Weimar Cinema Examines three films of the postwar, stabilization, and prefascist period: Dr. Mabuse, the Gambler (1922), People on Sunday (1929), and Kuhle Wampe (1932). Drawing on the ideas of Brecht, each chapter examines the way these films invite sophisticated readings through the use of distinct visual and narrative strategies. They also draw attention to the social function of cinema in Germany's first republic.

Beyond the Rhetoric of Pain presents a fresh, interdisciplinary approach to the current research on pain from a variety of scholarly angles within Literature, Film and Media, Game Studies, Art History, Hispanic Studies, Memory Studies, Anthropology, Sociology, Philosophy, and Law. Through the combination of these perspectives, this volume goes beyond the existing structures within and across these disciplines framing new concepts of pain in attitude, practice, language, and ethics of response to pain. Comprised of fourteen unique essays, Beyond the Rhetoric of Pain maintains a common thread of analysis using a historical and cultural lens to explore the rhetoric of pain. Considering various methodologies, this volume questions the ethical, social and political demands pain makes upon those who feel, watch or speak it. Arranged to move from historical cases and relevance of pain in history towards the contemporary movement, topics include pain as a social figure, rhetorical tool, artistic metaphor, and political representation in jurisprudence.

From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis.
Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses:
* haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier
* the eroticism of period costume in films such as The Piano and The Age of Innocence
* clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction
* generic male chic in Goodfellas, Reservoir Dogs, and Leon
* pride, costume and masculinity in `Blaxploitation' films, Boyz `N The Hood and New Jack City
* drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.

eBook available with sample pages: HB:0415139562

Following on from the ground-breaking collection "Fashion Cultures," this second anthology, "Fashion Cultures Revisited, " contains 26 newly commissioned chapters exploring fashion culture from the start of the new millennium to the present day. The book is divided into six parts, each discussing different aspects of fashion culture:

• Shopping, spaces and globalisation
• Changing imagery, changing media
• Altered landscapes, new modes of production
• Icons and their legacies
• Contestation, compliance, feminisms
• Making masculinities

"

Fashion Cultures Revisited" explores every facet of contemporary fashion culture and the associated spheres of photography, magazines and television, and shopping .Consequently it is an ideal companion to those interested in fashion studies, cultural studies, art, film, fashion history, sociology and gender studies.

Praise for New Documentary: 'It's refreshing to find a book that cuts through the tired old debates that have surrounded documentary film and television. It heralds a welcome new approach.' Sight and Sound 'Documentary practice changes so fast that books on the subject are often out of date before they are published. Bruzzi's achievement is to have understood the genre as an activity based on performance rather than observation. This is a fresh perspective which illuminates the fundamental shifts that will continue to take place in the genre as it enters its second century.' John Ellis, Professor of Media Arts, Royal Holloway, University of London New Documentary provides a contemporary look at documentary and fresh and challenging ways of theorising the non-fiction film. As engaging as the original, this second edition features thorough updates to the existing chapters, as well as a brand new chapter on contemporary cinema release documentaries. This new edition includes: Contemporary films such as Capturing the Friedmans, Etre et avoir, Farenheit 9/11, The Fog of War and Touching the Void as well as more canonical texts such as Hoop Dreams and Shoah Additional interviews with influential practitioners, such as director Michael Apted and producer Stephen Lambert A comprehensively revised discussion of modern observational documentary, including docusoaps, reality television and formatted documentaries The work of documentary filmmakers such as Nicholas Barker, Errol Morris, Nick Broomfield, Molly Dineen and Michael Moore and the work of Avant-Garde filmmakers such as Chris Marker and Patrick Keiller Gender identity, queer theory, performance, race and spectatorship. Bruzzi shows how theories of documentary filmmaking can be applied to contemporary texts and genres, and discusses the relationship between recent, innovative examples of the genre and the more established canon of documentary.

From Audrey Hepburn in Givenchy, to sharp-suited gangsters in Tarantino movies, clothing is central to film. In Undressing Cinema, Stella Bruzzi explores how far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between cinema, fashion and costume history, gender, queer theory and psychoanalysis.
Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and femininity are constructed through clothing. Her wide-ranging study encompasses:
* haute couture in film and the rise of the movie fashion designer, from Givenchy to Gaultier
* the eroticism of period costume in films such as The Piano and The Age of Innocence
* clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction
* generic male chic in Goodfellas, Reservoir Dogs, and Leon
* pride, costume and masculinity in Blaxploitation' films, Boyz N The Hood and New Jack City
* drag and gender confusion in cinema, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando.

Beyond the Rhetoric of Pain presents a fresh, interdisciplinary approach to the current research on pain from a variety of scholarly angles within Literature, Film and Media, Game Studies, Art History, Hispanic Studies, Memory Studies, Anthropology, Sociology, Philosophy, and Law. Through the combination of these perspectives, this volume goes beyond the existing structures within and across these disciplines framing new concepts of pain in attitude, practice, language, and ethics of response to pain. Comprised of fourteen unique essays, Beyond the Rhetoric of Pain maintains a common thread of analysis using a historical and cultural lens to explore the rhetoric of pain. Considering various methodologies, this volume questions the ethical, social and political demands pain makes upon those who feel, watch or speak it. Arranged to move from historical cases and relevance of pain in history towards the contemporary movement, topics include pain as a social figure, rhetorical tool, artistic metaphor, and political representation in jurisprudence.

In our era of 'fake news', Stella Bruzzi examines the dynamism that results from reusing and reconfiguring raw documentary data (documents, archive, news etc.) in creative ways. Through a series of individual case studies, this book offers an innovative framework for understanding how, in our century, film and media texts frequently represent reality and negotiate the instabilities of 'truth' by 'approximating' factual events rather than merely representing them, through juxtaposing disparate, often colliding, perspectives of history and factual events. Covering areas such as true crime, politics and media, the book analyses the fluidity and instability of truth, arguing that 'approximation' is more prevalent now in our digital age, and that its conception is a result of viewers' accidental or unconscious connections and interventions. Original and thought-provoking, Approximation provides students and researchers of media, film and cultural studies a deeper insight into our understanding and acceptance of what truth really means today.

In our era of 'fake news', Stella Bruzzi examines the dynamism that results from reusing and reconfiguring raw documentary data (documents, archive, news etc.) in creative ways. Through a series of individual case studies, this book offers an innovative framework for understanding how, in our century, film and media texts frequently represent reality and negotiate the instabilities of 'truth' by 'approximating' factual events rather than merely representing them, through juxtaposing disparate, often colliding, perspectives of history and factual events. Covering areas such as true crime, politics and media, the book analyses the fluidity and instability of truth, arguing that 'approximation' is more prevalent now in our digital age, and that its conception is a result of viewers' accidental or unconscious connections and interventions. Original and thought-provoking, Approximation provides students and researchers of media, film and cultural studies a deeper insight into our understanding and acceptance of what truth really means today.

Following on from the ground-breaking collection "Fashion Cultures," this second anthology, "Fashion Cultures Revisited, " contains 26 newly commissioned chapters exploring fashion culture from the start of the new millennium to the present day. The book is divided into six parts, each discussing different aspects of fashion culture:

• Shopping, spaces and globalisation
• Changing imagery, changing media
• Altered landscapes, new modes of production
• Icons and their legacies
• Contestation, compliance, feminisms
• Making masculinities

"

Fashion Cultures Revisited" explores every facet of contemporary fashion culture and the associated spheres of photography, magazines and television, and shopping .Consequently it is an ideal companion to those interested in fashion studies, cultural studies, art, film, fashion history, sociology and gender studies.

Praise for New Documentary: 'It's refreshing to find a book that cuts through the tired old debates that have surrounded documentary film and television. It heralds a welcome new approach.' Sight and Sound 'Documentary practice changes so fast that books on the subject are often out of date before they are published. Bruzzi's achievement is to have understood the genre as an activity based on performance rather than observation. This is a fresh perspective which illuminates the fundamental shifts that will continue to take place in the genre as it enters its second century.' John Ellis, Professor of Media Arts, Royal Holloway, University of London New Documentary provides a contemporary look at documentary and fresh and challenging ways of theorising the non-fiction film. As engaging as the original, this second edition features thorough updates to the existing chapters, as well as a brand new chapter on contemporary cinema release documentaries. This new edition includes: Contemporary films such as Capturing the Friedmans, Etre et avoir, Farenheit 9/11, The Fog of War and Touching the Void as well as more canonical texts such as Hoop Dreams and Shoah Additional interviews with influential practitioners, such as director Michael Apted and producer Stephen Lambert A comprehensively revised discussion of modern observational documentary, including docusoaps, reality television and formatted documentaries The work of documentary filmmakers such as Nicholas Barker, Errol Morris, Nick Broomfield, Molly Dineen and Michael Moore and the work of Avant-Garde filmmakers such as Chris Marker and Patrick Keiller Gender identity, queer theory, performance, race and spectatorship. Bruzzi shows how theories of documentary filmmaking can be applied to contemporary texts and genres, and discusses the relationship between recent, innovative examples of the genre and the more established canon of documentary.

This is the first full-length study of masculinity and film style. Cinema is not just an intellectual or cerebral experience. They also make us feel: especially popular movies. This is a book about one aspect of how cinema makes us feel as well as think. Although all these aspects are interwined, Men's Cinema is about identification as well as analysis, about mise-en-scene alongside representation and narrative. Men's Cinema reflects on how we as spectators are invited to understand, desire or identify with Hollywood's vision of men and masculinity via mise-en-scene, from the classical era to the present day, and how more recently Hollywood has built up and refined the 'language' of 'men's cinema' via a series of recurrent, refined tropes that evoke masculinity, from a posse of men walking - often in slow motion - towards the camera to the ecstatically fast editing of the classic action sequence. It offers a new theorisation of men in Hollywood cinema via close textual analysis. It is structured around case studies which exemplify and illustrate the distinctive aspects and tropes of men's cinema. It is written in an accessible style.

This is the first full-length study of masculinity and film style. Cinema is not just an intellectual or cerebral experience. They also make us feel: especially popular movies. This is a book about one aspect of how cinema makes us feel as well as think. Although all these aspects are interwined, Men's Cinema is about identification as well as analysis, about mise-en-scene alongside representation and narrative. Men's Cinema reflects on how we as spectators are invited to understand, desire or identify with Hollywood's vision of men and masculinity via mise-en-scene, from the classical era to the present day, and how more recently Hollywood has built up and refined the 'language' of 'men's cinema' via a series of recurrent, refined tropes that evoke masculinity, from a posse of men walking - often in slow motion - towards the camera to the ecstatically fast editing of the classic action sequence. It offers a new theorisation of men in Hollywood cinema via close textual analysis. It is structured around case studies which exemplify and illustrate the distinctive aspects and tropes of men's cinema. It is written in an accessible style.

"Seven Up! "was made as a one-off documentary by Granada's flagship current affairs series "World in Action" in 1964. It featured fourteen seven-year-olds who were interviewed about their lives and what they wanted to be when they grew up. The children were selected to provide a representative cross-section of British society, and the program's intention was to test the Jesuit maxim--"give me a child until he is seven and I will give you the man"--in the context of the British belief in the overriding and determining importance of class origins. The series developed into subsequent programs, filmed at seven-year intervals, the most recent being "49 Up, "broadcast in 2005.

A fascinating look at one of the most experimental, volatile, and influential decades, Film, Fashion, and the 1960s, examines the numerous ways in which film and fashion intersected and affected identity expression during the era. From A Hard Day's Night to Breakfast at Tiffany's, from the works of Ingmar Bergman to Blake Edwards, the groundbreaking cinema of the 1960s often used fashion as the ultimate expression for urbanity, youth, and political (un)awareness. Crumbling hierarchies brought together previously separate cultural domains, and these blurred boundaries could be seen in unisex fashions and roles played out on the silver screen. As this volume amply demonstrates, fashion in films from Italy, France, England, Sweden, India, and the United States helped portray the rapidly changing faces of this cultural avant-gardism. This blending of fashion and film ultimately created a new aesthetic that continues to influence the fashion and media of today.

A fascinating look at one of the most experimental, volatile, and influential decades, Film, Fashion, and the 1960s, examines the numerous ways in which film and fashion intersected and affected identity expression during the era. From A Hard Day's Night to Breakfast at Tiffany's, from the works of Ingmar Bergman to Blake Edwards, the groundbreaking cinema of the 1960s often used fashion as the ultimate expression for urbanity, youth, and political (un)awareness. Crumbling hierarchies brought together previously separate cultural domains, and these blurred boundaries could be seen in unisex fashions and roles played out on the silver screen. As this volume amply demonstrates, fashion in films from Italy, France, England, Sweden, India, and the United States helped portray the rapidly changing faces of this cultural avant-gardism. This blending of fashion and film ultimately created a new aesthetic that continues to influence the fashion and media of today.

The vital synergy between dress and the cinema has been in place since the advent of film. Broaching topics such as vampires, noir, and Marie Antoinette looks, Fashion in Film uncovers the way in which the alliance of these two powerhouse industries use myriad cultural influences shaping narrative, national identity, and all points in between. Contributor essays address international films from early cinema to the present, drawing on the classic and the innovative. This abundantly illustrated collection reveals that fashion in conjunction with film must be understood in a different way from fashion tout simple."

The father is one of the central figures of Hollywood narrative. Despite this, this is the first book to examine cinematic representations of the father. Bringing Up Daddy offers a broad perspective on the Hollywood dad looking at important Hollywood fathers from World War II to the present and discusses films from a variety of genres. The book looks at films decade by decade and adopts a multi-faceted theoretical approach, making use of psychoanalysis, sociology and masculinity studies and contextualising the father figure within both Hollywood and American history. Key films include: Since You Went Away, Teresa, The Search, Father of the Bride, Rebel Without a Cause, Giant, Home from the Hill, Cape Fear, To Kill a Mockingbird, Jaws, The Great Santini, Kramer vs. Kramer, Ordinary People, Die Hard, Terminator, Three Men and a Baby, Boyz n the Hood, Magnolia, Happiness, and American Beauty. In its treatment of the father this unique study discusses why the father is such a seminal character in so many narratives and what he has come to symbolise and represent.