What are the political and aesthetic dimensions of video art, documentary, and global cinema in contemporary image culture? Here, Lynes makes visible how sites of political struggle, exploitation, and armed conflict can be theorized and interpreted through a feminist politics of location, attentive to the frictions and flows within transnational circuits of exchange. Prismatic Media, Transnational Circuits traces how formal modes of experimentation provide prismatic visions of sites of political struggle - multiple, mediated points of view - and thus open space for complex and emancipatory relations among cultural producers, activists, and viewers in a globalized present.

This anthology explores the recurring trope of the dead or absent mother in Western cultural productions. Across historical periods and genres, this dialogue has been employed to articulate and debate questions of politics and religion, social and cultural change as well as issues of power and authority within the family. Astroem seeks to investigate the many functions and meanings of the dialogue by covering extensive material from the 1200s to 2014 including hagiography, romances, folktales, plays, novels, children's literature and graphic novels, as well as film and television. This is achieved by looking at the discourse both as products of the time and culture that produced the various narratives, and as part of an on-going cultural conversation that spans the centuries, resulting in an innovative text that will be of great interest to all scholars of gender, feminist and media studies.

This groundbreaking edited collection is the first major study to explore the intersection between cognitive theory and documentary film studies, focusing on a variety of formats, such as first-person, wildlife, animated and slow TV documentary, as well as docudrama and web videos. Documentaries play an increasingly significant role in informing our cognitive and emotional understanding of today's mass-mediated society, and this collection seeks to illuminate their production, exhibition, and reception. Taking an interdisciplinary approach, the essays draw on the latest research in film studies, the neurosciences, cultural studies, cognitive psychology, social psychology, and the philosophy of mind. With a foreword by documentary studies pioneer Bill Nichols and contributions from both theorists and practitioners, this volume firmly demonstrates that cognitive theory represents a valuable tool not only for film scholars but also for filmmakers and practice-led researchers.

The essays within this collection explore the possibilities and potentialities of all three positions, presenting encounters that are, at times contradictory, at other times supportive, as well as complementary. The collection thereby enriches the questions that are being raised within contemporary cinematic studies.

How can love be understood globally as a problematic transgression rather than the narrative of "happy endings" that Hollywood has offered? The contributors utilize varying methodologies of textual analysis, psychoanalytic models, and cultural critique and engage with a broad range of films to explore issues of gender identity and spectatorship.

Recounts the life and career of Croatian filmmaker Rajko Grlic in the form of a lexicon of film terms tied to anecdotes spanning Grlic's life. "I read a lot this year. Old, new, borrowed, blue. This was the best. The paradox of reading something so avidly that you can't put it down and then I got to the last 20 pages slowing down to a snail's pace and reading so slowly so that it wouldn't be over so quickly."-Mike Downey, European Film Academy From his post-Nazi-era childhood in Yugoslavia to his college years during the 1968 invasion of Prague, the Yugoslav dissolution wars, and his subsequent exile in the United States, these personal stories combine to provide insight into socialist film industries, contextualizing south Slavic film while also highlighting its contacts with Western filmmakers and film industry. From the introduction by Aida Vidan: The one hundred and seventy-seven film terms provide sometimes a direct and at other times a metaphoric path to Grlic's stories and concurrently serve as a self-referential mechanism to comment on a series of film attributes. The entries can be read in any order, allowing for the reader's own "montage" of the book's universe.... Grlic adroitly captures the absurdities and paradoxes in one's life resulting from the sort of tectonic shifts with which East European history abounds.

Even though essay films have been a key practice since the 1950s, there is scant analysis about this form in English. Part of this is likely due to the inherent difficulty of definition. The films, which foreground subjectivity and adopt an explicit, personal approach to their subject matter, can look and feel very different from one another. Their coherence as a group, however, comes into focus when contextualized as part of the larger tradition from which they draw. By looking to the literary and philosophical lineage of the essay form, Corrigan brings new clarity to a practice that, arguably, is one of the most common and successful in contemporary film culture. The Essay Film situates its investigation in the literary tradition of essayists such as Montaigne, Barthes, and Huxley before moving to an expansive discussion of filmmakers such as Derek Jarman, Allan Clark, Werner Herzog, Harun Farocki, Chantal Akerman, Chris Marker, Errol Morris, Nanni Moretti, Agnes Varda, Ross McElwee, Abbas Kiarostami, Raoul Ruiz, Lynne Sachs, and Trinh T. Minh-ha.

There is something unsettling, but also powerful, in the encounter with individual and collective experiences of human suffering. Intensive Media explores the discomfort and fascination initiated by instances of pain and suffering, their 'aversive affects', as they trouble but also vitalise contemporary media environments. In the contexts of crisis, conflict and suffering explored throughout this book, aversive affect operates micropolitically to make explicit or hide the material conditions that surround instances of pain in all its specificity. That is, in so many scenarios, personal, social and political stakes are set around the thresholds of intensity that give rise to a 'sense' of pain and the unpredictable valences of its aversive affects. It is in this sense that McCosker and his case studies develop outwards from the middle of what has been referred to as 'the problem of pain', a problem that traverses media, communication, art, sociality and politics in their confrontation with affect, biology and neurophysiology.

Martin Scorsese (b. 1942) has long been considered one of America's greatest cinematic storytellers. Over the last fifty years he has created some of the most iconic moments in American film, never afraid to confront controversial issues with passion. While few of his films are directly autobiographical, his upbringing in New York's Little Italy, the childhood asthma that kept him from playing sports, and his early desire to enter the priesthood all helped form his sensibilities and later shaped his distinct style. Community, religion, violence?these themes drive a Scorsese picture, and whether he examines the violence that bursts forth in the hand of Travis Bickle or the passion of Jesus Christ, Scorsese's mastery of the history, art, and craft of filmmaking is undeniable. This collection was originally edited by the late Peter Brunette in 1999 and is now revised and extensively updated by Robert Ribera. It traces Scorsese's evolution from the earliest days of the New American Cinema, his work with Roger Corman, and his days at New York University's film program to his efforts to preserve the legacy of cinema, his documentary work, and his recent string of successes. Among new movies discussed are The Departed, Hugo, and The Wolf of Wall Street, and the documentaries No Direction Home and The Blues. Scorsese stands out as a director, producer, scholar, preservationist, and icon. His work both behind the camera and in the service of its history are a cornerstone of American and world cinemas. In these interviews, Scorsese takes us from Elizabeth Street to the heights of Hollywood and all the journeys in between.

Tapping a rich vein of phenomenological and post-phenomenological approaches to film, this book explores how moving images are 'experienced' and 'encountered' as well as 'read' and 'viewed'. Jenny Chamarette brings theorizations of phenomenology from philosophy, psychology and anthropology, to four close studies of experimental and avant-garde moving image works by internationally recognized and widely studied contemporary French filmmakers, whose cinematic production spans the 1950s to the present day. Acknowledging the shifting ground of the cinematic across multiple media and geographies, from 35mm feature film, to video-tape, to projected installation and digital video, this volume asks how phenomenological approaches to film can help us to rethink the relationship of subjectivity to our future cinematic world.

These essays trace the "femme fatale" across literature, visual culture and cinema, exploring the ways in which fatal femininity has been imagined in different cultural contexts and historical epochs, and moving from mythical women such as Eve, Medusa and the Sirens via historical figures such as Mata Hari to fatal women in contemporary cinema.

Gothic forms of feminine fictions is a study of the powers of the Gothic in late twentieth-century fiction and film. Susanne Becker argues that the Gothic, two hundred years after it emerged, exhibits renewed vitality in our media age with its obsession for stimulation and excitement. Today's globalised entertainment culture, relying on soaps, reality TV shows, celebrity and excess, is reflected in the emotional trajectory of the Gothic's violence, eroticism and sentimental excess. Gothic forms of feminine fictions discusses a wide range of anglophone Gothic romances, from the classics through pulp fictions to a postmodern Gothica. This timely and original study is a major contribution to gender and genre theory as well as cultural criticism of the contemporary. It will appeal to scholars in a wide range of fields and become essential for students of the Gothic, contemporary fiction - particularly Alice Munro and Margaret Atwood - and popular culture. -- .

British Literature of the Blitz interrogates the patriotic, utopian ideal of the People's War by analyzing conflicted representations of class and gender in literature and film. Its subtitle - Fighting the People's War - describes how British citizens both united to fight Nazi Germany and questioned the nationalist ideology binding them together.

This book breaks new ground in providing an in-depth critical assessment of cyborg cinema, arguing that it remains one of the most intriguing and provocative cycles to have emerged in contemporary screen culture. Tracing the cinematic cyborg's transition over the last two decades and evaluating the theoretical significance attributed to this figure, it asks what relevance the cyborg continues to have in terms of understanding human identity, as well as our relationship to technology and to one another.

With a political agenda foregrounding collaborative practice to promote ethical relations, these individually and joint written essays and interviews discuss dances often with visual art, theatre, film and music, drawing on continental philosophy to explore notions of space, time, identity, sensation, memory and ethics.

September 11th, 2001 remains a focal point of American consciousness, a site demanding ongoing excavation, a site at which to mark before and after "everything" changed. In ways both real and intangible the entire sequence of events of that day continues to resonate in an endlessly proliferating aftermath of meanings that continue to evolve. Presenting a collection of analyses by an international body of scholars that examines America's recent history, this book focuses on popular culture as a profound discursive site of anxiety and discussion about 9/11 and demystifies the day's events in order to contextualize them into a historically grounded series of narratives that recognizes the complex relations of a globalized world. Essays in Reframing 9/11 share a collective drive to encourage new and original approaches for understanding the issues both within and beyond the official political rhetoric of the events of the "The Global War on Terror" and issues of national security. >

This book examines eleven horror films in-depth and their relationships to Romantic Gothic literary conventions--mainly, but not solely, found in works dating from the eighteenth and nineteenth centuries. To illustrate the use of these conventions in film, Michael Sevastakis analyzes shots from scenes and sequences of all films discussed. Due to the large quantity of horror films produced during this period, the films in this book have been selected on the basis of their supernatural and preternatural content, and upon four conventions predicated on fictional literary models dealing with the villain-hero as "Necrophile," "Modern Prometheus," "Symbol of Destiny," and "Tormented Hero." These four sections comprise eleven chapters; in addition, there is an introduction and conclusion. Some of the movies that are discussed include Tod Browning's Dracula (1931), and Devil Doll (1936), Karl Freund's The Mummy (1932), and Mad Love (1935), James Whale's Frankenstein (1931), and The Invisible Man (1933), Erle Kenton's Island of Lost Souls (1933), Ruben Mamoulian's Dr. Jekyll and Mr. Hyde (1932), abd Lambert Hillyer's Dracula's Daughter (1936).

Stars and Masculinities in Contemporary Italian Cinema is the first book to explore contemporary male stars and cinematic constructions of masculinity in Italy. Uniting star analysis with a detailed consideration of the masculinities that are dominating current Italian cinema, the study addresses the supposed crisis of masculinity.

Immerse yourself in the art and making of Aquaman, the movie chronicling Arthur Curry's path to a future reign as King of the Seven Seas. The Art and Making of Aquaman takes readers behind the scenes of the 2018 Warner Bros. Pictures film based on the popular DC character. Featuring previously unseen photographs and breathtaking concept art, this book is a must-have for any fan. Witness the epic journey of Aquaman, a Super Hero who struggles to accept his heritage as undersea royalty, in his first solo film. Follow along with the production team as these skilled artists create a unique undersea world for the big screen. Exclusive interviews highlight a comprehensive narrative that flows through this stunning collection of concept sketches, storyboards, set and costume photography, and effects imagery, giving readers an unparalleled look at the making of the film. Directed by James Wan, Aquaman features an all-star cast, with Jason Momoa, Amber Heard, Willem Dafoe, Patrick Wilson, Dolph Lundgren, Ludi Lin, Yahya Abdul-Mateen II, Temuera Morrison and Nicole Kidman.

Bela Balazs's two works, Visible Man (1924) and The Spirit of Film (1930), are published here for the first time in full English translation. The essays offer the reader an insight into the work of a film theorist whose German-language publications have been hitherto unavailable to the film studies audience in the English-speaking world. Balazs's detailed analyses of the close-up, the shot and montage are illuminating both as applicable models for film analysis, and as historical documents of his key contribution - such contemporaries as Arnheim, Kracauer and Benjamin - to critical debate on film in the 'golden age' of the Weimar silents.

Bela Balazs was a Hungarian Jewish film theorist, author, screenwriter and film director who was at the forefront of Hungarian literary life before being forced into exile for Communist activity after 1919. His German-language theoretical essays on film date from the mid-1920s to the mid-1930s, the period of his early exile in Vienna and Berlin.

Erica Carter is Professor of German Studies at the University of Warwick. Her writings on film include The German Cinema Book (co-ed. Tim Bergfelder & Deniz Gokturk, 2002), and Dietrich's Ghosts. The Sublime and the Beautiful in Third Reich Film (2004).

Rodney Livingstone is Emeritus Professor of German at the University of Southampton. He is an American Translators Association award winner for his work on Detlef Claussen's Life of Adorno: Theodor W. Adorno: One Last Genius (2008). He is well known as a translator of books by Walter Benjamin, Theodor W. Adorno, and Max Weber, among others."

The intersection between film stardom and politics is an understudied phenomenon of Fascist Italy, despite the fact that the Mussolini regime deemed stardom important enough to warrant sustained attention and interference. Focused on the period from the start of sound cinema to the final end of Fascism in 1945, this book examines the development of an Italian star system and evaluates its place in film production and distribution. The performances and careers of several major stars, including Isa Miranda, Vittorio De Sica, Amedeo Nazzari, and Alida Valli, are closely analyzed in terms of their relationships to the political sphere and broader commercial culture, with consideration of their fates in the aftermath of Fascism. A final chapter explores the place of the stars in popular memory and representations of the Fascist film world in postwar cinema.

Film, Memory and the Legacy of the Spanish Civil War reconstructs the legacy of the Spanish Civil War through an investigation of the anti-Franco guerrilla of the 1940s and 1950s. The book explores the memory of Spanish resistance fighters and their civilian supporters, concentrating on their cinematic representations in films and documentaries released between 1953 and 2010. This research fits within the emerging comparative field of Memory Studies, which has grown considerably in the last two decades. Along those lines, the efforts of civil society to understand and come to terms with the past have gathered momentum in twenty-first century Spain. One visible outcome of this determination has been the recovery of corpses from unmarked graves, which has been accompanied by a renewed interest in the cultural, historical, legal and archaeological traces of the millions who suffered under Franco's protracted dictatorship. This book sheds light especially on the silent roles played by women and children in the struggle against fascism.

This often-startlingly original book introduces a new way of thinking about color in film as distinct from existing approaches which tend to emphasize either technical processes and/or histories of film coloration, or the meaning(s) of color as metaphor or symbol, or else part of a broader signifying system. Murray Pomerance's latest meditation on cinema has the author embed himself in various ways of thinking about color; not ways of framing it as a production trick or a symbolic language but ways of wondering how the color effect onscreen can work in the act of viewing. Pomerance examines many issues, including acuity, dreaming, interrelationships, saturations, color contrasts, color and performance (color as a performance aid or even performance substitute), and more. The lavender of the photographer's seamless in Antonioni's Blow-Up taken in itself as an explosion of color worked into form, and then considered both as part of the story and part of our experience. The 14 chapters of this book each discuss a single primary color as regards to our experience of cinema. After opening the idea of such an exploration in terms of the history of our apperception and the variation in our experience that color germinates, Color it True takes form.