Few European male actors have been as iconic and influential for generations of filmgoers as Alain Delon. Emblematic of a modern, European masculinity, Delon's appeal spanned cultures and continents. From his breakthrough as the first on-screen Tom Ripley in Purple Noon in 1960, through two legendary performances in Rocco and His Brothers and The Leopard in the early 1960s, to his roles in some of Jean-Pierre Melville's most celebrated films noirs, Delon came to embody the flair and stylishness of the European thriller as one of France's most recognizable film stars. This collection examines the star's career, image and persona. Not only focusing on his spectacular early performances, the book also considers less well documented aspects of Delon's long career such as his time in Hollywood, his work as director, producer and screenwriter, his musical collaborations, his TV appearances, and his enduring role as a fashion icon in the 21st century. Whether the object of reverence or ridicule, of desire or disdain, Delon remains a unique figure who continues to court controversy and fascination more than five decades after he first achieved international fame.

In early-twentieth-century motion picture houses, offensive stereotypes of African Americans were as predictable as they were prevalent. Watermelon eating, chicken thievery, savages with uncontrollable appetites, Sambo and Zip Coon were all representations associated with African American people. Most of these caricatures were rendered by whites in blackface.

Few people realize that from 1915 through 1929 a number of African American film directors worked diligently to counter such racist definitions of black manhood found in films like D. W. Griffith's The Birth of a Nation, the 1915 epic that glorified the Ku Klux Klan. In the wake of the film's phenomenal success, African American filmmakers sought to defend and redefine black manhood through motion pictures.

Gerald Butters's comprehensive study of the African American cinematic vision in silent film concentrates on works largely ignored by most contemporary film scholars: African American-produced and -directed films and white independent productions of all-black features. Using these "race movies" to explore the construction of masculine identity and the use of race in popular culture, he separates cinematic myth from historical reality: the myth of the Euro American-controlled cinematic portrayal of black men versus the actual black male experience.

Through intense archival research, Butters reconstructs many lost films, expanding the discussion of race and representation beyond the debate about "good" and "bad" imagery to explore the construction of masculine identity and the use of race as device in the context of Western popular culture. He particularly examines the filmmaking of Oscar Micheaux, the most prolific and controversial of all African American silent film directors and creator of the recently rediscovered Within Our Gates-the legendary film that exposed a virtual litany of white abuses toward blacks.

"Black Manhood on the Silent Screen" is unique in that it takes contemporary and original film theory, applies it to the distinctive body of African American independent films in the silent era, and relates the meaning of these films to larger political, social, and intellectual events in American society. By showing how both white and black men have defined their own sense of manhood through cinema, it examines the intersection of race and gender in the movies and offers a deft interweaving of film theory, American history, and film history.

This insightful account analyzes and provides context for the films and careers of directors who have made Latin American film an important force in Hollywood and in world cinema. In this insightful account, R. Hernandez-Rodriguez analyzes some of the most important, fascinating, and popular films to come out of Latin America in the last three decades, connecting them to a long tradition of filmmaking that goes back to the beginning of the 20th century. Directors Alejandro Inarritu, Guillermo del Toro, Alfonso Cuaron, and Lucretia Martel and director/screenwriter Guillermo Arriaga have given cause for critics and public alike to praise a new golden age of Latin American cinema. Splendors of Latin Cinema probes deeply into their films, but also looks back at the two most important previous moments of this cinema: the experimental films of the 1960s and 1970s, as well as the stage-setting movies from the 1940s and 1950s. It discusses films, directors, and stars from Spain (as a continuing influence), Mexico, Cuba, Brazil, Argentina, Peru, and Chile that have contributed to one of the most interesting aspects of world cinema.

Citizen Kane is arguably the most admired and significant film since the advent of talking pictures. No other film is quite so interesting from both artistic and political points of view. To study it even briefly is to learn a great deal about American history, motion-picture style, and the literary aspects of motion-picture scripts. Rather than a sterile display of critical methodologies, James Naremore has gathered a set of essays that represent the essential writings on the film. It gives the reader a lively set of critical interpretations, together with the necessary production information, historical background, and technical understanding to comprehend the film's larger cultural significance. Selections range from the anecdotal --Peter Bogdanovich's interview with Orson Welles--to the critical, with discussions on the scripts and sound track, and a discussion of what accounts for the film's enduring popularity. Contributors include James Naremore, Peter Bogdanovich, Jonathan Rosenbaum, Robert L. Carringer, Francois Thomas, Michael Denning, Laura Mulvey, Peter Wollen, and Paul Arthur.

Al Brodax was the producer of and with Erich Segal and others a co-author of the screenplay for The Beatles 'Yellow Submarine'. In this book he recalls a frenzied, madcap escapade that came to be reflected in an enduring piece of screen history. In addition to John, Ringo, Paul and George, and Al, the "cast" included more than a dozen animators, platoons of inkers, background artists, soundmen, cameramen, and various essential expediters. Recruited from the U.S., Europe, Australia and all over the U.K., they produced, aside from the film, more than a dozen pregnancies and one or two marriages. This story has been culled by the author from a rich jumble of late-night, early-morning scribblings during production. His generously illustrated book is a special gift to fans of the Beatles, of 'Yellow Submarine' and of spirited, flavourful writing about movies.

This book examines the treatment of Dante Gabriel Rossetti and his work in twentieth and twenty-first century fiction, drama, music, and film, specifically since 1950. The author uses these genres to examine how text, music, performance, and visual images work as a system of representation. In this book, the author strives to clarify the many Dante Gabriel Rossettis, using thirteen of the thirty easily identifiable roles in this system of representation which the author has identified herself-roles by which Rossetti is described and portrayed. The identified portrayals of Rossetti fall easily into five groupings: first, the Italian-English man who is a brother and a loyal friend; second, the poet who is a painter and co-founder of an art movement which afforded him the chance to be a mentor; third, the lover, seducer, husband, oppressor; fourth, the murderer; and fifth, the tortured artist and addict who was mentally ill. These are the portrayals are used throughout this work. Several have chronological boundaries and are discrete representations while others reoccur across the time period covered. Using these categories, the author examines seven works of prose fiction, a feature-length film, two television series, a stage play, and the songs and lyrics of a contemporary band.

"Dietrich's Ghosts "is the first major English-language study to look at the star system under the Third Reich. Erica Carter argues that after the Weimar period, the German star system was reorganized to foster an anti-modernist mode of spectatorship geared to an appreciation of the beautiful and the sublime.
Carter discusses the reconfiguring of film production and exhibition around idealist aesthetic principles and offers case studies of three stars. Emil Jannings figures as an exemplar of what Carter terms the "volkisch "sublime, while Marlene Dietrich emerges as a figure at the crossroads of modernist and idealist conceptions of beauty. A provocative chapter on Zarah Leander in the feature films of the early war years portrays this star as a post-Dietrich emblem of the supposed sublimity of a fascist war.
This unprecedented new study reassesses existing paradigms in German film history debates and throws suggestive new light on the icons and popular culture of the Third Reich.

Comprising 91 A-Z entries, this encyclopedia provides a broad and comprehensive introduction to the topic of religion within film. Technology has enabled films to reach much wider audiences, enabling today's viewers to access a dizzying number of films that employ diverse symbolism and communicate a vast array of viewpoints. Encyclopedia of Religion and Film will provide such an audience with the tools to begin their own exploration of the deeper meanings of these films and grasp the religious significance within. Organized alphabetically, this encyclopedia provides more than 90 entries on the larger religious traditions, the major film-producing regions of the globe, the films that have stirred controversy, the most significant religious symbols, and the more important filmmakers. The included topics provide substantially more information on the intersection of religion and film than any of the similar volumes currently available. While the emphasis is on the English-speaking world and the films produced therein, there is also substantial representation of non-English, non-Western film and filmmakers, providing significant intercultural coverage to the topic. Presents 91 A-Z entries that illuminate topics of geographic and regional interest, biographic data, categories common in the study of religion, and examinations of specific films or film-related events Contains contributions from a remarkable group of distinguished, well-published authorities and younger scholars, all with relevant backgrounds in religion, film, culture, or multiple areas of expertise Includes images of important film directors as well as film stills Provides selected bibliographic information regarding the intersection of religion and film that supplements the "for further reading" section of each entry Offers an indexed filmography of works noted throughout the encyclopedia, providing significant information about each film, such as year released, director, and major actors

Why did Edwardian novelists portray journalists as swashbuckling, truth-seeking super-heroes whereas post-WW2 depictions present the journalist as alienated outsider? Why are contemporary fictional journalists often deranged, murderous or intensely vulnerable? As newspaper journalism faces the double crisis of a lack of trust post-Leveson, and a lack of influence in the fragmented internet age, how do cultural producers view journalists and their role in society today? In The Journalist in British Fiction and Film Sarah Lonsdale traces the ways in which journalists and newspapers have been depicted in fiction, theatre and film from the dawn of the mass popular press to the present day. The book asks first how journalists were represented in various distinct periods of the 20th century and then attempts to explain why these representations vary so widely. This is a history of the British press, told not by historians and sociologists, but by writers and directors as well as journalists themselves. In uncovering dozens of forgotten fictions, Sarah Lonsdale explores the bare-knuckled literary combat conducted by writers contesting the disputed boundaries between literature and journalism. Within these texts and films there is perhaps also a clue as to how the best aspects of 'Fourth estate' journalism can survive in the digital age. Authors covered in the volume include: Martin Amis, Graham Greene, George Orwell, Pat Barker, Evelyn Waugh, Elizabeth Bowen, Arnold Wesker and Rudyard Kipling. Television and films covered include House of Cards (US and UK versions), Spotlight, Defence of the Realm, Secret State and State of Play.

This book analyses and describes a segment of Woody Allen's cinematic discourse, focusing specifically on the performed (or diegetic) interactions between actors in various roles in some of his films. It is a case study of Woody Allen's cinematic discourse, encompassing the on-screen, performed interaction in the films at the level of the story-world. The analysis focuses on speech (film dialogues), in both its verbal and prosodic forms, as well as non-verbal types of interaction including gaze and gesture, taking a social interactional approach and using multimodal conversation analysis as a theoretical framework and analytical tool. The 'texts' under study are segments from five films by Woody Allen, and the analysed interactions take place between male and female interactants, which allows further examination of on-screen interactions via a gender lens. The book aims to bridge the gap between the disciplines of applied linguistics and cinema studies and offer linguistic insights into performed interactions from a multimodal point of view. It will be equally relevant to linguists who are interested in how verbal and non-verbal language is used in cinematic discourse, as well as to film workers, especially actors, directors and screenwriters.

Ninety-nine years ago, a new form of storytelling emerged from the ruins of World War I. Different in scope and power from theater or literature, and unlike any film that had come before, F. W. Murnau's The Cabinet of Dr. Caligari addressed a direct challenge to its audience, demanding to be viewed as something other than what was immediately presented. Unfortunately, criticism has not risen to the challenge. Relegating the film condescendingly to the horror genre, or treating it merely as a case study in style, critics have failed to look at it with due seriousness. On the other hand, the film's ambiguity, structural devices, and psychological depth gave cinema a number of tools that other filmmakers were quick to start using. This book examines a spectrum of narrative films that can be seen in new ways with methods derived and evolved from the techniques of Caligari. The intention is not only to offer new interpretations of classic and neglected films, but to open further discussion and exploration. It is written with optimism that movie lovers will see more in the movies they love, that critics will find new paths of investigation, and that filmmakers will benefit from greater awareness of what movies can do. Secrets of Cinema began in 1994, in discussions among friends after weekly movie nights hosted by the late Lawrence N. Fox on the 73rd floor of the John Hancock Center in Chicago. The movies selected are not necessarily the greatest ever made (although some of them surely are), but rather movies that offer new and useful lessons in how movies work. Among the secrets of cinema revealed in this book are at least three movies that are stealth remakes of The Wizard of Oz, hidden meanings behind films made under political repression, and why Hitchcock's Psycho is a remake of his Vertigo. Persistent enigmas are clarified, including the logic of Persona, the riddle of Last Year at Marienbad, and the endings of Blow-Up and The Shining. More importantly, by showing how much there is to discover in movies, the book encourages its readers to continue in their own ways the quest to see movies whole.

The first films were shorts. Most leading filmmakers made shorts, including Chaplin, Keaton, Orson Welles, Stanley Kubrick, Lindsay Anderson, and--more recently--Lynne Ramsey and Damian O' Donnell. Though a standard and much-loved part of the cinemagoing experience for decades, short films are now rarely seen, even though more are made than ever. Hundreds of student films are made annually and television stations use shorts as fillers. Dotcom companies fight to secure rights and short film festivals take place all over the world. There is even the beginning of a comeback for the cinema short.
This book traces the history of the short film and its current role. Focusing on short-film producers and directors, it looks at the short film as a training opportunity for new talent. It covers issues of distribution, funding (including the lottery boom), exhibition, festivals, training, and publications.