Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Muller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

Exploring the controversial history of an aesthetic - realism - this book examines the role that realism plays in the negotiation of social, political, and material realities from the mid-19th century to the present day. Examining a broad range of literary texts from French, English, Italian, German, and Russian writers, this book provides new insights into how realism engages with themes including capital, social decorum, the law and its politicisation, modern science as a determining factor concerning truth, and the politics of identity. Considering works from Gustave Flaubert, Charles Baudelaire, Emile Zola, Henry James, Charles Dickens, and George Orwell, Docherty proposes a new philosophical conception of the politics of realism in an age where politics feels increasingly erratic and fantastical.

In a manner completely acceptable to the professional film maker, yet thoroughly understandable and of great value to the amateur cinematographer, Spottiswoode presents the essential, unwritten lore of documentary film making. The book deals first with the ideas for a documentary film, and shows how they are embodied ina script. It explains how the production unit is assembled, and goes on to describe the mechanism of the camera, the primary instrument of film making. The chapters which follow discuss the important creative process of editing, optical printing, the film library, and negative cutting. A special section deals with the physics of sound, the technical methods of recording it, and the creative uses to which sound can be put in film. A long chapter describes current color processes and 16-mm. techniques. Successive chapters take the reader through all the steps of the production from script to screen and give him clues to what practices he should adopt and what he should avoid. A number of simplified procedures in animation are described here for the first time. The book ends with an annotated bibliography of technical works on film, and an extensive, 1000-word glossary of film terms defined with the needs of the amateur in mind. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1951.

Hello from Ghibliotheque!

We are Michael and Jake, and together we make a podcast called Ghibliotheque, all about the films of the legendary Japanese animation company, Studio Ghibli. We think that Studio Ghibli has made some of the greatest films of all time, like My Neighbor Totoro, Kiki's Delivery Service, Princess Mononoke, and Spirited Away. We love nothing more than sharing these films with other people, whether that's by watching them together on the big screen, or writing a book like the one you're holding right now.

This book is our handy, illustrated guide to the world of Studio Ghibli, a world that is like no other. Over the following pages you'll meet strong heroes, get to know wild and beguiling creatures, taste mouth-watering food, and travel via fast and fantastical modes of transportation. There is so much to explore and discover, so let's quote the motto of the Ghibli Museum in Tokyo, and say: let's get lost, together.

Enjoy!

Across eight chapters, we will get up close and personal with the movies, learn who's who at the Oscar-winning studio and explore the impact that Ghibli World has left on our planet.

Crossover Stardom: Popular Male Stars in American Cinema focuses on male music stars who have attempted to achieve film stardom. Crossover stardom can describe stars who cross from one medium to another. Although 'crossover' has become a popular term to describe many modern stars who appear in various mediums, crossover stardom has a long history, going back to the beginning of the cinema. Lobalzo Wright begins with Bing Crosby, a significant Hollywood star in the studio era; moving to Elvis Presley in the 1950s and 1960s, as the studio system collapsed; to Kris Kristofferson in the New Hollywood period of the 1970s; and ending with Will Smith and Justin Timberlake, in the contemporary era, when corporate conglomerates dominate Hollywood. Thus, the study not only explores music stardom (and music genres) in various eras, and masculinity within these periods, it also surveys the history of American cinema from industrial and cultural perspectives, from the 1930s to today.

Marvel Studios has provided some of the biggest worldwide cinematic hits of the last eight years, from Iron Man (2008) to the record-breaking The Avengers (2012), and beyond. Having announced plans to extend its production of connected texts in cinema, network and online television until at least 2028, the new aesthetic patterns brought about by Marvel's 'shared' media universe demand analysis and understanding. The Marvel Studios Phenomenon evaluates the studio's identity, as well as its status within the structures of parent Disney. In a new set of readings of key texts such as Captain America: The Winter Soldier, Guardians of the Galaxy and Agents of S.H.I.E.L.D., the thematics of superhero fiction and the role of fandom are considered. The authors identify milestones from Marvel's complex and controversial business history, allowing us to appraise its industrial status: from a comic publisher keen to exploit its intellectual property, to an independent producer, to successful subsidiary of a vast entertainment empire.