The Bosnian war of 1992-1995 was one of the most brutal conflicts to have erupted since the end of the Second World War. But although the war occurred in 'Europe's backyard' and received significant media coverage in the West, relatively little scholarly attention has been devoted to cultural representations of the conflict. Stephen Harper analyses how the war has been depicted in global cinema and television over the past quarter of a century. Focusing on the representation of some of the war's major themes, including humanitarian intervention, the roles of NATO and the UN, genocide, rape and ethnic cleansing, Harper explores the role of popular media culture in reflecting, reinforcing -- and sometimes contesting -- nationalist ideologies.

Please visit our blog to read an interview with Daisy Yan Du. This volume on Chinese animation and socialism is the first in English that introduces the insider viewpoints of socialist animators at the Shanghai Animation Film Studio in China. Although a few monographs have been published in English on Chinese animation, they are from the perspective of scholars rather than of the animators who personally worked on the films, as discussed in this volume. Featuring hidden histories and names behind the scenes, precious photos, and commentary on rarely seen animated films, this book is a timely and useful reference book for researchers, students, animators, and fans interested in Chinese and even world animation. This book originated from the Animators' Roundtable Forum (April 2017 at the Hong Kong University of Science and Technology), organized by the Association for Chinese Animation Studies.

The Ultimate Action Hero. For twenty years one man has dominated action cinema worldwide. He is adored by more fans than Stallone, Schwartzenegger or Willis and yet until recently was virtually ignored by America and the UK. All that has changed now. Welcome to the world of Jackie Chan, martial artist, comedian and stuntman. Most people associate Jackie Chan with the recent smash hit films Rush Hour and Rumble in the Bronx but there is a lot more of him to see. Jackie learnt his trade from the harsh world of Peking Opera School and began to appear in films as a child. He slowly progressed from minor roles to becoming a head stuntman and eventually lead actor in a number of kung fu movies in the 1970s. It was only when he began to direct his own films that the real Jackie Chan film was born. If you have never seen a Jackie Chan film before, you are in for one wild ride. They are a unique blend of visual comedy, incredible stunts and electrifying fights. What makes them so special is that Jackie performs all of his own stunts, no matter how crazy, no matter how dangerous. And they are dangerous. In the course of his career Jackie has broken nearly every bone in his body and come within a hair's breadth of death...No one will insure him. In this book we'll be taking a look at the world's most popular action hero - See! Jackie skateboard through rush hour traffic. Against the flow... See! Jackie fall from a tall building. Handcuffed... See! Jackie drive through a town. Literally through the town... See! Jackie run down the side of a building. While it is falling down... See! Jackie leap from the top of a car park.. Onto a balcony across the road... You'll laugh. You'll gasp. You'll wince. You've never seen anyone like Jackie Chan.

How do we approach a figure like Mario Bava, a once obscure figure promoted to cult status? This book takes a new look at Italy's 'maestro of horror' but also uses his films to address a broader set of concerns. What issues do his films raise for film authorship, given that several of them were released in different versions and his contributions to others were not always credited? How might he be understood in relation to genre, one of which he is sometimes credited with having pioneered? This volume addresses these questions through a thorough analysis of Bava's shifting reputation as a stylist and genre pioneer and also discusses the formal and narrative properties of a filmography marked by an emphasis on spectacle and atmosphere over narrative coherence and the ways in which his lauded cinematic style intersects with different production contexts. Featuring new analysis of cult classics like Kill, Baby ... Kill (1966) and Five Dolls for an August Moon (1970), Mario Bava: The Artisan as Italian Horror Auteur sheds light on a body of films that were designed to be ephemeral but continue to fascinate us today.

Through an engaging and enlightening selection of readings and articles, The Light in the Dark: The Evolution, Mechanics, and Purpose of Cinema investigates cinema from a variety of diverse perspectives. The anthology explores the technical aspects of the filmmaking process, the ways in which certain elements of cinema are creatively combined toward emotional and intellectual effect, and the myriad ways cinema both interacts with and reflects culture. The opening chapter is comprised of readings that examine the nature and origin of cinematic technique, speaking to its early development as both a commercial and artistic endeavor. The second chapter reviews the core components of filmmaking, including mise-en-scene, editing, sound design, acting, and shot composition. In the final chapter, students explore film in cultural context. The readings examine particular stages in cinema's evolution, the role and implications of complex gender constructs, and the manner in which race and racial tensions have manifested themselves in filmic narratives. A highly contemporary and accessible anthology, The Light in the Dark is an excellent resource for courses in filmmaking and film studies.

Global Horror: Hybridity and Alterity in Transnational Horror Film is an anthology textbook that challenges students to reconsider horror films through the lenses of transnational cinema, evolving technologies, and decolonial approaches to the genre. As such, the book aims to increase our awareness of horror film histories across vast geographies while examining existential questions about difference, war, and the future of life on this planet. This textbook is divided into two parts, organized by theme and geographic range. Part One includes six reprinted essays speaking on established subjects-German Expressionism, vampires, zombies, science fiction, and more-from established modes of horror film scholarship, including feminist scholarship and critique of Blaxploitation horror. Part Two includes two reprinted essays on J-horror and Korean horror film and six chapters of original writing that explore understudied areas of the genre, including Middle Eastern horror film, Indian horror film, Latin American horror film, and Indigenous (North American) horror film. A timely and complex exploration of the genre through the lens of contemporary social issues, Global Horror is an ideal textbook for courses and programs in film and cinema studies.

Contributions by Zoe Bursztajn-Illingworth, Marc DiPaolo, Emine Akkulah Do?fan, Caroline Eades, Noelle Hedgcock, Tina Olsin Lent, Rashmila Maiti, Jack Ryan, Larry T. Shillock, Richard Vela, and Geoffrey Wilson In Next Generation Adaptation: Spectatorship and Process, editor Allen H. Redmon brings together eleven essays from a range of voices in adaptation studies. This anthology explores the political and ethical contexts of specific adaptations and, by extension, the act of adaptation itself. Grounded in questions of gender, genre, and race, these investigations focus on the ways attention to these categories renegotiates the rules of power, privilege, and principle that shape the contexts that seemingly produce and reproduce them. Contributors to the volume examine such adaptations as Quentin Tarantino's Death Proof, Jacques Tourneur's Out of the Past, Taylor Sheridan's Sicario and Sicario: Day of the Soldado, Jean-Jacques Annaud's Wolf Totem, Spike Lee's He's Got Game, and Jim Jarmusch's Paterson. Each chapter considers the expansive dialogue adaptations accelerate when they realize their capacity to bring together two or more texts, two or more peoples, two or more ideologies without allowing one expression to erase another. Building on the growing trends in adaptation studies, these essays explore the ways filmic texts experienced as adaptations highlight ethical or political concerns and argue that spectators are empowered to explore implications being raised by the adaptations.

The acute processes of globalisation at the turn of the century have generated an increased interest in exploring the interactions between the so-called global cultural products or trends and their specific local manifestations. Even though cross-cultural connections are becoming more patent in filmic productions in the last decades, cinema per se has always been characterized by its hybrid, transnational, border-crossing nature. From its own inception, Spanish film production was soon tied to the Hollywood film industry for its subsistence, but other film traditions such as those in the Soviet Union, France, Germany and, in particular, Italy also determined either directly or indirectly the development of Spanish cinema. Global Genres, Local Films: The Transnational Dimension of Spanish Cinema reaches beyond the limits of the film text and analyses and contextualizes the impact of global film trends and genres on Spanish cinema in order to study how they helped articulate specific national challenges from the conflict between liberalism and tradition in the first decades of the 20th century to the management of the contemporary financial crisis. This collection provides the first comprehensive picture of the complex national and supranational forces that have shaped Spanish films, revealing the tensions and the intricate dialogue between cross-cultural aesthetic and narrative models on the one hand, and indigenous traditions on the other, as well as the political and historical contingencies these different expressions responded to.