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This collection presents new essays in the complex field of French
literary adaptation. Using a variety of textual and interpretive
approaches, it sheds light on issues of gender, sexuality, class,
politics and social conventions while acknowledging a range of
contexts, from the commercial to the archival and the aesthetic.
The chapters, written by eminent international scholars, run
chronologically from The Count of Monte Cristo through Proust and
Bonjour, Tristesse to Philippe Djian's Oh... (adapted for the
screen as Elle). Collectively, they fill a need for contemporary
discussions on the significance of France's literary
representations in the history of global cinema. -- .
Costa-Gavras is a seminal figure in French and international
cinema. A master of the political thriller, he explores historical
events through individual human stories, thereby involving his
audience in past and contemporary traumas, from the horrors of the
Holocaust through mid-century international state terrorism and
totalitarianism to the current global financial crisis. With a
career spanning half a century, he remains one of cinema's most
intriguing and enduring storytellers, theorists and political
commentators. This collection of original essays charts and
re-examines Costa-Gavras's career from Un homme de trop (1967) to
Le capital (2012). Readable and carefully researched, it will
appeal to students and scholars of film, as well as fans of the
director's work. -- .
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Film Noir (Hardcover)
Homer B Pettey, R.Barton Palmer
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R2,389
Discovery Miles 23 890
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Ships in 12 - 17 working days
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This book explores the development of film noir as a cultural and
artistic phenomenon. This book traces the development of what we
know as film noir from the proto-noir elements of Feuillade's
silent French crime series and German Expressionism to the genre's
mid-20th century popularization and influence on contemporary
global media. By employing experimental lighting effects, oblique
camera angles, distorted compositions, and shifting points-of-view,
film noir's style both creates and comments upon a morally
adumbrated world, where the alienating effects of the uncanny, the
fetishistic, and the surreal dominate. What drew original audiences
to film noir is an immediate recognition of this modern social and
psychological reality. Much of the appeal of film noir concerns its
commentary on social anxieties, its cynical view of political and
capitalist corruption, and its all-too-brutal depictions of
American modernity. This book examines the changing, often volatile
shifts in representations of masculinity and femininity, as well as
the genre's complex relationship with Afro-American culture,
observable through noir's musical and sonic experiments. Concluding
with extensive bibliographies, filmographies, recommended noir film
viewing, and a reflective chapter by Alain Silver and James Ursini
on their own influential studies and collections on film noir
criticism, this book offers students and scholars of Film Studies a
scholarly, cultural and aesthetic history of the genre. It traces
the history of film noir from its aesthetic antecedents through its
mid-century popularization to its influence on contemporary global
media. It discusses the influence of literary and artistic sources
on the development of film noir. It includes guides to further
reading and recommended viewing.
ReFocus: The Literary Films of Richard Brooks highlights the
accomplishments of one of postwar America's most important and
successful directors, with an emphasis on the "literary" aspects of
his career, including his work as a screenwriter and adaptor of
such modern classics as Cat on a Hot Tin Roof, Lord Jim, and The
Brothers Karamazov.
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Film Noir (Paperback)
Homer B Pettey, R.Barton Palmer
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R1,096
Discovery Miles 10 960
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Ships in 10 - 15 working days
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This book traces the development of what we know as film noir from
the proto-noir elements of Feuillade's silent French crime series
and German Expressionism to the genre's mid-twentieth century
popularization and influence on contemporary global media.
Ranging from Japanese silent films and women's films to French,
Hong Kong, and Nordic New Waves, this book explores the influence
of noir on international cinematic traditions and challenges
prevailing film scholarship. It includes extensive bibliography and
filmographies for recommended reading and viewing.
From the mid-1940s to the late 1980s American film studios enjoyed
commercial success in a range of often overlooked genres, employing
a new realism to depict social class structures, capitalist desires
and the expansion of the marketplace, and to turn American cultural
values comically and subversively against themselves. With case
studies of the Cold War comedy, the 'rogue cop' film, the
brainwashing thriller and the urban romances that defined the 'new
woman', Cold War Film Genres explores these myriad productions,
redefining American cinematic history with a more inclusive view of
the types of films that post-war audiences actually enjoyed, and
that the studios provided for them.
Examines how Cold War films depicted pertinent issues of American
social class and genderFrom the mid-1940s to the late 1980s
American film studios enjoyed commercial success in a range of
often overlooked genres, employing a new realism to depict social
class structures, capitalist desires and the expansion of the
marketplace, and to turn American cultural values comically and
subversively against themselves. With case studies of the Cold War
comedy, the 'rogue cop' film, the brainwashing thriller and the
urban romances that defined the 'new woman', 'Cold War Film Genres'
explores these myriad productions, redefining American cinematic
history with a more inclusive view of the types of films that
post-war audiences actually enjoyed, and that the studios provided
for them.Key FeaturesProvides studies of emerging film genres and
cycles in the Cold War periodExamines how new genres recast gender
and class conditions in terms of defining urban and suburban
AmericaReveals new directions and successful strategies in Cold War
studio production Charts new developments in film narratives that
define American social concerns Refocuses critical attention upon
the diverse politics of American film culture
This book examines the influence of film noir on visual narrative
and technique in global cinematic traditions. Following World War
II, film noir became the dominant cinematic expression of Cold War
angst, influencing new trends in European and Asian filmmaking.
International Noir examines film noir's influence on the cinematic
traditions of Britain, France, Scandinavia, Japan, Hong Kong,
Korea, and India. This book suggests that the film noir style
continues to appeal on such a global scale because no other
cinematic form has merged style and genre to effect a vision of the
disturbing consequences of modernity. International noir has,
however, adapted and adopted noir themes and aesthetic elements so
that national cinemas can boast an independent and indigenous
expression of the genre. Ranging from Japanese silent films and
women's films to French, Hong Kong, and Nordic New Waves, this book
also calls into question critical assessments of noir in
international cinemas. In short, it challenges prevailing film
scholarship to renegotiate the concept of noir. Ending with an
examination of Hollywood's neo-noir recontextualization of the
genre, and post-noir's reinvigorating critique of this aesthetic,
International Noir offers Film Studies scholars an in-depth
commentary on this influential global cinematic art form, further
offering extensive bibliography and filmographies for recommended
reading and viewing. It examines noir's influence on film narrative
and technique in several different national cinemas. It covers
British, French and Japanese noir as well as the influence of noir
on Scandivavian, Chinese and Korean cinema. It includes chapters on
neo-noir and post-noir films.
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