"This book offers a comprehensive view of the 100 most significant films ever produced in Bollywood. Each entry includes cast and crew information, language, date of release, a short description of the film's plot, and most significantly, the importance of the film in the Indian canon"-- Provided by publisher.

• Introduction
• 1. What Is African Cinema? Case Study: Aristotle's Plot (Jean-Pierre Bekolo, 1996)
• Part I: History of African Cinema.
• 2. History of the film medium in Africa: From colonial import and appropriation of the gaze to the quest for individuality Case study: Sanders of the River: Celebration of the British Empire(Zoltan Korda, 1935)
• 3. Parallel Movement: African Cinema and African American Cinema Case Study: Yeelen vs. Daughters of the Dust Souleymane Cisse , 1987) vs. Daughters of the Dust (Julie Dash, 1991)
• Part II: Aesthetics in African Cinema.
• 4. Cinematography: Space, Time, and Rhythm Case Study: Yaaba (Idrissa Ouedraogo, 1989)
• 5. The African Animated Film Case study: Prince Loseno (Jean-Michel Kibushi Ndajte Wooto, 2004)
• 6. Introductory Study of African Film Scores African Film Scores Case study Non-diegetic music: Space and time dimensions of film music in Sembe ne Ousmane's La Noire de... (Black Girl)
• Part III: African Film Criticism
• 7. Critical Reading Lenses in the Study of African Cinema Case Study: Les Saignantes/The Bloodettes (Jean-Pierre Bekolo, 2005)
• Conclusion.
• (source: Nielsen Book Data)

African Film Studies: An Introduction is an accessible and authoritative textbook on African cinema as a field of study. The book provides a succinct and comprehensive study of the history, aesthetics, and theory of sub-Saharan African cinematic productions that is grounded in the field of film studies instead of textual interpretations from other disciplines. Bringing African cinema out of the margins into the discipline of mainstream film studies and showcasing the diverse cinematic expressions of the continent, the book covers: Overview of African cinema(s): Questions our assumptions about the continent's cinematic productions and defines the characteristics of African cinema across linguistic, geographic, and filmic divides. History of African and African-American cinema: Spans the history of film in Africa from colonial import and `appropriation of the gaze' to the quest for individuality. It also establishes parallels in the historical development of black African cinema and African-American cinema. Aesthetics: Introduces new research on previously unexplored aesthetic dimensions such as cinematography, animation, and film music. Theoretical Approaches: Addresses a number of theoretical approaches and critical frameworks developed by scholars in the study of African cinema All chapters include case studies, suggestions for further reading, and screening lists to deepen the reader's knowledge with no prior knowledge of African cinema required. Students, teachers, and general film enthusiasts would all benefit from this accessible and engaging book.
(source: Nielsen Book Data) 9781138579385 20181217

• PREFACE: A New Era
• INTRODUCTION: An Overview of How to Use This Guide
• CHAPTER ONE: A Brief History of Sexuality and Nudity in Film and Television
• PART I: NAVIGATING NUDITY AND SEXUAL SITUATIONS
• CHAPTER TWO: Sexual Situations
• CHAPTER THREE: Nudity
• PART II: A GUIDE FOR PRODUCTION DEPARTMENTS & POSITIONS
• CHAPTER FOUR: Directing Sexuality and Nudity
• CHAPTER FIVE: Producing Content with Sexuality and Nudity
• CHAPTER SIX: Sexuality and Nudity for the Cinematographer and the Camera Department
• CHAPTER SEVEN: Sexuality and Nudity Issues in Post Production
• PART III: A GUIDE FOR PERFORMERS AND PERFORMANCES
• CHAPTER EIGHT: Acting in Sexual and Nude Scenes
• CHAPTER NINE: Feminist and LGBTQI+ Perspectives.
• (source: Nielsen Book Data)

A great deal of storytelling in film and television involves narratives that include sexual situations and nudity. The increased amount of on-line and streaming content outlets has in turn increased the number of narratives that involve these once-taboo subjects. Often, even though directors and producers desire to handle such issues with professionalism, sets become awkward when producing these scenes. A Best Practice Guide to Sex and Storytelling serves as a helpful tool for guiding creators through these waters. Even as the practice has become more common, the environments in which individuals on both sides of the camera work to create sensitive content have not become any more comfortable. To date, there have been no industry guides and little practical instruction on how to approach such important yet delicate scenes. Sex and Storytelling offers theoretical and practical approaches to creating the most effective content, while honoring the dignity and humanity of everyone involved on-set when sexuality and nudity is a part of the story being told. Drawing on John Bucher's professional experience in both high- and low-budget environments and including interviews with players from both sides of the camera, this book provides an essential guide to handling sex and nudity for film and television in a professional manner.
(source: Nielsen Book Data) 9780815371779 20181217

• Acknowledgments
• Introduction
• Scenography as theatre-making
• Theatre after cinema
• Scenography after performance
• Chapter outline
• Chapter 1: Place Orientation, Scenic Politics and Scenographics
• Scenes and Scenic Politics
• Scenographics
• Othering Tactics
• Chapter 2: Scenography and the Anglophone theatres
• The first adoption of scenography
• Continental differences pre-1960
• The second adoption of scenography
• Sound and costume as scenography
• Chapter 3: Scenography beyond scenographers
• Mise en scene and scenography
• Whose scenography?
• Beyond dramaturgy and choreography
• Expanded scene design?
• Chapter 4: Scenography Happens
• The time of scenography
• Scenography is not set
• Gecko's MISSING set
• Chapter 5: Scenographic Worlding
• Stage Geographies
• Stage Ideologies
• Scenography beyond stages?
• Stage-Scenes beyond vision
• Chapter 6: Scenographic Cultures
• Installation Art and Scenographic Scale
• Interior Design and Scenographic Behaviours
• Marketing and Scenographic Seduction
• Gardening and Scenographic Curation
• Protest and Scenographic Activism
• Chapter 7: Scenographic Architecture
• Fast Architecture
• Trompe l'oeil and Scenographic Propaganda
• Potemkin Villages and Scenographic Placemaking
• Conclusion.
• (source: Nielsen Book Data)

Focused on the contemporary Anglophone adoption from the 1960s onwards, Beyond Scenography explores the porous state of contemporary theatre-making to argue a critical distinction between scenography (as a crafting of place orientation) and scenographics (that which orientate acts of worlding, of staging). With sections on installation art and gardening as well as marketing and placemaking, this book is an argument for what scenography does: how assemblages of scenographic traits orientate, situate, and shape staged events. Established stage orthodoxies are revisited - including the symbiosis of stage and scene and the aesthetic ideology of 'the scenic' - to propose how scenographics are formative to all staged events. Consequently, one of the conclusions of this book is that there is no theatre practice without scenography, no stages without scenographics. Beyond Scenography offers a manifesto for a renewed theory of scenographic practice.
(source: Nielsen Book Data) 9781138785069 20181008

• List of figures
• Acknowledgements
• Preface
• Introduction: One or many pasts?
• Celine and Julie go Boating-- Embrace of the Serpent
• PART I Decolonising entrances to the past
• 1 History/Ethics: Interpreting stories from world history (Enrique Dussel)
• 2 Ethics/History: Hesitating in encountering lost pasts (Gilles Deleuze)
• PART II Encounters with the past that is/is not preserved
• 3 4.54 (to 13.7) billion years: Planetary history, the natural contract, encountering earthly pasts
• Uncle Boonmee who can Recall his Past Lives-- Nostalgia for the Light
• 4
• 500 years: The North Atlantic trade circuit, the racial contract, encountering others' pasts
• How Tasty Was My Little Frenchman-- Even the Rain
• PART III Encounters with the present that passes
• 5
• 70 years: The Cold War, the social contract, encountering political pasts
• The Act of Killing-- At the Foot of the White Tree
• 6
• 45 years: Neoliberal globalisation, the personal contract, encountering bodily pasts
• Carancho-- Lady Vengeance
• Conclusion: One or many faces of the (lost) past?
• Alone in Berlin-- Another Story of the World
• Select bibliography
• Index.
• (source: Nielsen Book Data)

When is it OK to lie about the past? If history is a story, then everyone knows that the 'official story' is told by the winners. No matter what we may know about how the past really happened, history is as it is recorded: this is what George Orwell called doublethink. But what happens to all the lost, forgotten, censored, and disappeared pasts of world history? Cinema Against Doublethink uncovers how a world of cinemas acts as a giant archive of these lost pasts, a vast virtual store of the world's memories. The most enchanting and disturbing films of recent years - Uncle Boonmee Who Can Recall his Past Lives, Nostalgia for the Light, Even the Rain, The Act of Killing, Carancho, Lady Vengeance - create ethical encounters with these lost pasts, covering vast swathes of the planet and crossing huge eras of time. Analysed using the philosophies of Gilles Deleuze (the time-image) and Enrique Dussel (transmodern ethics), the multitudinous cinemas of the world are shown to speak out against doublethink, countering this biggest lie of all with their myriad 'false' versions of world history. Cinema, acting against doublethink, remains a powerful agent for reclaiming the truth of history for the 'post-truth' era.
(source: Nielsen Book Data) 9781138907942 20181217

• Introduction: The Politics of Film Theory and Its Discontents
• 1. Cinematic Equality: Ranciere and Film Theory After Althusser
• 2. Cinema's Thought: Badiou and the Philosophy of Cinema After Deleuze
• 3. Cinema as Emergency Brake: Agamben and the Philosophy of Media After Benjamin
• 4. Rethinking the Politics of the Philosophy of Cinema Acknowledgments Notes Bibliography Index.
• (source: Nielsen Book Data)

Almost fifty years ago, Jean-Louis Comolli and Jean Narboni published the manifesto "Cinema/Ideology/Criticism, " helping to set the agenda for a generation of film theory that used cinema as a means of critiquing capitalist ideology. In recent decades, film studies has moved away from politicized theory, abandoning the productive ways in which theory understands the relationship between cinema, politics, and art. In Cinema/Politics/Philosophy, Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? In this concise and provocative book, Baumbach argues that we need a new philosophical approach that sees cinema as both a mode of thought and a form of politics. Through close readings of the writings on cinema by the contemporary continental philosophers Jacques Ranci re, Alain Badiou, and Giorgio Agamben, he asks us to rethink both the legacy of ideology critique and Deleuzian film-philosophy. He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable. Cinema/Politics/Philosophy offers fundamental new ways to think about cinema as thought, art, and politics.
(source: Nielsen Book Data) 9780231184236 20181203

• Introduction by Diana Diamond, Ph.D.
• The art and angst of viewing Holocaust films by Bruce Sklarew, M.D.
• Six Million and One: A documentary by Anna Ornstein, M.D.
• Between forgetting and remembering: Two films of Alain Resnais by Lissa Weinstein, Ph.D.
• The Pawnbroker by Robert Winer, M.D.
• Multiplicity, Dissociation and Mentalization in Hannah Arendt by Pam Katz and Margarethe von Trotta by Diana Diamond, Ph.D. and Elliot Jurist, Ph.D.
• From Shoah to Son of Saul: Cinematic Traces and Intergenerational Dialogues by Catherine Portuges, Ph.D.
• Son of Saul: The remains of civilization by Clara Mucci, Ph.D.
• Sadomasochistic regression in The Night Porter by Bruce H. Sklarew, M.D.
• To know or not to know? Common themes in Ida and The Flat by Emanuel Berman, Ph.D.
• Inheriting Nazisim: Refelections on the film Two or Three Things I Know about Him by Regine Waintrater, Ph.D.
• Discussion by Nanette Auerhahn, Ph.D. and Dori Laub, M.D.
• (source: Nielsen Book Data)

An international group of psychoanalysts and film scholars address the enduring emotional legacy of the Holocaust in Cinematic Reflections on the Legacy of the Holocaust: Psychoanalytic Perspectives. Particular focus is given to how second and third generation survivors have explored and confronted the psychic reverberations of Holocaust trauma in cinema. This book focuses on how film is particularly suited to depict Holocaust experiences with vividness and immediacy. The similarity of moving images and sound to our dream experience allows access to unconscious processing. Film has the potential to reveal the vast panorama of Holocaust history as well as its intrapsychic reverberations. Yet despite the recent prominence of Holocaust films, documentaries, and TV series as well as scholarly books and memoirs, these works lack a psychoanalytic optic that elucidates themes such as the repetition compulsion, survival guilt, disturbances in identity, and disruption of mourning that are underlying leitmotifs. Cinematic Reflections on the Legacy of the Holocaust will be of great interest to psychoanalysts and therapists as well as to scholars in trauma, film, and Jewish studies. It is also of interest to those concerned with the prevention of genocide and mass atrocities and their long-term effects.
(source: Nielsen Book Data) 9781138306967 20181022

• Cinema as construction: then and now
• Reasons for realism
• Cheating physics
• Beyond cinema
• Everywhere and nowhere.

• Acknowledgements
• Foreword
• Introduction
• Chapter 1 - Guerrilla Branding, Marketing & Promotion
• Chapter 2 - Creating an Irresistible Brand Identity
• Chapter 3 - Building an Engaged Community of Friends & Fans
• Chapter 4 - Marketability vs Playability (or "How to Produce Niche-Dominating Blockbusters")
• Chapter 5 - Pitching & Networking
• Chapter 6 - Key Art & Posters
• Chapter 7 - Teasers & Trailers
• Chapter 8 - Behind the Scenes Photos, Production Stills, Videos,
• Interviews & Special Features
• Chapter 9 - IMDb - Marketing & Promotion
• Chapter 10 - Social Media & Video Marketing Platforms
• Chapter 11 - Dedicated Film & Filmmaker Websites
• Chapter 12 - Electronic Press Kits (EPKs) & Press Books
• Chapter 13 - Media Relations & Public Releases
• Chapter 14 - Event Marketing: Premiers, Festivals, Film Markets & Other Events
• Chapter 15 - High-Impact Low-Cost Advertising & Promotion
• Chapter 16 - Distribution
• Branding, Marketing and Promotional Audit
• Marketing Plan
• Test Screening Questionnaire
• Glossary
• About the Author
• Index.
• (source: Nielsen Book Data)

Create an irresistible brand image and build an audience of loyal and engaged fans... Guerrilla Film Marketing takes readers through each step of the film branding, marketing and promotional process. Tailored specifically to low-budget independent films and filmmakers, Guerrilla Film Marketing offers practical and immediately implementable advice for marketing considerations across every stage of the film production process. Written by leading film industry professional Robert G. Barnwell, Guerrilla Film Marketing teaches readers how to: Master the fundamentals of guerrilla branding, marketing and promotion; Create an integrated marketing plan and calendar based on realistic budgets and expectations; Develop internet and social media marketing campaigns, including engaging studio and film websites and powerful, marketing-centric IMDb listings; Assemble behind-the-scenes pictures, videos and documentaries; Produce marketing materials such as key art, posters, film teasers, trailers and electronic press kits (aka "EPKs"); and Maximize the marketing impact of events such as test screenings, premiers, film festivals and industry award ceremonies. Guerrilla Film Marketing is filled with dozens of step-by-step instructions, checklists, tools, a glossary, templates and other resources. A downloadable eResource also includes a sample marketing plan and audit, a test screening questionnaire, and more.
(source: Nielsen Book Data) 9781138916463 20180910

• Introduction: the backstudio picture
• Self-reflexive Hollywood
• Imaginary Hollywood
• Movie-struck Hollywood
• Monstrous Hollywood
• Masculine Hollywood
• Historical Hollywood
• Virtual Hollywood.

The backstudio picture, or the movie about movie-making, is a staple of Hollywood film production harking back to the silent era and extending to the present day. What gives backstudios their coherence as a distinctive genre, Steven Cohan argues in Hollywood by Hollywood, is their fascination with the mystique of Hollywood as a geographic place, a self-contained industry, and a fantasy of fame, leisure, sexual freedom, and modernity. Yet by the same token, if backstudio pictures have rarely achieved blockbuster box-office success, what accounts for the film industry's interest in continuing to produce them? The backstudio picture has been an enduring genre because, aside from offering a director or writer a chance to settle old scores, in branding filmmaking with the Hollywood mystique, the genre solicits consumers' strong investment in the movies. Whether inspiring the "movie crazy" fan girls of the early teens and twenties or the wannabe filmmakers of this century heading to the West Coast after their college graduations, backstudios have given emotional weight and cultural heft to filmmaking as the quintessential American success story. But more than that, a backstudio picture is concerned with shaping perceptions of how the film industry works, with masking how its product depends upon an industrial labor force, including stardom, and with determining how that work's value accrues from the Hollywood brand stamped onto the product. Cohan supports his well theorized and well researched claims with nuanced discussions of over fifty backstudios, some canonical and well-known, and others obscure and rarely seen. Covering the hundred-year timespan of feature length film production, Hollywood by Hollywood offers an illuminating perspective for considering anew the history of American movies.
(source: Nielsen Book Data) 9780190865788 20190121

• The jazz singer revolutionizes wide release, 1913-1936
• World premieres at a city near you, 1937-1943
• Quick money, 1944-1950
• Taking stock, 1951-1955
• Slowing down, speeding up, 1956-1959
• The exhibitor fights back, 1960-1962
• Downtown anchors aweigh, 1963-1965
• Saturation re-think, 1966-1970
• The road to Jaws, 1971-1975
• The defining period for wide release, 1976-1979
• We're gonna need a bigger boat, 1980-2017.

"This book tells the story of how the few became the many. It explores the contraction of the release cycle, the maximization of the marketing dollar, and the democratization of consumer access. Additionally, it offers a comprehensive list of wide releases and rebuts much of what previous scholars have found"-- Provided by publisher.

• 1
• Introduction
• 2
• Ethical Positions and Decision Making
• 2.1
• Professional Ethics versus Business Ethics: Acting, Managing, Leading
• 2.2
• Critical Thinking and Decision Making: Quantitative versus Qualitative Analysis
• 2.3
• Moral Agency and Overview of Ethical Positions
• 1.3.1. Virtue Ethics and Character
• 1.3.2 Deontological (Duty) Ethics
• 1.3.3. Teleological (Consequentialist) Ethics
• 2.4
• Business Ethics
• 3
• Mythical Structure of Narration, Cinematic Elements, Film Genres
• 3.1
• On Jung's Archetypes, Campbell's Mythology, Vogler's Practical Guide for Screenplays
• 3.2
• On Cinematic Language: Narrative Film versus Documentary
• 3.3
• Narrative Film Genres: Story, Plot, Style
• 4
• Financial Machinations and Ethical Perspectives
• 4.1
• On Greed and Manipulation
• 4.2
• On Greed and Fraud x
• 4.3
• Profit versus Social Responsibility: Elements of the Financial Crisis of 2007-2008
• 5
• Workplace Harassment, Violence, Inequity, and Inequality
• 5.1
• Workplace Harassment and Individual Rights
• 5.2
• Workplace Violence
• 5.3
• Workplace Inequity and Inequality
• 6
• Professional and Business Ethical Challenges
• 6.1
• Corruption and Whistleblowing
• 6.2
• Outsourcing and Downsizing
• 6.3
• Business Competition, Innovation and Intellectual Property
• 7
• Business, Environment, Society
• 7.1
• Environmental Issues: Climate, Air, Water, Food
• 7.2
• Resources Takeover, International Business and Human Rights
• 7.3
• Society: Challenges and Connectivity
• 8
• Career Pressures, Responsibility, Identity
• 8.1
• Career Challenges and Personal Struggles
• 8.2
• Identity Challenges
• 8.3
• Loss of Privacy, Cyber Harassment, Technological Advances and AI.
• (source: Nielsen Book Data)

This book considers ethical issues arising in professional and business settings and the role of individuals making decisions and coping with moral dilemmas. Readers can benefit from engagement in filmic narratives, as a simulated environment for developing a stance towards ethical challenges. The book starts by elaborating on critical thinking and on normative ethical theories, subsequently presenting the structure and cinematic elements of narrative film. These two avenues are tools for evaluating films and for discussions on various ethical problems in contemporary business, including: the corporate and banking financial machinations (greed, fraud, social responsibility); workplace ethical challenges (harassment, violence, inequity, inequality); professional and business ethical challenges (corruption, whistleblowing, outsourcing, downsizing, competition, and innovation); environmental and social issues; international business and human rights; and personal responsibility and identity challenges due to career pressures, loss of privacy and cyber harassment, and job structure changes in light of changing technology.
(source: Nielsen Book Data) 9783319893327 20181008

• List of Figures
• Acknowledgments
• Motion Typography
• A History of Formalist Approaches Legibility The Technical Lineage Typography and Titling
• The `Reading-Image'
• Kinetic Action Graphic Expression Chronic Progression
• Conclusions
• Motion versus Static Design Reading / Discourse The Role of Kinesis Constraints on Semiosis
• Index.
• (source: Nielsen Book Data)

In his latest book, Michael Betancourt explores the nature and role of typography in motion graphics as a way to consider its distinction from static design using the concept of the `reading-image' to model the ways that motion typography dramatizes the process of reading and audience recognition of language on-screen. Using both classic and contemporary title sequences-including The Man With the Golden Arm (1955), Alien (1979), Flubber (1998), Six Feet Under (2001), The Number 23 (2007) and Scott Pilgrim vs. The World (2010)-Betancourt develops an argument about what distinguishes motion graphics from graphic design. Moving beyond title sequences, Betancourt also analyzes moving or kinetic typography in logo designs, commercials, film trailers, and information graphics, offering a striking theoretical model for understanding typography in media.
(source: Nielsen Book Data) 9780367029289 20190218

• Chapter 1 Introduction
• Chapter 2 A Theory of Thinking for Moving Image Experience
• Chapter 3 Wandering Reverie and the Aesthetic Experience of Being Adrift
• Chapter 4 Metaphor, the Analytic Field, and the Embedded Spectator
• Chapter 5 Group Experience, Collective Memory and Dreaming
• Chapter 6 Linking, Intentionality and the Container-Contained
• Chapter 7 Transformation: The Idiomatic Encounter and Use of Moving Image as Object
• Chapter 8 Being Embedded: Rhizome, Decalcomania and Containment.
• (source: Nielsen Book Data)

Wilfred Bion's theories of dreaming, of the analytic situation, of reality and everyday life, and even of the contact between the body and the mind offer very different, and highly fruitful, perspectives on lived experience. Yet very little of his work has entered the field of visual culture, especially film and media studies. Kelli Fuery offers an engaging overview of Bion's most significant contribution to psychoanalysis- his theory of thinking- and demonstrates its relevance for why we watch moving images. Bion's theory of thinking is presented as an alternative model for the examination of how we experience moving images and how they work as tools which we use to help us `think' emotional experience. `Being Embedded' is a term used to identify and acknowledge the link between thinking and emotional experience within the lived reception of cinema. It is a concept that everyone can speak to as already knowing, already having felt it - being embedded is at the core of lived and thinking experience. This book offers a return to psychoanalytic theory within moving image studies, contributing to the recent works that have explored object relations psychoanalysis within visual culture (specifically the writings of Klein and Winnicott), but differs in its reference and examination of previously overlooked, but highly pivotal, thinkers such as Bion, Bollas and Ogden. A theorization of thinking as an affective structure within moving image experience provides a fresh avenue for psychoanalytic theory within visual culture. Wilfred Bion, Thinking, and Emotional Experience with Moving Images will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as scholars and students of film and media studies, cultural studies and cultural sociology and anthropology, visual culture, media theory, philosophy, and psychosocial studies.
(source: Nielsen Book Data) 9781138590816 20181008

Examines the political cinema of 1968 in relation to global events. 1968 and Global Cinema addresses a notable gap in film studies. Although scholarship exists on the late 1950s and 1960s New Wave films research that puts cinemas on 1968 into dialogue with one another across national boundaries is surprisingly lacking. Only in recent years have histories of 1968 begun to consider the interplay among social movements globally. The essays in this volume, edited by Christina Gerhardt and Sara Saljoughi, cover a breadth of cinematic movements that were part of the era's radical politics and independence movements. Focusing on history, aesthetics, and politics, each contribution illuminates conventional understandings of the relationship of cinema to the events of 1968, or ""the long Sixties."" The volume is organized chronologically, highlighting the shifts and developments in ideology in different geographic contexts. The first section examines both the visuals of new cinemas as wellas new readings of the period's politics in various geopolitical iterations. This half of the book begins with an argument that while the impact of Italian Neorealism and the French New Wave on subsequent global new waves is undeniable, the influence of cinemas of the so-called Global South is pivotal for the eras cinema as well. The second section considers the lasting impact of 1968 and related cinematic new waves into the 1970s. The essays in this section range from China's Cultural Revolution in cinema to militancy and industrial struggle in 1070s worker's films in Spain. In these ways, the volume provides fresh takes and allows for new discoveries of the cinemas of the long 1968. 1968 and Global Cinema aims to achieve balance between new readings of well-known films filmmakers and movements as well as new research that engages lesser-known bodies of films and film tests. The volume is ideal for graduate and undergraduate courses on the long sixties, political cinema, 1968, and new waves in art history, cultural studies and film and media studies. Contributors: Robert Stam, Lily Saint, Rocco Giansante, Peter Hames, Rita de Grandis, Morgan Adamson, David Desser, Graeme Stout, Mauro Resmini, Man-tat Terence Leung, Allyson Nadia Field, Sarah Hamblin, J. M. Tyree, Victor Fan, Laurence Coderre, Pablo La Parra-Perez, Paula Rabinowitz, Sara Saljoughi, Christina Gerhardt.
(source: Nielsen Book Data) 9780814342930 20181231

• 1 Introduction: Stereoscopic Narrative, Spectacle, and 3DOntology.-2.From `Dimensional Effects' to Digital 3D Cinema.-3.From `Redemption of Physical Reality' to `Recreation of Perceptual (Hyper)reality'.-4.Stereoscopic Timespaces: Directionality, Dimensionalityand Temporality.-5.Volumetric Dramaturgy: Staging Drama in Depth.-6.Within and Without: Trans-Subjective Narrative Perspectives in Digital 3D Cinema.-7.Between Depth and Flatness: Shaping Stereoscopic Ontologies.-8.Conclusion.
• (source: Nielsen Book Data)

This book argues that 3D films are becoming more sophisticated in utilising stereoscopic effects for storytelling purposes. Since Avatar (2009), we have seen a 3D revival marked by its integration with new digital technologies. With this book, the author goes beyond exploring 3D's spectacular graphics and considers how 3D can be used to enhance visual storytelling. The chapters include visual comparisons between 2D and 3D to highlight their respective narrative features; an examination of the narrative tropes and techniques used by contemporary 3D filmmakers; and a discussion of the narrative implications brought by the coexistence of flatness and depth in 3D visuality. In demonstrating 3D cinematic aesthetics and storytelling, Yong Liu analyses popular films such as Hugo (2011), Life of Pi (2012), Gravity (2013), Star Trek Into Darkness (2013, and The Great Gatsby (2013). The book is an investigation into contemporary forms of stereoscopic storytelling derived from a unique, long-existing mode of cinematic illusions.
(source: Nielsen Book Data) 9783319727417 20180910