Gerard Loughlin is one of the leading theologians working at the interface between religion and contemporary culture. In this exceptional work, he uses cinema and the films it shows to think about the church and the visions of desire it displays.
Discusses various films, including the Alien quartet, Christopher Nolan's Memento, Stanley Kubrick's 2001: A Space Odyssey and A Clockwork Orange, Nicolas Roeg's The Man Who Fell to Earth and Derek Jarman's The Garden.
Draws on a wide range of authors, both ancient and modern, religious and secular, from Plato to Levinas, from Karl Barth and Hans Urs von Balthasar to Andre Bazin and Leo Bersani.
Uses cinema to think about the church as an ecclesiacinema, and films to think about sexual desire as erotic dispossession, as a way into the life of God.
Written from a radically orthodox Christian perspective, at once both Catholic and critical.

This comprehensive book illuminates the most fertile and exciting period in American film, a time when the studio system was at its peak and movies played a critical role in elevating the spirits of the public. Richard B. Jewell offers a highly readable yet deeply informed account of the economics, technology, censorship, style, genres, stars and history of Hollywood during its "classical" era.
A major introductory textbook covering what is arguably the most fertile and exciting period in film, 1929-1945
Analyzes many of the seminal films from the period, from "The Wizard of Oz" to "Grand Hotel" to "Gone with the Wind," considering the impact they had then and still have today
Tackles the shaping forces of the period: the business practices of the industry, technological developments, censorship restraints, narrative strategies, evolution of genres, and the stars and the star system
Explores the major social, political, economic, and cultural events that helped to shape contemporary commercial cinema, as well as other leisure activities that influenced Hollywood production, including radio, vaudeville, theatre and fiction
Written in a jargon-free, lively style, and features a number of illustrations throughout the text

This is the only book of its kind to explore biblical epics from an LGBT perspective, studying films from the silent era, to the postwar major studio era, to the present day. In spite of restrictive Hollywood censorship regulations, filmmakers throughout history have pushed the boundaries of sex and violence when making religious films. In this unrivaled text, author and educator Richard Lindsay analyzes the relationship between bible-based epics and "camp"-films with overwrought acting, casts of thousands, and exotic sexuality. Lindsay presents the ways in which camp style identifies films as "biblical" in the mainstream imagination, while undermining their traditional religious messages through the inclusion of sexually diverse subtexts. Viewed through this lens, this provocative book explores topics like the Jazz Age excesses of The King of Kings, the pre-code decadence of The Sign of the Cross, the horror movie tropes of The Passion of the Christ, and comparisons between Ben-Hur and the gay male fantasies of 1960s beefcake magazines. Additional content features the history of biblical epics and a comparison of the pious expectations of filmgoers against the real content of the films. Considers pre-code films, production code films, and films under the modern MPAA ratings system Analyzes biblical epics for gay characters and situations Explores the relationship between biblical content and camp Addresses the treatment of LGBT subjects in relation to Hollywood censorship regimes

The wonderful world of Oz is a magical place-and has been for generations of Americans since L. Frank Baum penned his enduring classic in 1900. With the 1939 movie starring Judy Garland, Oz was forever woven into our culture. Over the course of the twentieth century, Oz continued to capture the hearts of the American people-as well as people all over the world. This book documents that magical journey through beautiful photographs of the world's largest collection of Oz memorabilia. Whether it's first-edition covers, a munchkin costume, or the Wicked playbill, the iconic items on these pages tell the story of America's most beloved fairy tale. Come over the rainbow and see why there truly is no place like Oz.

Relive the Golden Era of the King of the Cowboys and the Queen of the West In the mid-twentieth century, Roy Rogers and Dale Evans ruled the West from the silver screen as the King of Cowboys and the Queen of the West. Off screen, this husband and wife duo raised a family and lived the "Code of the West." In this biography, named for their first feature film as a pair, the Rogers family shares the inside story of these beloved Western icons.

Many of our favorite films began as plays--some as well known as Shakespeare's "Romeo and Juliet," and some not so well known as "You've Got Mail"'s origin, a 1937 play "Parfumerie" by Miklos Laszlo. "Video Versions" identifies nearly 300 films and their theatrical origins, providing readers with an overview of the films and highlighting similarities and differences to the source plays. Perfect for teachers, students, and anyone interested in theater and film, it is the most complete resource available for video versions of plays.

Each entry provides: the original play's title, author, and year of publication; the name of the film, year of production, director and adapter; the main cast and the characters they play; running time and rating if available. Following a plot summary, a critical analysis provides the similarities and differences of the play and film, including character and plot changes, setting, missing or added scenes, special film techniques, and behind-the-scenes information such as who turned down or lost particular parts when the play was adapted to film. A short list of sources for further reading follows each entry. Information about contacting distributors--for obtaining the films--is included in the introduction and an extensive index completes the volume.

Cinema is often perceived as a metropolitan medium - an entertainment product of the big city and for the big city. Yet film exhibitors have been bringing moving pictures to towns and villages since the early days of itinerant shows. This volume presents for the first time an exploration of the social, cultural and economic dynamics of film culture in the European countryside. Spanning more than a century of film exhibition from the early twentieth-century to the present day, Cinema Beyond the City examines the role that movie-going has played in small-town and rural communities across Europe. It documents an amazing diversity of sites and situations that are relevant for understanding historical and current patterns in film consumption. In chapters written by leading scholars and young academics, interdisciplinary research is used to address key questions about access, economic viability, audience behaviour, film programming and the cultural flows between cities and hinterlands. With its wide range of regional studies and innovative methodological approaches, the collection will be of interest not only to film historians, but also to scholars in the fields of urban history, rural studies and cultural geography.

Through a detailed study of the circulation of European silent film in Australasia in the early twentieth century, this book challenges the historical myopia that treats Hollywood films as having always dominated global film culture. Before World War I, European silent feature films were ubiquitous in Australia and New Zealand, teaching Antipodean audiences about Continental cultures and familiarizing them with glamorous European stars, from Asta Nielsen to Emil Jannings. After the rise of Hollywood and then the shift to sound film, this history-and its implications for cross-cultural exchange-was lost. Julie K. Allen recovers that history, with its flamboyant participants, transnational currents, innovative genres, and geopolitical complications, bringing it all vividly to life. Making ground-breaking use of digitized Australian and New Zealand newspapers, the author reconstructs the distribution and exhibition of European silent films in the Antipodes, along the way incorporating compelling biographical sketches of the ambitious pioneers of the Australasian cinema industry. She reveals the complexity and competitiveness of the early cinema market, in a region with high consumer demand and low domestic production, and frames the dramatic shift to almost exclusively American cinema programming during World War I, contextualizing the rise of the art film in the 1920s in competition with mainstream Hollywood productions.

Over the years, Mondo has received global recognition for its incredible art posters that bring to life classic films, TV shows, and comics in a refreshing and utterly striking new way, offering a unique perspective on everything from Star Wars to Robocop, Back to the Future, Jurassic Park, Game of Thrones, Godzilla, Kill Bill, and many, many more. For the first time, The Art of Mondo will bring together this much sought-after art in one deluxe volume that showcases the incredible ingenuity of the studio's diverse stable of artists whose vastly different styles are united by one guiding principle: limitless passion for their subject matter. This richly imaginative work is fueled by a love of pop culture that fans recognize and identify with, giving Mondo's output a rare and valuable synergy with its audience. While these posters are normally produced in a limited quantity and sell out in minutes, The Art of Mondo will allow fans to explore the studio's remarkable back catalog, including Olly Moss's iconic Star Wars trilogy work, Laurent Durieux's brilliantly subtle Jaws poster, and Tyler Stout's Guardians of the Galaxy art. Other key Mondo artists such as Jock, Martin Asin, and Aaron Horkey will also feature. Definitive, visually stunning, and filled with art that celebrates some of the biggest and best-loved properties in pop culture, The Art of Mondo will be the ultimate book for cult art fans everywhere.

Certain films seem to encapsulate perfectly the often abstract ethical situations that confront the media, from truth-telling and sensationalism to corporate control and social responsibility. Using these movies--including "Ace in the Hole," "All the President's Men," "Network," and "Twelve Angry Men"--as texts, authors Howard Good and Michael Dillon demonstrate that, when properly framed and contextualized, movies can be a powerful lens through which to examine media practices.

Moreover, cinema can present human moral conduct for evaluation and analysis more effectively than a traditional case study can. By presenting ethical dilemmas and theories within a dramatic framework, "Media Ethics Goes to the Movies" offers a unique perspective on what it means for media professionals to be both technically competent and morally informed.

This book explores the use of Blockchain and smart contract technologies to develop new ways to finance independent films and digital media worldwide. Using case studies of Alibaba and in-depth, on-set observation of a Sino-US coproduction, as well as research collected from urban China, Hong Kong, Europe, and the USA, Online Film Production in China Using Blockchain and Smart Contracts explores new digital platforms and what this means for the international production of creative works. This research assesses the change in media consciousness from young urban audiences, their emergence as a potential participative and creative community within dis-intermediated, decentralised and distributed crowdfunding and crowdsourcing models. This research proposes solutions on how these young emerging local creative talents can be identified and nurtured early on, particularly those who now produce creative and artistic audiovisual content whether these works are related to film, Virtual Reality (VR), video game, graphic novels, or music. Ultimately, a new media content finance and production platform implementing blockchain is proposed to bring transparency in the film sector and open doors to emerging artists in digital media. Appropriate for both professionals and academics in the film industry as well as computer science.

Reprojecting the City takes a radical new look at the cinematic city through a queer perspective from the global south. Placing centre-stage the intersection of dissident sexuality with capitalism, globalisation and urban development, it shows how recent Latin American films rework our understandings of urban space and disrupt 'Western' imaginations of city life and sexuality in the majority world. Fusing a queer perspective with a range of other critical approaches, Hoff takes current debates beyond the now well-trodden narratives of dependency and subalternity to a new space in which the so-called 'periphery' is relocated back to the centre of things. Latin American cinematic cities, emerge not merely as marginal spaces of prejudice, discrimination, exclusion and violence also ones of hope, empowerment and productive possibility firmly implicated in the global (re)production of sexualities and sexual discourses.

The novel and the film are two modes of representation based on different aesthetic tools, but both are capable of articulating narrative discourses. In "Spanish Film and the Postwar Novel," author Norberto Minguez-Arranz offers a comparative analysis of the methods and mechanisms with which the novel and the film build their stories. A theoretical framework that that puts into perspective such concepts as specificity, representation, and point of view gives way to a comparative study of five Spanish postwar novels and their respective film adaptations: "The Family of Pascual Duarte," "Time of Silence," "The Hive," "El Bosque Animado," and "Nuevas Amistades."

Revealing the existence of cinematic features of the novel and literary features of the cinema, the author examines the ways in which this interdependence has become a permanent aspect of both arts, with mutual influences and a great deal of nonexclusivity of properties. By using this particular time and place as his locus of analytical thought, Minguez-Arranz provides an invaluable examination of two of this century's major creative forms.

Responding to a lack of studies on the film festival's role in the production of cultural memory, this book explores different parameters through which film festivals shape our reception and memories of films. By focusing on two Asian American film festivals, this book analyzes the frames of memory that festivals create for their films, constructed through and circulated by the various festival media. It further establishes that festival locations-both cities and screening venues-play a significant role in shaping our experience of films. Finally, it shows that festivals produce performances which help guide audiences towards certain readings and direct the film's role as a memory object. Bringing together film festival studies and memory studies, 'Asian American Film Festivals' offers a mixed-methods approach with which to explore the film festival phenomenon, thus shedding light on the complex dynamics of frames, locations, and performances shaping the festival's memory practices. It also draws attention to the understudied genre of Asian American film festivals, showing how these festivals actively engage in constructing and performing a minority group's collective identity and memory.