Ingmar Bergman's rich legacy as film director and writer of classics such as The Seventh Seal, Scenes From a Marriage, and Fanny and Alexander has attracted scholars not only in film studies but also of literature, theater, gender, philosophy, religion, sociology, musicology, and more. Less known, however, is Bergman from the perspective of production studies, including all the choices, practices, and routines involved in what goes on behind the scenes. For instance, what about Bergman's collaborations and conflicts with film producers? What about his work with musicians at the opera, technicians in the television studio, and actors on the film set. What about Bergman and MeToo? In order to throw light on these issues, art practitioners such as film directors Ang Lee and Margarethe von Trotta, film and opera director Atom Egoyan, and film producer and screenwriter James Schamus are brought together with academics such as philosopher and film scholar Paisley Livingston, musicologist Alexis Luko, and playwright and performance studies scholar Allan Havis to discuss Bergman's work from their unique perspectives. In addition, Ingmar Bergman at the Crossroads provides, for the first time, in-depth interviews with Bergman's longtime collaborators Katinka Farago and Mans Reutersward, who both have first-hand experience of working intimately as producers in film and television with Bergman, covering more than 5 decades. In an open exchange between individual and institutional perspectives, this book bridges the often-rigid boundaries between theoreticians and practitioners, in turn pointing Bergman studies in new directions.

Director Steven Spielberg's Jurassic Park unleashed an island of awe-inspiring dinosaurs, captivating audiences worldwide. Grossing over $900 million worldwide, the film ushered in a whole new age of digital visual effects and would go on to enthrall generations of moviegoers. The most comprehensive book about the Jurassic Park trilogy to date, Jurassic Park: The Ultimate Visual History begins with an in-depth account of the making of Spielberg's original film, including rare and never-before-seen imagery and exclusive interviews with key creatives. Readers will then unearth the full history of the trilogy, from The Lost World: Jurassic Park to Jurassic Park III, through unprecedented access to the creative process behind the films. Fans will also find a fascinating look at the wider world of the saga, including video games, toys, comics, and more, exploring the lasting legacy of the movies and their influence on pop culture. Jurassic Park: The Ultimate Visual History will be the last word on the most epic saga in movie history-the definitive behind-the-scenes book that fans have been waiting for.

Coraline (Henry Selick, 2009) is stop-motion studio LAIKA's feature-length debut based on the popular children's novel by British author Neil Gaiman. Heralding a revival in global interest in stop-motion animation, the film is both an international cultural phenomenon and a breakthrough moment in the technological evolution of the craft. This open access collection brings together an international group of practitioners and scholars to examine Coraline's place in animation history and culture, dissect its politics, and unpack its role in the technological and aesthetic development of its medium. More broadly, it celebrates stop motion as a unique and enduring artform while embracing its capacity to evolve in response to cultural, political, and technological changes, as well as shifting critical and audience demands. Divided into three sections, this volume's chapters situate Coraline within an interconnected network of historical, industrial, discursive, theoretical, and cultural contexts. They place the film in conversation with the medium's aesthetic and technological history, broader global intellectual and political traditions, and questions of animation reception and spectatorship. In doing so, they invite recognition - and appreciation - of the fact that Coraline occupies many liminal spaces at once. It straddles the boundary between children's entertainment and traditional 'adult' genres, such as horror and thriller. It complicates a seemingly straight(forward) depiction of normative family life with gestures of queer resistance. Finally, it marks a pivotal point in stop-motion animation's digital turn. Following the film's recent tenth anniversary, the time is right to revisit its production history, evaluate its cultural and industry impact, and celebrate its legacy as contemporary stop-motion cinema's gifted child. As the first book-length academic study of this contemporary animation classic, this volume serves as an authoritative introduction and a primary reference on the film for scholars, students, practitioners, and animation fans. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.

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.

When Hammer Productions was formed in the 1920s, no one foresaw the impact this small, independent studio would have on the international film market. Christopher Lee's mesmerizing, animalistic, yet gentlemanly performance as Dracula, Frankenstein's Monster, and the Mummy were celebrated worldwide, and the Byronic qualities of Peter Cushing's Dr. Frankenstein, among his many other Hammer characters, proved impossible to forget. Hammer maintained consistant period settings, creating a timeless and enchanting aesthetic. "Studying Hammer Horror" treats Hammer as a quintessentially British product and through a study of its work investigates larger conceptions of national horror cinemas. The book examines genre, auteur theory, stardom, and representation within case studies of "Curse of Frankenstein" (1957), "Twins of Evil" (1971), and Hammer's latest film, "Beyond the Rave" (2008), and weighs Hammer's impact on the British film industry, past and present. Intended for students, fans, and general readers, this book transcends superficial preconceptions of Hammer horror in order to reach the essence of Hammer.