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Showing 1 - 6 of
6 matches in All Departments
In state and public discussion about war and conflict, figures of
transgression such as deserters, pacifist and emigrants are often
marginalised, but they also play a key role in rethinking cultural
and national identity in the wake of military violence. Raising
questions of agency, responsibility and culpability in relation to
the 'other', their cultural representation can enable reflection on
and renegotiation of values and collective norms after the
destabilisation of war.Through an interdisciplinary lens, this
collection analyses the depiction of these transgressive figures in
a variety of visual media, as well as the narrative,
socio-cultural, political and historical contexts in which they
emerge.
The battles fought in the name of the war on terror have re-ignited
questions about the changing nature of war, and the experience of
war for those geographically distant from its real world
consequences. What is missing from our highly mediated experience
of war? What are the intentional and unintentional processes of
erasure through which the distortion happens? What are their
consequences?
Action cinema is a popular and familiar form which reflects the
cultural, industrial and historical landscape from which it
emerges. Lisa Purse analyses the genre's pleasures and complexities
in the light of both its cinematic history and the latest critical
debates. Focussing on action cinema of the 2000s, this book
explores issues of visual style, narrative, representation and the
various contexts of production through a diverse series of case
studies including Avatar (2009), Casino Royale (2006), The Hurt
Locker (2008) and Banlieue 13 (2004). Providing a groundbreaking
account of the way that the spectator engages with the action body
and the action narrative, and including analyses of areas of
representation that have seldom received sustained attention in the
past, this comprehensive study is the perfect companion to modern
action cinema. Key Features * Provides wide-ranging analyses and
interpretation of action cinema * Discusses representations of
heroism, gender and ethnicity * Explores the spectator's embodied
engagement with the action film * Examines the effect of 9/11 and
changes in US foreign policy
The battles fought in the name of the 'war on terror' have
re-ignited questions about the changing nature of war, and the
experience of war for those geographically distant from its real
world consequences. What is missing from our highly mediated
experience of war? What are the intentional and unintentional
processes of erasure through which the distortion happens? What are
their consequences? Cinema is a key site at which questions about
our highly mediated experience of war can be addressed or, more
significantly, elided. Looking at a range of films that have
provoked debate, from award-winning features like Zero Dark Thirty
and American Sniper, to documentaries like Kill List and Dirty
Wars, as well as at the work of visual artists like Harun Farocki
and Omer Fast, this book examines the practices of erasure in the
cinematic representation of recent military interventions. Drawing
on representations of war-related death, dying and bodily damage,
this provocative collection addresses 'what's missing' in existing
scholarly responses to modern warfare; in film studies, as well as
in politics and international relations.
In state and public discussion about war and conflict, figures of
transgression such as deserters, pacifist and emigrants are often
marginalised, but they also play a key role in rethinking cultural
and national identity in the wake of military violence. Raising
questions of agency, responsibility and culpability in relation to
the 'other', their cultural representation can enable reflection on
and renegotiation of values and collective norms after the
destabilisation of war. Through an interdisciplinary lens, this
collection analyses the depiction of these transgressive figures in
a variety of visual media, as well as the narrative,
socio-cultural, political and historical contexts in which they
emerge.
This book explores how film analysis can take account of the
presence of digital images in cinema. Digital images are now
ubiquitous elements within the cinematic frame but, as we analyse
films or film moments, it can often be difficult to be sure how -
and how much - to talk about digital elements. This accessible book
demystifies the relationship of digital imaging to processes of
watching and reading films, and gives scholars and students the
tools to engage with digital imaging in cinema with ease. A
wide-ranging series of case studies demonstrates how digital
elements can be discussed and analysed in different scenarios, and
a language is developed to describe digital elements accurately.
Not just for digital effects enthusiasts, this book is essential
for anyone interested in how to approach film critically: it is a
toolbox for contemporary film analysis. Key features: this is the
first book exploring how the presence of digital imaging in film
affects the production of meaning; locates contemporary digital
effects practice in relation to historical traditions of filmmaking
and special effects practice; proposes a fresh, flexible approach
to the close textual analysis of film that can take account of the
digital; and, uses case studies from the "Lord of the Rings"
trilogy and "Avatar" to "Alice in Wonderland" and "King Kong" to
demonstrate this approach in action.
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