This book provides a sustained engagement with contemporary Indian feature films from outside the mainstream, including Aaranaya Kaandam, I.D., Kaul, Chauthi Koot, Cosmic Sex, and Gaali Beeja, to undercut the dominance of Bollywood focused film studies. Gopalan assembles films from Bangalore, Chennai, Delhi, Kolkata, and Trivandrum, in addition to independent productions in Bombay cinema, as a way of privileging understudied works that deserve critical attention. The book uses close readings of films and a deep investigation of film style to draw attention to the advent of digital technologies while remaining fully cognizant of 'the digital' as a cryptic formulation for considering the sea change in the global circulation of film and finance. This dual focus on both the techno-material conditions of Indian cinema and the film narrative offers a fulsome picture of changing narratives and shifting genres and styles.

For decades, scholars have repeatedly found the inequity of gender representations in informational and entertainment media. Beginning with the seminal work by Gaye Tuchman and colleagues, we have repeatedly seen a systemic underrepresentation and misrepresentation of women in media. Examining the latest research in discourse and content analyses trending in both domestic and international circles, Media Disparity: A Gender Battleground highlights the progress or lack thereof in media regarding portrayals of women, across genres and cultures within the twenty-first-century. Blending both original studies and descriptive overviews of current media platforms, top scholars evaluate the portrayals of women in contemporary venues, including advertisements, videogames, political stories, health communication, and reality television."

Drawing from political sociology, pop psychology, and film studies, Cinemas of Boyhood explores the important yet often overlooked subject of boys and boyhood in film. This collected volume features an eclectic range of films from British and Indian cinemas to silent Hollywood and the new Hollywood of the 1980s, culminating in a comprehensive overview of the diverse concerns surrounding representations of boyhood in film.

Declared obscene in Japan, where it has never been shown in its entirety, Oshima Nagisa's "In the Realm of the Senses," was shown uncut at the Cannes Film Festival in 1976: thirteen screenings were required to satisfy audience demand. The unprecedented explicitness with which the film presented sexual acts inevitably caused widespread controversy. But this is not a film which sets out simply to shock. Oshima's account of a couple whose sexual obsession finds its ultimate expression in murder (based on a notorious true-life incident in 1936 Tokyo) was animated by deep political convictions. As Joan Mellen explains, Oshima wished to break with social conventions as well as the film-making culture of the past. He took a revolutionary position. Refusing to follow the lead of the masters who had gone before him (Mizoguchi, Ozu, Naruse, Kurosawa), disdaining costume drama and poignant family portraits, Oshima attacked the sense of victimhood he saw everywhere in his country's psychic make-up. "In the Realm of the Senses" is the fullest expression of this political intent. Oshima's lovers seek to combat social repression through sexual transgression--but they fail.

Roberta Piazza's book is a linguistic investigation of the dialogue of Italian cinema covering a selection of films from the 1950s to the present day. It looks at how speech is dealt with in studies of the cinema and tackles the lack of engagement with dialogue in film studies. It explores the representation of discourse in cinema -- the way particular manifestations of verbal interaction are reproduced in film. Whereas representation generally refers to the language used in texts to assign meaning to a group and its social practices, here discourse representation more directly refers to the relationship between real-life and cinematic discourse. Piazza analyses how fictional dialogue reinterprets authentic interaction in order to construe particular meanings. Beginning by exploring the relationship between discourse and genre, the second half of the book takes a topic-based approach and reflects on the themes of narrative and identity. The analysis carried out takes on board the multi-semiotic and multimodal components of film discourse. The book uses also uses concepts and methodologies from pragmatics, conversation analysis and discourse analysis.

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.

Russia's provinces have long held a prominent place in the nation's cultural imagination. Lyudmila Parts looks at the contested place of the provinces in twenty-first-century Russian literature and popular culture, addressing notions of nationalism, authenticity, Orientalism, Occidentalism, and postimperial identity. Surveying a largely unexplored body of Russian journalism, literature, and film from the late twentieth and early twenty-first centuries, Parts finds that the harshest portrayals of the provinces arise within ""high"" culture. Popular culture, however, has increasingly turned from the newly prosperous, multiethnic, and westernized Moscow to celebrate the hinterlands as repositories of national traditions and moral strength. This change, she argues, has directed debate about Russia's identity away from its loss of imperial might and global prestige and toward a hermetic national identity based on the opposition of ""us vs. us"" rather than ""us vs. them."" She offers an intriguing analysis of the contemporary debate over what it means to be Russian and where ""true"" Russians reside.

Bertrand Tavernier (b. 1941) is widely considered to be the leading light in a generation of French filmmakers who launched their careers in the 1970s, in the wake of the New Wave. In just over forty years, he has directed twenty-two feature films in an eclectic range of genres, from intimate family portrait to historical drama and neo-Western. Beginning with his debut feature--L'Horloger de Saint-Paul (1974), which won the prestigious Louis Delluc prize--Tavernier has shown himself to be a public intellectual. Like his films, he is deeply engaged with the pressing issues facing France and the world: the consequences of war, colonialism and its continuing aftermath, the price of heroism, and the power of art. A voracious cinephile, he is immensely knowledgeable about world cinema and American film in particular. Tavernier's roots are in Lyon, the birthplace of the cinema. He founded and presides over the Institut Lumiere, which hosts retrospectives and an annual film festival in the factory where the Lumiere brothers made the first films. In this collection, containing numerous interviews translated from French and available in English for the first time, he discusses the arc of his career following in the lineage of the Lumiere brothers, in that his goal, like theirs, is to ""show the world to the world."" It is no surprise, then, that an interview with Tavernier is a treat. Beginning with discussions of his own films, the interviews in this volume cover a vast range of topics. At the core are his thoughts about the ways cinema can inspire the imagination and contribute to the broadest possible public conversation.

Although Juan Domingo Peron's central role in Argentine history and the need for an unbiased assessment of his impact on his nation's cinema are beyond dispute, the existing scholarship on the subject is limited. In recent decades Argentina has witnessed a revival of serious film study, some of which has focused on the nation's classical movies and, in one case, on Peronism. None of this work has been translated into English, however.This is the first English-language book that offers an extensive assessment of Argentine cinema during first Peronism. It is also the first study in any language that concentrates systematically on the evolution of social attitudes reflected in Argentine movies throughout those years and that assesses the period's impact on subsequent filmmaking activity. By analyzing popular Argentine movies from this time through the prism of myth-second-order communication systems that present historically developed customs and attitudes as natural-the book traces the filmic construction of gender, criminality, race, the family, sports, and the military. It identifies in movies the development and evolution of mindsets and attitudes that may be construed as "Peronist." By framing its consideration of films from the Peron years in the context of earlier and later ones, it demonstrates that this period accelerates-and sometimes registers backward-looking responses to-earlier progressive mythic shifts, and it traces the development in the 1950s of a critical mindset that comes to fruition in the "new cinema" of the 1960s. Picturing Argentina: Myths, Movies, and the Peronist Vision is an important book for Latin American studies, film studies, and history collections.

A unique, exhaustively researched viewers guide to movies about Jesus that takes readers film-by-film from Olcott's silent classic From the Manger to the Cross (1912) through Dornford- May's Son of Man (2006). Drawing on his experience as a biblical scholar and teacher on religion and film, Barnes Tatum looks at Jesus films in all their dimensions: as cinematic art, literature, biblical history, and theology. A fascinating analysis of all the Jesus movies that have been made since the beginning of cinematography.

Ecology and Contemporary Nordic Cinemas uses a range of analytical approaches to interrogate how the traditional socio-political rhetoric of national cinema can be rethought through ecosystemic concerns, by exploring a range of Nordic films as national and transnational, regional and local texts--all with significant global implications. By synergizing transnational theories with ecological approaches, the study considers the planetary implications of nation-based cultural production.

This title brings Deleuze's writings on cinema into contact with world cinema, drawing on examples ranging from Georges Melies to Michael Mann. "Deleuze's Cinema books" continue to cause controversy. Although they offer radical new ways of understanding cinema, his conclusions often seem strikingly Eurocentric. "Deleuze and World Cinemas" explores what happens when Deleuze's ideas are brought into contact with the films he did not discuss, those from Europe and the USA (from Georges Melies to Michael Mann) and a range of world cinemas - including Bollywood blockbusters, Hong Kong action movies, Argentine melodramas and South Korean science fiction movies. These emergent encounters demonstrate the need for the constant adaptation and reinterpretation of Deleuze's findings if they are to have continued relevance, especially for cinema's contemporary engagement with the aftermath of the Cold War and the global dominance of neoliberal globalization.

William Wyler (1902-1981) was one of the most honored and successful directors from Hollywood's golden age. One of the film industry's most influential artists, he received three Academy Awards, twelve nominations for his direction and five nominations for his work as a producer. No film director in history has guided more actors to Academy Award nominations (thirty-one). During his fifty-year career, he directed some of Hollywood's most enduring films--among them "Ben-Hur, The Best Years of Our Lives, Funny Girl, Jezebel, The Letter, The Little Foxes, Mrs. Miniver, Roman Holiday, " and "Wuthering Heights."

"William Wyler: Interviews" spans his career and includes three previously unpublished exchanges. Despite the accolades, Wyler has not received the kind of academic and critical appraisal lavished on contemporaries such as John Ford, Orson Welles, Frank Capra, George Stevens, and Billy Wilder. In his later interviews he seems good-natured about this neglect, but it clearly rankled. He dismisses detractors by explaining that he was always interested in trying out new forms, variety being more important to him than mining the same territory.

Who exactly are the Guardians of the Galaxy? Why are the Infinity Stones so important? What's the best order to watch the films in? And are Iron Man and Captain America friends or enemies? If you've ever mixed up the different ?Thor ?movies, or you get confused by which Avengers villain is which, fear not! ?Marvel Studios: All Your Questions Answered? is the book for you - whether you want to take your very first steps into this pop-culture colossus, you have friends who are die-hard Marvel fans and seem to speak in another language, or you just want to have all of the questions answered that you've been dying to ask.

Featuring a sneak peek of the highly anticipated ?Marvel Studios' Avengers: Infinity War?, this friendly companion untangles plots and characters, film by film. Even if you've never seen a Marvel Studios movie, it's hard to miss that the Marvel Cinematic Universe is a really big deal. 10 years' worth of movies, all linked together into a vast, unique and compelling storyline. If you want to find out more but aren't sure where to start, this entertaining, illustrated book breaks down everything in a straightforward and fun way!

© 2018 MARVEL

Considered by critics to be Stanley Kubrick's masterpiece, "Barry Lyndon" has suffered from scholarly and popular neglect. Maria Pramaggiore argues that one key reason that this film remains unappreciated, even by Kubrick aficionados, is that its transnational and intermedial contexts have not been fully explored. Taking a novel approach, she looks at the film from a transnational perspective -- as a foreign production shot in Ireland and an adaptation of a British novel by an American director about an Irish subject. Pramaggiore argues that, in "Barry Lyndon," Kubrick develops his richest philosophical mediation on cinema's capacity to mediate the real and foregrounds film's relationship to other technologies of visuality, including painting, photography, and digital media. By combining extensive research into the film's source novel, production and reception with systematic textual analysis and an engagement with several key issues in contemporary academic debate, this work promises not only to make a huge impact in the field of Kubrick studies, but also in 1970s filmmaking, cultural history and transnational film practice.

Victor Perkins (1936-2016) was a foundational figure for the study of film both as a writer and as an educationalist and teacher who played a key role in establishing film within British higher education. Best known for his 1972 book Film as Film, Perkins has a worldwide reputation within film studies that has been enhanced in recent years by the interest among emerging scholars in the practices of detailed film criticism. His extensive writing in journals and edited collections, spanning sixty years, is less well known, despite its importance and quality, partly because much of it was published in small magazines with limited distribution. V. F. Perkins on Movies: Collected Shorter Film Criticism, edited by Douglas Pye, makes it possible to see his writing as a coherent body of work, developed over a long career, and to appreciate its great historical and cultural significance. Part 1 of the book covers Perkins's early articles from 1960 to 1972, showing the emergence of ways of thinking about criticism and movies that remained constant throughout his career. Perkins was one of a small group of British writers who pioneered the serious and systematic discussion of Hollywood cinema. Beginning at the University of Oxford in the pages of Oxford Opinion, and then in Movie, the journal they established in 1962, these writers mounted a sustained critique of established writing on film, arguing for a criticism rooted in the detailed decisions that make up the complex texture of a film. The work Perkins published in the 1980s and beyond, which makes up part 2 of this volume, was resolute in upholding his critical values. It elaborated his approach in studies of individual movies and their makers and also reflected on major critical and conceptual issues, while maintaining his lifelong commitment to writing accessibly in ordinary language. V. F. Perkins on Movies gives unimpeded access to one of the most distinctive and distinguished of critical voices and will be widely welcomed by academics, students of film, and informed film enthusiasts.

Fred Schepisi is one of the crucial names associated with the revival of the Australian film industry in the 1970s. The Films of Fred Schepisi traces the lead-up to his critical successes in feature filmmaking, via his earlier award-winning success as a producer in advertising commercials in the 1960s and the setting up of his own company. Unlike some directors, he derived from this experience a sure sense of the commercial aspects of filmmaking, as well as its aesthetic considerations. The volume also considers stories of his early education in a Catholic seminary, which he drew on in his semiautobiographical film, The Devil's Playground, the success of which launched him as an exciting new feature director. The volume expands on Schepisi's success story to chart his development as a director in demand in other countries, notably in the US and the UK, as well as continuing to make major films in Australia. Brian McFarlane argues that Schepisi's career is symptomatic of Australian directors who have made their presences felt on the international stage. Whereas other key directors of the Australian film revival, such as Peter Weir and Bruce Beresford, have been the subject of book-length critical studies, Schepisi's career has not to-date been so explored. McFarlane takes a critical account of Schepisi's film output-including such standouts as The Chant of Jimmie Blacksmith, Plenty, Roxanne, Six Degrees of Separation, Mr. Baseball, and Last Orders-and he augments analysis with interviews with the director. By discussing the production histories and both critical and popular receptions, McFarlane's study shines a new light on Schepisi's work and his rise to prominence in the global film industry.

The first volume in the re-launched series Shakespeare on Screen is devoted to Othello, offering up-to-date coverage of recent screen versions as well as new critical essays on older, canonical films. An international cast of authors explores not only productions from the USA and UK, but also translations, adaptations and appropriations in Quebec, Italy, India, Brazil and Mexico. The volume takes part in the ceaseless cultural investigation of what Othello says about Shakespeare, the past and our present time, supported by an invaluable film-bibliography. Accompanying free online resources include a fuller version of the bibliography and an additional contribution on YouTube versions of Othello. This book will be a valuable resource for students, scholars and teachers of film studies and Shakespeare studies.