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Books > Arts & Architecture > Performing arts > Films, cinema
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Be Italian
(Hardcover)
Jimmy Angelina, Wyatt Doyle
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R1,250
Discovery Miles 12 500
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Ships in 10 - 17 working days
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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.
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Since the 1980s the number of women regularly directing films has
increased significantly in most Western countries: in France,
Claire Denis and Catherine Breillat have joined Agnes Varda in
gaining international renown, while British directors Lynne Ramsay
and Andrea Arnold have forged award-winning careers in feature
film. This new volume in the Thinking Cinema series draws on
feminist theorists and critics from Simone de Beauvoir on to offer
readings of a range of the most important and memorable of these
films from the 1990s and 2000s, focusing as it does so on how the
films convey women's lives and identities.Mainstream entertainment
cinema traditionally distorts the representation of women,
objectifying their bodies, minimizing their agency,and avoiding the
most important questions about how cinema can 'do justice' to
female subjectivity: Kate Ince suggests that the films of
independent women directors are progressively redressing the
balance, and thereby reinvigorating both the narratives and the
formal ambitions of European cinema. Ince uses feminist
philosophers to cast a new veil over such films as Sex Is Comedy,
Morvern Callar, White Material, and Fish Tank; and includes a
timeline ofdevelopments in women's film-making and feminist film
theory from 1970 to 2011.
Darren Aronofsky's Films and the Fragility of Hope offers the first
sustained analysis of the current oeuvre of the film director,
screenwriter, and producer Darren Aronofsky. Including Pi (1998),
Requiem for a Dream (2000), The Fountain (2006), The Wrestler
(2008), Black Swan (2010), and Noah (2014), Aronofsky's filmography
is discussed with respect to his style and the themes of his films,
making astute connections with the work of other directors, other
movies and works of art, and connecting his films with other
disciplines such as math, philosophy, psychology, and art history.
Jadranka Skorin-Kapov deploys her background in philosophy and math
to analyze an American filmmaker with an individual voice, working
on both independent productions and big-budget Hollywood films.
Aronofsky is revealed to be a philosopher's director, considering
the themes of life and death, addiction and obsession, sacrifice,
and the fragility of hope. Skorin-Kapov discusses his ability to
visually present challenging intersections between art and
philosophy. Concluding with a transcript of a conversation between
the author and Aronofsky himself, Darren Aronofsky's Films and the
Fragility of Hope is a much-needed study on this American auteur.
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.
This book uses popular films to understand the convergence of crime
control and the ideology of repression in contemporary capitalism.
It focuses on the cinematic figure of the fallen guardian, a
protagonist who, in the course of a narrative, falls from grace and
becomes an enemy of the established social order. The fallen
guardian is a figure that allows for the analysis of a particular
crime control measure through the perspective of both an enforcer
and a target. The very notion of 'justice' is challenged, and
questions are posed in relation to the role that films assume in
the reproduction of policing as it is. In doing so, the book
combines a historical far-reaching perspective with popular culture
analysis. At the core remains the value of the cinematic figure of
the fallen guardian for contemporary understandings of urban space
and urban crime control and how films are clear examples of the
ways in which the ideology of repression is reproduced. This book
questions the justifications that are often given for social
control in cities and understands cinema as a medium for offering
critique of such processes and justifications. Explored are the
crime control measures of private policing in relation to RoboCop
(1987), preventative policing and Minority Report (2002), mass
incarceration in The Dark Knight Rises (2012), and extra-judicial
killing in Blade Runner 2049 (2017). The book speaks to those
interested in crime control in critical criminology, cultural
criminology, urban studies, and beyond.
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