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Transnational Cinematography Studies introduces new perspectives to
the discipline of film and media studies. First, this volume
focuses on a crucial yet largely unexplored area in film and media
studies: the substantial communication between critical studies of
cinema and film production practices. This book integrates theories
and practices of cinematographic technology. Secondly,
Transnational Cinematography Studies expands the scope of film and
media studies into the arena of transnationalism. Cinema is now
discussed in terms of globalization of audio-visual cultures, with
regard to such issues as Hollywood film studios' so-called "runaway
productions" and multi-national co-productions; Hollywood remakes
of Asian horror films or Hong-Kong martial arts films; and the
growing significance of international film festivals. However, this
volume proposes that globalization is not in itself new in the
history of cinema, and that cinema has always been at the forefront
of transnational culture from the beginning of its history.
The purpose of this book, through its very creation, is to
strengthen the dialogue between practitioner and theorist. To that
end, a film academic and musicologist have collaborated as editors
on this book, which is in turn comprised of interviews with
composers alongside complementary chapters that focus on a
particular feature of the composer's approach or style. These
chapters are written by a fellow composer, musicologist, or film
academic who specializes in that element of the composer's output.
In the interview portions of this book, six major film composers
discuss their work from the early 1980s to the present day: Carter
Burwell, Mychael Danna, Dario Marianelli, Rachel Portman, Zbigniew
Preisner, and A.R. Rahman. The focus is on the practical
considerations of film composition, the relationship each composer
has with the moving image, narrative, technical considerations,
personal motivations in composing, the relationships composers have
with their directors, and their own creative processes.
Contemporary Film Music also explores the contemporary influence of
electronic music, issues surrounding the mixing of soundtracks,
music theory, and the evolution of each composer's musical voice.
For many individuals, pornography is a troubling and problematic
issue. Regardless of how the public views this topic, one thing is
clear: Pornography is as prevalent and accessible as smartphones
and laptop computers. Indeed, beyond traditional hardcore material,
a pornographic sensibility can be seen permeating all aspects of
culture from tween and young teen fashions to television and
commercially successful films. In fact, pornography is so
widespread that more often than not it is taken as a given in our
modern social space. We assume all people look at or know about
pornography, but to some, the thought of engaging in intellectual
discussions about the topic strikes many particularly scholars as
beneath them. And yet something this impactful, this definitive of
modern culture, needs to be laid open to scrutiny. In The
Philosophy of Pornography: Contemporary Perspectives, Lindsay
Coleman and Jacob M. Held offer a collection of essays covering a
wide range of viewpoints from issues of free speech and porn s role
in discrimination to the impact of porn on sexuality. These essays
investigate the philosophical implications of pornography as a part
of how we now seek to conceive and express our sexuality in
contemporary life. Contributors to this volume discuss:
.pornography as a component of gender and sexual socialization
.ecological understandings of sexually explicit media
.subordination, sexualization, and speech .feminism and pornography
.pornography s depiction of love and friendship .black women and
pornography .playfulness, creativity, and porn s possibilities
Because its subject matter sex, gender, interpersonal
relationships, and even love is reflective of who we are and what
kind of society we want to create, pornography demands serious
treatment. So whether one chooses to accept pornography as a fact
of modern culture or not, this collection of timely essays
represents a variety of voices in the ongoing debate. As such, The
Philosophy of Pornography will be of interest to not only those who
are engaged in porn studies but also to an audience educated in and
conversant with recent trends in philosophy."
As many critics and theorists have noted, non-pornographic films,
documentaries, and quality television series have increasingly
included explicit sex scenes since the 1990s, some of such scenes
featuring the performance of actual sex acts. The incidence of sex
in narratively powerful, resonant visual media can no longer be
dismissed as a trend. What was once an aesthetic weapon in the
arsenal of provocateurs is now frequently integrated seamlessly
into the mise-en-scene and exposition of widely viewed and
culturally significant films and television series. Intercourse in
Television and Film: The Presentation of Explicit Sex Acts analyzes
the aesthetic and narrative contexts for the visual media
presentation of the sexual act, both those which are non-simulated
and those which are explicit to that point that their simulation is
brought into question by the viewer. In this book, questions
involving the performance choices of actors, the framing and
editing of the sex act, and the director's attempts at integrating
sexuality into the overall narrative structure as well as their
effects are explored.
The only Japanese director to have won the Palme d'Or from Cannes
more than once, and second only to Ozu Yasujiro in the number of
times he has won the prestigious Kinema Jumpo Best One award, the
late Imamura Shohei was one of Japan's leading and most
controversial film directors. This book is one of the first to
study all of Imamura's major films alongside his television and
theatrical documentaries, focusing on his major themes and
concerns. By giving shape to Imamura's career, the book positions
him as a stylistic innovator as well as an ethnographic
investigator into Japanese culture and tradition; the preeminent
examiner of the hidden, barely repressed underpinnings of Japanese
society.
For many individuals, pornography is a troubling and problematic
issue. Regardless of how the public views this topic, one thing is
clear: Pornography is as prevalent and accessible as smartphones
and laptop computers. Indeed, beyond traditional hardcore material,
a pornographic sensibility permeates many aspects of culture-from
tween and young teen fashions to television and commercially
successful films. In fact, pornography is so widespread that more
often than not it is taken as a given in our modern social space.
However, the thought of engaging in intellectual discussions about
the topic strikes many-particularly scholars-as beneath them. And
yet something this impactful, this definitive of modern culture,
needs to be laid open to scrutiny. In The Philosophy of
Pornography: Contemporary Perspectives, Lindsay Coleman and Jacob
M. Held offer a collection of essays covering a wide range of
viewpoints-from issues of free speech and porn's role in
discrimination to the impact of porn on sexuality. These essays
investigate the philosophical implications of pornography as a part
of how we now seek to conceive and express our sexuality in
contemporary life. Contributors to this volume discuss:
opornography as a component of gender and sexual socialization
oecological understandings of sexually explicit media
osubordination, sexualization, and speech ofeminism and pornography
opornography's depiction of love and friendship oblack women and
pornography oplayfulness and creativity in porn Because its subject
matter-sex, gender, interpersonal relationships, and even love-is
reflective of who we are and what kind of society we want to
create, pornography demands serious treatment. So whether one
chooses to accept pornography as a fact of modern culture or not,
this collection of timely essays represents a variety of voices in
the ongoing debate. As such, The Philosophy of Pornography will be
of interest to not only those who are engaged in porn studies but
also to an audience educated in and conversant with recent trends
in philosophy.
The only Japanese director to have won the Palme d'Or from Cannes
more than once, and second only to Ozu Yasujiro in the number of
times he has won the prestigious Kinema Jumpo Best One award, the
late Imamura Shohei was one of Japan's leading and most
controversial film directors. This book is one of the first to
study all of Imamura's major films alongside his television and
theatrical documentaries, focusing on his major themes and
concerns. By giving shape to Imamura's career, the book positions
him as a stylistic innovator as well as an ethnographic
investigator into Japanese culture and tradition; the preeminent
examiner of the hidden, barely repressed underpinnings of Japanese
society.
With full-frontal genitalia, erections, even actual sex featuring
increasingly in films, this explicitness in presentation has caused
critical consternation and accusations that such film narratives
are pornographic. This book explores how, rather than being
pornographic, explicit sex can be an essential element of cinematic
storytelling today. Offering detailed analysis of how choices are
made in the presentation of explicit sex in often very
controversial films, such as "Shame", "Baise-Moi", "Antichrist",
"Dogtooth" and "Lust, Caution", the expert contributors - including
Barbara Creed, Jacob Held and Linda Ruth Williams - show how sexual
content can aid characterisation, highlight themes, and provide
events that serve to develop plot. The impact of explicit sex as an
element of a film's narrative is also revealed to be assisted by
effective, nuanced performances and the incisive deployment of
directorial technique. Together they detail through the
fundamentals of cinema the shot by shot, moment by moment manner in
which explicit sex can be an essential component of a dramatically
powerful narrative.
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