This is a comprehensive and systematic history of British film studios, arranged in alphabetical order and cross-referenced throughout. It also studies the roles of directors, producers and stars including Henry Fonda, Marilyn Monroe and Liz Taylor.
A celebration of images of Italians in American motion pictures, this title covers the careers of dozens of stars including Frank Sinatra, Dean Martin, Robert De Niro and Al Pacino as well as famous directors such as Frank Capra, Francis Ford Coppola, Brian De Palma and Martin Scorsese.
Why are people fascinated with Bollywood? What is the cultural significance of the films produced there? In recent years Bollywood - the popular Hindi cinema - has received widespread international attention in the global media. Bollywood examines the reasons for this interest and provides an unrivalled guide to the phenomenon.
Henri Langlois began collecting prints of films in the 1920s, and in 1935 he founded the Cinematheque Francaise, the legendary film library and screening room in Paris. This is an analysis of Henri Langlois, his passion for films, and his contribution to film history.
The cinema during the Second World War became an important medium for influencing mass opinion. This book focuses on how the army, navy and air force worked with the film industry, and other government departments, to try to shape what people thought about the struggle.
With chapters on Indonesia, Malaysia, Singapore, Vietnam, Thailand, the Philippines, India, Sri Lanka, Bangladesh and others, this book presents an assessment of contemporary Asian cinema. Each chapter describes the cultural aspects of popular film production, analyzing key films in the context of the national, the regional and the global.
This ground-breaking study provides an entertaining insight into popular film in Brazil, situating major box-office successes such as 'Central Station' (Walter Salles, 1998), in their socio-historical context.
This re-evaluation of what has until now been seen as the most critically lacklustre period of the British film history covers a variety of genres, such as B-movies, war films, women's pictures and theatrical adaptations, as well as social issues which affect film-making, such as censorship.
Provides a comprehensive account of the films made in Nazi Germany from 1933 to 1945, including the notorious feature film "Jud Suss" and the compilation documentary "Der Ewige Jude". This title explores how the film makers were controlled and used by the regime. It also examines other less well- known films featuring Jewish characters.
In the last five years of the twentieth century, films by the second and third generation of the so-called German guest workers exploded onto the German film landscape. Self-confident, articulate, and dynamic, these films situate themselves in the global exchange of cinematic images...
Explores the dominant images of the Irish found in the cinemas of the United States and Britain and considers the ways in which Irish-made films might be said to offer a response to them. This book offers detailed readings of a wide range of key films including "The Butcher Boy" (1998), "Patriot Games" (1993), and "Angela's Ashes" (2000).
This edition contains all chapters from the original 1986 edition plus critical analyses of the films of Martin Scorcese and Michael Cimino, a political assault on the films of George Lucas and Steven Spielberg, and in in-depth meditation on Brian De Palma.
Documents, from original research and interviews, the experiences and representations which have been ignored in previous media books about people of African descent. There are chapters about Paul Robeson, Newton I. Aduaka, and soap operas, as well as several useful appendices and suggestions for further reading.
This book asks how was it possible for an actor to embody national identity and, by exploring the cultural contexts in which Mills and the nation became synonymous, the book offers a new perspective on 40 years of cinema and social change.
This book examines in depth for the first time the origins, development, and reception of the major dramatic screen representations of 'The Few' in the Battle of Britain produced over the past seventy years.
Examines the Italian films of the last two decades of the 20th century which managed to transcend the decline of Italian cinema's prominence within the industry. The author interprets, in detail, a body of work which established an independent profile for the Italian cinema of the 80s and 90s.
Offers a collection of essays that provides the comprehensive survey of Hollywood and independent films from the mid-60s the present. This title brings together thirteen leading film scholars who present a range of theoretical, critical, and historical perspectives on this rich and pivotal era in American cinema.
In her introduction, Keiko McDonald presents a historical overview and outlines a unified approach to Japanese film analysis. "Readings" of films available on DVD with English subtitles put theory into practice as she considers a wide range of work, from familiar classics by Ozu and Kurosawa to the films of a younger generation of directors.
Focusing on a selection of internationally known Latin American films, this title is organized around national categories, grounding the readings not only in the context of social and political conditions, but also in those of each national film industry.
Written for students and the general viewing public, this book explores the varying contexts in which indigenous filmmaking takes place. It demonstrates how indigenous films challenge some of the basic assumptions of viewers who experience these films while using national cinemas as their models.
With a focus on the most successful, cerebral and critically important films to have come out of Britain, this title explores the diversity of and genres found throughout British film, highlighting important regional variations that reflect the distinctive cultures of the countries involved.
Anne Jackel evaluates how Europe's film industries operate, their working practices and the region's place within the global business of cinema. Exploring trends in production, distribution and exhibition, the book considers a range of national and pan-regional developments.
This work brings together film specialists from Europe and the United States to explore German film history from the late 19th to the early 21st century. It re-evaluates traditional areas of interest in German cinema, and looks at neglected aspects, including early cinema.
Between 1918-1928 British film was poised between a Victorian past and a future marked out as American. Examining a cinema inextricably intertwined with notions of theatricality, pictorialism and literariness, in which the high cultural, middlebrow and popular intersect, this book re-evaluates films of the 1920s.
Spanish Popular Cinema is the first European language work to focus exclusively on this neglected aspect of Spain's film history. Moving from the 1930s to the present, the contributors to this book provide a diverse collection of essays that reassess some of the forgotten and critically overlooked works of Spanish popular cinema.
This text provides an introduction to the development of Australian film, in terms of prominent directors and stars, consistent themes and styles and evolving genres. This growth is traced through analysis of the most successful and best known feature films from the gothic to the camp.
This work maps the rich, varied cinema of Eastern Europe, Russia and the former USSR. Over 200 entries cover a varitey of topics spanning a century of endeavour and turbulent history from Czech animation to Soviet montage. It includes entries on actors and directors and key figures like Eisenstein.
A guide to various films made in the United States. It includes such films as "Citizen Kane", "The Jazz Singer", "All Quiet on the Western Front", "The Birth of a Nation", and "Boyz n the Hood", "Blacksmith Scene" (1893), "The Blue Bird" (1918), "The Docks of New York" (1928), "Star Theatre" (1902), and "A Bronx Morning" (1914).
Examines various paradigms for reading Hollywood and its cinema. This volume also explores a range of topics from cinephilia and auteurs - Nicholas Ray, Sam Fuller, Orson Welles, Alfred Hitchcock, among others - to melodrama, digital cinema, and even time-travel films.
Movies from and about Ireland have attracted huge audiences, capturing top international prizes ("The Crying Game") and an Academy Award ("My Left Foot"). In this text, contributors take a variety of approaches to the treatment of films and film makers.
This is a radical attempt to rethink the post-war history of European cinemas. The authors approach the subject from the perspective of television's impact on the culture of cinema's production, distribution, consumption and reception. Thus they indicate a new direction for the debate about the future of cinema in Europe.
"The Couch and the Silver Screen" is a collection of original contributions which explore European cinema from psychoanalytic perspectives. Both classic and contemporary films are presented and analysed by a variety of authors, including leading cinema historians and theorists and psychoanalysts.
Presents the history of artists' film and video in Britain. Structured in two parts ('Institutions' and 'Artists and Movements'), this work considers the work of some 300 artists, including Kenneth Macpherson, Basil Wright, Len Lye, Humphrey Jennings, Margaret Tait, Jeff Keen, Carolee Schneemann, Yoko Ono, Malcolm Le Grice, and Peter Gidal.
Propaganda witnessed a transformation during WWII, when film was fast becoming the most popular form of entertainment. This work compares how each country exploited their national cinema for political purposes. It looks at how both political propaganda films and escapist cinema were critical in maintaining the morale of civilians and the military.
In a fresh and invigorating look at British cinema that considers film as an art form among other arts, John Orr takes a critical look at the intriguing relationship between romanticism and modernism in British cinema.
This book provides an overview of the cinemas of Europe, the Middle East, East Asia and South Asia, interpreting some of the recent developments as strategic responses to globalisation. Highlighting transnational and cross-cultural structures, influences and themes.
The French New Wave directors of the 1950s rejected the idea that film was a mere extension of literature and exploded traditional methods of film narrative, embracing fragmentation and alienation. The author argues that this rebellious stance is far more complex than critics have acknowledged.