Cinema Somnambulist

Cinema Somnambulist Author Richard Glenn Schmidt
ISBN-10 1516899253
Release 2016-08-17
Pages 270
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Every film fan experiences a seemingly incalculable number of images during their cinematic pursuits. While some walk, run, or skip happily through film fandom, the terminally nostalgic Richard Glenn Schmidt sleepily stumbles through the superabundance of his filmic obsessions in an attempt to embrace them all. Contained within these pages are his musings on the utterly perverse films of Jess Franco, the purple cinema of Prince, the peculiar insanity of the films of 1976, the peregrine world of Asian horror, and much, much more! Somewhere between the waking world and the flickering dream of cinema, walks the Cinema Somnambulist. It's like the old saying goes, "every blogger has his day".



Why the French Love Jerry Lewis

Why the French Love Jerry Lewis Author Rae Beth Gordon
ISBN-10 0804738947
Release 2001
Pages 274
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Vividly bringing to light the tradition of physical comedy in the French cabaret, cafe-concert, and early French film comedy, this book answers the perplexing question, "Why do the French love Jerry Lewis?" It shows how Lewis touches a nerve in the French cultural memory because, more than any other film comic, he incarnates a distinctively French tradition of performance style."



Weimar Cinema

Weimar Cinema Author Noah William Isenberg
ISBN-10 9780231130547
Release 2009
Pages 360
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In this comprehensive companion to Weimar cinema, chapters address the technological advancements of each film, their production and place within the larger history of German cinema, the style of the director, the actors and the rise of the German star, and the critical reception of the film.



Shell Shock Cinema

Shell Shock Cinema Author Anton Kaes
ISBN-10 9780691008509
Release 2011-10-02
Pages 328
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Shell Shock Cinema explores how the classical German cinema of the Weimar Republic was haunted by the horrors of World War I and the the devastating effects of the nation's defeat. In this exciting new book, Anton Kaes argues that masterworks such as The Cabinet of Dr. Caligari, Nosferatu, The Nibelungen, and Metropolis, even though they do not depict battle scenes or soldiers in combat, engaged the war and registered its tragic aftermath. These films reveal a wounded nation in post-traumatic shock, reeling from a devastating defeat that it never officially acknowledged, let alone accepted. Kaes uses the term "shell shock"--coined during World War I to describe soldiers suffering from nervous breakdowns--as a metaphor for the psychological wounds that found expression in Weimar cinema. Directors like Robert Wiene, F. W. Murnau, and Fritz Lang portrayed paranoia, panic, and fear of invasion in films peopled with serial killers, mad scientists, and troubled young men. Combining original close textual analysis with extensive archival research, Kaes shows how this post-traumatic cinema of shell shock transformed extreme psychological states into visual expression; how it pushed the limits of cinematic representation with its fragmented story lines, distorted perspectives, and stark lighting; and how it helped create a modernist film language that anticipated film noir and remains incredibly influential today. A compelling contribution to the cultural history of trauma, Shell Shock Cinema exposes how German film gave expression to the loss and acute grief that lay behind Weimar's sleek façade.



A Companion to the Literature of German Expressionism

A Companion to the Literature of German Expressionism Author Neil H. Donahue
ISBN-10 9781571131751
Release 2005-01-01
Pages 373
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New essays examining the complex period of rich artistic ferment that was German literary Expressionism.



An Introduction to World Cinema 2d ed

An Introduction to World Cinema  2d ed Author Aristides Gazetas
ISBN-10 9780786439072
Release 2008-04-10
Pages 378
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"Scholarly...excellent."--The Midwest Book Review "The finest book to supplement an introductory film course designed to help college students better understand the significance of the motion picture."--Rogue Cinema "Offers critical essays by film scholars...the best film text currently available...the quintessential study guide."--The Current. Motion pictures are more than just entertainment. In film studies courses in colleges and universities worldwide, students and professors explore the social, political, technological and historical implications of cinema. This textbook provides two things: the history of film as an art form and an analysis of its impact on society and politics. Chapters are arranged chronologically, covering the major developments in film, like the advent of talkies or the French New Wave. Each era is examined in the context of several exemplary films commonly viewed in film studies courses. Thus students can watch Birth of a Nation and Intolerance while studying the innovations made by D.W. Griffith from 1910 to 1919. The scope is global, embracing the cinematic traditions of Asia, Latin America and Africa, as well as the ever important American and European output. Thoughtful articles from film scholars are included. The flexible structure of the text allows a variety of options for classroom use or personal study.



Possessed

Possessed Author Stefan Andriopoulos
ISBN-10 9780226020570
Release 2008-09-15
Pages 208
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Silent cinema and contemporaneous literature explored themes of mesmerism, possession, and the ominous agency of corporate bodies that subsumed individual identities. At the same time, critics accused film itself of exerting a hypnotic influence over spellbound audiences. Stefan Andriopoulos shows that all this anxiety over being governed by an outside force was no marginal oddity, but rather a pervasive concern in the late nineteenth and early twentieth centuries. Tracing this preoccupation through the period’s films—as well as its legal, medical, and literary texts—Andriopoulos pays particular attention to the terrifying notion of murder committed against one’s will. He returns us to a time when medical researchers described the hypnotized subject as a medium who could be compelled to carry out violent crimes, and when films like The Cabinet of Dr. Caligari and Dr. Mabuse, the Gambler famously portrayed the hypnotist’s seemingly unlimited power on the movie screen. Juxtaposing these medicolegal and cinematic scenarios with modernist fiction, Andriopoulos also develops an innovative reading of Kafka’s novels, which center on the merging of human and corporate bodies. Blending theoretical sophistication with scrupulous archival research and insightful film analysis, Possessed adds a new dimension to our understanding of today’s anxieties about the onslaught of visual media and the expanding reach of vast corporations that seem to absorb our own identities.



A New History of German Cinema

A New History of German Cinema Author Jennifer M. Kapczynski
ISBN-10 9781571135957
Release 2014-01-03
Pages 673
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A dynamic, event-centered exploration of the hundred-year history of German-language film.



Cinematic Interfaces

Cinematic Interfaces Author Seung-hoon Jeong
ISBN-10 9781135053505
Release 2013-07-11
Pages 281
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In this book, Seung-hoon Jeong introduces the cinematic interface as a contact surface that mediates between image and subject, proposing that this mediation be understood not simply as transparent and efficient but rather as asymmetrical, ambivalent, immanent, and multidirectional. Jeong enlists the new media term "interface" to bring to film theory a synthetic notion of interfaciality as underlying the multifaceted nature of both the image and subjectivity. Drawing on a range of films, Jeong examines cinematic interfaces seen on screen and the spectator’s experience of them, including: the direct appearance of a camera/filmstrip/screen, the character’s bodily contact with such a medium-interface, the object’s surface and the subject’s face as "quasi-interface," and the image itself. Each of these case studies serves as a platform for remapping and revamping major concepts in film studies such as suture, embodiment, illusion, signification, and indexicality. Looking to such theories as the ontology of the image and the phenomenology of the body, this original theorization of the cinematic interface not only offers a conceptual framework for rethinking and re-linking film and media studies, but also suggests a general theory of the interface.



Silent Cinema

Silent Cinema Author Lawrence Napper
ISBN-10 9780231543507
Release 2017-01-03
Pages 144
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Since the spectacular success of The Artist (2011) there has been a resurgence of interest in silent cinema, and particularly in the lush and passionate screen dramas of the 1920s. This book offers an introduction to the cinema of this extraordinary period, outlining the development of the form between the end of the First World War and the introduction of synchronized sound at the end of the 1920s. It addresses the relationship between film aesthetics and the industrial and political contexts of film production through a series of case studies of 'national' cinemas. It also focuses on film-going as the most popular leisure activity of the age. Areas such as the star system, cinema buildings, musical accompaniments, film fashions, and fan cultures are addressed – all the elements that ensured that the experience of the pictures was 'big'. The international dominance of Hollywood is outlined, as are the different responses to that dominance in Britain, Germany, and the USSR. Case studies seek to move beyond the familiar silent canon, and include The Oyster Princess (1919), It (1927), Shooting Stars (1927), and The Girl with the Hatbox (1927).



The Classical Hollywood Cinema

The Classical Hollywood Cinema Author David Bordwell
ISBN-10 9781134988082
Release 2003-09-02
Pages 652
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'A dense, challenging and important book.' Philip French Observer 'At the very least, this blockbuster is probably the best single volume history of Hollywood we're likely to get for a very long time.' Paul Kerr City Limits 'Persuasively argued, the book is also packed with facts, figures and photographs.' Nigel Andrews Financial Times Acclaimed for their breakthrough approach, Bordwell, Staiger and Thompson analyze the basic conditions of American film-making as a historical institution and consider to what extent Hollywood film production constitutes a systematic enterprise, in both its style and its business operations. Despite differences of director, genre or studio, most Hollywood films operate within a set of shared assumptions about how a film should look and sound. Such assumptions are neither natural nor inevitable; but because classical-style films have been the type most widely seen, they have come to be accepted as the 'norm' of film-making and viewing. The authors show how these classical conventions were formulated and standardized, and how they responded to the arrival of sound, colour, widescreen ratios and stereophonic sound. They argue that each new technological development has served a function within an existing narrational system. The authors also examine how the Hollywood cinema standardized the film-making process itself. They describe how, over the course of its history, Hollywood developed distinct modes of production in a constant search for maximum efficiency, predictability and novelty. Set apart by its combination of theoretical analysis and empirical evidence, this book is the standard work on the classical Hollywood cinema style of film-making from the silent era to the 1960s. Now available in paperback, it is a 'must' for film students, lecturers and all those seriously interested in the development of the film industry.



Writing the Image After Roland Barthes

Writing the Image After Roland Barthes Author Jean-Michel Rabaté
ISBN-10 0812215966
Release 1997
Pages 285
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"An extensive volume of Barthes's work on film, photography, and visual culture has been overdue. Jean-Michel Rabate has chosen an apt moment to fill this gap."--Gabriele Schwab, University of California, Irvine "A valuable, exciting, and welcome addition to the commentary in English on Roland Barthes."--Michael Groden, University of Western Ontario In the final stages of his career, Roland Barthes abandoned his long-standing suspicion of photographic representation to write Camera Lucida, at once an elegy to his dead mother and a treatise on photography. In "Writing the Image After Roland Barthes," Jean-Michel Rabate and nineteen contributors examine the import of Barthes's shifting positions on photography and visual representation and the impact of his work on current developments in cultural studies and theories of the media and popular culture."



Directory of World Cinema Germany

Directory of World Cinema  Germany Author
ISBN-10 9781841504650
Release 2010
Pages 320
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Directory of World Cinema Germany has been writing in one form or another for most of life. You can find so many inspiration from Directory of World Cinema Germany also informative, and entertaining. Click DOWNLOAD or Read Online button to get full Directory of World Cinema Germany book for free.



Cinema s Sinister Psychiatrists

Cinema s Sinister Psychiatrists Author Sharon Packer, M.D.
ISBN-10 9780786492411
Release 2012-09-05
Pages 256
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"This book discusses films with diabolical drugging, unethical experimentation, involuntary incarceration, sexual exploitation, lobotomies, "shock schlock," conspiracy theories and military medicine, to show how fact informs fantasy, and when fantasy trumps reality. Except for six "golden years" from 1957 to 1963, portrayals of bad psychiatrists far outnumber good ones and this book tells how and why that was"--



The Many Faces of Weimar Cinema

The Many Faces of Weimar Cinema Author Christian Rogowski
ISBN-10 9781571134295
Release 2010
Pages 354
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New essays re-evaluating Weimar cinema from a broadened, up-to-date perspective.



DADA Surrealism and the Cinematic Effect

DADA  Surrealism  and the Cinematic Effect Author R. Bruce Elder
ISBN-10 9781554586417
Release 2015-10-15
Pages 776
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This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema’s lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film’s provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life. This view of the cinema was especially common among those whose commitments were to advanced artistic practices. Their notions about how to recast the art media (or the forms forged from those media’s materials) and the urgency of doing so formed the principal part of the conceptual core of the artistic programs advanced by the vanguard art movements of the first half of the twentieth century. This book, a companion to the author’s previous, Harmony & Dissent, examines the Dada and Surrealist movements as responses to the advent of the cinema.



Literature Cinema and Politics 1930 1945 Reading Between the Frames

Literature  Cinema and Politics 1930 1945  Reading Between the Frames Author Lara Feigel
ISBN-10 9780748642656
Release 2010-07-16
Pages 304
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This book tells the story of a generation of writers who were passionately engaged with politics and with cinema, exploring the rise and fall of a distinct tradition of cinematic literature. Dismayed by the rise of fascism in Europe and by the widening gulf separating the classes at home, these writers turned to cinema as a popular and hard-hitting art form. Lara Feigel crosses boundaries between high modernism and social realism and between 'high' and 'popular' culture, bringing together Virginia Woolf with W.H. Auden, Elizabeth Bowen with John Sommerfield, Sergei Eisenstein with Gracie Fields. The book ends in the Second World War, an era when the bombs and searchlights rendered everyday life cinematic. Feigel interrogates the genres she maps, drawing on cultural theories from the 1920s onwards to investigate the nature of the cinematic and the literary. While it was not possible directly to transfer the techniques of the screen to the page any more than it was possible to 'go over' to the working classes, the attempts nonetheless reveal a fascinating intersection of the visual and the verbal, the political and the aesthetic. In reading between the frames of an unexplored literary tradition, this book redefines 1930s and wartime literature and politics.