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This book examines the ways in which the house appears in films and
the modes by which it moves beyond being merely a backdrop for
action. Specifically, it explores the ways that domestic spaces
carry inherent connotations that filmmakers exploit to enhance
meanings and pleasures within film. Rather than simply examining
the representation of the house as national symbol, auteur trait,
or in terms of genre, contributors study various rooms in the
domestic sphere from an assortment of time periods and from a
diversity of national cinemas-from interior spaces in ancient Rome
to the Chinese kitchen, from the animated house to the metaphor of
the armchair in film noir.
This book examines the ways in which the house appears in films and
the modes by which it moves beyond being merely a backdrop for
action. Specifically, it explores the ways that domestic spaces
carry inherent connotations that filmmakers exploit to enhance
meanings and pleasures within film. Rather than simply examining
the representation of the house as national symbol, auteur trait,
or in terms of genre, contributors study various rooms in the
domestic sphere from an assortment of time periods and from a
diversity of national cinemas-from interior spaces in ancient Rome
to the Chinese kitchen, from the animated house to the metaphor of
the armchair in film noir.
This book focuses on the output of women film directors in the
period post Millennium when the number of female directors working
within the film industry rose substantially. Despite the fact that
nationally and internationally women film directors are
underrepresented within the industry, there is a wealth of talent
currently working in Britain. During the early part of the 2000s,
the UKFC instigated policies and strategies for gender equality and
since then the British Film Institute has continued to encourage
diversity. British Women Directors in the New Millennium therefore
examines the production, distribution and exhibition of female
directors' work in light of policy. The book is divided into two
sections: part one includes a historical background of women
directors working in the twentieth century before discussing the
various diversity funding opportunities available since 2000. The
second part of the book examines the innovation, creativity and
resourcefulness of British female film directors, as well as the
considerable variety of films that they produce, selecting specific
examples for analysis in the process.
Tim Burton is an internationally celebrated director, critically
acclaimed for his fantasy horror films and the macabre ghosts,
animated corpses and grotesques that inhabit them. This innovative
study centres on the body as a centripetal force in Burton's work
and considers the array of anomalous, extraordinary and
transgressive beings that pervade his canon. It broadens the focus
of living forms to include animated, creaturely, corporeal and
Gothic bodies, exploring the way that Burton celebrates the body
whether human, animal, animated or anthropomorphised. In
prioritising the somatic aspects of characters, Tim Burton's Bodies
spotlights actual physical attributes and behaviour, and considers
what meanings these may impart in terms of race, class, gender,
sexuality, humanimality and disability.
Tim Burton is an internationally celebrated director, critically
acclaimed for his fantasy horror films and the macabre ghosts,
animated corpses and grotesques that inhabit them. This innovative
study centres on the body as a centripetal force in Burton's work
and considers the array of anomalous, extraordinary and
transgressive beings that pervade his canon. It broadens the focus
of living forms to include animated, creaturely, corporeal and
Gothic bodies, exploring the way that Burton celebrates the body -
whether human, animal, animated or anthropomorphised. In
prioritising the somatic aspects of characters, Tim Burton's Bodies
spotlights actual physical attributes and behaviour, and considers
what meanings these may impart in terms of race, class, gender,
sexuality, humanimality and disability.
A Critical Companion to Christopher Nolan provides a wide-ranging
exploration of Christopher Nolan's films, practices, and
collaborations. From a range of critical perspectives, this volume
examines Nolan's body of work, explores its industrial and economic
contexts, and interrogates the director's auteur status. This
volume contributes to the scholarly debates on Nolan and includes
original essays that examine all his films including his short
films. It is structured into three sections that deal broadly with
themes of narrative and time; collaborations and relationships; and
ideology, politics, and genre. The authors of the sixteen chapters
include established Nolan scholars as well as academics with
expertise in approaches and perspectives germane to the study of
Nolan's body of work. To these ends, the chapters employ
intersectional, feminist, political, ideological, narrative,
economic, aesthetic, genre, and auteur analysis in addition to
perspectives from star theory, short film theory, performance
studies, fan studies, adaptation studies, musicology, and media
industry studies.
Screening the Nonhuman draws connections between how animals
represented on screen translate into reality. In doing so, the book
demonstrates that consuming media is not a neutral act but rather a
political one. The images humans consume have real world
consequences for how animals are treated as actors, as pets, and in
nature. The contributors propose that altering the representations
of animals can change the way humans relate to non/humans. Our hope
is for humans to generate more ethical relationships with
non/humans, ultimately mediating reality both in terms of fiction
and non-fiction. To achieve this end, film, television,
advertisements, and social media are analyzed through an
intersectional lens. But the book doesn't stop here. Each author
creates counter-representational strategies that promise to unweave
the assumptions that have led to the mistreatment of humans and
non/humans alike.
The contemporary study of film is dominated by narrative theory -
yet films include scenes and images which do not perform a
narrative task but nevertheless provoke an emotional response.
Stella Hockenhull looks at the painterly dimensions inherent in the
medium of film, arguing that an aesthetic analysis enables a fuller
appreciation of the visual 'spectacle' of cinema. In a reading of
the formal aspects in film imagery in contemporary British films
spanning social realist, melodrama and horror genres, Hockenhull
demonstrates how the spiritual aspects of landscape and nature
mobilize a Neo-Romantic effect. She traces the influence of
Romanticism and notions of the Sublime in key British films
including "'Sweet Sixteen'," "'The Queen'," "'Ratcatcher'," "'Eden
Lake'," "'28 Days Later'," "'My Summer of Love'" and "'The Last
Great Wilderness'." Operating at the intersection between film
theory, art theory and aesthetics, this is a vital contribution
which enables a fuller, multidimensional understanding of cinematic
experience.
Screening the Nonhuman draws connections between how animals
represented on screen translate into reality. In doing so, the book
demonstrates that consuming media is not a neutral act but rather a
political one. The images humans consume have real world
consequences for how animals are treated as actors, as pets, and in
nature. The contributors propose that altering the representations
of animals can change the way humans relate to non/humans. Our hope
is for humans to generate more ethical relationships with
non/humans, ultimately mediating reality both in terms of fiction
and non-fiction. To achieve this end, film, television,
advertisements, and social media are analyzed through an
intersectional lens. But the book doesn't stop here. Each author
creates counter-representational strategies that promise to unweave
the assumptions that have led to the mistreatment of humans and
non/humans alike.
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