The Fascination of Film Violence is a study of why fictional violence is such an integral part of fiction film. How can something dreadful be a source of art and entertainment? Explanations are sought from the way social and cultural norms and practices have shaped biologically conditioned violence related traits in human behavior.

Engaging some of the most ground-breaking and thought-provoking anime, manga, and science fiction films, "Tokyo Cyberpunk" offers insightful analysis of Japanese visual culture. Steven T. Brown draws new conclusions about electronically mediated forms of social interaction, as well as specific Japanese socioeconomic issues, all in the context of globalization and advanced capitalism. Penetrating and nuanced, this book makes a major contribution to the debate about what it means to be human in a posthuman world.

This comprehensive annotated bibliography reviews nearly 500 English-language studies published between 1915 and 2001 that examine the depiction of ethnic, racial, and national groups as portrayed in United States feature films from the inception of cinema through the present. Coverage includes books, reference works, book chapters within larger works, and individual essays from collections and anthologies. Concise annotations provide content summaries; unique features; major films and filmmakers discussed; and useful information on related titles, purpose, and intended readership. The studies included range from specialized scholarly treatises to popular illustrated books for general readers, making DEGREESIProjecting Ethnicity and Race DEGREESR an invaluable resource for researchers interested in ethnic and racial film imagery.

Entries are arranged alphabetically by title for easy access, while four separate indexes make the work simple to navigate by author, subject, gender, race, ethnic group, nationality, country, religion, film title, filmmaker, performer, or theme. Although the majority of studies published examine images of African Americans, Hispanic Americans, Native Americans, Asian Americans, and Asians in film, the volume contains studies of groups including Africans, Arabs, the British, Canadians, South Sea Islanders, Tibetans, Buddhists, and Muslims--making it a unique reference book with a wide range of uses for a wide range of scholars.

Expand your creative ability by mastering the software tools. "DVD Authoring with Adobe Encore DVD" covers the toolset in a manner that demonstrates real-world application. The downloadable resources with source material walks you through the process. You will learn how to avoid common pitfalls and learn about the entire DVD authoring workflow.

"Reading 'Bollywood' "explores the connections between representations of gender, sexuality and ethnicity in Hindi films, socio-political contexts and the construction of gender, sexual and ethnic identity by young audience members in India and the UK. Extended excerpts from in-depth interviews with young viewers, observations and original photographs provide exciting and unique insights about spectatorship as well as material for comparison with theories about Hindi film and studies of film audiences and popular culture worldwide.

The New Film History is an accessible and wide-ranging account of the methods, sources and approaches used by modern film historians. Designed for use on courses in film history, The New Film History offers readers an overview of key areas of research, including reception studies, genre, authorship and the historical film, together with detailed case studies centred on well-known American, Australian, British and European films. With contributions from fifteen leading film historians, this is the first major overview of the field of film history to be published in twenty years.

A comprehensive study of cannibalism in literature and film, spanning colonial fiction, Gothic texts and contemporary American horror. Amidst the sharp teeth and horrific appetite of the cannibal, this book examines real fears of over-consumerism and consumption that trouble an ever-growing modern world.

Develop your creative voice while acquiring the practical skills and confidence to use it with this new and fully updated edition of Mick Hurbis-Cherrier's filmmaking bible, Voice & Vision. Written for independent filmmakers and film students who want a solid grounding in the tools, techniques, and processes of narrative film, this comprehensive manual covers all of the essentials while keeping artistic vision front and center. Hurbis-Cherrier walks the reader through every step of the process-from the transformation of an idea into a cinematic story, to the intricacies of promotion and distribution-and every detail in between. Features of this book include: Comprehensive technical information on video production and postproduction tools, allowing filmmakers to express themselves with any camera, in any format, and on any budget An emphasis on the collaborative filmmaking process, including the responsibilities and creative contributions of every principal member of the crew and cast A focus on learning to work successfully with available resources (time, equipment, budget, personnel, etc.) in order to turn limitations into opportunities Updated digital filmmaking workflow breakdowns for Rec. 709 HD, Log Format, and D-Cinema productions Substantial coverage of the sound tools and techniques used in film production and the creative impact of postproduction sound design An extensive discussion of digital cinematography fundamentals, including essential lighting and exposure control tools, common gamma profiles, the use of LUTs, and the role of color grading Abundant examples referencing contemporary and classic films from around the world Indispensible information on production safety, team etiquette, and set procedures. The third edition also features a robust companion website that includes eight award-winning example short films; interactive and high-resolution figures; downloadable raw footage; production forms and logs for preproduction, production, and postproduction; video examples that illustrate key concepts found within the book, and more. Whether you are using it in the classroom or are looking for a comprehensive reference to learn everything you need to know about the filmmaking process, Voice & Vision delivers all of the details in an accessible and reader-friendly format.

In the last five years of the twentieth century, films by the second and third generation of the so-called German guest workers exploded onto the German film landscape. Self-confident, articulate, and dynamic, these films situate themselves in the global exchange of cinematic images, citing and rewriting American gangster narratives, Kung Fu action films, and paralleling other emergent European minority cinemas. This, the first book-length study on the topic, will function as an introduction to this emergent and growing cinema and offer a survey of important films and directors of the last two decades. In addition, it intervenes in the theoretical debates about Turkish German culture by engaging with different methodological approaches that originate in film studies.

One of the most colourful, innovative and controversial film directors of the 60s and 70s, Sam Peckinpah is best known for the challenging classic western The Wild Bunch. Garner Simmons, television and screenwriter who served on the set of two Peckinpah films, spent ten years researching the definitive biography of his sometime mentor. He interviewed Peckinpah himself at great length, and talked candidly with such co-workers as Jason Robards, Steve McQueen, Ali McGraw, Charlton Heston, Dustin Hoffman and Kris Kristofferson, as well as with various film executives and technicians. Their words enhance Simmon's vivid portrait of a complex, intuitive near-genius who, believing that creativity can be born only out of turmoil, was always prepared to cause it.

Let Maleficent, Captain Hook, and other classic baddies guide your tarot practice with the only official tarot deck featuring Disney's most wicked villains. Disney's most iconic villains have taken over tarot in this dastardly take on a traditional 78-card deck. Featuring the notorious ne'er-do-wells from classic animated films like 101 Dalmations, The Little Mermaid, Sleeping Beauty, and more, this tarot deck reimagines Cruella de Vil, Ursula, Maleficent and the whole motley crew in original illustrations based on classic tarot iconography. Including both the Major and Minor Arcana, the set also comes with a helpful guidebook with explanations of each card's meaning, as well as simple spreads for easy readings. Packaged in a sturdy, decorative gift box, this devious deck of tarot cards is the perfect gift for Disney fans and tarot enthusiasts everywhere.

Saturday Night Live, Hollywood Comedy, and American Culture sheds new light on the ways in which Saturday Night Live's confrontational, boundary-pushing approach spilled over into film production, contributing to some of the biggest hits in Hollywood history, such as National Lampoon's Animal House, Ghostbusters, and Beverly Hills Cop. Jim Whalley also considers how SNL has adapted to meet the needs of subsequent generations, launching the film careers of Mike Myers, Adam Sandler, Will Ferrell and others in the process. Supported by extensive archival research, some of Hollywood's most popular comedians are placed into the contexts of film and television comic traditions and social and cultural trends in American life.

This book considers a recurrent figure in American literature: the solitary white man moving through urban space. The descendent of 19th-century frontier and western heroes, the figure reemerges in 1930s-’50s America as the “tough guy.” The Street Was Mine looks to the tough guy in the works of hardboiled novelists Raymond Chandler (The Big Sleep) and James M. Cain (Double Indemnity) and their popular film noir adaptations. Focusing on the way he negotiates racial and gender “otherness,” this study argues that the tough guy embodies the promise of an impervious white masculinity amidst the turmoil of the Depression through the beginnings of the Cold War. The book concludes with an analysis of Chester Himes, whose Harlem crime novels (For Love of Imabelle) unleash a ferocious revisionary critique of the tough guy tradition.

"This book explores the role of emotion and affect in recent Latin American cinemas (1990s-2000s) in the context of larger public debates about past traumas and current anxieties. To address this topic, it examines some of the most significant trends in contemporary Latin American filmmaking, including the emergence of the thriller as a preferred genre to address the legacies of the 1960s and 1970s; the rise of "youth" films about globally-connected and disaffected young adults; and the proliferation of transnational productions by "traveling" filmmakers that encourage audiences to feel for "others." The book features close textual analysis of individual films from Argentina, Brazil, Chile, Cuba, and Mexico; as well as commentary on the changing structure of Latin American film industries. It frames those analyses within a discussion of recent critical and theoretical debates about affect, sentimentalism and compassion, particularly as they relate to film"--

In 1985, Universal Pictures released Terry Gilliam's film, Brazil, under protest. Gilliam had mounted the first director's guerilla campaign against a major Hollywood studio to circumvent his mo being sliced to bits or shelved. LA Times film writer and writer Jack Mathews was right in the th the battle, acting as intermediary between the President of Universal, Sid Sheinberg and Gilliam and producer Arnon Milchan. This is a blow-by-blow account of that epic and historic fight as it happene 1985 as well as from the more sober perspective of a dozen years after.

Mix one American director with a German producer on a period extravaganza, set the locations in Italy and Spain and start the cameras rolling without enough money to do the job. Then sit back and watch disaster strike. That is the scenario Andrew Yule has painstakiingly reconstructed. The more problems and reverses, the greater our interest: costly postponements, overwhelming language difficulties, elephants and tigers turning on their trainers, illnesses, sets not being ready, special effects breaking down and cameo stars (from Marlon Brando to Sean Connery) backing out of the project. You name it, Andrew Yule reports it!

"When it comes to censorship in Hollywood, the bottom line is the ticket line. That's the central message in Jon Lewis's provocative and insightful investigation of the movie industry's history of self-regulation.a]Lewis shows that Hollywood films are a triumph of commerce over art, and that the film industry has consistently used internal censorship and government-industrial collusion to guarantee that its cash flow is never seriously threatened."
"-- The New York Times Book Review"

"a]an accomplished, comprehensive, and provocative new history of censorship and the American film industrya]And what of the perennial tussles between politicos and the film industry? All show business, suggests Lewis, make-believe veiling the real power structure that has nothing to do with morals, let alone art (it would be interesting to get his take on the recent marketing brouhaha and its relationship to the recent threatened actors and writers strikes). A staggering saga worthy itself of a Hollywood movie, Hollywood v. Hardcore is film history at its most illuminating and intense."
" --The Boston Phoenix"

"As provocative as his sometimes X-rated subject matter, film scholar Lewis detects an intimate relationship between the seemingly strange bedfellows of mainstream Hollywood cinema and hardcore pornography. From postal inspector Anthony Comstock to virtue maven William Bennett, from the Hays Office that monitored the golden age of Hollywood to the alphabet ratings system that labels the motion pictures in today's multiplex malls, Lewis's wry, informative, and always insightful study of American film censorship demonstrates that the most effective media surveillance happens before yousee the movie. Hollywood v. Hard Core is highly recommended for audiences of all ages."
"--Thomas Doherty, author of Pre-Code Hollywood"

"Jon Lewis weaves a compelling narrative of how box office needs-rather than moral strictures-have dictated the history of film regulation. Telling the complex and fascinating story of how Hollywood abandoned the Production Code and developed the ratings system and then telling the even more compelling story of how the X rating became a desirable marketing device when hard core pornography became popular, Hollywood v. Hard Core reveals a great deal about the true business of censorship."
"--Linda Williams, author of Hard Core: Power, Pleasure, and the "Frenzy of the Visible""

"This is a fascinating account, both entertaining and scholarly."
--"Journal of the West"

In 1972, "The Godfather" and "Deep Throat" were the two most popular films in the country. One, a major Hollywood studio production, the other an independently made "skin flick." At that moment, Jon Lewis asserts, the fate of the American film industry hung in the balance."

Spanning the 20th century, Hollywood v. Hard Core weaves a gripping tale of censorship and regulation. Since the industry's infancy, film producers and distributors have publicly regarded ratings codes as a necessary evil. Hollywood regulates itself, we have been told, to prevent the government from doing it for them. But Lewis argues that the studios self-regulate because they are convinced it is good for business, and that censorship codes and regulations are a crucial part of what binds the various competing agencies in the film business together.

Yet between 1968 and 1973 Hollywood films werefaltering at the box office, and the major studios were in deep trouble. Hollywood's principal competition came from a body of independently produced and distributed films--from foreign art house film "Last Tango in Paris" to hard-core pornography like "Behind the Green Door"--that were at once disreputable and, for a moment at least, irresistible, even chic. In response, Hollywood imposed the industry-wide MPAA film rating system (the origins of the G, PG, and R designations we have today) that pushed sexually explicit films outside the mainstream, and a series of Supreme Court decisions all but outlawed the theatrical exhibition of hard core pornographic films. Together, these events allowed Hollywood to consolidate its iron grip over what films got made and where they were shown, thus saving it from financial ruin.

Revolutionary Visions examines recent cinematic depictions of Jewish involvement in 1960s and 1970s revolutionary movements in Latin America. In order to explore the topic, the book bridges critical theory on religion, politics, and hegemony from regional Latin American, national, and global perspectives. Placing these theories in dialogue with recent films, the author asks the following questions: How did revolutionary commitment change Jewish community and families in twentieth-century Latin America? How did Jews contribute to revolutionary causes, and what is the place of Jews in the legacies of revolutionary movements? How is film used to project self-representations of Jewish communities in the national project for a mainstream audience? Jewish involvement in revolutionary movements is rife with contradictions. On the one hand, it was a natural progression of patterns of political participation, based on the ideological affinities shared between socialist movements and Marxist revolutionary politics. On the other hand, involvement in revolutionary politics would also upset the status quo of Jewish communities because of the extreme nature of revolutionary practices (e.g., guerrilla warfare), revolutionary groups' alignment with Palestine, and the assimilation into non-Jewish culture that revolutionary involvement often entailed. These contradictions between Jewish self-identification and revolutionary activity continue to confound cultural understandings of the points of contact between identities and political affinities. In this way, Revolutionary Visions contributes to timely debates within cultural studies surrounding identities and politics.

This wide-ranging guide introduces (or reintroduces) readers to movie musicals past and present, enabling them to experience the development of this uniquely American art form-and discover films they'll love. This comprehensive guide covers movie musicals from their introduction with the 1927 film The Jazz Singer through 2015 releases. In all, it describes 125 movies, opening up the world of this popular form of entertainment to preteens, teens, and adults alike. An introduction explains the advent of movie musicals; then, in keeping with the book's historical approach, films are presented by decade and year with overviews of advances during particular periods. In this way, the reader not only learns about individual films but can see the big picture of how movie musicals developed and changed over time. For each film covered, the guide offers basic facts-studio, director, songwriters, actors, etc.-as well as a brief plot synopsis. Each entry also offers an explanation of why the movie is noteworthy, how popular it was or wasn't, and the influence the film might have had on later musicals. Sidebars offering brief biographies of important artists appear throughout the book. Shows how the genre developed over time, from the 1920s to the present Shares fascinating insights about musicals with which the reader is already familiar Offers information on many lesser-known musicals Helps readers find film musicals that are similar to those they know and like Introduces important performers, directors, and songwriters Includes photographic stills from famous movie musicals

This book tells the story of German-language literature on film, beginning with pioneering motion picture adaptations of Faust in 1897 and early debates focused on high art as mass culture. It explores, analyzes and contextualizes the so-called 'golden age' of silent cinema in the 1920s, the impact of sound on adaptation practices, the abuse of literary heritage by Nazi filmmakers, and traces the role of German-language literature in exile and postwar films, across ideological boundaries in divided Germany, in New German Cinema, and in remakes and movies for cinema as well as television and streaming services in the 21st century. Having provided the narrative core to thousands of films since the late 19th century, many of German cinema's most influential masterpieces were inspired by canonical texts, popular plays, and even children's literature. Not being restricted to German adaptations, however, this book also traces the role of literature originally written in German in international film productions, which sheds light on the interrelation between cinema and key historical events. It outlines how processes of adaptation are shaped by global catastrophes and the emergence of nations, by materialist conditions, liberal economies and capitalist imperatives, political agendas, the mobility of individuals, and sometimes by the desire to create reflective surfaces and, perhaps, even art. Commercial cinema's adaptation practices have foregrounded economic interest, but numerous filmmakers throughout cinema history have turned to German-language literature not simply to entertain, but as a creative contribution to the public sphere, marking adaptation practice, at least potentially, as a form of active citizenship.