• Acknowledgments Introduction: Dismantling the Myth of Female Domesticity
• 1. The Castiza Working Woman: Regeneracionismo in Genero Chico
• 2. Homebound Workers: The Reconfiguration of Bourgeois Domestic Space in Realism
• 3. Commodifying the Nation: The Store and the Shopgirl in Avant-Garde Literature
• 4. Working for Change during the Second Republic: A New Woman for the Nation in Conservative and Left-Wing Literature
• 5. Back Home? Counterdiscourses of Female Labor and Nationhood in Postwar Women's Short Fiction
• 6. Spanish Women Are Different: Cinematic Anxieties of Female Work in Late Francoism 000 Epilogue: The Story Is Not Over Notes References Index.
• (source: Nielsen Book Data)

Mar Soria presents an innovative cultural analysis of female workers in Spanish literature and films. Drawing from nation-building theories, the work of feminist geographers, and ideas about the construction of the marginal subject in society, Soria examines how working women were perceived as Other in Spain from 1880 to 1975. By studying the representation of these marginalized individuals in a diverse array of cultural artifacts, Soria contends that urban women workers symbolized the desires and anxieties of a nation caught between traditional values and rapidly shifting socioeconomic forces. Specifically, the representation of urban female work became a mode of reinforcing and contesting dominant discourses of gender, class, space, and nationhood in critical moments after 1880, when social and economic upheavals resulted in fears of impending national instability. Through these cultural artifacts Spaniards wrestled with the unresolved contradictions in the gender and class ideologies used to construct and maintain the national imaginary. Whether for reasons of inattention or disregard of issues surrounding class dynamics, nineteenth- and twentieth-century Spanish literary and cultural critics have assumed that working women played only a minimal role in the development of Spain as a modern nation. As a result, relatively few critics have investigated cultural narratives of female labor during this period. Soria demonstrates that without considering the role working women played in the construction and modernization of Spain, our understanding of Spanish culture and life at that time remains incomplete. .
(source: Nielsen Book Data)

• Happy furniture: on the media environments of the Eames chair
• The scale is the world: designer pedagogy and expanded cinema
• Management cinema: film, communication, and postwar world-making in Aspen
• Memories of overdevelopment: the vision conferences and the fate of environmental design
• Designer film theory: techniques of happiness
• Designer film theory, II: media pedagogy and modernist information aesthetics
• Coda: the Norton chair, circa
• 1970: trilling or Eames?

A cultural history of modern lifestyle viewed through film and multimedia experiments of midcentury designers Charles and Ray Eames For the designers Charles and Ray Eames, happiness was both a technical and ideological problem central to the future of liberal democracy. Being happy demanded new things but also a vanguard life in media that the Eameses modeled as they brought film into their design practice. Midcentury modernism is often considered institutionalized, but Happiness by Design casts Eames-era designers as innovative media artists, technophilic humanists, change managers, and neglected film theorists. Happiness by Design offers a fresh cultural history of midcentury modernism through the film and multimedia experiments of Charles and Ray Eames and their peers-Will Burtin, Laszlo Moholy-Nagy, and Gyoergy Kepes, among others-at a moment when designers enjoyed a new cultural prestige. Justus Nieland traces how, as representatives of the American Century's exuberant material culture, Cold War designers engaged in creative activities that spanned disciplines and blended art and technoscience while reckoning with the environmental reach of media at the dawn of the information age. Eames-era modernism, Nieland shows, fueled novel techniques of culture administration, spawning new partnerships between cultural and educational institutions, corporations, and the state. From the studio, showroom floor, or classroom to the stages of world fairs and international conferences, the midcentury multimedia experiments of Charles and Ray Eames and their circle became key to a liberal democratic lifestyle-and also anticipated the look and feel of our networked present.
(source: Nielsen Book Data)

Hollywood at the Intersection of Race and Identity explores the ways Hollywood represents race, gender, class, and nationality at the intersection of aesthetics and ideology and its Productive tensions. This collection of essays asks to what degree can a close critical analysis of films, that is, reading them against their own ideological grain, reveal contradictions and tensions in Hollywood's task of erecting normative cultural standards? How do some films perhaps knowingly undermine their inherent ideology by opening a field of conflicting and competing intersecting identities? The challenge Set out in this volume is to revisit well-known films in search for a narrative not exclusively constituted by the Hollywood formula and to answer the questions: What lies beyond the frame? What elements contradict a film's sustained illusion of a normative world? Where do films betray their own ideology and most importantly what intersectional spaces of identity do they reveal or conceal?
(source: Nielsen Book Data)

• Censorship as cultural resistance : the Chinese government's "uplift" of national images in 1930s Hollywood
• Justified patricide and (im)properly directed hatred : regulating the representations of Chinese and Japanese in Doolittle Raid films
• Beyond the propaganda model : the Pentagon as a technical advisor for brainwashing films of the Cold War era
• From Die another day to 'another day' : the anti-007 movement, pan-Asian nationalism, and protests as censorship
• The interview as a twenty-first-century great dictator? : rethinking film regulation and foreign relations through the Sony crisis
• Conclusion. Chinese censors return to Hollywood

"Hollywood Diplomacy makes the case that, rather than simply reflect the West's cultural fantasies of an imagined 'Orient,' images of East Asian ethnicities (Chinese, Japanese, and Korean) have long been contested ideological sites where the commercial interests of Hollywood studios and the political mandates of U.S. foreign policy collide, compete against one another, and often become compromised in the process. Hye Seung Chung highlights the mediating capacity of film regulation, presenting it not as an obstacle to artists' freedom of expression, but rather as an enforcer of institutional protection, a facilitator of international relations, and a contributor to 'political correctness' regarding images of racial minorities and foreign nationals. Drawing on archival evidence and film content analysis, Hollywood Diplomacy redefines external censorship or advisory entities (by the Chinese government, the World War II propaganda agency OWI, and the DoD) as productive contributors pushing for increased cultural authenticity and/or more egalitarian racial/ethnic/national images in Hollywood's Orientalist productions. The book is divided into two parts: the first is 'Diplomatic Representations in Classical Hollywood,' which examines films such as Shanghai Express, The Purple Heart, and Bamboo Prison, and the second is 'The War on Terror, Contemporary Hollywood, and Its Global Discontent,' which examines films such as Die Another Day and The Interview"-- Provided by publisher

• Censorship as cultural resistance : the Chinese government's "uplift" of national images in 1930s Hollywood
• Justified patricide and (im)properly directed hatred : regulating the representations of Chinese and Japanese in Doolittle Raid films
• Beyond the propaganda model : the Pentagon as a technical advisor for brainwashing films of the Cold War era
• From Die another day to 'another day' : the anti-007 movement, pan-Asian nationalism, and protests as censorship
• The interview as a twenty-first-century great dictator? : rethinking film regulation and foreign relations through the Sony crisis
• Conclusion. Chinese censors return to Hollywood

• Indie Via Instant Viewing: Now Streaming on Netflix and Hulu
• Simultaneous Release Strategies: Soderbergh and the Screening Room
• DIY Distribution: YouTube, Four Eyed Monsters, and Girl Walks Into A Bar
• The Fourth Screen: Sundance, Shorts, and Cell Phones
• Conclusion

"Indie Cinema Online investigates the changing nature of contemporary American independent cinema in an era of media convergence. Focusing on the ways in which modes of production, distribution, and exhibition are shifting with the advent of online streaming, simultaneous release strategies, and web series, this book analyzes sites such as SundanceTV, YouTube, Netflix, Hulu, and other online spaces as a means of redefining independent cinema in a digital era. Analyzing the intersections among cinema studies, cultural studies, and new media studies within contemporary convergence culture, author Sarah E.S. Sinwell looks at sites of media convergence that are often ignored within most studies of digital media. Emphasizing the ways in which the forms and technologies of media culture have changed during the age of convergence, this book analyzes contemporary production, distribution, and exhibition practices as a means of examining the changing meanings of independent cinema within digital culture"-- Provided by publisher

• Prologue
• The world of animation and the animation of the world
• The LEGO movie as savvy cinema
• Through the rabbit hole, into the LEGO-verse
• Falling into narrative
• The extraordinary ordinariness of LEGO
• The secret life of toys
• Production history,
• part 1 : project development as LEGO
• Goes to the movies
• Production history,
• part 2 : the animation process
• Production history,
• part 3 : the screenwriter-directors
• Reception and after-life
• Coda.

Incorporating insights from conversations with producer Dan Lin and writer-directors Phil Lord and Chris Miller, Polan examines the production and reception of The LEGO Movie and closely analyzes the film within popular culture at large and in relation to LEGO as a toy and commodity. He identifies the film's particular stylistic and narrative qualities, its grasp of and response to the culture industry, and what makes it a distinctive work of animation among the seeming omnipresence of animation in Hollywood, and reveals why the blockbuster film, in all its silliness and seriousness, stands apart as a divergent cultural work"-- Provided by publisher.

• How I became the Los Angeles correspondent for Cahiers du cinéma
• On Daney (1977)
• Serge Daney (1944-1992)
• Allan Dwan : The cliff and the flume
• Raoul Walsh : Objective, Burma!
• Haunted Hollywood :
• John Ford : December 7 : the movie
• Hawks at work : the making of Land of the Pharaohs
• Alfred Hitchcock : shelling The lifeboat
• Alfred Hitchcock : dark carnival
• "All this is so" : Orson Welles's Shakespeare films
• Ulmer without tears
• Phil Karlson confidential
• Nicholas Ray : we can't go home again
• Robert Aldrich : Sodom and Gomorrah
• Blake Edwards : Skin deep
• Sergio Leone : once upon a time in America
• Lucille Ball : I love Lucy
• Le cas wood
• Robert Altman : prêt-à-porter
• Stanley Kubrick : Full metal jacket
• John Frankenheimer : Jonah
• Monte Hellman : Iguana
• Hellman today
• Woody Allen : Zelig
• William Friedkin : Cruising
• Francis Ford Coppola : Peggy Sue got married
• Richard Brooks : In cold blood
• Star Wars : reversing the signs
• Dante's Inferno
• John Landis : The stupids
• Ang Lee's The ice storm
• Tim Burton : Ed Wood
• David O. Russell : flirting with disaster

"Journalist and filmmaker Bill Krohn has been the Los Angeles correspondent for the French magazine Cahiers du cinéma for over forty years. Letters from Hollywood brings together thirty-four of his essays, many of them appearing in English for the first time. Focusing most pieces on a particular director and film, Krohn uses his inside knowledge of the studio system to illuminate an art that is also a multibillion-dollar business. Beginning with Allan Dwan, who learned how to make movies before Hollywood was born by watching D. W. Griffith, Krohn presents a panorama that encompasses Alfred Hitchcock and Woody Allen, Stanley Kubrick and Sergio Leone, Star Wars and I Love Lucy. He covers everything from gangsters to gremlins, from blockbusters to no-budget cult films like Moon over Harlem and Plan 9 from Outer Space, in a style that is accessible to anyone who loves movies and passionate writing about them. Krohn connects currents in French film criticism and theory with an unfolding account of American cinema past and present, offering penetrating insights into directors and their work"-- Provided by publisher

• Acknowledgements List of Abbreviations Introduction Entr'Acte
• 1: The Michigan Film Review
• 1. Mapping Circulation in Detroit's Movie Market Entr'Acte
• 2: Detroit Area Picture Theaters Entr'Acte
• 3: John H. Kunsky and George W. Trendle
• 2. Movies, Live Acts, and the Theatrical Experience: Programming Practices in the Motor City Entr'Acte
• 4: Detroit-Made Films Entr'Acte
• 5: The Metropolitan Film Company
• 3. "Detroit-Made" Newsreels and Other Short Nonfiction Films Entr'Acte
• 6: Star Gazing
• 4. Motor City Newspapers, Menus for Movie Fans Afterword Bibliography Index.
• (source: Nielsen Book Data)

Motor City Movie Culture, 1916-1925 is a broad textured look at Hollywood coming of age in a city with a burgeoning population and complex demographics. Richard Abel investigates the role of local Detroit organizations in producing, distributing, exhibiting, and publicizing films in an effort to make moviegoing part of everyday life. Tapping a wealth of primary source material-from newspapers, spatiotemporal maps, and city directories to rare trade journals, theater programs, and local newsreels-Abel shows how entrepreneurs worked to lure moviegoers from Detroit's diverse ethnic neighborhoods into the theaters. Covering topics such as distribution, programming practices, nonfiction film, and movie coverage in local newspapers, with entr'actes that dive deeper into the roles of key individuals and organizations, this book examines how efforts in regional metropolitan cities like Detroit worked alongside California studios and New York head offices to bolster a mass culture of moviegoing in the United States.
(source: Nielsen Book Data)

• Pioneers, fighters and immigrants
• Looking inward
• Present absentees
• The post-Zionist condition
• The post-political turn in Israeli cinema
• Eros on the Israeli screen
• In the image of the divine
• Epilogue. Big screens, small screens

• Acknowledgments
• Introduction: Differance. Otherness. Experiment.
• 1. Interrogations of the National Allegory: Trance film and Ethnography
• 2. Intermediality, Intoxication, and the Infrathin
• 3. The Discontinuous Legacies of Pere Portabella: Between Heritage and Inheritance
• 4. History, Hauntology, Representation: Spanish Cinema Against Itself
• 5. The Ex of Experimentation: Against Periodization
• 6. The Catacoustic and the Cosmopolitan: Rhythm and Timbre in the Films of Andres Duque
• 7. Turns and Returns, Envois/Renvois: The Postal Effect in Recent Spanish Film
• 8. Retrospective Future Perfect: History, Black Holes, and Time Warps in the Films of Los Hijos and Luis Lopez Carrasco
• 9. !No nos representan!: Performativity as Militant Film, the 15-M Archive
• Afterword: Unruly Archives. La decima carta and Buenas noches, Espana
• Index.
• (source: Nielsen Book Data)

Spanish Cinema against Itself maps the evolution of Spanish surrealist and politically committed cinematic traditions from their origins in the 1930s-with the work of Luis Bunuel and Salvador Dali, experimentalist Jose Val de Omar, and militant documentary filmmaker Carlos Velo-through to the contemporary period. Framed by film theory this book traces the works of understudied and non-canonical Spanish filmmakers, producers, and film collectives to open up alternate, more cosmopolitan and philosophical spaces for film discussion. In an age of the post-national and the postcinematic, Steven Marsh's work challenges conventional historiographical discourse, the concept of "national cinema, " and questions of form in cinematic practice.
(source: Nielsen Book Data)

• Baseball movies
• Basketball movies
• Football movies
• Boxing movies
• The sporting life

From Rocky to Field of Dreams, sports movies are among the most beloved of American films. Revolving around familiar narratives like the underdog story, these movies have generated modern-day legends, reinforcing and disseminating our national myths about the American Dream. In Sports Movies, Lester D. Friedman describes the traditional formulas that have made these movies such crowd-pleasers, including stock figures like the disgraced athlete on a quest for redemption, or the wise old coaches who help mentor the heroes to victory. He also explores how the genre's attitudes have changed over time, especially key issues like class, race, masculinity, and women in sports. Along the way, he takes stock of sports films from the dawn of cinema's silent era to the present day, including classic baseball movies like Pride of the Yankees and Bull Durham, basketball movies like Hoosiers and He's Got Game, football movies like Friday Night Lights and Rudy, and boxing movies like Raging Bull and Million Dollar Baby. As Friedman's analyses reveal, not only do sports movies influence our perceptions about the drama of real-life sports, but they also help to shape our attitudes toward the competitive ethos in American life.
(source: Nielsen Book Data)

• Acknowledgments Introduction: Filmmaking on the African Continent: On the Centrality of Human Rights Thinking / Mette Hjort and Eva Jorholt
• Part I: Perspectives
• 1. Human Rights, Africa, and Film: A Cautionary Tale / Mark Gibney
• 2. African Cinema: Perspective Correction / Rod Stoneman
• 3. Africa's Gift to the World: An Interview with Gaston Kabore / Rod Stoneman
• 4. Toward New African Languages of Protest: African Documentary Films and Human Rights / Alessandro Jedlowski
• 5. Challenging Perspectives: An Interview with Jean-Marie Teno / Melissa Thackway
• 6. In Defense of Human Rights Filmmaking: A Response to the Skeptics, Based on Kenyan Examples / Mette Hjort
• 7. The Zanzibar International Film Festival and Its Children Panorama: Using Films to Socialize Human Rights into the Educational Sector and a Wider Public Sphere / Martin Mhando
• Part II: Cases
• 8. Ousmane Sembene's Moolaade: Peoples' Rights vs Human Rights / Samba Gadjigo
• 9. Haile Gerima's Harvest: 3000 Years in the Context of an Evolving Language of Human Rights / Ashish Rajadhyaksha
• 10. Abducted Twice? Difret (2015) and Schoolgirl Killer (1999) / Tim Bergfelder
• 11. Timbuktu and "L'homme de haine" / Kenneth Harrow
• 12. Beats of the Antonov: A Counter-narrative of Endurance and Survival / N. Frank Ukadike
• 13. Human Rights Issues in the Nigerian Films October 1 and Black November / Osakue Stevenson Omoera
• 14. The Anti-Ecstasy of Human Rights: A Foray into Queer Cinema on "Homophobic Africa" / John Erni
• 15. Refugees from Globalization: "Clandestine" African Migration to Europe in a Human (Rights) Perspective / Eva Jorholt Index.
• (source: Nielsen Book Data)

Bringing theory and practice together, African Cinema and Human Rights argues that moving images have a significant role to play in advancing the causes of justice and fairness. The contributors to this volume identify three key ways in which film can achieve these goals: documenting human rights abuses and thereby supporting the claims of victims and goals of truth and reconciliation within larger communities; legitimating, and consequently solidifying, an expanded scope for human rights; and promoting the realization of social and economic rights. Including the voices of African scholars, scholar-filmmakers, African directors Jean-Marie Teno and Gaston Kabore, and researchers whose work focuses on transnational cinema, this volume explores overall perspectives, and differences of perspective, pertaining to Africa, human rights, and human rights filmmaking alongside specific case studies of individual films and areas of human rights violations. With its interdisciplinary scope, attention to practitioners' self-understandings, broad perspectives, and particular case studies, African Cinema and Human Rights is a foundational text that offers questions, reflections, and evidence that help us to consider film's ideal role within the context of our ever-continuing struggle towards a more just global society.
(source: Nielsen Book Data)

Eschewing the idea of film reviewer-as-solitary-expert, Jonathan Rosenbaum continues to advance his belief that a critic's ideal role is to mediate and facilitate our public discussion of cinema. Portraits and Polemics presents debate as an important form of cinematic encounter whether one argues with filmmakers themselves, on behalf of their work, or with one's self. Rosenbaum takes on filmmakers like Chantal Akerman, Richard Linklater, Manoel De Oliveira, Mark Rappaport, Elaine May, and Bela Tarr. He also engages, implicitly and explicitly, with other writers, arguing with Pauline Kael--and Wikipedia--over Jacques Demy, with the Hollywood Reporter and Variety reviewers of Jarmusch's The Limits of Control, with David Thomson about James L. Brooks, and with many American and English film critics about misrepresented figures from Jerry Lewis to Yasujiro Ozu to Orson Welles. Throughout, Rosenbaum mines insights, pursues pet notions, and invites readers to join the fray.
(source: Nielsen Book Data)

• List of Illustrations Foreword: Hannah Frank's Pause by Tom Gunning Editor's Introduction by Daniel Morgan Acknowledgments Introduction: Looking at Labor
• 1. Animation and Montage-- or, Photographic Records of Documents
• 2. A View of the World: Toward a Photographic Theory of Cel Animation
• 3. Pars Pro Toto: Character Animation and the Work of the Anonymous Artist
• 4. The Multiplication of Traces: Xerographic Reproduction and One Hundred and One Dalmatians Conclusion: The Labor of Looking Notes Bibliography Index.
• (source: Nielsen Book Data)

At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. In this beautifully written and deeply researched study, Hannah Frank provides an original way to understand American animated cartoons from the Golden Age of animation (1920-1960). In the pre-digital age of the twentieth century, the making of cartoons was mechanized and standardized: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called "cels") and then photographed in succession, a labor-intensive process that was divided across scores of artists and technicians. In order to see the art, labor, and technology of cel animation, Frank slows cartoons down to look frame by frame, finding hitherto unseen aspects of the animated image. What emerges is both a methodology and a highly original account of an art formed on the assembly line.
(source: Nielsen Book Data)

• 1967
• Big budget musicals
• War spectacles
• Naughty sex comedies
• The last round up: Westerns
• Conclusion:
• 1972: Lost horizons.

"The era known as the Hollywood Renaissance is celebrated as a time when revolutionary movies broke all the rules of the previous, "classical" era as part of the ferment of the late 1960s and early 1970s. Yet many films during this era did not overtly smash the system but provided more traditional entertainment, based on popular genres, for a wider audience than the youth culture who flocked to more transgressive fare. Ken Windrum focuses on four genres of traditionalist movies--big-budget musicals, war spectacles, 'naughty' sex comedies, and westerns. From El Dorado to Lost Horizons shows how even seemingly innocuous, family-oriented films still participated in the progressive aspects of the time while also holding a conservative point of view. Windrum analyzes representations of issues including gender roles, marriage, sexuality, civil rights, and Cold War foreign policy, showing how these films dealt with changing times and reflected both status quo positions and new attitudes. He also examines how the movies continued or deviated from classical principles of structure and style. Windrum provides a counter-history of the Hollywood Renaissance by focusing on a group of important films that have nevertheless been neglected in scholarly accounts"-- Provided by publisher.

• Acknowledgments Introduction: Failing Successfully Loic Bourdeau
• 1. The Whore and Her Mother: Exploring Matrophobia in Nelly Arcan's Putain Pauline Henry-Tierney
• 2. Horrible Mothers in Memere's Kitchen: Queer Identity in New England Franco-America Susan Pinette
• 3. "I'm Not the Virgin Mary": Rebellious Motherhood in Gregoire Chabot's "A Life Lost" Chelsea Ray
• 4. Permissive Parenting: The Awful American Mother in Nancy Huston's Lignes de faille Alison Rice
• 5. Lucie Joubert's Ironic Rejection of Motherhood in L'envers du landau Natalie Edwards
• 6. Voicing Shame: From Fiction to Confession in the Work of Marguerite Andersen Lucie Hotte and Ariane Brun del Re
• 7. The Transgressive Mother in Nancy Huston's Bad Girl: Classes de litterature Susan Ireland and Patrice J. Proulx
• 8. Forgiving the Horrible Mother: Children's Needs and Women's Desires in Twenty-First-Century Quebecois Film Amy J. Ransom
• 9. Politics and Motherhood in Xavier Dolan's J'ai tue ma mere and Mommy Loic Bourdeau Contributors Index.
• (source: Nielsen Book Data)

For too long the main narratives of motherhood have been oppressive and exclusionary, frequently ignoring issues of female identity-especially regarding those not conforming to traditional female stereotypes. Horrible Mothers offers a variety of perspectives for analyzing representations of the mother in francophone literature and film at the turn of the twenty-first century in North America, including Quebec, Ontario, New England, and California. Contributors reexamine the "horrible mother" paradigm within a broad range of sociocultural contexts from different locations to broaden the understanding of mothering beyond traditional ideology. The selections draw from long-established scholarship in women's studies as well as from new developments in queer studies to make sense of and articulate strategies of representation; to show how contemporary family models are constantly evolving, reshaping, and moving away from heteronormative expectations; and to reposition mothers as subjects occupying the center of their own narrative, rather than as objects. The contributors engage narratives of mothering from myriad perspectives, referencing the works of writers or filmmakers such as Marguerite Andersen, Nelly Arcan, Gregoire Chabot, Xavier Dolan, Nancy Huston, and Lucie Joubert. .
(source: Nielsen Book Data)

• Picturing the celestial realm: Mount Huang in Chinese cinema
• The phantom landscape of Jiangnan: the politics of topography in Stage sisters
• Early spring in February: reframing the problems of utopia in the 1960s
• The remnant intellectuals: ruins and monuments on Tianyunshan Mountain.

Chinese cinema has a long history of engagement with China's art traditions, and literati (wenren) landscape painting has been an enduring source of inspiration. Literati Lenses explores this interplay during the Mao era, a time when cinema, at the forefront of ideological campaigns and purges, was held to strict political guidelines. This is a particularly intriguing period for the study of landscape in film, for while a film's script was under constant and multifaceted scrutiny, its landscape, a silent backdrop in the final production, tended to slip past censorial eyes. Author Mia Yinxing Liu examines literati landscape through four films: Li Shizhen (1956), Stage Sisters (1965), Early Spring in February (1963), and Legend of Tianyun Mountain (1979). By close readings of these "problematic, " even "poisonous" films (official criticisms from Party media), she sheds light on how landscape offered an alternative text that could operate beyond ideological constraints and provide a portal for smuggling interesting discourses into the film. On the one hand, allusions to pictorial traditions associated with a bygone era inevitably took on different significances and even transformative meanings in the context of Mao-era cinema. On the other, unlike derivative citations or reverent homages, cinematic engagement with literati landscape endowed films with creative and critical space, as well as political poignancy. Liu not only identifies and investigates how the conventions, motifs, topoi, and aesthetics of traditional literati landscape art are reinvented and mediated on multiple levels in cinema, but also explores how post-1949 Chinese filmmakers configure themselves as modern intellectuals in the spaces forged among the vestiges of the old. In the process, she deepens her analysis, illuminating notions of utopia, monumentality, history, memory, representation, and re-appropriation. Landscape, she suggests, can be seen as an allegory of human life, a mirror of the age, and a commentary on national affairs.
(source: Nielsen Book Data)

• Acknowledgments Introduction
• 1. After
• 1989: Projecting the Balkans
• 2. Traffic from the East: Gender, Labor, and Biopolitics
• 3. African Immigration in the 1990s
• 4. Migration, Masculinity, and Italy's New Urban Geographies
• 5. Imagining an Expanded Mediterranean Borderscape
• 6. Living with Difference: From Noir to Melodrama Afterword: Accented and Transnational Filmmaking in Italy Filmography Bibliography Index.
• (source: Nielsen Book Data)

During a period of heightened global concerns about the movement of immigrants and refugees across borders, Migrant Anxieties explores how filmmakers in Italy have probed the tensions accompanying the country's shift from an emigrant nation to a destination point for over five million immigrants over the course of three decades. Aine O'Healy traces a phenomenology of anxiety that is not only present at the sociopolitical level but also interwoven into the narrative strategies of over 30 films produced since 1990, throwing into sharp relief the interface between the local and the global in this transnational era. Starting with the representation of post-communist migrations to Italy from Eastern Europe and subsequent arrivals from Africa through the controversial frontier of Lampedusa, O'Healy explores topics as diverse as the configuration of migrant labor, affective surrogacy, Italian whiteness, and the legacy of Italy's colonial history. Showing how contemporary filmmaking practices in Italy are linked to changes in the broader media landscape, O'Healy analyzes the ways in which both Italian and migrant filmmakers are reimagining Italian society and remapping the nation's borderscape.
(source: Nielsen Book Data)

• Sartre and Deleuze Via Bergson
• The philosopher and the moviemaker: Merleau-Ponty and the thinking of cinema
• The torn curtain: Lyotard, the screen and a cinema named desire
• Delimiting to exceed
• Come live with me
• Making philosophy among and through the screens.

"In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film as it relates to his aesthetic theory. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and also extending that analysis to address the wider proliferation of screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the philosophical significance of cinema as a novel aesthetic medium unfolding in the twentieth century. He then considers the significance of this philosophical framework for understanding the digital revolution, in particular the extent to we are increasingly and comprehensively connected with screens. Smart phones, tablets, and computers have become a primary referential optical apparatus for everyday life in ways that influence the experience not only of seeing but also of thinking and desiring. Carbone's Philosophy-Screens follows Deleuze's call for "a philosophy-cinema" that can account for these fundamental changes in perception and aesthetic production, and adapts it to twenty-first century concerns"-- Provided by publisher.

• Sartre and Deleuze Via Bergson
• The philosopher and the moviemaker: Merleau-Ponty and the thinking of cinema
• The torn curtain: Lyotard, the screen and a cinema named desire
• Delimiting to exceed
• Come live with me
• Making philosophy among and through the screens.

"In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film as it relates to his aesthetic theory. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and also extending that analysis to address the wider proliferation of screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the philosophical significance of cinema as a novel aesthetic medium unfolding in the twentieth century. He then considers the significance of this philosophical framework for understanding the digital revolution, in particular the extent to we are increasingly and comprehensively connected with screens. Smart phones, tablets, and computers have become a primary referential optical apparatus for everyday life in ways that influence the experience not only of seeing but also of thinking and desiring. Carbone's Philosophy-Screens follows Deleuze's call for "a philosophy-cinema" that can account for these fundamental changes in perception and aesthetic production, and adapts it to twenty-first century concerns"-- Provided by publisher.

• List of Illustrations Acknowledgments Introduction: The Place That Is Pakistan
• 1. Punjab: Eco-cosmopolitan Feminism
• 2. Thar: Bioregionalism
• 3. Bengal: Vernacular Landscape
• 4. Karachi: Pakistani Eco-cosmopolitanism
• 5. Displacement: Animalization Conclusion: Justice for All Notes References Index.
• (source: Nielsen Book Data)

While news reports about Pakistan tend to cover Taliban attacks and bombings, and academics focus on security issues, the environment often takes a backseat in media reportage and scholarship. In particular, Pakistani women's attachment to their environment and their environmental concerns are almost always ignored. Shazia Rahman traces the ways in which Pakistani women explore alternative, environmental modes of belonging, examines the vitality of place-based identities within Pakistani culture, and thereby contributes to evolving understandings of Pakistani women-in relation to both their environment and to various discourses of nation and patriarchy. Through an astute analysis of such works as Sabiha Sumar's Khamosh Pani (2003), Mehreen Jabbar's Ramchand Pakistani (2008), Sorayya Khan's Noor (2006), Uzma Aslam Khan's Trespassing (2003), and Kamila Shamsie's Burnt Shadows (2009), Rahman illuminates how Pakistani women's creative works portray how people live with one another, deal with their environment, and intuit their relationship with the spiritual. She considers how literary and cinematic documentation of place-based identities simultaneously critiques and counters stereotypes of Pakistan as a country of religious nationalism and oppressive patriarchy. Rahman's analysis discloses fresh perspectives for thinking about the relationship between social and environmental justice. .
(source: Nielsen Book Data)

South Korean cinema is a striking example of non-Western contemporary cinematic success. Thanks to the increasing numbers of moviegoers and domestic films produced, South Korea has become one of the world's major film markets. In 2001, the South Korean film industry became the first in recent history to reclaim its domestic market from Hollywood and continues to maintain around a 50 percent market share today. High-quality South Korean films are increasingly entering global film markets and connecting with international audiences in commercial cinemas and art theatres, and at major international film festivals. Despite this growing recognition of the films themselves, Korean cinema's rich heritage has not heretofore received significant scholarly attention in English-language publications. This groundbreaking collection of thirty-five essays by a wide range of academic specialists situates current scholarship on Korean cinema within the ongoing theoretical debates in contemporary global film studies. Chapters explore key films of Korean cinema, from Sweet Dream, Madame Freedom, The Housemaid, and The March of Fools to Oldboy, The Host, and Train to Busan, as well as major directors such as Shin Sang-ok, Kim Ki-young, Im Kwon-taek, Bong Joon-ho, Hong Sang-soo, Park Chan-wook, and Lee Chang-dong. While the chapters provide in-depth analyses of particular films, together they cohere into a detailed and multidimensional presentation of Korean cinema's cumulative history and broader significance. With its historical and critical scope, abundance of new research, and detailed discussion of important individual films, Rediscovering Korean Cinema is at once an accessible classroom text and a deeply informative compendium for scholars of Korean and East Asian studies, cinema and media studies, and communications. It will also be an essential resource for film industry professionals and anyone interested in international cinema.
(source: Nielsen Book Data)

• Introduction
• Exceptions and rules: states of emergency in Children of men
• Mapping Syriana
• Corporate murder in The constant gardener
• Secrets of primitive accumulation: Inside man
• Fictitious capital and narrative spin in The wolf of Wall Street
• The meltdown and the bailout without the recovery: Blue jasmine
• Conclusion: allegories for the present.

• Exceptions and rules: states of emergency in Children of Men
• Mapping Syriana
• Corporate murder in The Constant Gardener
• Secrets of primitive accumulation: Inside Man
• Fictitious capital and narrative spin in The Wolf of Wall Street
• The meltdown and the bailout without the recovery: Blue Jasmine
• Conclusion: allegories for the present.

Analyzes six films as allegories of capitalism's precarious state in the early twenty-first century.

• The specter of domesticity
• Precarious work in feminist film
• Heritage cinema of industrial labor
• Voice in the cinema of labor migration
• Care work and the suspicious gesture
• Reproductive labor in the age of biotechnology
• Crisis cinema.

"Reproducing Europe argues that current European films focus on female characters in order to negotiate the transformations of labor of the last decades. Based on an analysis of approximately two hundred European films made since 2000 that focus on the relationship of women to their work, the book analyzes a cross-section of national cinemas and film genres, clustered according to pertinent topics in the theories of gendered labor. As reproductive labor now also includes the "donation" of eggs and organs, and the possibility of outsourcing pregnancy, dystopian narratives tell stories of refugees and clones who become the raw materials for organ harvesting. Farces and comedies exaggerate the habits of the global managerial class, while social realist dramas capture precarious working conditions in narratives about unemployed women. And films from countries affected by the global financial crisis (Greece, Spain, Portugal) emphasize the patriarchal family, a debt economy, and unemployment. Proposing the relevance of key concepts developed in second-wave feminist theory, the book updates categories of reproductive labor and the sexual contract. The postindustrial, neoliberal, and transnational character of Europe, with its decline of heavy industry, rise of service work, increase in migration since the expansion of the EU, and innovation in biotechnology has changed the organization of work. Films respond to these developments with a narrative emphasis on work, embodied by female characters more than ever before"-- Provided by publisher.

• Adapting gender: an introduction
• Mexican feminisms from literature to film
• Rebellious daughters in El secreto de Romelia
• Revolutionary variations entre (Pancho) Villa y una mujer desnuda
• Wedding the "other" in Novia que te vea
• Sexual tensions: queering feminism in De noche vienes, Esmeralda
• Collusions and conclusions
• Appendix 1. Filmography of Mexican films with LGBTQ content.

• Adapting gender : an introduction
• Mexican feminisms from literature to film
• Rebellious daughters in El secreto de Romelia
• Revolutionary variations entre (Pancho) Villa y una mujer desnuda
• Wedding the "other" in Novia que te vea
• Sexual tensions : queering feminism in De noche vienes, Esmeralda
• Collusions and conclusions
• Appendix : Filmography of Mexican films with LGBTQ content.

• Melodrama and avant-la-lettre documentary in Alcides Greca's El último malón (the last "Indian" raid, 1917)
• Kitsch and exoticism in Nelo Cosimi's La quena de la muerte (Death kena, 1929)
• Femme fatale in Luis Belisario García Villar's Frontera sur (Southern border, 1943)
• Betrayal and insanity in Lucas Demare's El último perro (The last one standing, 1956)
• The shifting meanings of translation in Lautaro Murúa's Shunko (1960)
• Transculturation in Jorge Prelorán's Hermógenes cayo (1967)
• Fatal kindness in Raúl Tosso's Gerónima (1986)
• Bewitched mirror images in Edgardo Cozarinsky's Guerreros y cautivas (Warriors and captives, 1989)
• The power of the word in Philip Cox and Valeria Mapelman Mbyá: Tierra en rojo (We are the Indians, 2005)
• State terrorism in Valeria Mapelman's Octubre pilagá (Pilaga October, 2010)
• Life as a specimen: Alejandro Fernández Mouján's Damiana kryygi (2015)
• Clashing ideologies, denunciation, and reparation in Ulise de la Orden's Tierra adentro (inland, 2011)
• Silence and isolation in Mathieu Orcel's Para los pobres piedras (Stones for the poor, 2013)
• Immersion and metamorphosis in Inés de Oliveira Cézar Cassandra (2012)
• The power of constelations in Sebastián Lingiardi's Las pistas-Lanhoyij-Nmitaxanaxac (Clues-Lanhoyij- Nmitaxanaxac, 2010).

Comprehensive examination of how Indigenous peoples have been represented in Argentine film. Affectual Erasure examines how Argentine cinema has represented Indigenous peoples throughout a period spanning roughly a century. Cynthia Margarita Tompkins interrelates her discussion of films with the ethnographic context of the Indigenous peoples represented and an analysis of the affective dimensions at play. These emotions underscore the inherent violence of generic conventions, as well as the continued political violence preventing Indigenous peoples from access to their ancestral lands and cultural mores. Tompkins explores a broad range of movies beginning in the silent period and includes both feature films and documentaries, underscored by archival and contemporary film stills. She traces the initial erotic projection, moving through melodrama to the conventions of the Western, into the 1960s focus on decolonization, superseded by allegorical renditions and the promise of self-expression in late twentieth-century documentaries. Each section includes an introduction to the sociohistorical events of the period and their impact on film production. Analyzed chronologically, the films evidence different stages in the projection of the hegemonic Argentine imaginary, which fails to envision the daily life of Indigenous peoples prior to conquest or in colonial times--and remains in denial of their existence in the present. Cynthia Margarita Tompkins is Professor of Spanish at Arizona State University and the author of Experimental Latin American Cinema: History and Aesthetics.

• The character of post-World War II America
• Singin' in the (HUAC) rain : job security, stardom, and the abjection of Lena Lamont
• It's all about Eve
• "What starts like a scary tale ... " : the right to work On the waterfront
• "Life could not better be" : disorganized labor, the little man and the court jester
• Citizens of the free world unite : international tourism and postwar identity in Roman holiday, Teahouse of the August moon, and Sayonara
• Expedient exaggeration and the scale of Cold War farce in North by northwest
• Defiant desegregation with no (liberal) way out
• "'I want to be in America' : urban integration, Pan American friendship, and West Side story."

Prolific literature, both popular and scholarly, depicts America in the period of the High Cold War as being obsessed with normality, implicitly figuring the postwar period as a return to the way of life that had been put on hold, first by the Great Depression and then by Pearl Harbor. Demographic Angst argues that mandated normativity-as a political agenda and a social ethic-precluded explicit expression of the anxiety produced by America's radically reconfigured postwar population. Alan Nadel explores influential non-fiction books, magazine articles, and public documents in conjunction with films such as Singin' in the Rain, On the Waterfront, Sunset Boulevard, and Sayonara, to examine how these films worked through fresh anxieties that emerged during the 1950s.
(source: Nielsen Book Data)

• The character of post-World War II America
• Singin' in the (HUAC) rain: job security, stardom, and the abjection of Lena Lamont
• It's all about Eve
• "What starts like a scary tale ... ": the right to work On the waterfront
• "Life could not better be": disorganized labor, the little man and the court jester
• Citizens of the free world unite: international tourism and postwar identity in Roman holiday, Teahouse of the August moon, and Sayonara
• Expedient exaggeration and the scale of Cold War farce in North by northwest
• Defiant desegregation with no (liberal) way out
• "'I want to be in America': urban integration, Pan American friendship, and West Side story."

Prolific literature, both popular and scholarly, depicts America in the period of the High Cold War as being obsessed with normality, implicitly figuring the postwar period as a return to the way of life that had been put on hold, first by the Great Depression and then by Pearl Harbor. Demographic Angst argues that mandated normativity-as a political agenda and a social ethic-precluded explicit expression of the anxiety produced by America's radically reconfigured postwar population. Alan Nadel explores influential non-fiction books, magazine articles, and public documents in conjunction with films such as Singin' in the Rain, On the Waterfront, Sunset Boulevard, and Sayonara, to examine how these films worked through fresh anxieties that emerged during the 1950s.
(source: Nielsen Book Data)

• A visit to the Oriental
• The sing-along tradition
• Practices and tools
• Community singing and the "class house"
• Community singing and local outreach
• The advent of sound.

During the 1920s, a visit to the movie theater almost always included a sing-along. Patrons joined together to render old favorites and recent hits, usually accompanied by the strains of a mighty Wurlitzer organ. The organist was responsible for choosing the repertoire and presentation style that would appeal to his or her patrons, so each theater offered a unique experience. When sound technology drove both musicians and participatory culture out of the theater in the early 1930s, the practice faded and was eventually forgotten. Despite the popularity and ubiquity of community singing-it was practiced in every state, in theaters large and small-there has been scant research on the topic. This volume is the first dedicated account of community singing in the picture palace and includes nearly one hundred images, such as photographs of the movie houses' opulent interiors, reproductions of sing-along slides, and stills from the original Screen Songs "follow the bouncing ball" cartoons. Esther M. Morgan-Ellis brings the era of movie palaces to life. She presents the origins of theater sing-alongs in the prewar community singing movement, describes the basic components of a sing-along, explores the unique presentation styles of several organists, and assesses the aftermath of sound technology, including the sing-along films and children's matinees of the 1930s.
(source: Nielsen Book Data)

• A visit to the Oriental
• The sing-along tradition
• Practices and tools
• Community singing and the "class house"
• Community singing and local outreach
• The advent of sound
• Epilogue.

During the 1920s, a visit to the movie theater almost always included a sing-along. Patrons joined together to render old favorites and recent hits, usually accompanied by the strains of a mighty Wurlitzer organ. The organist was responsible for choosing the repertoire and presentation style that would appeal to his or her patrons, so each theater offered a unique experience. When sound technology drove both musicians and participatory culture out of the theater in the early 1930s, the practice faded and was eventually forgotten. Despite the popularity and ubiquity of community singing-it was practiced in every state, in theaters large and small-there has been scant research on the topic. This volume is the first dedicated account of community singing in the picture palace and includes nearly one hundred images, such as photographs of the movie houses' opulent interiors, reproductions of sing-along slides, and stills from the original Screen Songs "follow the bouncing ball" cartoons. Esther M. Morgan-Ellis brings the era of movie palaces to life. She presents the origins of theater sing-alongs in the prewar community singing movement, describes the basic components of a sing-along, explores the unique presentation styles of several organists, and assesses the aftermath of sound technology, including the sing-along films and children's matinees of the 1930s.
(source: Nielsen Book Data)

• Introduction. Evolving Images: Jewish Latin American Cinema (Nora Glickman and Ariana Huberman)Part I. Alternative Identities1. Out of the Shadows: Maria Victoria Menis's Camera Obscura (Graciela Michelotti)2. Intercultural Dilemmas: Performing Jewish Identities in Contemporary Mexican Cinema (Elissa J. Rashkin)3. Incidental Jewishness in the Films of Fabian Bielinsky (Amy Kaminsky)Part II. Memory and Violence4. My German Friend and the Jewish Argentine/German "Mnemo-Historic" Context (Daniela Goldfine)5. Dispersed Friendships: Jeanine Meerapfel's La amiga (Patricia Nuriel)6. Revisiting the AMIA Bombing in Marcos Carnevale's Anita (Mirna Vohnsen)Part III. New Themes7. The Year My Parents Went on Vacation: A Jewish Journey in the Land of Soccer (Alejandro Meter)8. Coming of Age in Two Films from Argentina and Uruguay (Carolina Rocha)9. Waiting for the Messiah: The Super 8mm Films of Alberto Salomon (Ernesto Livon-Grosman)Part IV. Diasporas and Displacements10. Geographic Isolation and Jewish Religious Revival in Front (Ariana Huberman)11. Negotiating Jewish and Palestinian Identities in Latin American Cinema (Tzvi Tal)12. From a Dream to Reality: Representations of Israel in Contemporary Jewish Latin American Film (Amalia Ran)13. On Becoming a Movie (Ilan Stavans)Part V. Comparative Perspectives: North and South American Cinema14. Jewish Urban Space in the Films of Daniel Burman and Woody Allen (Jerry Carlson)15. Interfaith Relations between Jews and Gentiles in Argentine and US Cinema (Nora Glickman)Afterword. Film Studies, Jewish Studies, Latin American Studies (Naomi Lindstrom)Jewish Latin American FilmographyContributorsIndex.
• (source: Nielsen Book Data)

Jews have always played an important role in the generation of culture in Latin America, despite their relatively small numbers in the overall population. In the early days of cinema, they served as directors, producers, screenwriters, composers, and broadcasters. As Latin American societies became more religiously open in the later twentieth century, Jewish characters and themes began appearing in Latin American films and eventually achieved full inclusion. Landmark films by Jewish directors in Argentina, Mexico, and Brazil, which are home to the largest and most influential Jewish communities in Latin America, have enjoyed critical and popular acclaim. Evolving Images is the first volume devoted to Jewish Latin American cinema, with fifteen critical essays by leading scholars from Latin America, the United States, Europe, and Israel. The contributors address transnational and transcultural issues of Jewish life in Latin America, such as assimilation, integration, identity, and other aspects of life in the Diaspora. Their discussions of films with Jewish themes and characters show the rich diversity of Jewish cultures in Latin America, as well as how Jews, both real and fictional, interact among themselves and with other groups, raising the question of how much their ethnicity may be adulterated when adopting a combined identity as Jewish and Latin American. The book closes with a groundbreaking section on the affinities between Jewish themes in Hollywood and Latin American films, as well as a comprehensive filmography.
(source: Nielsen Book Data)

• Acknowledgments Introduction
• Chapter 1. Postwar Location Shooting, the Semi-Documentary, and Dark Passage
• Chapter 2. The Cine-Tourist City: From Cinerama to The Lineup and Vertigo
• Chapter 3. "Sick Tales of a Healthy Land": Blake Edwards in San Francisco
• Chapter 4. Countercultural Capital: Hollywood Chases the Summer of Love
• Chapter 5. The Manhattanization of San Francisco: Dirty Harry and The Streets of San Francisco
• Chapter 6. Hollywood North / Hollywood Resurgence: The Conversation and The Towering Inferno Conclusion: Hollywood's San Francisco Appendix. Films Set and/or Shot in San Francisco between 1945 and 1975 Bibliography Index.
• (source: Nielsen Book Data)

One of the country's most picturesque cities and conveniently located just a few hours' drive from Hollywood, San Francisco became the most frequently and extensively filmed American city beyond the production hubs of Los Angeles and New York in the three decades after World War II. During those years, the cinematic image of the city morphed from the dreamy beauty of Vertigo to the nightmarish wasteland of Dirty Harry, although San Francisco itself experienced no such decline. This intriguing disconnect gives impetus to Hollywood in San Francisco, the most comprehensive study to date of Hollywood's move from studio to location production in the postwar era. In this thirty-year history of feature filmmaking in San Francisco, Joshua Gleich tracks a sea change in Hollywood production practices, as location shooting overtook studio-based filming as the dominant production method by the early 1970s. He shows how this transformation intersected with a precipitous decline in public perceptions of the American city, to which filmmakers responded by developing a stark, realist aesthetic that suited America's growing urban pessimism and superseded a fidelity to local realities. Analyzing major films set in San Francisco, ranging from Dark Passage and Vertigo to The Conversation, The Towering Inferno, and Bullitt, as well as the TV show The Streets of San Francisco, Gleich demonstrates that the city is a physical environment used to stage urban fantasies that reveal far more about Hollywood filmmaking and American culture than they do about San Francisco.
(source: Nielsen Book Data)

• Introduction: hoodlum poses and gestures
• Strange excitements: the topical and the sensational
• Getting out of town: the cycle unfolds
• After Easy rider: modulations and curious combinations
• Nazi satanists, Viet vets and M'cycle mamas (and other such pulp delights)
• Conclusion: buried in the sand forever.

Hoodlum Movies focuses on why and how these films were made, who they were made for, and how the cycle developed through the second half of the 1960s. Despised by critics, but welcomed by exhibitors denied first-run films, these cheaply and quickly produced movies were produced to appeal to audiences of mobile youths until 1972.

• Introduction / Scott Curtis, Philippe Gauthier, Tom Gunning, and Joshua Yumibe Part I: Form
• 1. La part picturale du tableau-style / Valentine Robert
• 2. The Unsettling of Vision: Tableaux Vivants, Early Cinema, and Optical Illusions / Daniel Wiegand
• 3. The Vision Scene: Revelation and Remediation / Frank Gray
• 4. Animating Antiquity / Laura Horak
• 5. Caricature et films comiques a la Belle Epoque: quand le dessin de presse rencontre le cinema / Jeremy Houillere
• 6. De la presse illustree a l'actualite filmee (1894-1910) : l'emergence d'une nouvelle culture visuelle de l'information ? / Rodolphe Gahery
• 7. From Pathe to Paramount: Visual Design in Movie Advertising to 1915 / Richard Abel
• 8. Landscape Topoi: From the Mountains to the Sea / Jennifer Peterson
• 9. A View Aesthetic without a View? Space and Place in Early Norwegian Polar Expedition Films / Gunnar Iversen Part II: Material
• 10. Between "Recognition" and "Abstraction": Early Vocational Training Films / Florian Hoof
• 11. Ruptured Perspectives: The "View, " Early Special Effects, and Film History / Leslie DeLassus
• 12. Surface and Color: Stenciling in Applied Arts, Fashion Illustration, and Cinema / Jelena Rakin
• 13. The Color Image / Joshua Yumibe Part III: Networks
• 14. Shared Affinities and "Kunstwollen": Stylistics of the Cinematic Image in the 1910s and Art Theory at the Turn of the Century in Germany / Joerg Schweinitz
• 15. Techniques in Circulation: Sovereignty, Imaging Technology, and Art Education in Qajar Iran / Kaveh Askari
• 16. Corporeality and Female Modernity: Intermediality and Early Film Celebrities / Marina Dahlquist
• 17. A Scientific Instrument? Animated Photography among Other New Imaging Techniques / Ian Christie
• 18. Advertising with Moving Pictures: International Harvester's The Romance of the Reaper (1910-13) / Gregory A. Waller
• 19. The City View(ed): Muybridge's Panoramas of San Francisco and their Afterlives in Early Cinema / Dimitrios Latsis
• 20. California Landscapes: John Divola and the Cine-Geography of Serial Photography / Charles Wolfe
• 21. What is a Fake Image? / Frank Kessler and Sabine Lenk
• 22. The Lantern Image between Stage and Screen / Artemis Willis Part IV: Discourses
• 23. Pictorialism and the Picture: Art, Photography, and the "Doctrine of Taste" in the Discourse on Transitional Era Quality Films / Tom Paulus
• 24. Boredom and Visions in Vachel Lindsay's Film Theory / Ryan Pierson
• 25. Falling Desperately in Love with the Image on Screen: "The Flictoflicker Girl" (1913) and Cinematic Structures of Fascination / Denis Condon
• 26. An "Advertising Punch" in Every Frame: Image Making in Early Advertising Films / Martin L. Johnson Appendix: Translations
• 27. English Translation of
• Chapter 1: Early Cinema's Realizations: The Pictorial in the Tableau Style / Valentine Robert
• 28. English Translation of
• Chapter 5: Caricature and Comic Films in the Belle Epoque: When the Illustrated Press Met the Cinema / Jeremy Houillere
• 29. English Translation of
• Chapter 6: From the Illustrated Press to Filmed Actualities (1894-1910): The Emergence of a New "Visual Information Culture"? / Rodolphe Gahery.
• (source: Nielsen Book Data)

In The Image in Early Cinema, the contributors examine intersections between early cinematic form, technology, theory, practice, and broader modes of visual culture. They argue that early cinema emerged within a visual culture composed of a variety of traditions in art, science, education, and image making. Even as methods of motion picture production and distribution materialized, they drew from and challenged practices and conventions in other mediums. This rich visual culture produced a complicated, overlapping network of image-making traditions, innovations, and borrowing among painting, tableaux vivants, photography, and other pictorial and projection practices. Using a variety of concepts and theories, the contributors explore these crisscrossing traditions and work against an essentialist notion of media to conceptualize the dynamic interrelationship between images and their context.
(source: Nielsen Book Data)

• Contents List of Illustrations Acknowledgments Introduction: There's No Such Thing as Postwestern, and It's a Good Thing Too
• 1. Ghostly Evocations in Bad Day at Black Rock
• 2. Catching the 3:10 to Yuma
• 3. Border-Crossing in Lone Star
• 4. Alternative Facts in The Three Burials of Melquiades Estrada
• 5. Defying Expectations in A History of Violence and Brokeback Mountain
• 6. Dueling Genres in No Country for Old Men
• 7. Subverting Late Westerns in The Counselor Epilogue: Habits of Imagination Notes Bibliography Index .
• (source: Nielsen Book Data)

For more than a century the cinematic Western has been America's most familiar genre, always teetering on the verge of exhaustion and yet regularly revived in new forms. Why does this outmoded vehicle-with the most narrowly based historical setting of any popular genre-maintain its appeal? In Late Westerns Lee Clark Mitchell takes a position against those critics looking to attach "post" to the all-too-familiar genre. For though the frontier disappeared long ago, though men on horseback have become commonplace, and though films of all sorts have always, necessarily, defied generic patterns, the Western continues to enthrall audiences. It does so by engaging narrative expectations stamped on our collective consciousness so firmly as to integrate materials that might not seem obviously "Western" at all. Through plot cues, narrative reminders, and even cinematic frameworks, recent films shape interpretive understanding by triggering a long-standing familiarity audiences have with the genre. Mitchell's critical analysis reveals how these films engage a thematic and cinematic border-crossing in which their formal innovations and odd plots succeed deconstructively, encouraging by allusion, implication, and citation the evocation of generic meaning from ingredients that otherwise might be interpreted quite differently. Applying genre theory with close cinematic readings, Mitchell posits that the Western has essentially been "post" all along. .
(source: Nielsen Book Data)

• Introduction: a history of erasures
• National modernization and the production of marginal spaces in early feature films
• The classical cinema and the perpetuation of a national fantasy
• An inquisitive gaze on the nation
• Contemporary cinema and the neoliberal social margins.

• Introduction
• Analyst/patient relationships: psychotherapeutic dynamics
• Therapy and the sexual block
• Marriage therapies and women's liberation
• Psychedelic therapies
• Therapy and confession
• Afterword.

• Introduction
• Analyst/patient relationships : psychotherapeutic dynamics
• Therapy and the sexual block
• Marriage therapies and women's liberation
• Psychedelic therapies
• Therapy and confession
• Conclusion.

• Acknowledgments Introduction
• Chapter 1. Mainstream Horror and Brand Stephen King
• Chapter 2. Stephen King from Vietnam to Reagan: The Early Adaptations and the Establishment of Brand Stephen King on the Screen
• Chapter 3. The Mainstream Adaptations, 1986-2007
• Chapter 4. Stephen King as Low-Budget and Straight-to-DVD Horror
• Chapter 5. Stephen King as TV Horror Conclusion. The Future Is Also History: The Contemporary Evolution of Brand Stephen King Selected TV and Filmography References Index.
• (source: Nielsen Book Data)

Since the 1970s, the name Stephen King has been synonymous with horror. His vast number of books has spawned a similar number of feature films and TV shows, and together they offer a rich opportunity to consider how one writer's work has been adapted over a long period within a single genre and across a variety of media-and what that can tell us about King, about adaptation, and about film and TV horror. Starting from the premise that King has transcended ideas of authorship to become his own literary, cinematic, and televisual brand, Screening Stephen King explores the impact and legacy of over forty years of King film and television adaptations. Simon Brown first examines the reasons for King's literary success and then, starting with Brian De Palma's Carrie, explores how King's themes and style have been adapted for the big and small screens. He looks at mainstream multiplex horror adaptations from Cujo to Cell, low-budget DVD horror films such as The Mangler and Children of the Corn franchises, non-horror films, including Stand by Me and The Shawshank Redemption, and TV works from Salem's Lot to Under the Dome. Through this discussion, Brown identifies what a Stephen King film or series is or has been, how these works have influenced film and TV horror, and what these influences reveal about the shifting preoccupations and industrial contexts of the post-1960s horror genre in film and TV.
(source: Nielsen Book Data)

• Acknowledgements Foreword Part I: Structures
• 1. System of Faith and Aesthetics of Loss: Austrian Cultural Politics in the First Republic and the Christian Corporate State
• 2. Scopic Regimes: Notes on Newsreel and Culture Film Production, the Legacy of Baroque and Fin de Siecle Vienna, and Political Catholicism in Public Spectacle
• 3. Against Nazism and with Catholicism? Two Film Industries and the Jewish Filmmaker's Conundrum Part II: Genres and Types
• 4. Cinema Baroque: Reconsidering the Willi Forst/Walter Reisch Viennese Film Genre and its Trans/National/ist Value
• 5. Projecting Transcendence: Emigrantenfilm, the Church, and the Construction of a Catholic-Political Identity in Singende Jugend and Der Pfarrer von Kirchfeld
• 6. Gendering the Crusade: Female Types and Sexuality in Feature Film
• 7. Tales of the Patriarchy: Of Cavaliers, Cads, and the Common Man
• 8. Reasonable Fantasies: Cine-Operetta, the Sangerfilm, and Sociocritical Music Film
• 9. New Order Out of Chaos: The Austrian Screwball and Hybrid Comedy
• 10. Contemporary Conflicts: Experimentalism, Controversy, and the Question of National Film Style
• 11. Snow Blinded: The Alps versus Vienna in Film at the End of the Regime Part III: Locations
• 12. From Rome to the Hollywood Hope: Shared Aesthetics, the 1936/37 Vienna-Hollywood Co-Production Plan, and Cine-Economic Brinkmanship with Berlin Epilogue Filmography: List of Austrian Feature Films 1933-1938 Bibliography Index.
• (source: Nielsen Book Data)

During the 1930s, Austrian film production companies developed a process to navigate the competing demands of audiences in Nazi Germany and those found in broader Western markets. In Screening Transcendence, film historian Robert Dassanowsky explores how Austrian filmmakers during the Austrofascist period (1933-1938) developed two overlapping industries: "Aryanized" films for distribution in Germany, its largest market, and "Emigrantenfilm, " which employed emigre and Jewish talent that appealed to international audiences. Through detailed archival research in both Vienna and the United States, Dassanowsky reveals what was culturally, socially, and politically at stake in these two simultaneous and overlapping film industries. Influenced by French auteurism, admired by Italian cinephiles, and ardently remade by Hollywood, these period Austrian films demonstrate a distinctive regional style mixed with transnational influences. Combining brilliant close readings of individual films with thoroughly informed historical and cultural observations, Dassanowsky presents the story of a nation and an industry mired in politics, power, and intrigue on the brink of Nazi occupation.
(source: Nielsen Book Data)

• Acknowledgements Foreword Part I: Structures
• 1. System of Faith and Aesthetics of Loss: Austrian Cultural Politics in the First Republic and the Christian Corporate State
• 2. Scopic Regimes: Notes on Newsreel and Culture Film Production, the Legacy of Baroque and Fin de Siecle Vienna, and Political Catholicism in Public Spectacle
• 3. Against Nazism and with Catholicism? Two Film Industries and the Jewish Filmmaker's Conundrum Part II: Genres and Types
• 4. Cinema Baroque: Reconsidering the Willi Forst/Walter Reisch Viennese Film Genre and its Trans/National/ist Value
• 5. Projecting Transcendence: Emigrantenfilm, the Church, and the Construction of a Catholic-Political Identity in Singende Jugend and Der Pfarrer von Kirchfeld
• 6. Gendering the Crusade: Female Types and Sexuality in Feature Film
• 7. Tales of the Patriarchy: Of Cavaliers, Cads, and the Common Man
• 8. Reasonable Fantasies: Cine-Operetta, the Sangerfilm, and Sociocritical Music Film
• 9. New Order Out of Chaos: The Austrian Screwball and Hybrid Comedy
• 10. Contemporary Conflicts: Experimentalism, Controversy, and the Question of National Film Style
• 11. Snow Blinded: The Alps versus Vienna in Film at the End of the Regime Part III: Locations
• 12. From Rome to the Hollywood Hope: Shared Aesthetics, the 1936/37 Vienna-Hollywood Co-Production Plan, and Cine-Economic Brinkmanship with Berlin Epilogue Filmography: List of Austrian Feature Films 1933-1938 Bibliography Index.
• (source: Nielsen Book Data)

During the 1930s, Austrian film production companies developed a process to navigate the competing demands of audiences in Nazi Germany and those found in broader Western markets. In Screening Transcendence, film historian Robert Dassanowsky explores how Austrian filmmakers during the Austrofascist period (1933-1938) developed two overlapping industries: "Aryanized" films for distribution in Germany, its largest market, and "Emigrantenfilm, " which employed emigre and Jewish talent that appealed to international audiences. Through detailed archival research in both Vienna and the United States, Dassanowsky reveals what was culturally, socially, and politically at stake in these two simultaneous and overlapping film industries. Influenced by French auteurism, admired by Italian cinephiles, and ardently remade by Hollywood, these period Austrian films demonstrate a distinctive regional style mixed with transnational influences. Combining brilliant close readings of individual films with thoroughly informed historical and cultural observations, Dassanowsky presents the story of a nation and an industry mired in politics, power, and intrigue on the brink of Nazi occupation.
(source: Nielsen Book Data)

• Acknowledgments Introduction: To Boldly Go
• Chapter 1. Seeking a Friend for the End of the World: 28 Days Later
• Chapter 2. Last One Standing: Alien vs. Predator
• Chapter 3. The Black Madonna: Children of Men
• Chapter 4. Thank Heaven for Little Girls: Beasts of the Southern Wild
• Chapter 5. Intergalactic Companions: Firefly and Doctor Who Coda: Final Frontiers Notes Works Cited Index.
• (source: Nielsen Book Data)

When Lieutenant Uhura took her place on the bridge of the Starship Enterprise on Star Trek, the actress Nichelle Nichols went where no African American woman had ever gone before. Yet several decades passed before many other black women began playing significant roles in speculative (i.e., science fiction, fantasy, and horror) film and television-a troubling omission, given that these genres offer significant opportunities for reinventing social constructs such as race, gender, and class. Challenging cinema's history of stereotyping or erasing black women on-screen, Where No Black Woman Has Gone Before showcases twenty-first-century examples that portray them as central figures of action and agency. Writing for fans as well as scholars, Diana Adesola Mafe looks at representations of black womanhood and girlhood in American and British speculative film and television, including 28 Days Later, AVP: Alien vs. Predator, Children of Men, Beasts of the Southern Wild, Firefly, and Doctor Who: Series 3. Each of these has a subversive black female character in its main cast, and Mafe draws on critical race, postcolonial, and gender theories to explore each film and show, placing the black female characters at the center of the analysis and demonstrating their agency. The first full study of black female characters in speculative film and television, Where No Black Woman Has Gone Before shows why heroines such as Lex in AVP and Zoe in Firefly are inspiring a generation of fans, just as Uhura did.
(source: Nielsen Book Data)

• Who's afraid of the black cook?
• Waiting for my band
• The blues and blue jeans : American dreams in the East
• Two black boys look at the white boy
• The future is unwritten.

Analyzing literary texts and films, White Rebels in Black shows how German authors have since the 1950s appropriated black popular culture, particularly music, to distance themselves from the legacy of Nazi Germany, authoritarianism, and racism, and how such appropriation changes over time. Priscilla Layne offers a critique of how blackness came to symbolize a positive escape from the hegemonic masculinity of postwar Germany, and how black identities have been represented as separate from, and in opposition to, German identity, foreclosing the possibility of being both black and German. Citing four autobiographies published by black German authors Hans Jurgen Massaquo, Theodor Michael, Gunter Kaufmann, and Charly Graf, Layne considers how black German men have related to hegemonic masculinity since Nazi Germany, and concludes with a discussion on the work of black German poet, Philipp Khabo Koepsell.
(source: Nielsen Book Data)

Scarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with the first book on the sound, languages, scenery, media, and culture in post-Socialist China. In this study, Ying Xiao explores fascinating topics, including appropriations of popular folklore in the Chinese new wave of the 1980s; Chinese rock 'n' roll and youth cinema in fin de siecle China; the political-economic impact of free market imperatives and Hollywood pictures on Chinese film industry and filmmaking in the late twentieth century; the reception and adaptation of hip hop; and the emerging role of Internet popular culture and social media in the early twenty-first century. Xiao examines the articulations and representations of mass culture andeveryday life, concentrating on their aural/oral manifestations in contemporary Chinese cinema and in a wide spectrum of media and cultural productions.China in the Mix offers the first comprehensive investigation of Chinese film, expressions, and culture from a unique, cohesiveacoustic angle and through the prism of global media-cultural exchange. It shows how the complex, evolving uses of sound (popular music, voice-over, silence, noise, and audio mixing) in film and media reflect and engage the important cultural and socio-historical shifts in contemporary China and in the increasingly networked world. Xiao offers an innovative new conception of Chinese film and media and their audiovisual registers in the historiographical frame of China amid the global landscape.
(source: Nielsen Book Data)

• AcknowledgmentsEditors' Introduction. By Cynthia Lucia and Rahul HamidPart I. Film Criticism in the New Millennium1. Film Criticism in America Today: A Critical Symposium (2000). By David Ansen, Jay Carr, Godfrey Cheshire, Mike Clark, Manohla Dargis, David Denby, Morris Dickstein, Roger Ebert, David Edelstein, Graham Fuller, J. Hoberman, Stanley Kauffmann, Stuart Klawans, Todd McCarthy, Peter Rainer, Jonathan Rosenbaum, Andrew Sarris, Richard Schickel, Lisa Schwarzbaum, John Simon, David Sterritt, Peter Travers, Kenneth Turan, Armond White2. International Film Criticism Today: A Critical Symposium (2005). By Argentina: Quintin (Eduardo Antin)-- Australia: Adrian Martin-- Austria: Christoph Huber-- Brazil: Pedro Butcher-- China: Li Hongyu-- France: Michel Ciment-- France: Jean-Michel Frodon-- Germany: Olaf Moeller-- Greece: Angelike Contis-- Hong Kong: Li Cheuk-to-- India: Meenakshi Shedde-- Italy: Tullio Kezich-- Italy: Roberto Silvestri-- Japan: Tadao Sato-- Mexico: Leonardo Garcia Tsao-- Philippines: Noel Vera-- Russia: Lev Karakhan-- South Africa: Leon van Nierop-- Thailand: Kong Rithdee-- Tunisia: Tahar Chikhaoui-- United Kingdom: Jonathan Romney-- Uruguay: Jorge Jellinek3. Film Criticism in the Age of the Internet: A Critical Symposium (2008). By Zach Campbell, Robert Cashill, Mike D'Angelo, Steve Erickson, Andrew Grant, J. Hoberman, Kent Jones, Glenn Kenny, Robert Koehler, Kevin B. Lee, Karina Longworth, Adrian Martin, Adam Nayman, Theodoros Panayides, Jonathan Rosenbaum, Dan Sallitt, Richard Schickel, Campaspe, Girish Shambu, Michael Sicinski, Amy Taubin, Andrew Tracy, Stephanie Zacharek4. Film Criticism: The Next Generation: A Critical Symposium (2013). By Ben Kenigsberg, Gabe Klinger, Michael Koresky, Kiva Reardon, Andrew Tracy5. "I Still Love Going to Movies": An Interview with Pauline Kael (2000). By Leonard Quart6. Cult Films, Commentary Tracks, and Censorious Critics: An Interview with John Bloom (2003). By Gary CrowdusPart II. The Art of Repertory Film Exhibition and Digital-Age Challenges7. Repertory Film Programming: A Critical Symposium (2010). By John Ewing, John Gianvito, Bruce Goldstein, Haden Guest, Jim Healy, Kent Jones, Laurence Kardish, Marie Losier, Richard Pena, James Quandt, David Schwartz, Adam Sekuler, Dylan Skolnick, Tom Vick8. Utopian Festivals and Cinephilic Dreams: An Interview with Peter von Bagh (2012). By Richard Porton9. The (Cinematic) Gospel According to Mark: An Interview with Mark Cousins (2013). By Declan McGrathPart III. Film Preservation in the Digital Age10. Film Preservation in the Digital Age: A Critical Symposium (2011). By Schawn Belston, Margaret Bodde, Paolo Cherchi Usai, Grover Crisp, Dennis Doros and Amy Heller, Jan-Christopher Horak, Annette Melville, Michael Pogorzelski, Katie Trainor, Daniel Wagner11. MOD Man: An Interview with George Feltenstein (2011). By Robert CashillNotes on the EditorsIndex.
• (source: Nielsen Book Data)

Digital technology and the Internet have revolutionized film criticism, programming, and preservation in deeply paradoxical ways. The Internet allows almost everyone to participate in critical discourse, but many print publications and salaried positions for professional film critics have been eliminated. Digital technologies have broadened access to filmmaking capabilities, as well as making thousands of older films available on DVD and electronically. At the same time, however, fewer older films can be viewed in their original celluloid format, and newer, digitally produced films that have no "material" prototype are threatened by ever-changing servers that render them obsolete and inaccessible. Cineaste, one of the oldest and most influential publications focusing on film, has investigated these trends through a series of symposia with the top film critics, programmers, and preservationists in the United States and beyond. This volume compiles several of these symposia: "Film Criticism in America Today" (2000), "International Film Criticism Today" (2005), "Film Criticism in the Age of the Internet" (2008), "Film Criticism: The Next Generation" (2013), "The Art of Repertory Film Exhibition and Digital Age Challenges" (2010), and "Film Preservation in the Digital Age" (2011). It also includes interviews with the late, celebrated New Yorker film critic Pauline Kael and the critic John Bloom ("Joe Bob Briggs"), as well as interviews with the programmers/curators Peter von Bagh and Mark Cousins and with the film preservationist George Feltenstein. This authoritative collection of primary-source documents will be essential reading for scholars, students, and film enthusiasts.
(source: Nielsen Book Data)

• Introduction
• Chapter 1. The six modes of interaction between comics and film
• Chapter 2. Vandalizing the fourth wall : word-image hybridity and a comic book cinema of attractions
• Chapter 3. These panels have been formatted to fit your screen : remediating the comics page through the cinematic frame
• Chapter 4. The privileged instant : remediating stasis as movement
• Chapter 5. The polymedial comic book film
• Conclusion.

Superhero films and comic book adaptations dominate contemporary Hollywood filmmaking, and it is not just the storylines of these blockbuster spectacles that have been influenced by comics. The comic book medium itself has profoundly influenced how movies look and sound today, as well as how viewers approach them as texts. Comic Book Film Style explores how the unique conventions and formal structure of comic books have had a profound impact on film aesthetics, so that the different representational abilities of comics and film are put on simultaneous display in a cinematic work. With close readings of films including Batman: The Movie, American Splendor, Superman, Hulk, Spider-Man 2, V for Vendetta, 300, Scott Pilgrim vs. the World, Watchmen, The Losers, and Creepshow, Dru Jeffries offers a new and more cogent definition of the comic book film as a stylistic approach rather than a genre, repositioning the study of comic book films from adaptation and genre studies to formal/stylistic analysis. He discusses how comic book films appropriate comics' drawn imagery, vandalize the fourth wall with the use of graphic text, dissect the film frame into discrete panels, and treat time as a flexible construct rather than a fixed flow, among other things. This cinematic remediation of comic books' formal structure and unique visual conventions, Jeffries asserts, fundamentally challenges the classical continuity paradigm and its contemporary variants, placing the comic book film at the forefront of stylistic experimentation in post-classical Hollywood.
(source: Nielsen Book Data)

• Acknowledgments Introduction Part I: The Silent Era: Between Global Capitalism and National Modernization Primary text: "The Lumiere Cinematograph, " El Monitor Republicano (Mexico City), August 16, 1896
• 1. Gabriel Veyre and Fernand Bon Bernard, Representatives of the Lumiere Brothers in Mexico / Aurelio de los Reyes Primary text: Tic Tac (Carlos Villafane), "The Show on June 15th, " Peliculas (Bogota), June 1919
• 2. Films on Paper: Early Colombian Cinema Periodicals, 1916-1920 / Juan Sebastian Ospina Leon Primary text: Enrique Mendez Calzada, "The Lover of Rudolph Valentino" from And Christ Returned to Buenos Aires (1926)
• 3. Manipulation and Authenticity: The Unassimilable Valentino in 1920s Argentina / Giorgio Bertellini Part II: The Interwar Period: Between Hollywood and the Avant-Garde Primary text: Felipe de Leiva, "Memoirs of an Extra, " Cinelandia, (Hollywood) November/December 1927
• 4. Mediating the 'Conquering and Cosmopolitan Cinema:' Latin American Audiences and U.S. Film Magazines in Spanish, 1916-1948 / Rielle Navitski Primary text: Octavio de Faria, "Russian Cinema and Brazilian Cinema, " O Fan (Rio de Janeiro), October 2, 1928
• 5. Parallel Modernities: the First Reception of Soviet Cinema in Latin America / Sarah Ann Wells Primary text: Guillermo de Torre, "The Cineclub of Buenos Aires, " La Gaceta Literaria (Madrid), April 1, 1930
• 6. A Gaze Turned Towards Europe: Modernity and Tradition in the Work of Horacio Coppola / Andrea Cuarterolo Part III: The Golden Age of Latin American Film Industries: Negotiating the Popular and the Cosmopolitan Primary text: John Alton, "Motion Picture Production in South America, " International Photographer (Hollywood), May 1934
• 7. John Alton in Argentina, 1932-1939 / Nicolas Poppe
• 8. The Golden Age Otherwise: Mexican Cinema and the Mediations of Capitalist Modernity in the 1940s and 1950s / Ignacio M. Sanchez Prado Primary text: Gabriel Garcia Marquez, "The Mambo" El Heraldo (Barranquilla), January 12, 1951
• 9. Bad Neighbors: Perez Prado, Cinema and the Politics of Mambo / Jason Borge Part IV: The Afterlives of Moving Images: Cinephilia and Cult Spectatorship Primary text: Thomas E. Sibert, "Fox Film de Cuba, S.A.'s Continuing Competition for Scholarships to Summer School at the Universidad de la Habana" (1956)
• 10. Film Culture and Education in Republican Cuba: The Legacy of Jose Manuel Valdes-Rodriguez / Irene Rozsa
• 11. The Secret History of Aztlan: Transnational Exploitation Film, Chicano Art and Unexpected Cultural Flows / Colin Gunckel Index.
• (source: Nielsen Book Data)

Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumiere Cinematographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.
(source: Nielsen Book Data)

• Acknowledgments Introduction Part I: The Silent Era: Between Global Capitalism and National Modernization Primary text: "The Lumiere Cinematograph, " El Monitor Republicano (Mexico City), August 16, 1896
• 1. Gabriel Veyre and Fernand Bon Bernard, Representatives of the Lumiere Brothers in Mexico / Aurelio de los Reyes Primary text: Tic Tac (Carlos Villafane), "The Show on June 15th, " Peliculas (Bogota), June 1919
• 2. Films on Paper: Early Colombian Cinema Periodicals, 1916-1920 / Juan Sebastian Ospina Leon Primary text: Enrique Mendez Calzada, "The Lover of Rudolph Valentino" from And Christ Returned to Buenos Aires (1926)
• 3. Manipulation and Authenticity: The Unassimilable Valentino in 1920s Argentina / Giorgio Bertellini Part II: The Interwar Period: Between Hollywood and the Avant-Garde Primary text: Felipe de Leiva, "Memoirs of an Extra, " Cinelandia, (Hollywood) November/December 1927
• 4. Mediating the 'Conquering and Cosmopolitan Cinema:' Latin American Audiences and U.S. Film Magazines in Spanish, 1916-1948 / Rielle Navitski Primary text: Octavio de Faria, "Russian Cinema and Brazilian Cinema, " O Fan (Rio de Janeiro), October 2, 1928
• 5. Parallel Modernities: the First Reception of Soviet Cinema in Latin America / Sarah Ann Wells Primary text: Guillermo de Torre, "The Cineclub of Buenos Aires, " La Gaceta Literaria (Madrid), April 1, 1930
• 6. A Gaze Turned Towards Europe: Modernity and Tradition in the Work of Horacio Coppola / Andrea Cuarterolo Part III: The Golden Age of Latin American Film Industries: Negotiating the Popular and the Cosmopolitan Primary text: John Alton, "Motion Picture Production in South America, " International Photographer (Hollywood), May 1934
• 7. John Alton in Argentina, 1932-1939 / Nicolas Poppe
• 8. The Golden Age Otherwise: Mexican Cinema and the Mediations of Capitalist Modernity in the 1940s and 1950s / Ignacio M. Sanchez Prado Primary text: Gabriel Garcia Marquez, "The Mambo" El Heraldo (Barranquilla), January 12, 1951
• 9. Bad Neighbors: Perez Prado, Cinema and the Politics of Mambo / Jason Borge Part IV: The Afterlives of Moving Images: Cinephilia and Cult Spectatorship Primary text: Thomas E. Sibert, "Fox Film de Cuba, S.A.'s Continuing Competition for Scholarships to Summer School at the Universidad de la Habana" (1956)
• 10. Film Culture and Education in Republican Cuba: The Legacy of Jose Manuel Valdes-Rodriguez / Irene Rozsa
• 11. The Secret History of Aztlan: Transnational Exploitation Film, Chicano Art and Unexpected Cultural Flows / Colin Gunckel Index.
• (source: Nielsen Book Data)

Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumiere Cinematographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.
(source: Nielsen Book Data)

• Acknowledgments Introduction Part I: The Silent Era: Between Global Capitalism and National Modernization Primary text: "The Lumiere Cinematograph, " El Monitor Republicano (Mexico City), August 16, 1896
• 1. Gabriel Veyre and Fernand Bon Bernard, Representatives of the Lumiere Brothers in Mexico / Aurelio de los Reyes Primary text: Tic Tac (Carlos Villafane), "The Show on June 15th, " Peliculas (Bogota), June 1919
• 2. Films on Paper: Early Colombian Cinema Periodicals, 1916-1920 / Juan Sebastian Ospina Leon Primary text: Enrique Mendez Calzada, "The Lover of Rudolph Valentino" from And Christ Returned to Buenos Aires (1926)
• 3. Manipulation and Authenticity: The Unassimilable Valentino in 1920s Argentina / Giorgio Bertellini Part II: The Interwar Period: Between Hollywood and the Avant-Garde Primary text: Felipe de Leiva, "Memoirs of an Extra, " Cinelandia, (Hollywood) November/December 1927
• 4. Mediating the 'Conquering and Cosmopolitan Cinema:' Latin American Audiences and U.S. Film Magazines in Spanish, 1916-1948 / Rielle Navitski Primary text: Octavio de Faria, "Russian Cinema and Brazilian Cinema, " O Fan (Rio de Janeiro), October 2, 1928
• 5. Parallel Modernities: the First Reception of Soviet Cinema in Latin America / Sarah Ann Wells Primary text: Guillermo de Torre, "The Cineclub of Buenos Aires, " La Gaceta Literaria (Madrid), April 1, 1930
• 6. A Gaze Turned Towards Europe: Modernity and Tradition in the Work of Horacio Coppola / Andrea Cuarterolo Part III: The Golden Age of Latin American Film Industries: Negotiating the Popular and the Cosmopolitan Primary text: John Alton, "Motion Picture Production in South America, " International Photographer (Hollywood), May 1934
• 7. John Alton in Argentina, 1932-1939 / Nicolas Poppe
• 8. The Golden Age Otherwise: Mexican Cinema and the Mediations of Capitalist Modernity in the 1940s and 1950s / Ignacio M. Sanchez Prado Primary text: Gabriel Garcia Marquez, "The Mambo" El Heraldo (Barranquilla), January 12, 1951
• 9. Bad Neighbors: Perez Prado, Cinema and the Politics of Mambo / Jason Borge Part IV: The Afterlives of Moving Images: Cinephilia and Cult Spectatorship Primary text: Thomas E. Sibert, "Fox Film de Cuba, S.A.'s Continuing Competition for Scholarships to Summer School at the Universidad de la Habana" (1956)
• 10. Film Culture and Education in Republican Cuba: The Legacy of Jose Manuel Valdes-Rodriguez / Irene Rozsa
• 11. The Secret History of Aztlan: Transnational Exploitation Film, Chicano Art and Unexpected Cultural Flows / Colin Gunckel Index.
• (source: Nielsen Book Data)

Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumiere Cinematographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through the lens of the cosmopolitan, which emphasizes the ethical and political dimensions of cultural consumption, illuminates the role played by moving images in negotiating between the local, national, and global, and between the popular and the elite in twentieth-century Latin America. In addition, primary historical documents provide vivid accounts of Latin American film critics, movie audiences, and film industry workers' experiences with moving images produced elsewhere, encounters that were deeply rooted in the local context, yet also opened out onto global horizons.
(source: Nielsen Book Data)

• Introduction / Virginia Wright Wexman
• The silent screen, 1895-1927: Cecil B. DeMille shapes the director's role / Charlie Keil
• Classical Hollywood, 1928 to
• 1946: the company man and the boy genius / William Luhr
• Postwar Hollywood, 1947-1967: on dangerous ground / Sarah Kozloff
• The auteur renaissance, 1968-1980: a culture of rebellion / Daniel Langford
• The new Hollywood, 1981-1999: three case studies / Thomas Schatz
• The modern entertainment marketplace, 2000-present: revolutions at every scale / J.D. Connor
• Academy awards for directing.

When a film is acclaimed, the director usually gets the lion's share of the credit. Yet the movie director's job-especially the collaborations and compromises it involves-remains little understood. The latest volume in the Behind the Silver Screen series, this collection provides the first comprehensive overview of how directing, as both an art and profession, has evolved in tandem with changing film industry practices. Each chapter is written by an expert on a different period of Hollywood, from the silent film era to today's digital filmmaking, providing in-depth examinations of key trends like the emergence of independent production after World War II and the rise of auteurism in the 1970s. Challenging the myth of the lone director, these studies demonstrate how directors work with a multitude of other talented creative professionals, including actors, writers, producers, editors, and cinematographers. Directing examines a diverse range of classic and contemporary directors, including Orson Welles, Tim Burton, Cecil B. DeMille, Steven Soderbergh, Spike Lee, and Ida Lupino, offering a rich composite picture of how they have negotiated industry constraints, utilized new technologies, and harnessed the creative contributions of their many collaborators throughout a century of Hollywood filmmaking.
(source: Nielsen Book Data)

• Highbrow vs. hard-boiled: literary visions of New York, 1947-1952. E.B. White's cosmopolis ; Mickey Spillane's necropolis
• Cancer and death: New York narratives in planning theory, 1953-1961. The case for municipal surgery ; On planning necropolis
• Intellectuals interrogate necropolis, 1961-1967. Farewell to the universal city ; Untangling the pathologies of ungovernability
• Detour to Fun City: cultural responses to the death of New York, 1967-1985. Fear City on film ; The lure of decay.

In this eye-opening cultural history, Brian Tochterman examines competing narratives that shaped post-World War II New York City. As a sense of crisis rose in American cities during the 1960s and 1970s, a period defined by suburban growth and deindustrialization, no city was viewed as in its death throes more than New York. Feeding this narrative of the dying city was a wide range of representations in film, literature, and the popular press--representations that ironically would not have been produced if not for a city full of productive possibilities as well as challenges. Tochterman reveals how elite culture producers, planners and theorists, and elected officials drew on and perpetuated the fear of death to press for a new urban vision. It was this narrative of New York as the dying city, Tochterman argues, that contributed to a burgeoning and broad anti-urban political culture hostile to state intervention on behalf of cities and citizens. Ultimately, the author shows that New York's decline--and the decline of American cities in general--was in part a self-fulfilling prophecy bolstered by urban fear and the new political culture nourished by it.
(source: Nielsen Book Data)

• Acknowledgments Introduction: The Beginnings of Cinema in Asia / Nick Deocampo
• 1. Early Asian Cinema and the Public Sphere / Wimal Dissanayake
• 2. Nationalism, Contradiction, and Identity: or, A Reconsideration of Early Cinema in the Philippines / Charles Musser
• 3. Film's Initial Reception in China during Its Period of Infancy / Ritsu Yamamoto
• 4. Hong Kong's Cinematic Beginnings, 1896-1908 / Wai-ming Law
• 5. How Cinema Came and Stayed in Taiwan / Daw-ming Lee
• 6. One Print in the Age of Mechanical Reproduction: Film Industry and Culture in 1910s Japan / Aaron Gerow
• 7. Distributing Scandinavia: Nordisk Film in Asia / Nadi Tofighian
• 8. The Civilizing Cinema Mission: Colonial Beginnings of Film in Indochina / Tilman Baumgartel
• 9. A National Cinema takes Root in a Colonial Regime: Early Cinema in India / P. K. Nair
• 10. Colonial Beginnings of Cinema in the Philippines / Nick Deocampo
• 11. From Shadowplay to the Silver Screen: Early Malay(sian) Cinema / Hassan Abdul Muthalib
• 12. Iranian Cinema: Before the Revolution / Shahin Parhami
• 13. Royalty Shapes Early Thai Film Culture / Anchalee Chaiworaporn
• 14. "I was born but": Some Thoughts on the Origins of Cinema in Asia / Stephen Bottomore
• 15. Before Moana: Early Cinema of the Pacific / Stephen Bottomore
• 16. Early Cinema in Central Asia: The Start of an Ascent / Stephen Bottomore Appendix: Chronology of Film Beginnings in Asia / Nick Deocampo Selected Bibliography Index.
• (source: Nielsen Book Data)

Early Cinema in Asia explores how cinema became a popular medium in the world's largest and most diverse continent. Beginning with the end of Asia's colonial period in the 19th century, contributors to this volume document the struggle by pioneering figures to introduce the medium of film to the vast continent, overcoming geographic, technological, and cultural difficulties. As an early form of globalization, film's arrival and phenomenal growth throughout various Asian countries penetrated not only colonial territories but also captivated collective states of imagination. With the coming of the 20th century, the medium that began as mere entertainment became a means for communicating many of the cultural identities of the region's ethnic nationalities, as they turned their favorite pastime into an expression of their cherished national cultures. Covering diverse locations, including China, India, Japan, Philippines, Malaysia, Thailand, Iran, and the countries of the Pacific Islands, contributors to this volume reveal the story of early cinema in Asia, helping us to understand the first seeds of a medium that has since grown deep roots in the region.
(source: Nielsen Book Data)

Elvis Presley, Marilyn Monroe, and space aliens like the Transformers share a surprising connection along with James Bond, Indiana Jones, and Rocky Balboa. These beloved icons played active roles in movie and television projects set in the state of Nevada. Long time state film commissioner and movie reviewer Holabird explores the blending of icons and Nevada, along with her personal experiences of watching movies, talking with famous people, and showing off a diverse range of stunning and iconic locations like Las Vegas, Reno, Lake Tahoe, and Area 51. Holabird shows how Nevada's flash, flair, and fostering of the forbidden provided magic for singers, sexpots, and strange creatures from other worlds. She also gives readers an insider's look into moviemaking in Nevada by drawing on her extensive experience as a film commissioner. This is a unique take on film history and culture, and Holabird explores eighteen film genres populated by one-of-a-kind characters with ties to Nevada. Along with being a film history of the state of Nevada written by a consummate insider, the book is a fun mixture of research, personal experiences, and analysis about how Nevada became the location of choice for a broad spectrum of well-known films and characters.
(source: Nielsen Book Data)

• Acknowledgements Introduction / Eugenia Paulicelli and Louise Wallenberg
• Part 1: 1960s: Youth Culture and Sexual Liberation
• 1. Sanitizing the Beatles for Revolution: Music, Film, and Fashion in 1960s A Hard Day's Night / Ronald Gregg
• 2. The Art of Undressing: Automation and Exposure at the Margins of Cinema / Amy Herzog
• 3. Pasolini's Teorema: the Eroticism of the Visitor's Discarded Clothes / Stella Bruzzi
• 4. Rite of Passage: the Hat that Wouldn't Disappear in the 1960s / Drake Stutesman
• Part 2: Cities, Nations and Fashion
• 5. Fashion Apart: Godard and Fageol in the 1960s Paris / Astrid Soederbergh Widding
• 6. Fashion, Film, Rome / Eugenia Paulicelli
• 7. Contexts, Contradictions, Couture, and Clothing: Fashion in An American in Paris, Breakfast at Tiffany's and A Touch of Mink / Pat Kirkham and Marilyn Cohen
• Part 3: Gender: Modernity/Tradition
• 8. The Fashioning of Julie Christie and the Mythologizing of "Swinging London": Changing Images in Sixties Britain / Pamela Church Gibson
• 9. Women in White: Femininity and Female Desire in 1960s Bombay Cinema / Anupama Kapse
• 10. Mago's Magic: Fashioning Sexual Indifference in Ingmar Bergman's 1960s Cinema / Louise Wallenberg
• 11. Single Men: Sixties Aesthetics and Vintage Style in Contemporary Cinema / Nick Rees-Roberts
• Part 4: Epilogue
• 12. Adriana Berselli: Costume for Cinema and Theater / Eugenia Paulicelli
• 13. Souvenir of a Costume Designer / Adriana Berselli Index.
• (source: Nielsen Book Data)

A fascinating look at one of the most experimental, volatile, and influential decades, Film, Fashion, and the 1960s, examines the numerous ways in which film and fashion intersected and affected identity expression during the era. From A Hard Day's Night to Breakfast at Tiffany's, from the works of Ingmar Bergman to Blake Edwards, the groundbreaking cinema of the 1960s often used fashion as the ultimate expression for urbanity, youth, and political (un)awareness. Crumbling hierarchies brought together previously separate cultural domains, and these blurred boundaries could be seen in unisex fashions and roles played out on the silver screen. As this volume amply demonstrates, fashion in films from Italy, France, England, Sweden, India, and the United States helped portray the rapidly changing faces of this cultural avant-gardism. This blending of fashion and film ultimately created a new aesthetic that continues to influence the fashion and media of today.
(source: Nielsen Book Data)

• * Acknowledgments * Introduction *1. Haunted Havelis and Hapless Heroes: Gender, Genre, and the Hindi Gothic Film *2. The Ramsay Rampage: Horror as Emergency Cinema *3. Ravishing Reptiles: Magic, <cite>Masala, and the Hindi "Snake Film" *4. Present Imperfect: Bollywood and the Ghosts of Neoliberalism *5. The Planetary Paranormal: Millennial Mythos and the Disassembly of the "Hindi Film" * Epilogue * Notes * Bibliography * Index.
• (source: Nielsen Book Data)

Haunting Bollywood is a pioneering, interdisciplinary inquiry into the supernatural in Hindi cinema that draws from literary criticism, postcolonial studies, queer theory, history, and cultural studies. Hindi commercial cinema has been invested in the supernatural since its earliest days, but only a small segment of these films have been adequately explored in scholarly work; this book addresses this gap by focusing on some of Hindi cinema's least explored genres. From Gothic ghost films of the 1950s to snake films of the 1970s and 1980s to today's globally influenced zombie and vampire films, Meheli Sen delves into what the supernatural is and the varied modalities through which it raises questions of film form, history, modernity, and gender in South Asian public cultures. Arguing that the supernatural is dispersed among multiple genres and constantly in conversation with global cinematic forms, she demonstrates that it is an especially malleable impulse that routinely pushes Hindi film into new formal and stylistic territories. Sen also argues that gender is a particularly accommodating stage on which the supernatural rehearses its most basic compulsions; thus, the interface between gender and genre provides an exceptionally productive lens into Hindi cinema's negotiation of the modern and the global. Haunting Bollywood reveals that the supernatural's unruly energies continually resist containment, even as they partake of and sometimes subvert Hindi cinema's most enduring pleasures, from songs and stars to myth and melodrama.
(source: Nielsen Book Data)

• List of Illustrations List of Tables Preface Acknowledgments List of Abbreviations Introduction
• 1. Past Insurrections, Imagined Futures
• 2. The Plan Nacional, a Process of Indigenous Communication
• 3. Indigenous Media Makers as Political Subjects
• 4. The Political Possibilities of Fiction
• 5. Disputes for Indigeneity
• 6. Narrative and Aesthetics
• 7. Politics of Distribution Conclusions Notes Bibliography Index.
• (source: Nielsen Book Data)

Fray Bernardino de Sahagun-INAH Award in Mexico for Best Research Work in Anthropology Gabriela Zamorano Villarreal examines the political dimension of indigenous media production and distribution as a means by which indigenous organizations articulate new claims on national politics in Bolivia, a country experiencing one of the most notable cases of social mobilization and indigenous-based constitutional transformation in contemporary Latin America. Based on fieldwork in Bolivia from 2005 to 2007, Zamorano Villarreal details how grassroots indigenous media production has been instrumental to indigenous political demands for a Constituent Assembly and for implementing the new constitution within Evo Morales's controversial administration. On a day-to-day basis, Zamorano Villarreal witnessed the myriad processes by which Bolivia's indigenous peoples craft images of political struggle and enfranchisement to produce films about their role in Bolivian society. Indigenous Media and Political Imaginaries in Contemporary Bolivia contributes a wholly new and original perspective on indigenous media worlds in Bolivia: the collaborative and decolonizing authorship of indigenous media against the neoliberal multicultural state, and its key role in reimagining national politics. Zamorano Villarreal unravels the negotiations among indigenous media makers about how to fairly depict a gender, territorial, or justice conflict in their films to promote grassroots understanding of indigenous peoples in Bolivia's multicultural society.
(source: Nielsen Book Data)

• Transgression: María Luisa Bemberg's Camila and Yo, la peor de todas
• Isolation: Lucía Puenzo's XXY and El niño pez
• Female solidarity: the films of María Novaro
• Female body as spectacle: Dana Rotberg's Ángel de fuego and La mujer del pueblo: Otilia Rauda
• Parallelism: Carmen Luz Parot's Estadio Nacional
• Escape: Alicia Scherson's Play
• Urban and inner lives: the films of Suzana Amaral
• Being Brazilian: national identity in Tizuka Yamasaki's Gaijin: Caminhos da Liberdade and Gaijin: Ama-me como sou.

Women are noticeably marginalized from the Latin American film industry, with lower budgets and inadequate distribution, and they often rely on their creativity to make more interesting films. This book highlights the voices and stories of some of these directors from Brazil, Chile, Argentina, and Mexico. Roberts-Camps's insightful exploration is the most broad-ranging account of its kind, making the book relevant to the study of literature as well as film.
(source: Nielsen Book Data)

• Introduction: "Coy leericism"
• Producing permissiveness : censorship, obscenity law, and the trials of spectatorship
• Peek snatchers : corporeal spectacle and the wages of looking, 1960/1965
• Girls with hungry eyes: consuming sensation, figuring female lust, 1965/1970
• Watching an "audience of voyeurs:" adult film reception
• Conclusion: Skin flicks without a future?

One of the most fascinating phenomena of 1960s film culture is the emergence of American sexploitation films-salacious indies made on the margins of Hollywood. Hundreds of such films were produced and shown on both urban and small-town screens over the course of the decade. Yet despite their vital importance to the film scene, and though they are now understood as a gateway to the emergence of publicly exhibited hardcore pornography in the early 1970s, these films have been largely overlooked by scholars. Defined by low budgets, quick production times, unknown actors, strategic uses of nudity, and a sensationalist obsession with unbridled female sexuality, sexploitation films provide a unique window into a tumultuous period in American culture and sexual politics. In Lewd Looks, Elena Gorfinkel examines the social and legal developments that made sexploitation films possible: their aesthetics, their regulation, and their audiences. Gorfinkel explores the ways sexploitation films changed how spectators encountered and made sense of the sexualized body and set the stage for the adult film industry of today. Lewd Looks recovers a lost chapter in the history of independent cinema and American culture-a subject that will engross readers interested in media, sexuality, gender, and the 1960s. Gorfinkel investigates the films and their contexts with scholarly depth and vivid storytelling, producing a new account of the obscene image, screen sex, and adult film and media.
(source: Nielsen Book Data)

In The Long Take, Lutz Koepnick posits extended shot durations as a powerful medium for exploring different modes of perception and attention in our fast-paced world of mediated stimulations. Grounding his inquiry in the long takes of international filmmakers such as Be9la Tarr, Tsai Ming-liang, Abbas Kiarostami, Apichatpong Weerasethakul, and Michael Haneke, Koepnick reveals how their films evoke wondrous experiences of surprise, disruption, enchantment, and reorientation. He proceeds to show how the long take has come to thrive in diverse artistic practices across different media platforms: from the work of photographer Hiroshi Sugimoto to the screen-based installations of Sophie Calle and Tacita Dean, from experimental work by Francis Alffs and Janet Cardiff to durational images in contemporary video games. Deeply informed by film and media theory, yet written in a fluid and often poetic style, The Long Take goes far beyond recent writing about slow cinema. In Koepnicks account, the long take serves as a critical hallmark of international art cinema in the twenty-first century. It invites viewers to probe the aesthetics of moving images and to recalibrate their sense of time. Long takes unlock windows toward the new and unexpected amid the ever-mounting pressures of 24/7 self-management.
(source: Nielsen Book Data)

• Introduction. Detourism: Italy's new migrant cinema
• Cultural hybridity in Italy
• Beyond neorealism: the cinematic body-as-nation
• Ambivalent geographies
• Ambivalent desires : desiring gazes : Bhadha and Mulvey
• Ambivalent moralities
• Conclusion: inside the paradise of marvelous bodies.

Historically a source of emigrants to Northern Europe and the New World, Italy has rapidly become a preferred destination for immigrants from the global South. Life in the land of la dolce vita has not seemed so sweet recently, as Italy struggles with the cultural challenges caused by this surge in immigration.Marvelous Bodies by Vetri Nathan explores thirteen key full-length Italian films released between 1990 and 2010 that treat this remarkable moment of cultural role reversal through a plurality of styles. In it, Nathan argues that Italy sees itself as the quintessential internal Other of Western Europe, and that this subalternity directly influences its cinematic response to immigrants, Europe's external Others.In framing his case to understand Italy's cinematic response to immigrants, Nathan first explores some basic questions: Who exactly is the Other in Italy? Does Italy's own past partial alterity affect its present response to its newest subalterns? Drawing on Homi Bhabha's writings and Italian cinematic history, Nathan then posits the existence of marvelous bodies that are momentarily neither completely Italian nor completely immigrant. This ambivalence of forms extends to the films themselves, which tend to be generic hybrids. The persistent curious presence of marvelous bodies and a pervasive generic hybridity enact Italy's own chronic ambivalence that results from its presence at the cultural crossroads of the Mediterranean.
(source: Nielsen Book Data)

Over the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics. Yet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities. In Panel to the Screen, Drew Morton examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a "low" art form suited for children translating into "high" art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. Morton provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception.
(source: Nielsen Book Data)

• Introduction : The technology of film violence, or, figuring the sense in sensation
• A parallax view : the violent synchrony of multiple-camera montage
• Violence incarnate : squibs, artificial blood, and wounds that speak
• Hitting the "vérité jackpot" : the ecstatic profits of freeze-framed violence
• Extraction and exchange : the zoom and environmental intension
• Conclusion : Passionate detachments.

Passionate Detachments" investigates the rise of graphic violence in American films of the late 1960s and early 1970s and the popular aesthetics and critical responses this violence inspired. Amy Rust examines four technologies adopted by commercial American cinema after the fall of the Hollywood Production Code: multiple-camera montage, squibs (small explosive devices) and artificial blood, freeze-frames, and zooms. Approaching these technologies as figures, as opposed to mere tools, Rust traces the encounters they mediate between perception (what one sees, hears, and feels) and representation (how those sights, sounds, and feelings make meaning). These technologies, she argues, lend shape to film violence while organizing viewers? on- and off-screen relationships to it. The result proves meaningful for an era self-consciously and perilously preoccupied with bloodshed. The post-Code period found Americans across the political spectrum demanding visual - and increasingly violent - demonstrations of presumably?authentic? realities. Corroborating fantasies of authenticity from military to counterculture, these technologies challenge them as well, pointing, however unwittingly, to the violently classed, gendered, and racialized blind spots such fantasies harbor. More broadly, the technologies answer concerns that films control violence too much or too little. Offering neither mere discoursenor mere thrills, they recover sense and sensation for all, not some, or even most, depictions of bloodshed.

• Introduction: The logic of film violence, or, figuring the sense in sensation
• A parallax view: the violent synchrony of multiple-speed montage
• Violence incarnate: squibs, artificial blood, and wounds that speak
• Hitting the "vérité jackpot": the ecstatic profits of freeze-framed violence
• Extraction and exchange: the zoom and environmental intension
• Conclusion: Passionate detachments.

Passionate Detachments" investigates the rise of graphic violence in American films of the late 1960s and early 1970s and the popular aesthetics and critical responses this violence inspired. Amy Rust examines four technologies adopted by commercial American cinema after the fall of the Hollywood Production Code: multiple-camera montage, squibs (small explosive devices) and artificial blood, freeze-frames, and zooms. Approaching these technologies as figures, as opposed to mere tools, Rust traces the encounters they mediate between perception (what one sees, hears, and feels) and representation (how those sights, sounds, and feelings make meaning). These technologies, she argues, lend shape to film violence while organizing viewers? on- and off-screen relationships to it. The result proves meaningful for an era self-consciously and perilously preoccupied with bloodshed. The post-Code period found Americans across the political spectrum demanding visual - and increasingly violent - demonstrations of presumably?authentic? realities. Corroborating fantasies of authenticity from military to counterculture, these technologies challenge them as well, pointing, however unwittingly, to the violently classed, gendered, and racialized blind spots such fantasies harbor. More broadly, the technologies answer concerns that films control violence too much or too little. Offering neither mere discoursenor mere thrills, they recover sense and sensation for all, not some, or even most, depictions of bloodshed.

• List of Illustrations Acknowledgments Introduction
• 1. Aesthetic Storytelling: A Tradition and Theory of Animated Film
• 2. The Uncanny Integrity of Digital Commodities (Toy Story)
• 3. From the Technological to the Postmodern Sublime (Monsters, Inc.)
• 4. The Exceptional Dialectic of the Fantastic and the Mundane (The Incredibles)
• 5. Disruptive Sensation and the Politics of the New (Ratatouille) Conclusion Notes Bibliography Index.
• (source: Nielsen Book Data)

In Pixar and the Aesthetic Imagination, Eric Herhuth draws upon film theory, animation theory, and philosophy to examine how animated films address aesthetic experience within contexts of technological, environmental, and sociocultural change. Since producing the first fully computer-animated feature film, Pixar Animation Studios has been a creative force in digital culture and popular entertainment. But, more specifically, its depictions of uncanny toys, technologically sublime worlds, fantastic characters, and meaningful sensations explore aesthetic experience and its relation to developments in global media, creative capitalism, and consumer culture. This investigation finds in Pixar's artificial worlds and transformational stories opportunities for thinking through aesthetics as a contested domain committed to newness and innovation as well as to criticism and pluralistic thought.
(source: Nielsen Book Data)

• Preface Acknowledgements Note on Translation and Transliteration Introduction: Feeling Soviet
• 1. Avant-Garde Sensations
• 2. Material Sensations
• 3. Textile Sensations
• 4. Socialist Sensations
• 5. Primitive Sensations
• 6. Modern Sensations
• 7. Socialist Feelings
• 8. Socialist Transformations
• 9. Socialist Pleasures Conclusion: The Death of Sensation Glossary of Russian Terms Bibliography Index.
• (source: Nielsen Book Data)

This major reimagining of the history of Soviet film and its cultural impact explores the fundamental transformations in how film, through the senses, remade the Soviet self in the 1920s and 1930s. Following the Russian Revolution, there was a shared ambition for a 'sensory revolution' to accompany political and social change: Soviet men and women were to be reborn into a revitalized relationship with the material world. Cinema was seen as a privileged site for the creation of this sensory revolution: film could both discover the world anew, and model a way of inhabiting it. Drawing upon an extraordinary array of films, noted scholar Emma Widdis shows how Soviet cinema, as it evolved from the revolutionary avant-garde to Socialist Realism, gradually shifted its materialist agenda from emphasizing the external senses to instilling the appropriate internal senses (consciousness, emotions) in the new Soviet subject.
(source: Nielsen Book Data)

• Introduction
• Two modes of prestige film
• Hollywood as popular sociology
• Hollywood and the public sphere
• A genre out of cycles
• Realist melodrama
• Epilogue.

After World War II, Hollywood's ""social problem films"" - tackling topical issues that included racism, crime, mental illness, and drug abuse - were hits with critics and general moviegoers alike. In an era of film famed for its reliance on pop psychology, these movies were a form of popular sociology, bringing the academic discipline's concerns to a much broader audience. Sociology on Film examines how the postwar ""problem film"" translated contemporary policy debates and intellectual discussions into cinematic form in order to become one of the preeminent genres of prestige drama. Chris Cagle chronicles how these movies were often politically fractious, the work of progressive directors and screenwriters who drew scrutiny from the House Un-American Activities Committee. Yet he also proposes that the genre helped to construct an abstract discourse of ""society"" that served to unify a middlebrow American audience. As he considers the many forms of print media that served to inspire social problem films, including journalism, realist novels, and sociological texts, Cagle also explores their distinctive cinematic aesthetics. Through a close analysis of films like Gentleman's Agreement, The Lost Weekend, and Intruder in the Dust, he presents a compelling case that the visual style of these films was intimately connected to their more expressly political and sociological aspirations. Sociology on Film demonstrates how the social problem picture both shaped and reflected the middle-class viewer's national self-image, making a lasting impact on Hollywood's aesthetic direction.
(source: Nielsen Book Data)

• Introduction
• Two modes of prestige film
• Hollywood as popular sociology
• Hollywood and the public sphere
• A genre out of cycles
• Realist melodrama
• Epilogue.

After World War II, Hollywood's ""social problem films"" - tackling topical issues that included racism, crime, mental illness, and drug abuse - were hits with critics and general moviegoers alike. In an era of film famed for its reliance on pop psychology, these movies were a form of popular sociology, bringing the academic discipline's concerns to a much broader audience. Sociology on Film examines how the postwar ""problem film"" translated contemporary policy debates and intellectual discussions into cinematic form in order to become one of the preeminent genres of prestige drama. Chris Cagle chronicles how these movies were often politically fractious, the work of progressive directors and screenwriters who drew scrutiny from the House Un-American Activities Committee. Yet he also proposes that the genre helped to construct an abstract discourse of ""society"" that served to unify a middlebrow American audience. As he considers the many forms of print media that served to inspire social problem films, including journalism, realist novels, and sociological texts, Cagle also explores their distinctive cinematic aesthetics. Through a close analysis of films like Gentleman's Agreement, The Lost Weekend, and Intruder in the Dust, he presents a compelling case that the visual style of these films was intimately connected to their more expressly political and sociological aspirations. Sociology on Film demonstrates how the social problem picture both shaped and reflected the middle-class viewer's national self-image, making a lasting impact on Hollywood's aesthetic direction.
(source: Nielsen Book Data)

• Introduction : the house as medium
• Cinema's short-term tenancy : a materialist theory of film spectatorship
• Wrong life : bungalow aesthetics in and against Hollywood
• All too easy : the modernist house and effortless appropriation
• Between the past and the present : nostalgia and the cinema of stick and shingle style architecture
• Coda. From porch to attic : condemned to property in New Orleans.

Much of our time at the movies is spent in other peoples homes. Cinema is, after all, often about everyday life. Spectacle of Property is the first book to address the question of the ubiquitous conjuncture of the moving image and its domestic architecture. Arguing that in cinema we pay to occupy spaces we cannot occupy, John David Rhodes explores how the house in cinema both structures and criticizes fantasies of property and ownership. Rhodes tells the story of the ambivalent but powerful pleasure we take in looking at private property onscreen, analyzing the security and ease the house promises along with the horrible anxieties it produces. He begins by laying out a theory of film spectatorship that proposes the concept of the spectator-tenant, with reference to films such as Gone with the Wind and The Magnificent Ambersons. The book continues with three chapters that are each occupied with a different architectural style and the films that make use of it: the bungalow, the modernist house, and the shingle style house. Rhodes considers a variety of canonical films rarely analyzed side by side, such as Psycho in relation to Grey Gardens and Meet Me in St. Louis. Among the other films discussed are Meshes of the Afternoon, Mildred Pierce, A Star Is Born, Killer of Sheep, and A Single Man. Bringing together film history, film theory, and architectural history as no book has to date, Spectacle of Property marks a new milestone in examining cinemas relationship to realism while leaving us vastly more informed about, if less at home inside, the houses we occupy at the movies.
(source: Nielsen Book Data)

• Cultural policy as negotiation of power: the Chinese state's role and strategies in its tug-of-war with global Hollywood
• The debate about Hollywood
• The film industry as negotiation of space
• Artistic and critical cinema under a triple threat: marketization, Hollywoodization, and state censorship
• Chinese martial arts cinema in the twenty-first century: hybridity and soft power
• Conclusion: the Chinese state, Hollywood, and postsocialist modernity.

In recent years, the film industry in the People's Republic of China has found itself among the top three most prolific in the world. When the Chinese government introduced a new revenue-sharing system in 1994, the nation's total movie output skyrocketed with gross box-office receipts totaling billions of yuan. This newfound success, however, has been built on an alternately competitive and collaborative relationship between the ascendant global power of China and the popular culture juggernaut of America. In China's Encounter with Global Hollywood, Wendy Su examines the intertwining relationships among the Chinese state, global Hollywood, and the Chinese film industry while analyzing the causes and consequences of the rapid growth of the nation's domestic film production. She demonstrates how the Chinese state has consolidated power by negotiating foreign interest in the lucrative Chinese market while advancing its cultural industries. Su also reveals how mainland Chinese and Hong Kong filmmakers have navigated the often-incompatible requirements of marketization and state censorship. This timely analysis demonstrates how China has cannily used global capital to modernize its own film industry and now stands poised to step clear of Hollywood's shadow. The country's debates - on- and offscreen - over cultural change, market-based economic reforms, and artistic freedom illuminate China's ongoing efforts to build a modern national identity.
(source: Nielsen Book Data)

• Introduction
• Cultural policy as negotiation of power: the Chinese state's role and strategies in its tug-of-war with global Hollywood
• The debate about Hollywood
• The film industry as negotiation of space
• Artistic and critical cinema under a triple threat: marketization, Hollywoodization, and state censorship
• Chinese martial arts cinema in the twenty-first century: hybridity and soft power
• Conclusion: the Chinese state, Hollywood, and postsocialist modernity.

In recent years, the film industry in the People's Republic of China has found itself among the top three most prolific in the world. When the Chinese government introduced a new revenue-sharing system in 1994, the nation's total movie output skyrocketed with gross box-office receipts totaling billions of yuan. This newfound success, however, has been built on an alternately competitive and collaborative relationship between the ascendant global power of China and the popular culture juggernaut of America. In China's Encounter with Global Hollywood, Wendy Su examines the intertwining relationships among the Chinese state, global Hollywood, and the Chinese film industry while analyzing the causes and consequences of the rapid growth of the nation's domestic film production. She demonstrates how the Chinese state has consolidated power by negotiating foreign interest in the lucrative Chinese market while advancing its cultural industries. Su also reveals how mainland Chinese and Hong Kong filmmakers have navigated the often-incompatible requirements of marketization and state censorship. This timely analysis demonstrates how China has cannily used global capital to modernize its own film industry and now stands poised to step clear of Hollywood's shadow. The country's debates - on- and offscreen - over cultural change, market-based economic reforms, and artistic freedom illuminate China's ongoing efforts to build a modern national identity.
(source: Nielsen Book Data)

• Introduction: on the subject of endings / Sheila Kunkle
• Resolution, truncation, glitch / Hugh S. Manon
• The banality of trauma: Claire Denis's Bastards and the anti-ending / Hilary Neroni
• The greatest trick the devil ever played: desire, drive, and the twist ending / Ryan Engley
• Retroactive rupture: the place of the subject in Jane Campion's In the cut / Fabio Vighi
• Love, loss, endings, and beginnings: a psychoanalysis of Rust and bone / Juan Pablo Lucchelli
• Cinematic ends: the ties that unbind in Claire Denis's White material / Jennifer Friedlander
• When one becomes two: the ending of Catfish / Rex Butler
• The satisfaction of an ending / Todd McGowan
• The too realistic cut: gaze as overconformity in Blue velvet / Henry Krips
• The end of fantasy as we know it: Her and the vanishing mediator of the voice in film / Sheila Kunkle
• Melancholia, an alternative to the end of the world: a reading of Lars Von Trier's film / David Denny
• Cut or time, and American cinema of thought-affect: cuts of failure in John Huston's Fat city / A. Kiarina Kordela
• The end of (self) analysis: the end of Kurosawa's High and low / Brian Wall
• The final failure in The dark knight rises / Slavoj Žižek
• The ["end"] / Jan Agodzinski.

• Introduction
• The silent era. Jackie Coogan
• Gloria Swanson
• The leading men. Ralph Bellamy
• Rory Calhoun
• Joseph Cotten
• Kirk Douglas
• Melvyn Douglas
• Douglas Fairbanks Jr
• Glenn Ford
• Cary Grant
• Van Johnson
• The leading ladies. Anne Baxter
• Joan Blondell
• Irene Dunne
• Joan Fontaine
• Dorothy Lamour
• Anna Lee
• Dorothy McGuire
• Maureen O'Hara
• Luise Rainer
• Rosalind Russell
• Fay Wray
• Jane Wyman
• Loretta Young
• The queens of the Bs. Jane Greer
• Audrey Totter
• Marie Windsor
• The singing cowboys. Gene Autry
• Roy Rogers
• A giant of comedy. Bob Hope
• Four very special stars. Margaret Hamilton
• Keye Luke
• Harold Russell
• Diane Varsi.

James Bawden: Seeing the way people behave when they're around you, is it still fun being Cary Grant? Cary Grant: I don't like to disappoint people. Because he's a completely made-up character and I'm playing a part. It's a part I've been playing a long time, but no way am I really Cary Grant. A friend told me once, "I always wanted to be Cary Grant." And I said, "So did I." - from the book In Conversations with Classic Film Stars, retired journalists James Bawden and Ron Miller present an astonishing collection of rare interviews with the greatest celebrities of Hollywood's golden age. Conducted over the course of more than fifty years, they recount intimate conversations with some of the most famous leading men and women of the era, including Douglas Fairbanks Jr., Joseph Cotten, Cary Grant, Gloria Swanson, Joan Fontaine, Loretta Young, Kirk Douglas, and many more. Each interview takes readers behind the scenes with some of cinema's most iconic stars. The actors convey unforgettable stories, from Maureen O'Hara discussing Charles Laughton's request that she change her last name, to Bob Hope candidly commenting on the presidential honors bestowed upon him. Humorous, enlightening, and poignant, Conversations with Classic Film Stars is essential reading for anyone who loves classic movies.
(source: Nielsen Book Data)

• Series Page; Title; Copyright; Contents; Introduction;
• 1. The Silent Screen, 1895-1927. Editing;
• 2. The Silent Screen, 1895-1927. Special/Visual Effects;
• 3. Classical Hollywood, 1928-1946. Editing;
• 4. Classical Hollywood, 1928-1946. Special/Visual Effects;
• 5. Postwar Hollywood, 1947-1967. Editing;
• 6. Postwar Hollywood, 1947-1967. Special/Visual Effects;
• 7. The Auteur Renaissance, 1968-1980. Editing;
• 8. The Auteur Renaissance, 1968-1980. Special/Visual Effects;
• 9. The New Hollywood, 1981-1999. Editing;
• 10. The New Hollywood, 1981-1999. Special/Visual Effects.

• 11. The Modern Entertainment Marketplace, 2000-Present. Editing12. The Modern Entertainment Marketplace, 2000-Present. Special/Visual Effects; Academy Awards for Editing; Academy Awards for Special/Visual Effects; Notes; Glossary; Selected Bibliography; Notes on Contributors; Index.

Most moviegoers think of editing and special effects as distinct components of the filmmaking process. We might even conceive of them as polar opposites, since effective film editing is often subtle and almost invisible, whereas special effects frequently call attention to themselves. Yet, film editors and visual effects artists have worked hand-in-hand from the dawn of cinema to the present day.Editing and Special/Visual Effects brings together a diverse range of film scholars who trace how the arts of editing and effects have evolved in tandem. Collectively, the contributors demonstrate how these two crafts have been integral to cinematic history, starting with the ""trick films" of the early silent era, which astounded audiences by splicing in or editing out key frames, all the way up to cutting-edge effects technologies and concealed edits used to create the illusions. Throughout, readers learn about a variety of filmmaking techniques, from classic Hollywood's rear projection and matte shots to the fast cuts and wall-to-wall CGI of the contemporary blockbuster.In addition to providing a rich historical overview, Editing and Special/Visual Effects supplies multiple perspectives on these twinned crafts, introducing readers to the analog and digital tools used in each craft, showing the impact of changes in the film industry, and giving the reader a new appreciation for the processes of artistic collaboration they involve.
(source: Nielsen Book Data)

• Acknowledgments Preface Introduction The Study of Aging in Cinema Filmography and Terminology
• Chapter 1: Generational Conflict in Prewar Hollywood Film Elder Depictions in Early Cinema and the Silent Era The Neediest among Us
• Solid Pillars in Unstable Times Elders in the Nuclear Era
• Chapter 2: The Sensational Specter of Aging An Audience Lost The Formation of "Adult Films"
• Competing for the Adult Market Gender and Generation in Melodrama
• Chapter 3: The Horrific and the Hilarious The Horror of Aging Youth Films Exploit Elders Elder Kitsch at Its Limits
• Chapter 4: The Emergence of the Elder Odyssey The Road to a Subgenre of Penultimate Quests The Elder Odyssey in Expansion Investigating and Evading The Road from Here
• Chapter 5: The Repression and Release of Old Romance The May-December Romance as a Genre Device Calmly Increasing Honesty Elder Romance Matures The Life Left in Love
• Chapter 6: Deceptions and Delusions of Elder Death Early Elder Death Death Gets Darker Elder Legacies Conclusion Appendix A: Filmography of Significant Elder Roles in American Cinema Appendix B: Subject Lists of Elder Films Notes Bibliography Index.
• (source: Nielsen Book Data)

Americans are living longer and reinventing both work and retirement, but Hollywood movies barely hint at this reality of contemporary society. In many popular films, older characters fade into irrelevance, inactivity, or absurdity, or else they stay in the background as wise elders while younger characters provide the action. Most American films do not attempt to portray the rich variety of experiences or the sensitive aging issues that people confront in the years beyond fifty. Fade to Gray offers one of the first extended studies of the portrayal of older people in American cinema from the silent era to the present. Writing in an accessible style for both general audiences and scholars, Timothy Shary and Nancy McVittie examine social attitudes toward aging through an analysis of hundreds of individual films, including such classics as You Can't Take It With You (1938), Rosemary's Baby (1968), Grumpy Old Men (1993), and Nebraska (2013). They show how representations of the aging process and depictions of older people embracing or enduring the various experiences of longer lives have evolved over the past century, as well as how film industry practices have both reflected and influenced perceptions of aging in American society. Exposing the social and political motivations for negative cinematic portrayals of the elderly, Fade to Gray also gives visibility to films that provide opportunities for better understanding and appreciation of the aged and the aging process.
(source: Nielsen Book Data)

• Introduction: mapping the urban child
• Boys, movies, and city streets; or, the dead end kids as modernists
• Shirley Temple as streetwalker: girls, streets, and encounters with men
• Neglect at home: rejecting mothers and middle class kids
• "The odds are against him": archives of unhappiness among black urban boys
• Helicopters and catastrophes: the failure to neglect and neglect as failure.

In our current era of helicopter parenting and stranger danger, an unaccompanied child wandering through the city might commonly be viewed as a victim of abuse and neglect. However, from the early twentieth century to the present day, countless books and films have portrayed the solitary exploration of urban spaces as a source of empowerment and delight for children. Fantasies of Neglect explains how this trope of the self-sufficient, mobile urban child originated and considers why it persists, even as it goes against the grain of social reality. Drawing from a wide range of films, children's books, adult novels, and sociological texts, Pamela Robertson Wojcik investigates how cities have simultaneously been demonized as dangerous spaces unfit for children and romanticized as wondrous playgrounds that foster a kid's independence and imagination. Charting the development of free-range urban child characters from Little Orphan Annie to Harriet the Spy to Hugo Cabret, and from Shirley Temple to the Dead End Kids, she considers the ongoing dialogue between these fictional representations and shifting discourses on the freedom and neglect of children. While tracking the general concerns Americans have expressed regarding the abstract figure of the child, the book also examines the varied attitudes toward specific types of urban children - girls and boys, blacks and whites, rich kids and poor ones, loners and neighborhood gangs. Through this diverse selection of sources, Fantasies of Neglect presents a nuanced chronicle of how notions of American urbanism and American childhood have grown up together.
(source: Nielsen Book Data)