of the last hundred years of world cinema. Highlighting the fact that the movies we see are actually the exception to the rule, this study uncovers the myriad reasons why ‘failures’ occur and considers how understanding those failures can transform the disciplines of film and media history. The first survey of this new area of empirical study across transnational borders, Shadow Cinema is a vital and fascinating demonstration of the importance of the unmade, unseen, and unknown history of cinema.

Belfast, Beirut and Berlin are notorious for their internal boundaries and borders. As symbols for political disunion, the three cities have inspired scriptwriters and directors from diverse cultural backgrounds. Despite their different histories, they share a wide range of features central to divided cities. In each city, particular territories take on specific symbolic and psychological meanings. Following a comparative approach, this book concentrates on the cinematographic representations of Belfast, Beirut and Berlin. Filmmakers are in constant search for new ways in order to engage with urban division. Making use of a variety of genres reaching from thriller to comedy, they explore the three cities' internal and external borders, as well as the psychological boundaries existing between citizens belonging to different communities. Among the characters featuring in films set in Belfast, Berlin and Beirut we may count dangerous gunmen, prisoners' wives, soldiers and snipers, but also comic Stasi-members, punk aficionados and fake nuns. The various characters contribute to the creation of a multifaceted image of city limits in troubled times.

Going beyond a discussion of political architecture, Walled Life investigates the mediation of material and imagined border walls through cinema and art practices. The book reads political walls as more than physical obstruction, instead treating the wall as an affective screen, capable of negotiating the messy feelings, personal conflicts, and haunting legacies that make up "walled life" as an evolving signpost in the current global border regime. By exploring the wall as an emotional and visceral presence, the book shows that if we read political walls as forms of affective media, they become legible not simply as shields, impositions, or monuments, but as projective surfaces that negotiate the interaction of psychological barriers with political structures through cinema, art, and, of course, the wall itself. Drawing on the Berlin Wall, the West Bank Separation barrier, and the U.S.-Mexico border, Walled Life discovers each wall through the films and artworks it has inspired, examining a wide array of graffiti, murals, art installations, movies, photography, and paintings. Remediating the silent barriers, we erect between, and often within ourselves, these interventions tell us about the political fantasies and traumatic histories that undergird the politics of walls as they rework the affective settings of political boundaries.

Hollywood is facing unprecedented challenges a " and is changing rapidly and radically as a result. In this major new study of the contemporary film industry, leading film historian Tino Balio explores the impact of the Internet, declining DVD sales and changing consumer spending habits on the way Hollywood conducts its business. Today, the major studios play an insignificant role in the bottom lines of their conglomerate parents and have fled to safety, relying on big-budget tentpoles, franchises and family films to reach their target audiences. Comprehensive, compelling and filled with engaging case studies (TimeWarner, DreamWorks SKG, Spider Man, The Lord of the Rings, IMAX, Netflix, Miramax, Sony Pictures Classics, Lionsgate and Sundance), Hollywood in the New Millennium is a must-read for all students of film studies, cinema studies, media studies, communication studies, and radio and television.

Developing and executing marketing strategies is a vital aspect of any business and few books currently cover this with relation to creative industries. This textbook provides students and managers in the creative industries with a solid grounding in how to maximize the impact of their marketing efforts across a range of business types in the creative and cultural industries. The author, an experienced cultural marketing educator, provides sector-contextual understanding to illuminate the field by: * taking a strategic approach to developing marketing plans; * bringing together strategic planning, market research, goal setting, and marketing theory and practice; * explaining how content marketing on social media encourages a relationship with consumers so that they co-promote the creative product. With a range of learning exercises and real-life examples throughout, this text shows students how to create successful marketing plans for their creative businesses. This refreshed edition is a valuable resource for students and tutors of creative, cultural and arts marketing worldwide.

Bollywood in Britain provides the most extensive survey to date of the various manifestations and facets of the Bollywood phenomenon in Britain. The book analyzes the role of Hindi films in the British film market, it shows how audiences engage with Bollywood cinema and it discusses the ways the image of Bollywood in Britain has been shaped. In contrast to most of the existing books on the subject, which tend to approach Bollywood as something that is made by Asians for Asians, the book also focuses on how Bollywood has been adapted for non-Asian Britons. An analysis of Bollywood as an unofficial brand is combined with in-depth readings of texts like film reviews, the TV show Bollywood Star (2004) and novels and plays with references to the Bombay film industry. On this basis Bollywood in Britain demonstrates that the presentation of Bollywood for British mainstream culture oscillates between moments of approximation and distancing, with a clear dominance of the latter. Despite its alleged transculturality, Bollywood in Britain thus emerges as a phenomenon of difference, distance and Othering.

From early twentieth-century stag films to 1960s sexploitation pictures to the boom in 1970s "porno chic," adult cinema's vintage forms are now being reappraised by a new generation of historians, fans, preservationists, and home video entrepreneurs-all of whom depend on and help shape the archive of film history. But what is the present-day allure of these artifacts that have since become eroticized more for their "pastness" than the explicit acts they show? And what are the political implications of recovering these rare but still-visceral films from a less "enlightened," pre-feminist past? Drawing on media industry analysis, archival theory, and interviews with adult video personnel, David Church argues that vintage pornography retains its retrospective fascination precisely because these culturally denigrated texts have been so poorly preserved on political and aesthetic grounds. Through these films' ongoing moves from cultural emergence to concealment to rediscovery, the archive itself performs a "striptease," permitting tangible contact with these corporeally stimulating forms at a moment when the overall physicality of media objects is undergoing rapid transformation. Disposable Passions explores the historiographic lessons that vintage pornography can teach us about which materials our society chooses to keep, and how a long-neglected genre is primed for serious rediscovery as more than mere autoerotic fodder.

Neil Archer's original study makes a timely and politically-engaged intervention in debates about national cinema and national identity. Structured around key examples of 'culturally English cinema' in the years up to and following the UK's 2016 vote to leave the European Union, Cinema and Brexit looks to make sense of the peculiarities and paradoxes marking this era of filmmaking. At the same time as providing a contextual and analytical reading of 21st century filmmaking in Britain, Archer raises critical questions about popular national cinema, and how Brexit has cast both light and shadow over this body of films. Central to Archer's argument is the idea that Brexit represents not just a critical moment in how we will understand future film production, but also in how we will understand production of the recent past. Using as a point of departure the London Olympics opening ceremony of 2012, Cinema and Brexit considers the tensions inherent in a wide range of films, including Skyfall (2012), Dunkirk (2017), Their Finest (2017), Darkest Hour (2017), The Crown (Netflix, 2016), Paddington (2014), Paddington 2 (2017), Never Let Me Go (2011), Absolutely Fabulous: The Movie (2016), The Trip (2010), The Inbetweeners Movie (2011), Mr. Bean's Holiday (2007), The World's End (2013), Sightseers (2012), One Day (2011), Attack the Block (2011), King Arthur: Legend of the Sword (2017) and The Kid Who Would be King (2019). Archer examines the complex national narratives and representations these films expound, situating his analyses within the broader commercial contexts of film production beyond Hollywood, highlighting the negotiations or contradictions at play between the industrial imperatives of contemporary films and the varied circumstances in which they are made. Considering some of the ways a popular and globally-minded English cinema is finding means to work alongside and through the contexts of Brexit, he questions what are the stakes for, and possibilities of, a global 'culturally English cinema' in 2019 and beyond.

The pervasive image of New York's 42nd Street as a hub of sensational thrills, vice and excess, is from where "grindhouse cinema," the focus of this volume, stemmed. It is, arguably, an image that has remained unchanged in the mind's eye of many exploitation film fans and academics alike. Whether in the pages of fanzines or scholarly works, it is often recounted how, should one have walked down this street between the 1960s and the 1980s, one would have undergone a kaleidoscopic encounter with an array of disparate "exploitation" films from all over the world that were being offered cheaply to urbanites by a swathe of vibrant movie theatres. The contributors to Grindhouse: Cultural Exchange on 42nd Street, and Beyond consider "grindhouse cinema" from a variety of cultural and methodological positions. Some seek to deconstruct the etymology of "grindhouse" itself, add flesh to the bones of its cadaverous history, or examine the term's contemporary relevance in the context of both media production and consumerism. Others offer new inroads into hitherto unexamined examples of exploitation film history, presenting snapshots of cultural moments that many of us thought we already knew.

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.

This book explores the use of Blockchain and smart contract technologies to develop new ways to finance independent films and digital media worldwide. Using case studies of Alibaba and in-depth, on-set observation of a Sino-US coproduction, as well as research collected from urban China, Hong Kong, Europe, and the USA, Online Film Production in China Using Blockchain and Smart Contracts explores new digital platforms and what this means for the international production of creative works. This research assesses the change in media consciousness from young urban audiences, their emergence as a potential participative and creative community within dis-intermediated, decentralised and distributed crowdfunding and crowdsourcing models. This research proposes solutions on how these young emerging local creative talents can be identified and nurtured early on, particularly those who now produce creative and artistic audiovisual content whether these works are related to film, Virtual Reality (VR), video game, graphic novels, or music. Ultimately, a new media content finance and production platform implementing blockchain is proposed to bring transparency in the film sector and open doors to emerging artists in digital media. Appropriate for both professionals and academics in the film industry as well as computer science.

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.

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.

Film Distribution in the Digital Age critically examines the evolution of the landscape of film distribution in recent years. In doing so, it argues that the interlocking ecosystem(s) of media dissemination must be considered holistically and culturally if we are to truly understand the transnational flows of cultural texts.

Why is Hollywood so successful? Overwhelming almost every other national cinema and virtually extinguishing foreign cinema in the multicultural United States, Hollywood seems powerful around the globe. This book draws from political economy, cultural studies, and cultural policy analysis to highlight the material factors underlining this apparent artistic success.
This new edition brings the arguments completely up-to-date by taking into consideration important developments such as 9/11, shifts in the exchange rate, transformations in U.S. foreign policy, and significant developments in trade agreements, consumer technology, and ownership regimes. Each chapter has been substantially revised, and major new sections on India and China have been added.

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.