This book offers a fresh analysis of Before Sunrise that reframes its romance within the contexts of transnational culture and cinema. The book highlights the symbolic value of the film’s construction of transnational youth in the building of a trans-European culture. Engaging with the film’s critical history, this book focuses on its specific view of youth and young love. Before Sunrise: Young Love on the Move examines young love within the cultural context of the 1990’s in the US and its links with Generation X and the slacker culture. Within a wider scope, it also looks at the history and theory of romantic comedy and its connections with independent cinema. In considering the film a transnational text, this analysis underlines the parallels between a narrative of young love at the end of the 20th century and the construction of a young, or rejuvenated, Europe. Before Sunrise: Young Love on the Move provides an invaluable insight into this beloved film for students and researchers in film studies, transnational cinema and youth culture.

Winner of the 2009 Enrique Garcia Diez book award for literary research, from the Spanish Association for English and American Studies. The secret life of romantic comedy offers a new approach to one of the most popular and resilient genres in the history of Hollywood. Steering away from the rigidity and ideological determinism of traditional theories of the genre, this book advocates a more flexible theory which allows the student to explore the presence of the genre in unexpected places, extending the concept to encompass films that are not usually considered romantic comedies. Combining theory with detailed analyses of a selection of films, including To Be or Not to Be (1942), Rear Window (1954), Kiss Me Stupid (1964), Crimes and Misdemeanors (1989) and Before Sunset (2004), the book aims to provide a practical framework for the exploration of a key area of contemporary experience - intimate matters - through one of its most powerful filmic representations: the genre of romantic comedy. Original and entertaining, The secret life of romantic comedy is perfect for students and academics of film and film genre.

The secret life of romantic comedy offers a new approach to one of the most popular and resilient genres in the history of Hollywood. Steering away from the rigidity and ideological determinism of traditional accounts of the genre, this book advocates a more flexible theory, which allows the student to explore the presence of the genre in unexpected places, extending the concept to encompass films that are not usually considered romantic comedies. Combining theory with detailed analyses of a selection of films, including To Be or Not to Be (1942), Rear Window (1954), Kiss Me Stupid (1964), Crimes and Misdemeanors (1989) and Before Sunset (2004), the book aims to provide a practical framework for the exploration of a key area of contemporary experience - intimate matters - through one of its most powerful filmic representations: the genre of romantic comedy. Original and entertaining, The secret life of romantic comedy is perfect for students and academics of film and film genre. -- .

Los Angeles is a global metropolis whose history and social narrative is linked to one of its top exports: cinema. L.A. appears on screen more than almost any city since Hollywood and is home to the American film industry. Historically, conversations of social and racial homogeneity have dominated the construction of Los Angeles as a cosmopolitan city, with Hollywood films largely contributing to this image. At the same time, the city is also known for its steady immigration, social inequalities, and exclusionary urban practices, not dissimilar to any other borderland in the world. The Spanish names and sounds within the city are paradoxical in relation to the striking invisibility of its Hispanic residents at many economic, social, and political levels, given their vast numbers. Additionally, the impact of the 1992 Los Angeles riots left the city raw, yet brought about changing discourses and provided Hollywood with the opportunity to rebrand its hometown by projecting to the world a new image in which social uniformity is challenged by diversity. It is for this reason that author Celestino Deleyto decided to take a closer look at how the quintessential cinematic city contributes to the ongoing creation of its own representation on the screen. From Tinseltown to Bordertown: Los Angeles on Film starts from the theoretical premise that place matters. Deleyto sees film as predominantly a spatial system and argues that the space of film and the space of reality are closely intertwined in complex ways and that we should acknowledge the potential of cinema to intervene in the historical process of the construction of urban space, as well as its ability to record place. The author asks to what extent this is also the city that is being constructed by contemporary movies. From Tinseltown to Bordertown offers a unique combination of urban, cultural, and border theory, as well as the author's direct observation and experience of the city's social and human geography with close readings of a selection of films such as Falling Down, White Men Can't Jump, and Collateral. Through these textual analyses, Deleyto tries to situate filmic narratives of Los Angeles within the city itself and find a sense of the "real place" in their fictional fabrications. While in a certain sense, Los Angeles movies continue to exist within the rather exclusive boundaries of Tinseltown, the special borderliness of the city is becoming more and more evident in cinematic stories. Deleyto's monograph is a fascinating case study on one of the United States' most enigmatic cities. Film scholars with an interest in history and place will appreciate this book.

This in-depth study of Mexican film director Alejandro Gonzalez Inarritu explores his role in moving Mexican filmmaking from a traditional nationalist agenda towards a more global focus. Working in the United States and in Mexico, Inarritu crosses national borders while his movies break the barriers of distribution, production, narration, and style. His features also experiment with transnational identity as characters emigrate and settings change. In studying the international scope of Inarritu's influential films "Amores Perros, 21 Grams, " and "Babel, " Celestino Deleyto and Maria del Mar Azcona trace common themes such as human suffering and redemption, chance, and accidental encounters. The authors also analyze the director's powerful visual style and his consistent use of multiple characters and a fragmented narrative structure. The book concludes with a new interview with Inarritu that touches on the themes and subject matter of his chief works.

This in-depth study of Mexican film director Alejandro Gonzalez Inarritu explores his role in moving Mexican filmmaking from a traditional nationalist agenda towards a more global focus. Working in the United States and in Mexico, Inarritu crosses national borders while his movies break the barriers of distribution, production, narration, and style. His features also experiment with transnational identity as characters emigrate and settings change. In studying the international scope of Inarritu's influential films "Amores Perros, 21 Grams, " and "Babel, " Celestino Deleyto and Maria del Mar Azcona trace common themes such as human suffering and redemption, chance, and accidental encounters. The authors also analyze the director's powerful visual style and his consistent use of multiple characters and a fragmented narrative structure. The book concludes with a new interview with Inarritu that touches on the themes and subject matter of his chief works.