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Despite the recent explosion of scholarly interest in "star
studies," Brazilian film has received comparatively little
attention. As this volume demonstrates, however, the richness of
Brazilian stardom extends well beyond the ubiquitous Carmen
Miranda. Among the studies assembled here are fascinating
explorations of figures such as Eliane Lage (the star attraction of
Sao Paulo's Vera Cruz studios), cult horror movie auteur Coffin
Joe, and Lazaro Ramos, the most visible Afro-Brazilian actor today.
At the same time, contributors interrogate the inner workings of
the star system in Brazil, from the pioneering efforts of
silent-era actresses to the recent advent of the non-professional
movie star.
West German cinema of the 1960s is frequently associated with the
emergence of a new generation of filmmakers, collectively known by
the 1970s as the "New German Cinema." Yet for domestic and
international audiences at the time, German cinema primarily meant
popular genres such as exotic adventure films, Gothic crime
thrillers, westerns, and sex films, which were dismissed by German
filmmakers and critics of the 1970s as "Daddy's Cinema."
International Adventures provides the first comprehensive account
of these genres, and charts the history of the West German film
industry and its main protagonists from the immediate post-war
years to its boom period in the 1950s and 1960s. By analyzing film
genres in the context of industrial practices, literary traditions,
biographical trajectories, and wider cultural and social
developments, this book uncovers a forgotten period of German
filmmaking that merits reassessment. International Adventures
firmly locates its case studies within the wider dynamic of
European cinema. In its study of West German cinema's links and
co-operations with other countries including Britain, France, and
Italy, the book addresses what is perhaps the most striking
phenomenon of 1960s popular film genres: the dispersal and
disappearance of markers of national identity in increasingly
international narratives and modes of production.
Despite the recent explosion of scholarly interest in "star
studies," Brazilian film has received comparatively little
attention. As this volume demonstrates, however, the richness of
Brazilian stardom extends well beyond the ubiquitous Carmen
Miranda. Among the studies assembled here are fascinating
explorations of figures such as Eliane Lage (the star attraction of
Sao Paulo's Vera Cruz studios), cult horror movie auteur Coffin
Joe, and Lazaro Ramos, the most visible Afro-Brazilian actor today.
At the same time, contributors interrogate the inner workings of
the star system in Brazil, from the pioneering efforts of
silent-era actresses to the recent advent of the non-professional
movie star.
The legacy of emigres in the British film industry, from the silent
film era until after the Second World War, has been largely
neglected in the scholarly literature. Destination London is the
first book to redress this imbalance. Focusing on areas such as
exile, genre, technological transfer, professional training and
education, cross-cultural exchange and representation, it begins by
mapping the reasons for this neglect before examining the
contributions made to British cinema by emigre directors, actors,
screenwriters, cinematographers, set designers, and composers. It
goes on to assess the cultural and economic contexts of
transnational industry collaborations in the 1920s, artistic
cosmopolitanism in the 1930s, and anti-Nazi propaganda in the
1940s.
The legacy of emigres in the British film industry, from the silent
film era until after the Second World War, has been largely
neglected in the scholarly literature. Destination London is the
first book to redress this imbalance. Focusing on areas such as
exile, genre, technological transfer, professional training and
education, cross-cultural exchange and representation, it begins by
mapping the reasons for this neglect before examining the
contributions made to British cinema by emigre directors, actors,
screenwriters, cinematographers, set designers, and composers. It
goes on to assess the cultural and economic contexts of
transnational industry collaborations in the 1920s, artistic
cosmopolitanism in the 1930s, and anti-Nazi propaganda in the
1940s.
West German cinema of the 1960s is frequently associated with the
emergence of a new generation of filmmakers, collectively known by
the 1970s as the "New German Cinema." Yet for domestic and
international audiences at the time, German cinema primarily meant
popular genres such as exotic adventure films, Gothic crime
thrillers, westerns, and sex films, which were dismissed by German
filmmakers and critics of the 1970s as "Daddy's Cinema."
International Adventures provides the first comprehensive account
of these genres, and charts the history of the West German film
industry and its main protagonists from the immediate post-war
years to its boom period in the 1950s and 1960s. By analyzing film
genres in the context of industrial practices, literary traditions,
biographical trajectories, and wider cultural and social
developments, this book uncovers a forgotten period of German
filmmaking that merits reassessment. International Adventures
firmly locates its case studies within the wider dynamic of
European cinema. In its study of West German cinema's links and
co-operations with other countries including Britain, France, and
Italy, the book addresses what is perhaps the most striking
phenomenon of 1960s popular film genres: the dispersal and
disappearance of markers of national identity in increasingly
international narratives and modes of production.
This comprehensively revised, updated and significantly extended
edition introduces German film history from its beginnings to the
present day, covering key periods and movements including early and
silent cinema, Weimar cinema, Nazi cinema, the New German Cinema,
the Berlin School, the cinema of migration, and moving images in
the digital era. Contributions by leading international scholars
are grouped into sections that focus on genre; stars; authorship;
film production, distribution and exhibition; theory and politics,
including women's and queer cinema; and transnational connections.
Spotlight articles within each section offer key case studies,
including of individual films that illuminate larger histories
(Heimat, Downfall, The Lives of Others, The Edge of Heaven and many
more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla
and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann,
Wim Wenders and Helke Sander; and film theorists including
Siegfried Kracauer and Bela Balazs. The volume provides a
methodological template for the study of a national cinema in a
transnational horizon.
Since its doomed maiden voyage in April 1912, the Titanic has
become a monumental icon of the twentieth century and has inspired
a wealth of interpretations across literature, art and media. This
book is the first to present a fully comprehensive discussion of
the diverse representations of the Titanic disaster in cinema,
history, literature and art. The distinguished contributors draw
out the connections as well as the differences in the way
generations of artists and audiences have approached and used the
tragedy and present an in-depth examination of its most recent
interpretation, James Cameron's blockbuster film "Titanic." The
book is both a valuable comparative text for media studies courses
and a good read for the broad Titanic market.
Since its doomed maiden voyage in April 1912, the Titanic has
become a monumental icon of the twentieth century and has inspired
a wealth of interpretations across literature, art and media. This
book is the first to present a fully comprehensive discussion of
the diverse representations of the Titanic disaster in cinema,
history, literature and art. The distinguished contributors draw
out the connections as well as the differences in the way
generations of artists and audiences have approached and used the
tragedy and present an in-depth examination of its most recent
interpretation, James Cameron's blockbuster film "Titanic." The
book is both a valuable comparative text for media studies courses
and a good read for the broad Titanic market.
This comprehensively revised, updated and significantly extended
edition introduces German film history from its beginnings to the
present day, covering key periods and movements including early and
silent cinema, Weimar cinema, Nazi cinema, the New German Cinema,
the Berlin School, the cinema of migration, and moving images in
the digital era. Contributions by leading international scholars
are grouped into sections that focus on genre; stars; authorship;
film production, distribution and exhibition; theory and politics,
including women's and queer cinema; and transnational connections.
Spotlight articles within each section offer key case studies,
including of individual films that illuminate larger histories
(Heimat, Downfall, The Lives of Others, The Edge of Heaven and many
more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla
and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann,
Wim Wenders and Helke Sander; and film theorists including
Siegfried Kracauer and Bela Balazs. The volume provides a
methodological template for the study of a national cinema in a
transnational horizon.
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