Filmmakers and cinema industries across the globe invest more time, money and creative energy in projects and ideas that never get produced than in the movies that actually make it to the screens. Thousands of projects are abandoned in pre-production, halted, cut short, or even made and never distributed – a “shadow cinema� that exists only in the archives. This collection of essays by leading scholars and researchers opens those archives to draw on a wealth of previously unexamined scripts, correspondence and production material, reconstructing many of the hidden histories of the last hundred years of world cinema. Highlighting the fact that the movies we see are actually the exception to the rule, this study uncovers the myriad reasons why ‘failures’ occur and considers how understanding those failures can transform the disciplines of film and media history. The first survey of this new area of empirical study across transnational borders, Shadow Cinema is a vital and fascinating demonstration of the importance of the unmade, unseen, and unknown history of cinema.

The Legacy of The X-Files examines the content and production of the show, its reception, its use of legend and folklore, its contemporary resonance in politics and society of the 21st century, and its impact and legacy on film, television, the Internet and beyond. Having converged with the early widespread use of the Internet, The X-Files became a cultural touchstone of the 1990s, transforming from a cult TV show into a pop cultural phenomenon by the end of the decade. To celebrate the 30th anniversary of The X-Files, this collection examines the content and production of the show, its reception, its use of legend and folklore, its contemporary resonance in politics and society of the 21st century, and its impact and legacy on film, television, the Internet and beyond. The series' themes of government mistrust, conspiracy, folklore, UFOlogy, and faith are dissected and applied to how the show spirituality resonated with post-Cold War Western society. Contributors to this collection discuss the wide-ranging impact of the television show in popular culture, from Mulder and Scully 'shippers' to the show's slogan entering the contemporary lexicon. The Legacy of The X-Files serves as an all-encompassing, multi-disciplinary, contemporary account of The X-Files, reflecting upon critical, historical, political, and social contexts, and featuring an in-depth and comprehensive introduction making it a vital work for researchers and students alike.

A Critical Companion to Stanley Kubrick offers a thorough and detailed study of the films of the legendary director. Labeled a recluse, a provocateur, and a perfectionist, Kubrick revolutionized filmmaking, from the use of music in film, narrative pacing and structure, to depictions of war and violence. An unparalleled visionary, his work continues to influence contemporary cinema and visual culture. This book delves into the complexities of his work and examines the wide range of topics and the multiple interpretations that his films inspire. The eighteen chapters in this book use a wide range of methodologies and explore new trends of research in film studies, providing a series of unique and novel perspectives on all of Kubrick's thirteen feature films, from Fear and Desire (1953) to Eyes Wide Shut (1999), as well as his work on A.I. Artificial Intelligence (Steven Spielberg, 2001).

A Critical Companion to Stanley Kubrick offers a thorough and detailed study of the works of Stanley Kubrick. Labeled a recluse, a provocateur, and a perfectionist, Kubrick remains one of the greatest legends of cinema who continues to influence contemporary filmmakers and visual culture. An unequaled visionary, Kubrick revolutionized film genres, the use of music in film, narrative pacing and structure, and depictions of war and violence. This book delves into the complexities of his work and examines the wide range of topics and the multiple interpretations that his films inspire. The eighteen chapters in this book use different methodologies, explore new trends of research in film studies, providing a series of unique and novel perspectives on all of Kubrick's thirteen feature films, from Fear and Desire (1953) to Eyes Wide Shut (1999), as well as his work on A.I. Artificial Intelligence (Steven Spielberg, 2001).

This book makes the case for unproduction studies, the study of films left unmade, unseen, or unreleased, as a radical discipline with the potential to uncover a shadow history of the American film industry. Exploring the archival methods that can be utilised in this endeavour, James Fenwick argues that a revisionist history is needed to understand the logic of the film industry, finding that it has long-been predicated on a system of unmade creativity in which finances, resources, and labour is invested into projects that production companies know will never be produced or have no intention of ever producing. Using the Production Code Administration (PCA) records, housed at the Margaret Herrick Library, as a case study, the book explores the material existence of the unmade and considers how archives and archival methods can be used to construct a shadow history that recovers the forgotten, marginalised, and overlooked figures in film history, providing explanations for structural forces that contributed to the unmade. Given its unique use of the unmade as an analytic for film history, this book will be an essential read for scholars interested in film and media history, performance studies, film production, and creative practice, as well as to archivists and archival researchers.

Stanley Kubrick Produces provides the first comprehensive account of Stanley Kubrick’s role as a producer, and of the role of the producers he worked with throughout his career. It considers how he first emerged as a producer, how he developed the role, and how he ultimately used it to fashion himself a powerbase by the 1970s. It goes on to consider how Kubrick’s centralizing of power became a self-defeating strategy by the 1980s and 1990s, one that led him to struggle to move projects out of development and into active production.   Making use of overlooked archival sources and uncovering newly discovered ‘lost’ Kubrick projects (The Cop Killer, Shark Safari, and The Perfect Marriage among them), as well as providing the first detailed overview of the World Assembly of Youth film, James Fenwick provides a comprehensive account of Kubrick’s life and career and of how he managed to obtain the level of control that he possessed by the 1970s. Along the way, the book traces the rapid changes taking place in the American film industry in the post-studio era, uncovering new perspectives about the rise of young independent producers, the operations of influential companies such as Seven Arts and United Artists, and the whole field of film marketing.  

Scholars have been studying the films of Stanley Kubrick for decades. This book, however, breaks new ground by bringing together recent empirical approaches to Kubrick with earlier formalist approaches to arrive at a broader understanding of the ways in which Kubrick's methods were developed to create the unique aesthetic creation that is 2001: A Space Odyssey. More than 50 years after its release, contributors explore the film's still striking design, vision and philosophical structure, offering new insights and analyses that will give even dedicated Kubrick fans new ways of thinking about the director and his masterpiece.

Scholars have been studying the films of Stanley Kubrick for decades. This book, however, breaks new ground by bringing together recent empirical approaches to Kubrick with earlier formalist approaches to arrive at a broader understanding of the ways in which Kubrick's methods were developed to create the unique aesthetic creation that is 2001: A Space Odyssey. More than 50 years after its release, contributors explore the film's still striking design, vision and philosophical structure, offering new insights and analyses that will give even dedicated Kubrick fans new ways of thinking about the director and his masterpiece.

Filmmakers and cinema industries across the globe invest more time, money and creative energy in projects and ideas that never get produced than in the movies that actually make it to the screens. Thousands of projects are abandoned in pre-production, halted, cut short, or even made and never distributed – a “shadow cinema� that exists only in the archives. This collection of essays by leading scholars and researchers opens those archives to draw on a wealth of previously unexamined scripts, correspondence and production material, reconstructing many of the hidden histories of the last hundred years of world cinema. Highlighting the fact that the movies we see are actually the exception to the rule, this study uncovers the myriad reasons why ‘failures’ occur and considers how understanding those failures can transform the disciplines of film and media history. The first survey of this new area of empirical study across transnational borders, Shadow Cinema is a vital and fascinating demonstration of the importance of the unmade, unseen, and unknown history of cinema.