Offers the first book-length study of women filmmakers in horror film, the first all-women edited book on horror film, and the first book to call out the male-bias in written histories of horror and then to illuminate precisely how, and where, these histories are lacking.

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.

Among the growing number of books written by philosophers on film, Reel Arguments aims to be one of the most accessible. This volume offers several examples of how films contain important philosophical lessons about how we live our lives, and in turn how philosophy helps us to better understand film.

First published in 1957, this work of film theory analyses the process by which novels are transformed into films. Beginning with a discussion of the aesthetic limits of both the novel and the film, the author goes on to offer readings of six films based on novels of serious literary merit.

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.

Jesuit scholar, Lloyd Baugh, extends the fascination of artists throughout the ages with the person of Jesus Christ to contemporary cinema, tracing the treatment filmakers have given Jesus from the early days of the medium up to the present day.

Explores the ways in which a group of groundbreaking horror films engaged the haunting social conflicts left in the wake of World War II, Hiroshima, and the Vietnam War. This book shows that through allegorical representations these directors' films confronted and challenged comforting historical narratives and notions of national identity.

Nora M. Alter reveals the essay film to be a hybrid genre that fuses the categories of feature, art, and documentary film. The essay film draws on a variety of forms and approaches; in the process, it fundamentally alters the shape of cinema. The Essay Film After Fact and Fiction locates the genre's origins and follows its transformations.

Presents the history of horror films and the horror film industry in the 1950s and 1960s. This book reveals how the monsters that frightened audiences in the 1950s and 1960s - and the movies they crawled and staggered through - reflected fundamental changes in the film industry, and in the production, distribution, and exhibition of horror movies.

Sets down the author's thoughts and his memories, revealing for the original inspirations for his films - Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. The author discusses their history and his methods of work, and he explores the many problems of visual creativity.

Arguing that the commercial film industry reflects white domination of American society, this book traces an African Americans protesting screen images of blacks as criminals, servants, comics, athletes, and sidekicks. It also looks at the controversies surrounding role choices by stars like Sidney Poitier, Eddie Murphy, and Whoopie Goldberg.

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...

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.

"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.

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.

Examines ten key horror films in an attempt to answer the question of why they remain such a powerful force in American culture.

Michelangelo Antonioni is one of the great visual artists of the cinema. This book shows how difficult it was for the filmmaker to liberate his art from the conventional means of rendering narrative, especially dialogue, conventional sound effects, and commentative music.