In "Making Settler Cinemas," Peter Limbrick argues that the United States, Australia, and New Zealand share histories of colonial encounters that have shaped their cinemas in distinctive ways. Going beyond readings of narrative and representation, this book studies the production, distribution, reception, and reexhibition of cinema across three settler societies under the sway of two empires. Investigating films both canonical and overlooked, "Making Settler Cinemas "not only shows how cinema has mattered to settler societies but affirms that practices of film history can themselves be instrumental in encountering and reshaping colonial pasts.""

Cinema--invented just before psychoanalysis formally developed--primed the public and scholars to rethink ideas about dreams. The author describes how surrealist artists purposely applied Freudian dream theories to their art to make the public aware of modern ideas about dreams. Most of our current cultural consciousness about the psychological value of dreams is traced to classical and contemporary cinema. This work examines how residuals of past approaches to dreams make conceptions of dreams in psychoanalysis and science more complex than ever today.

Scholars and students in the fields of psychology, psychiatry, cinema, medicine, and religion may find this volume useful. The book also examines academic psychiatry's increased emphasis in dream study on neuropsychiatry and psychopharmocology, as well as managed care's decreased compensation for dream therapy.

Although the exploration of space has long preoccupied authors and filmmakers, the development of an actual space program, discoveries about the true nature of space, and critical reconsiderations of America's frontier experiences have challenged and complicated conventional portrayals of humans in space. This volume reexamines the themes of space and the frontier in science fiction in light of recent scientific and literary developments. From this new perspective, we discern previously unnoticed commentaries from older authors, while newer writers either remain within a reassuring but obsolete tradition, venture into unexplored new realities, or abandon space to focus on other frontiers.

The intriguing contributions to this volume include a previously unpublished interview with Arthur C. Clarke, the world's greatest living author of science fiction; examinations of space opera by veteran author Jack Williamson and scholar David Pringle; surveys of space in science fiction film, and writer and producer Michael Cassutt's account of his efforts to launch a film based on a Clifford D. Simak novel; and speculations about future developments from noted writers Gregory Benford, Jack Dann, James Gunn, and Howard V. Hendrix.

Hollywood's South Seas and the Pacific War explores the expectations, experiences, and reactions of Allied servicemen and women who served in the wartime Pacific. Viewing the South Pacific through the lens of Hollywood's South Seas, Americans and their Allies expected to find glamorous women who resembled the famous 'sarong girl, ' Dorothy Lamour. But Dorothy was nowhere to be seen. Despite those disappointments popular images proved resilient, and at war's end the 'old' South Seas re-emerged almost unscathed. Based on extensive archival research, Hollywood's South Seas and the Pacific War explores the intersections between military experiences and cultural history.

Providing new and challenging ways of understanding the medieval in the modern and vice versa, The Medieval Motion Picture: The Politics of Adaptation highlights how medieval aesthetic experience breathes life into contemporary cinema. Engaging with the subject of time and temporality, the essays examine the politics of adaptation and our contemporary entanglement with the medieval: not only in overtly medieval-themed films but also in such diverse genres as thrillers, horror films, performance animation, and even science fiction. Among the films and TV shows discussed are productions such as HBO's award winning series Game of Thrones, Francis Ford Coppola's Bram Stoker's Dracula, Akira Kurosawa's Ran, and M. Night Shyamalan's The Sixth Sense.

Reading a Japanese Film, written by a pioneer of Japanese film studies in the United States, provides viewers new to Japanese cinema with the necessary tools to construct a deeper understanding of some of the most critically acclaimed and thoroughly entertaining films ever made. In her introduction, Keiko McDonald presents a historical overview and outlines a unified approach to film analysis. Sixteen "readings" of films currently available on DVD with English subtitles put theory into practice as she considers a wide range of work, from familiar classics by Ozu and Kurosawa to the films of a younger generation of directors.

This is the first book-length consideration of music in British films to appear in sixty years. During the 1930s, British-made musicals were the most popular films seen by British audiences while British film music produced some outstanding pieces that became concert hall classics. This book addresses music in British films, both as musical scores (in the first half of the book) and as British film musicals (the second half). Each section will start with a detailed chronological review history.

This book investigates a Jewish orientation to film culture in interwar Britain. It explores how pleasure, politics and communal solidarity intermingled in the cinemas of Jewish neighbourhoods, and how film was seen as a vessel through which Jewish communal concerns might be carried to a wider public. Addressing an array of related topics, this volume examines the lived expressive cultures of cinemas in Jewish areas and the ethnically specific films consumed within these sites; the reception of film stars as representations of a Jewish social body; and how an antisemitic canard that understood the cinema as a Jewish monopoly complicated its use as a base for anti-fascist activity. In shedding light on an unexplored aspect of British film reception and exhibition, Toffell provides a unique insight into the making of the modern city by migrant communities. The title will be of use to anyone interested in Britain's interwar leisure landscape, the Jewish presence in modernity, and a cinema studies sensitised to the everyday experience of audiences.

The bio-bibliography of one of America's most beloved actors, James Stewart spans six decades of his career. The detailed biography chronicles Stewart's youth in Indiana, Pennsylvania, records his college years at Princeton, his early years in Hollywood and World War II, his stardom in the Capra and Hitchcock films, and finally his current special appearances and television commercials. The volume is a compilation of Stewart's acting career and contains a complete bibliography. Included are listings of his credits for stage, screen, radio, and television, as well as his own writings. The book will be valuable for all fans of Stewart, film researchers, and others interested in obtaining a complete record of Jimmy Stewart's impressive and widely-praised career.

Feminism in Italy has left a great area of investigation uncovered, buried under the pressure of a backlash that runs over women's identity, their expectations, and their artistic expression. Featuring essays by top scholars and interviews with acclaimed directors, this book examines Italian women's authorship in film and their visions of reality. This anthology unites artists such as Lina Wertmuller, Liliana Cavani, Alina Marazzi, Ilaria Borrelli, and Francesca Comencini with intellectuals such as Dacia Maraini and Patrizia Carrano, two groundbreaking Italian writers whose work has been dedicated to the tireless defense of women's literature and cinema, from a perspective of continuity with past issues and openness towards the more complex gender challenges of today.

The beginning of filmmaking in the German colonies coincided with colonialism itself coming to a standstill. Scandals and economic stagnation in the colonies demanded a new and positive image of their value for Germany. By promoting business and establishing a new genre within the fast growing film industry, films of the colonies were welcomed by organizations such as the Deutsche Kolonialgesellschaft (German Colonial Society). The films triggered patriotic feelings but also addressed the audience as travelers, explorers, wildlife protectionists, and participants in unique cultural events. This book is the first in-depth analysis of colonial filmmaking in the Wilhelmine Era.

Widely regarded by historians of the early moving picture as the best work yet published on pre-cinema, "The Great Art of Light and Shadow: Archaeology of the Cinema" throws light on a fascinating range of optical media from the twelfth century to the turn of the twentieth. First published in French in 1994 and now translated into English, Laurent Mannoni's account projects a broad picture of the subject area now known as 'pre-cinema'. Starting from the earliest uses of the camera obscura in astronomy and entertainment, Mannoni discusses, among many other devices, the invention and early years of the magic lantern in the seventeenth century, the peepshows and perspective views of the eighteenth century, and the many weird and wonderful nineteenth-century attempts to recreate visions of real life in different ways and forms. This fully-illustrated and accessible account of a strange mixture of science, magic, art and deception introduces to an English-speaking readership many aspects of pre-cinema history from other European countries.

Half a century after its opening, The Third Man remains an unquestioned masterpiece of film artistry and, for many, the greatest British movie ever made. Whether it is Harry Lime's magical first appearance or the celebrated cuckoo clock speech or the climactic chase through the sewers beneath Vienna or the haunting theme music of Anton Karas, the film contains some of the most memorable moments in screen history. Drawing on both contemporary documents and accounts of the people involved, In Search of The Third Man explores the many myths that over the years have grown around this extraordinary film, and seeks to unravel the facts from the fiction. ..".you'll want to read The Third Man...The story of the film's creation is as intriguing as the film itself" -Leonard Maltin, Playboy

This book opens up a new field at the intersections of transnational, feminist, and media studies. The collection brings feminist theories to bear on the discourses of transnationality embedded in a range of recent films and video art from diverse locations in North Africa, Asia, Europe, and North America. Paying particular attention to new frontiers of migration, an increasing vigilance vis-a-vis the foreign, and the gendered and racialized representations of mobility, the book charts innovative feminist strategies for the interpretation of contemporary visual cultures. This ambitious volume will be an important guide for scholars and students interested in approaching global media cultures from transnational feminist perspectives

Tallulah Bankhead was an actress whose talents were greatly overshadowed by her antics. Indeed, the Bankhead personality was much better known than her acting roles. While it is impossible to study her career without exploring her highly charged personality, this bio-bibliography honors Tallulah Bankhead, the actress. In a career that spanned five decades, she conquered practically every medium of entertainment--theater, film, radio, and television--leaving her mark in each one. Biographers have several times attempted to chronicle her life, but Bankhead remains too original, too unconventional, too colorful to be captured fully on paper. What can be noted are her many accomplishments--which have previously been ignored. This book corrects that oversight by documenting her 19 motion pictures, 56 stage plays, 167 radio appearances, and 56 television appearances, and also listing other professional appearances, recordings, awards and tributes. Additional features include a biographical sketch based on research and interviews with associates, a chronology of highlights in her life, an annotated bibliography of books and magazine articles about her or referring to her, and interesting photographs illustrating her career. Fully cross-referenced and indexed, this is a complete source for any research about Bankhead and will also provide helpful data and insights into the theater, films, persons, and events of her world.

At last, the definitive biography of Katharine Hepburn-the story she herself has never told. Hollywood has produced many stars, but no one compares to Katharine Hepburn. She is the last of the great ones; a celebrated actress, a brilliant personality, an original. In more than sixty years of public life, countless men have fallen in love with her, women have admired her, and yet only a handful have ever known the real Kate.

For the New York Times best seller, Barbara Leaming discovered thousands of never-before-seen documents that finally illuminate the mystery of this enigmatic, fascinating artist. From letters by Hepburn, her friends, and her family, as well as from interviews with Hepburn herself, Ms. Leaming has written a saga as vivid and entrancing as any novel. It is also richly textured, altogether compelling biography of great American woman.

The latest offering from the "Reference Guides to the World's Cinema" series, this critical survey of key films, actors, directors, and screenwriters during the silent era of the American cinema offers a broad-ranging portrait of the motion picture production of silent film. Detailed but concise alphabetical entries include over 100 film titles and 150 personnel. An introductory chapter explores the early growth of the new silent medium while the final chapter of this encyclopedic study examines the sophistication of the silent cinema. These two chapters outline film history from its beginnings until the perfection of synchronized sound, and reflect upon the themes and techniques established with the silent cinema that continued into the sound era through modern times.

The annotated entries, alphabetically arranged by film title or personnel, include brief bibliographies and filmographies. An appendix lists secondary but important movies and their creators. Film and popular culture scholars will appreciate the vast amount of information that has been culled from various sources and that builds upon the increased studies and research of the past ten years.

This book offers an analysis of humor, comedy, and laughter as philosophical topics in the 19th Century. It traces the introduction of humor as a new aesthetic category inspired by Laurence Sterne's "Tristram Shandy" and shows Sterne's deep influence on German aesthetic theorists of this period. Through differentiating humor from comedy, the book suggests important distinctions within the aesthetic philosophies of G.W.F. Hegel, Karl Solger, and Jean Paul Richter. The book links Kant's underdeveloped incongruity theory of laughter to Schopenhauer's more complete account and identifies humor's place in the pessimistic philosophy of Julius Bahnsen. It considers how caricature functioned at the intersection of politics, aesthetics, and ethics in Karl Rosenkranz's work, and how Kierkegaard and Nietzsche made humor central not only to their philosophical content but also to its style. The book concludes with an explication of French philosopher Henri Bergson's claim that laughter is a response to mechanical inelasticity.

This book introduces the diverse practices of three non-canonical practitioners: David MacDougall, Desire Machine Collective and Kumar Shahani. It offers analysis of their documentary methods and aesthetics, exploring how their oeuvres constitute a critical and self-reflexive approach to documentary-making in India.