The urban photographs of Swiss artist Beat Streuli (born 1957) record what he calls "the glamour of the usual"--people walking the streets in familiar states of pedestrian reverie, photographed with professional care ("glamour") but without drama ("the usual"). "Public Work 1996-2011" surveys his large-scale installations in public spaces.

In the wake of the explosion in the production of essay films over the last 25 years and its subsequent theorization in scholarly literature, this volume seeks to historicize these intertwined developments within the 'long duree' of the 20th century and into the 21st. By raising the issue of 'beyond the essay film', this collection seeks not only to acknowledge the influential predecessors of this - in the view of many critics, the most interesting type of contemporary filmmaking - but also to speculate about its possible transformation as we move forward into the uncharted waters of the 21st - digital - century. Beyond the Essay Film focusses on three specific axes that underpin and shape the articulation of the essay film as a specific cultural form - subjectivity, textuality, and technology - to explore how changes along and across these dimensions affect historical shifts within the essay-film practice and its relation to other types of cinema and neighbouring art forms.

We live in an era of screens. No longer just the place where we view movies, or watch TV at night, screens are now ubiquitous, the source of the majority of information we consume daily, and a crucial component of our basic interactions with colleagues, friends, and family. This transformation has happened almost without us realizing it-and certainly without the full theoretical and intellectual analysis it deserves. Screens brings together scholars from a variety of disciplines to analyse the growing presence and place of screens in our lives today. They tackle such topics as the archaeology of screens, film and media theories about our interactions with them, their use in contemporary art, and the new avenues they open up for showing films and other media in non-traditional venues.

First published in French in 1990, "Between-the-Images" unites 20 illustrated essays written between 1981 and 1989 by Raymond Bellour (born 1939), one of the world's most prominent film theorists. Bellour writes in his foreword to this English edition: ""Between-the-Images," which was innovative yesterday, is now a kind of archeological corpus. That is one of its virtues. It recalls how the landscape of the moving image was constituted and historicizes the first creative passages between film, video and photography." Considering the works and strategies of artists and filmmakers such as Chantal Akerman, Jean Eustache, Jean-Luc Godard, Thierry Kuntzel, Chris Marker and Bill Viola, Bellour shows how film looks at painting and how language inspires images. At once poetic and concisely argued, and accompanied by numerous film stills, Bellour's now-classic essays are invaluable and still relevant today.

"No serious student of film should miss the great work collected in this volume." W. A. Vincent, Choice

"When so much writing about film is based on overall impressions or shadowy memories, on notes scribbled in the dark or published shot breakdowns that are often overgeneralized or even inaccurate, it is refreshing to be confronted with such scholarly work, characterized by a genuinely attentive eye and a punctilious observation of detail. This long-awaited collection, gathering Bellour s ground breaking studies into one volume, will surely be a crucial source of inspiration for future generations of film scholars." Peter Wollen, Bookforum

The Analysis of Film brings together Raymonds Bellour's now classic studies of classic Hollywood film. It is at once a book about the methods of close film analysis, the narrative structure of Hollywood film, Hitchcock's work The Birds, Marnie, Psycho, North by Northwest and the role of the woman in western representation. But, finally, it is a book about cinema itself and the love for cinema that drives the passion for analyzing the supreme art form of the twentieth century.

Bellour creatively reworks the ideas and methods of structuralism, semiology, and psychoanalysis to unravel the knot of significations that is the filmic text. The introductory chapter sketches out a history of the way the close analysis of film developed. And then, beginning with a study of the Bodega Bay sequence of The Birds, the book goes on to examine every aspect of that singular critical practice, "the analysis of film."

The book is also a model of how to write about the intricacies of film narrative, shot by shot, sequence by sequence, while addressing larger contextual issues of subjectivity, desire, and identification in Western cultural forms. A new, final chapter on D. W. Griffith's The Lonedale Operator brilliantly demonstrates that the dynamics of repetition and alternation that Bellour discovered to be the heartbeat of Hollywood narrative film were already there in nascent form at the beginnings of cinema."

From 1968 to 1991 the acclaimed film theorist Christian Metz wrote several remarkable books on film theory: Essais sur la signifi cation au cinema, tome1 et 2; Langage et cinema; Le signifiant imaginaire; and L'Enonciation impersonnelle. These books set the agenda of academic film studies during its formative period. Metz's ideas were taken up, digested, refined,reinterpreted, criticized and sometimes dismissed, but rarely ignored. This volume collects and translates into English for the first time a series of interviews with Metz, who offers readable summaries,elaborations, and explanations of his sometimes complex and demanding theories of film. He speaks informally of the most fundamental concepts that constitute the heart of film theory as an academic discipline - concepts borrowed from linguistics, semiotics, rhetoric, narratology, and psychoanalysis. Within the colloquial language of the interview, we witness Metz's initial formation and development of his film theory. The interviewers act as curious readers who pose probing questions to Metz about his books, and seek clarification and elaboration of his key concepts. We also discover the contents of his unpublished manuscript on jokes, his relation to Roland Barthes, and the social networks operative in the French intellectual community during the 1970s and 1980s.

This book offers a comprehensive scholarly examination of Vincente Minnelli, one of American cinema's central filmmakers.Widely known for innovative films like ""Meet Me in St. Louis"", ""An American in Paris"", and ""The Band Wagon"", Vincente Minnelli also directed classic film comedies like ""Father of the Bride"" and ""Designing Woman"", and melodramas such as ""The Bad and the Beautiful"" and ""Some Came Running"". Though his work is beloved by filmmakers and audiences alike, Minnelli has nonetheless received very little critical attention in English. ""Vincente Minnelli: The Art of Entertainment"" remedies this imbalance, offering the first-ever comprehensive and scholarly examination of Minnelli's career within a variety of discourses and methods.Bringing together a number of previously uncollected and untranslated essays by some of the most important scholars and critics in North America, Australia, and Europe, ""Vincente Minnelli: The Art of Entertainment"" places Minnelli's cinema in its rightful position at the forefront of film history. In essays written over the last five decades, as well as a number of new essays commissioned especially for this volume, contributors consider Minnelli from a number of perspectives from auteurism to genre studies and psychoanalysis to close textual analysis.The volume is divided into four chronological sections, Minnelli in the 1960s: The Rise and Fall of an Auteur; The 1970s and 1980s: Genre, Psychoanalysis, and Close Readings; The 1990s: Matters of History, Culture, and Sexuality; and, Minnelli Today: The Return of the Artist. An introduction by Joe McElhaney addresses the history of the reception of Minnelli's films, situating this reception within larger questions of film theory, criticism, and aesthetics.Too often dismissed as little more than a stylist dependent on the resources of the studio system and the structures of genre, Vincente Minnelli deserves a second look from serious film scholars. ""Vincente Minnelli: The Art of Entertainment"" demonstrates the remarkable and sustained rigor of Minnelli's vision and will appeal to students and teachers of film studies as well as fans of Minnelli's work.

A pioneering figure in film studies, Christian Metz proposed countless new concepts for reflecting on cinema, rooted in his phenomenological structuralism. He also played a key role in establishing film studies as a scholarly discipline, making major contributions to its institutionalisation in universities worldwide. This book brings together a stellar roster of contributors to present a close analysis of Metz's writings, their theoretical and epistemological positions, and their ongoing influence today.