The Oxford Handbook of Film Music Studies charts the interdisciplinary activity around music in visual media, addressing the primary areas of inquiry: history, genre and medium, analysis and criticism, and interpretation. Chapters in Part I cover the range most broadly, from the relations of music and the soundtrack to opera and film, textual representation of film sound, film music as studied by cognitive scientists, and Hanns Eisler's work as film composer and co-author of the foundational text Composing for the Films (1947). Part II addresses genre and medium with chapters focusing on cartoons and animated films, the film musical, music in arcade and early video games, and the interplay of film, music, and recording over the past half century. The chapters in Part III offer case studies in interpretation along with extended critical surveys of theoretical models of gender, sexuality, and subjectivity as they impinge on music and sound. The three chapters on analysis in Part IV are diverse: one systematically models harmonies used in recent films, a second looks at issues of music and film temporality, and a third focuses on television. Chapters on history (Part V) cover topics including musical antecedents in nineteenth-century theater, the complex issues in sychronization of music in performance of early (silent) films, international practices in early film exhibition, and the symphony orchestra in film.

Expand your knowledge of the aesthetics, forms and meaning of motion graphics as well as the long-running connections between the American avant-garde film, video art and TV commercials. In 1960 avant-garde animator and inventor John Whitney started a company called "Motion Graphics, Inc." to make animated titles and logos. His new company crystalized a relationship between avant-garde film and commercial broadcast design/film titles. Careful discussion of historical works puts them in context, allowing their reappearance in contemporary motion graphics clear. This book includes a thorough examination of the history of title design from the earliest films through the present, including Walter Anthony, Saul Bass, Maurice Binder, Pablo Ferro, Wayne Fitzgerald, Nina Saxon, and Kyle Cooper. This book also covers early abstract film (the Futurists Bruno Corra and Arnaldo Ginna, Leopold Survage, Walther Ruttmann, Viking Eggeling, Hans Richter, Oskar Fischinger, Mary Ellen Bute, Len Lye and Norman McLaren) and puts the work of visual music pioneers Mary Hallock-Greenewalt and Thomas Wilfred in context. The History of Motion Graphics is the essential textbook and general reference for understanding how and where the field of motion graphic design came from and where it's going.

As the leading fan magazine in the postwar era, Photoplay constructed female stars as social types who embodied a romantic and leisured California lifestyle. Addressing working- and lower-middle-class readers who were prospering in the first mass consumption society, the magazine published not only publicity stories but also beauty secrets, fashion layouts, interior design tips, recipes, advice columns, and vacation guides. Postwar femininity was constructed in terms of access to commodities in suburban houses as the site of family togetherness. As the decade progressed, however, changing social mores regarding female identity and behavior eroded the relationship between idolized stars and worshipful fans. When the magazine adopted tabloid conventions to report sex scandals like the Debbie-Eddie-Liz affair, stars were demystified and fans became scandalmongers. But the construction of female identity based on goods and performance that resulted in unstable, fragmented selves remains a legacy evident in postmodern culture today.

In the minds of today's audiences, George Burns was a solo act. But in the history of show business, he will long be remembered for his work with Gracie Allen. Few performers have enjoyed so much popular and critical acclaim. Together they enjoyed phenomenal success in vaudeville, radio, television, and film. Although they were celebrities, the two performers enjoyed a life remarkably free of scandal. After the death of Allen in 1964, Burns made commercials, a music video, and an exercise video. He wrote books and won numerous awards, and his nightclub and convention appearances did not stop until shortly before his death.

Through a thoughtful biography and detailed entries, this book serves as a comprehensive reference to the careers of Burns and Allen together and individually. The biography summarizes their rise as vaudeville performers, their work in a range of media, and Burns' continued achievements after Allen's death. Sections of the book cover their work on the stage, on radio, on television, and in films. Each section provides detailed entries for their performances, including cast and credit information, plot synoposes, and review excerpts. Appendices list their awards, personal appearances, and archives; and an extensive annotated bibliography cites and discusses sources of additional information.

This first comprehensive and most in-depth history of cinematic pornography details sex in film from 100 years ago to today, concentrating on the quarter-century since Deep Throat, when pornography became a subject of popular culture.
Luke Ford is the best-known source on the porn film world today-the only journalist writing about the industry who is not also employed by it. This unique position gives Ford the objectivity to report without bias, and he is often consulted as a trusted news source on the porn industry by many major news publications.
Insightful, entertaining, and bold, A History of X takes us from the primitive film studios of the 1900s, where porn got its start as a daring experiment in sexual freedom, to the closed-door, multi-million-dollar porn-film corporations of today. Ford includes exclusive interviews with the stars, the producers, and the distributors as well as detailed data on censorship attempts from the early days to the present. He documents the controversial careers of top porn stars Marilyn Chambers, John Holmes, Linda Lovelace, Harry Reems, Gerard Damiano, Georgina Spelvin, Traci Lords, Max Hardcore, Ginger Lynn, and others, revealing both the great benefits and the tragic consequences that often come from fame and fortune in the porn industry.
He also discusses the many controversial aspects to the business, including Mafia influences, the impact of the AIDS epidemic on the industry, and the myths and realities behind child pornography.
Extensively researched and documented, A History of X is a fascinating expose of a business few dare to touch.

Tracing the evolution of Mexican literary and cultural production following the Tlatelolco massacre, this book shows its progression from a homogeneous construct set on establishing the "true" history of Tlatelolco against the version of the State, to a more nuanced and complex series of historical narratives. The initial representations of the events of 1968 were essentially limited to that of the State and that of the Consejo Nacional de Huelga (National Strike Council) and only later incorporated novels and films. Juan J. Rojo examines the manner in which films, posters, testimonios, and the Memorial del 68 expanded the boundaries of those initial articulations to a more democratic representation of key participants in the student movement of 1968.

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 the first scholarly analysis that considers the specificity of situated experiences of the maternal from a variety of theoretical perspectives. From "Fertility Day" to "Family Day," the concept of motherhood has been at the center of the public debate in contemporary Italy, partly in response to the perceived crisis of the family, the economic crisis, and the crisis of national identity, provoked by the forces of globalization and migration, secularization, and the instability of labor markets. Through essays by an international cohort of established and emerging scholars, this volume aims to read these shifts in cinematic terms. How does Italian cinema represent, negotiate, and elaborate changing definitions of motherhood in narrative, formal, and stylistic terms? The essays in this volume focus on the figures of working mothers, women who opt for a child-free adulthood, single mothers, ambivalent mothers, lost mothers, or imperfect mothers, who populate contemporary screen narratives.

This book investigates cinematic representations of the murder of European Jews and civilian opposition to Nazi occupation from the war up until the twenty-first century. The study exposes a chronology of the conflict's memorialization whose geo-political alignments are demarcated by vectors of time and space-or 'chronotopes', using Mikhail Bakhtin's term. Camino shows such chronotopes to be first defined by the main allies; the USA, USSR and UK; and then subsequently expanding from the geographical and political centres of the occupation; France, the USSR and Poland. Films from Western and Eastern Europe and the USA are treated as primary and secondary sources of the conflict. These sources contribute to a sentient or emotional history that privileges affect and construct what Michel Foucault labels biopolitics. These cinematic narratives, which are often based on memoirs of resistance fighters like Joseph Kessel or Holocaust survivors such as Primo Levi and Wanda Jakubowska, evoke the past in what Marianne Hirsch has described as 'post-memory'.

For fans of big-screen monster films, KAIDA Yuji is a very well known name. Best known for his vivid illustrations of Godzilla and other popular Toho kaiju, some of Mr KAIDA's most beautiful work is presented here in this full-color flexicover volume. This book's 128 pages are packed with lush artwork, including a brand new piece showing Godzilla in London, created especially for this book.Whether you are an admirer of this Japanese master's work or just a fan of monster movie art, this book is an essential purchase!

This book is the first anthology of research devoted to the booming world of Chinese film festivals, covering both mainstream and independent films. It also explores festivals in the Chinese-speaking world and festivals of Chinese films in the rest of the world. The book asks how Chinese film festivals function as sites of translation, translating Chinese culture to the world and world culture to Chinese-speaking audiences, and also how the international film festival model is being transformed as it is translated into the Chinese-speaking world.

Using an interdisciplinary approach, Film, History and Memory broadens the focus from 'history', the study of past events, to 'memory', the processes - individual, generational, collective or state-driven - by which meanings are attached to the past.

Leonard Nimoy and William Shatner first crossed paths as actors on the set of The Man from U.N.C.L.E. Little did they know that their next roles, in a new science-fiction television series called Star Trek, would shape their lives in ways no one could have anticipated. In seventy-nine television episodes and six feature films, they grew to know each other more than most friends could ever imagine. Over the course of half a century, Shatner and Nimoy saw each other through personal and professional highs and lows. In this powerfully emotional book, Shatner tells the story of a man who was his friend for five decades, recounting anecdotes and untold stories of their lives on and off set, as well as gathering stories from others who knew Nimoy well, to present a full picture of a rich life. As much a biography of Nimoy as a story of their friendship, Leonard is a uniquely heartfelt book written by one legendary actor in celebration of another.

Leading international scholars consider the films and legacy of Howard Hawks. Diverse contributions consider Hawks' work in relation to issues of gender, genre and relationships between the sexes, discuss key films including Rio Bravo, The Big Sleep and Red River, and address Hawks' visual style and the importance of musicality in his film-making.