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Books > Arts & Architecture > Performing arts > Films, cinema
Whether on the big screen or small, films featuring the American
Civil War are among the most classic and controversial in motion
picture history. From D. W. Griffith's Birth of a Nation (1915) to
Free State of Jones (2016), the war has provided the setting,
ideologies, and character archetypes for cinematic narratives of
morality, race, gender, and nation, as well as serving as
historical education for a century of Americans. In The American
Civil War on Film and TV: Blue and Gray in Black and White and
Color, Douglas Brode, Shea T. Brode, and Cynthia J. Miller bring
together nineteen essays by a diverse array of scholars across the
disciplines to explore these issues. The essays included here span
a wide range of films, from the silent era to the present day,
including Buster Keaton's The General (1926), Red Badge of Courage
(1951), Glory (1989), Gettysburg (1993), and Cold Mountain (2003),
as well as television mini-series The Blue and The Gray (1982) and
John Jakes' acclaimed North and South trilogy (1985-86). As an
accessible volume to dedicated to a critical conversation about the
Civil War on film, The American Civil War on Film and TV will
appeal to not only to scholars of film, military history, American
history, and cultural history, but to fans of war films and period
films, as well.
Argentine Cinema: From Noir to Neo-Noir examines the phenomenon of
Argentine film noir. Beginning with definitions of film noir and
its international iterations, the book presents a history of the
development of film noir and neo-noir in Argentina (from the 1940s
to the present), as well as a technical, aesthetic, and
socio-historical analysis of such recent Argentine neo-noir films
as The Aura, The Secret in Their Eyes, and The German Doctor. It
considers the question of inscription of such classic noirs as
Double Indemnity and The Third Man and looks forward to future
scholarly work on other Latin American noir and neo-noir films,
especially those produced in Mexico and Brazil.
There are hundreds of biographies of filmstars and dozens of
scholarly works on acting in general. But what about the ephemeral
yet indelible moments when, for a brief scene or even just a single
shot, an actor's performance triggers a visceral response in the
viewer? Moment of Action delves into the mysteries of screen
performance, revealing both the acting techniques and the technical
apparatuses that coalesce in an instant of cinematic alchemy to
create movie gold. Considering a range of acting styles while
examining films as varied as Bringing Up Baby, Psycho, The Red
Shoes, Godzilla, and The Bourne Identity, Murray Pomerance traces
the common dynamics that work to structure the complex relationship
between the act of cinematic performance and its eventual
perception. Mining the spaces where subjective and objective
analyses merge, Pomerance offers both a deeply personal account of
film viewership and a detailed examination of the intuitive
gestures, orchestrated movements, and backstage maneuvers that go
into creating those phenomenal moments onscreen. Moment of Action
takes us on an innovative exploration of the nexus at which the
actor's keen skills spark and kindle the audience's receptive
energies.
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.
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