S. Brent Plate
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195335989
- eISBN:
- 9780199868940
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195335989.003.0017
- Subject:
- Religion, Religion and Society
This chapter discusses the similar structures of religious worlds and films. It thus offers an introduction to theories and terms of religious studies through the popular medium of film. Drawing on ...
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This chapter discusses the similar structures of religious worlds and films. It thus offers an introduction to theories and terms of religious studies through the popular medium of film. Drawing on film theory, the chapter indicates some of the ways film re‐creates the world through cinematography, mise‐en‐scène, editing, and other production elements. By drawing on theorists of religion such as Peter Berger, William Paden, and Nelson Goodman, the chapter goes on to show how religions achieve similar world‐making strategies by setting apart particular objects and periods of time through the telling of stories and the gathering together of people focused on one thing. By paying attention to the manner in which films are constructed, we can shed light on the ways religious myths and rituals are developed and vice versa.Less
This chapter discusses the similar structures of religious worlds and films. It thus offers an introduction to theories and terms of religious studies through the popular medium of film. Drawing on film theory, the chapter indicates some of the ways film re‐creates the world through cinematography, mise‐en‐scène, editing, and other production elements. By drawing on theorists of religion such as Peter Berger, William Paden, and Nelson Goodman, the chapter goes on to show how religions achieve similar world‐making strategies by setting apart particular objects and periods of time through the telling of stories and the gathering together of people focused on one thing. By paying attention to the manner in which films are constructed, we can shed light on the ways religious myths and rituals are developed and vice versa.
Liam Burke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462036
- eISBN:
- 9781626745193
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462036.003.0002
- Subject:
- Literature, Comics Studies
The first chapter identifies why, after a century of indifference, comic books moved from the fringes of popular culture to the center of mainstream film production in the early 21st century. It ...
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The first chapter identifies why, after a century of indifference, comic books moved from the fringes of popular culture to the center of mainstream film production in the early 21st century. It argues that comic-book movies were well suited, perhaps ideally suited, to the cultural, technological, and economic concerns that beset Hollywood production at the start of the twenty-first century, including post-9/11 concerns, digital filmmaking techniques, and conglomerate practices. That comic book adaptations could meet and surmount such demands, and achieve unprecedented levels of popularity, testifies to their importance within modern Hollywood filmmaking.Less
The first chapter identifies why, after a century of indifference, comic books moved from the fringes of popular culture to the center of mainstream film production in the early 21st century. It argues that comic-book movies were well suited, perhaps ideally suited, to the cultural, technological, and economic concerns that beset Hollywood production at the start of the twenty-first century, including post-9/11 concerns, digital filmmaking techniques, and conglomerate practices. That comic book adaptations could meet and surmount such demands, and achieve unprecedented levels of popularity, testifies to their importance within modern Hollywood filmmaking.
Nicola Mai
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226584959
- eISBN:
- 9780226585147
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226585147.001.0001
- Subject:
- Sociology, Gender and Sexuality
The book draws on unique and original research on the experiences of women, men, transgender people, minors and third party agents working in the sex industry in a variety of settings and jobs in the ...
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The book draws on unique and original research on the experiences of women, men, transgender people, minors and third party agents working in the sex industry in a variety of settings and jobs in the European Union, the Balkans and North Africa. Mobile Orientations addresses a critical issue within the transformation of global societies: the relation between the increase in migration flows, the expansion of the sex industry and the emergence of new forms of agency and exploitation. Moral panics about migrant ‘sex slaves’ being exploited in the global sex industry obfuscate the reality that only a minority is actually trafficked. The original research evidence analysed in Mobile Orientations counters the scenario of hegemonic exploitation presented by such moral panics. It shows that by migrating and working in the global sex industry, young women and men find opportunities to counter the increased precariousness and exploitability they meet in neoliberal times. The book’s autoethnographic writing style expresses the main theoretical contribution Mobile Orientations aims to make: to provide a nuanced and emic analysis of the complex understandings of agency and exploitation of migrants working in the global sex industry. The discussion of the methodological and expressive opportunities (and challenges) offered by ethnography and participatory filmmaking is integral part of the argument made by Mobile Orientations, which ultimately challenges the criteria of scientific and documentary authenticity and the forms of social exclusion engendered by the convergence between sexual humanitarianism and neoliberalism.Less
The book draws on unique and original research on the experiences of women, men, transgender people, minors and third party agents working in the sex industry in a variety of settings and jobs in the European Union, the Balkans and North Africa. Mobile Orientations addresses a critical issue within the transformation of global societies: the relation between the increase in migration flows, the expansion of the sex industry and the emergence of new forms of agency and exploitation. Moral panics about migrant ‘sex slaves’ being exploited in the global sex industry obfuscate the reality that only a minority is actually trafficked. The original research evidence analysed in Mobile Orientations counters the scenario of hegemonic exploitation presented by such moral panics. It shows that by migrating and working in the global sex industry, young women and men find opportunities to counter the increased precariousness and exploitability they meet in neoliberal times. The book’s autoethnographic writing style expresses the main theoretical contribution Mobile Orientations aims to make: to provide a nuanced and emic analysis of the complex understandings of agency and exploitation of migrants working in the global sex industry. The discussion of the methodological and expressive opportunities (and challenges) offered by ethnography and participatory filmmaking is integral part of the argument made by Mobile Orientations, which ultimately challenges the criteria of scientific and documentary authenticity and the forms of social exclusion engendered by the convergence between sexual humanitarianism and neoliberalism.
Ann Davies
- Published in print:
- 2009
- Published Online:
- July 2012
- ISBN:
- 9780719073649
- eISBN:
- 9781781702093
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719073649.001.0001
- Subject:
- Film, Television and Radio, Film
Daniel Calparsoro, a director who has contributed to the contemporary scene in Spanish and Basque cinema, has provoked strong reactions from the critics. Reductively dismissed as a purveyor of crude ...
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Daniel Calparsoro, a director who has contributed to the contemporary scene in Spanish and Basque cinema, has provoked strong reactions from the critics. Reductively dismissed as a purveyor of crude violence by those critics lamenting a ‘lost golden age’ of Spanish filmmaking, Calparsoro's films reveal in fact a more complex interaction with trends and traditions in both Spanish and Hollywood cinema. This book is a full-length study of the director's work, from his early social realist films set in the Basque Country to his later forays into the genres of the war and horror film. It offers an in-depth film-by-film analysis, while simultaneously exploring the function of the director in the contemporary Spanish context, the tension between directors and critics, and the question of national cinema in an area—the Basque Country—of heightened national and regional sensitivities.Less
Daniel Calparsoro, a director who has contributed to the contemporary scene in Spanish and Basque cinema, has provoked strong reactions from the critics. Reductively dismissed as a purveyor of crude violence by those critics lamenting a ‘lost golden age’ of Spanish filmmaking, Calparsoro's films reveal in fact a more complex interaction with trends and traditions in both Spanish and Hollywood cinema. This book is a full-length study of the director's work, from his early social realist films set in the Basque Country to his later forays into the genres of the war and horror film. It offers an in-depth film-by-film analysis, while simultaneously exploring the function of the director in the contemporary Spanish context, the tension between directors and critics, and the question of national cinema in an area—the Basque Country—of heightened national and regional sensitivities.
Gary Needham
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748633821
- eISBN:
- 9780748651252
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633821.001.0001
- Subject:
- Film, Television and Radio, Film
Upon its release in 2005, Brokeback Mountain became a major cultural event and a milestone in independent American filmmaking. Based on the short story by Annie Proulx and directed by Ang Lee, it ...
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Upon its release in 2005, Brokeback Mountain became a major cultural event and a milestone in independent American filmmaking. Based on the short story by Annie Proulx and directed by Ang Lee, it situated a love story between two closeted cowboys at the heart of American mythology, film spectatorship, and genre. Brokeback Mountain offered an independent and queer revision of the conventions and clichés of the Western and the melodrama through a studied exploration of homophobia and the closet. This book examines the film in relation to indie cinema, genre, spectatorship, editing and homosexuality. In doing so it brings film studies and queer theory into dialogue with one another and explains the importance of Brokeback Mountain as both a contemporary independent and queer film. The book provides an overview of Focus Features as a hybrid company operating across both the mainstream and independent cinema sectors, and proposes a new way of thinking about gay spectatorship that takes into account how editing and cruising relate to one another.Less
Upon its release in 2005, Brokeback Mountain became a major cultural event and a milestone in independent American filmmaking. Based on the short story by Annie Proulx and directed by Ang Lee, it situated a love story between two closeted cowboys at the heart of American mythology, film spectatorship, and genre. Brokeback Mountain offered an independent and queer revision of the conventions and clichés of the Western and the melodrama through a studied exploration of homophobia and the closet. This book examines the film in relation to indie cinema, genre, spectatorship, editing and homosexuality. In doing so it brings film studies and queer theory into dialogue with one another and explains the importance of Brokeback Mountain as both a contemporary independent and queer film. The book provides an overview of Focus Features as a hybrid company operating across both the mainstream and independent cinema sectors, and proposes a new way of thinking about gay spectatorship that takes into account how editing and cruising relate to one another.
Rebecca Hillauer
- Published in print:
- 2006
- Published Online:
- September 2011
- ISBN:
- 9789774249433
- eISBN:
- 9781936190089
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774249433.003.0010
- Subject:
- Society and Culture, Middle Eastern Studies
Filmmaking in the rest of the Arab realm is only rudimentary in its development. In Sudan as well as Libya, Mauritania, Oman, Qatar, Saudi Arabia, and the United Arab Emirates native productions have ...
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Filmmaking in the rest of the Arab realm is only rudimentary in its development. In Sudan as well as Libya, Mauritania, Oman, Qatar, Saudi Arabia, and the United Arab Emirates native productions have remained largely limited to documentaries, short films, and films for television. Mass audiences are fed foreign-made commercial films in the cinemas and on television that must first pass through the strict scrutiny of the censors. The number of feature films that have been made so far can be counted on the fingers of one's hand. Many filmmakers like Saba Ghada from Jordan, Nadra Al Sultan from Kuwait, Hizam Al Kilani from Saudi Arabia, and Nujoom Al Ghaneem from United Arab Emirates live and work outside their native countries.Less
Filmmaking in the rest of the Arab realm is only rudimentary in its development. In Sudan as well as Libya, Mauritania, Oman, Qatar, Saudi Arabia, and the United Arab Emirates native productions have remained largely limited to documentaries, short films, and films for television. Mass audiences are fed foreign-made commercial films in the cinemas and on television that must first pass through the strict scrutiny of the censors. The number of feature films that have been made so far can be counted on the fingers of one's hand. Many filmmakers like Saba Ghada from Jordan, Nadra Al Sultan from Kuwait, Hizam Al Kilani from Saudi Arabia, and Nujoom Al Ghaneem from United Arab Emirates live and work outside their native countries.
Isabelle McNeill
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748638918
- eISBN:
- 9780748671014
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748638918.001.0001
- Subject:
- Film, Television and Radio, Film
A vital rethinking of memory and the moving image for the digital age, this book investigates the role of the moving image in cultural memory, considering the impact of digital technologies on visual ...
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A vital rethinking of memory and the moving image for the digital age, this book investigates the role of the moving image in cultural memory, considering the impact of digital technologies on visual culture. Drawing on an interdisciplinary range of theoretical resources and an unusual body of films and moving image works, the book examines the ways in which recent French filmmaking conceptualises both the past and the workings of memory. Ultimately the book argues, memory is an intersubjective process, in which filmic forms continue to play a crucial role even as new media come to dominate our contemporary experience. The book introduces new ways of thinking about the relation between film and memory, arising from an interdisciplinary study of theories and films; explores the French context while drawing theoretical conclusions with wider implications and applicability; provides detailed close readings of varied moving image works to aid theoretical explorations; moves away from auteurist approaches, examining work by canonical directors including Jean-Luc Godard, Chris Marker and Agnès Varda alongside that of less well-known filmmakers such as Claire Simon and Yamina Benguigui; and brings together thinkers such as Bergson, Deleuze, Bazin and Barthes with, for example, Rodowick and Mulvey, in an interweaving of theories. Works considered include Jean-Luc Godard's Histoire(s) du Cinéma (1989–98), Yamina Benguigui's Mémoires d'Immigrés (1997), Chris Marker's CD-ROM Immemory (1998), Claire Simon's Mimi (2003), Michael Haneke's Caché (2005) and Agnès Varda's multi-media exhibition, L'Île et Elle (2006).Less
A vital rethinking of memory and the moving image for the digital age, this book investigates the role of the moving image in cultural memory, considering the impact of digital technologies on visual culture. Drawing on an interdisciplinary range of theoretical resources and an unusual body of films and moving image works, the book examines the ways in which recent French filmmaking conceptualises both the past and the workings of memory. Ultimately the book argues, memory is an intersubjective process, in which filmic forms continue to play a crucial role even as new media come to dominate our contemporary experience. The book introduces new ways of thinking about the relation between film and memory, arising from an interdisciplinary study of theories and films; explores the French context while drawing theoretical conclusions with wider implications and applicability; provides detailed close readings of varied moving image works to aid theoretical explorations; moves away from auteurist approaches, examining work by canonical directors including Jean-Luc Godard, Chris Marker and Agnès Varda alongside that of less well-known filmmakers such as Claire Simon and Yamina Benguigui; and brings together thinkers such as Bergson, Deleuze, Bazin and Barthes with, for example, Rodowick and Mulvey, in an interweaving of theories. Works considered include Jean-Luc Godard's Histoire(s) du Cinéma (1989–98), Yamina Benguigui's Mémoires d'Immigrés (1997), Chris Marker's CD-ROM Immemory (1998), Claire Simon's Mimi (2003), Michael Haneke's Caché (2005) and Agnès Varda's multi-media exhibition, L'Île et Elle (2006).
Nicholas Rombes (ed.)
- Published in print:
- 2005
- Published Online:
- September 2012
- ISBN:
- 9780748620340
- eISBN:
- 9780748671052
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748620340.001.0001
- Subject:
- Film, Television and Radio, Film
This book examines a new breed of film that is indebted to the punk spirit of experimentation, do-it-yourself ethos, and an uneasy, often defiant relationship with the mainstream. An array of ...
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This book examines a new breed of film that is indebted to the punk spirit of experimentation, do-it-yourself ethos, and an uneasy, often defiant relationship with the mainstream. An array of scholars trace and map the contours of new punk cinema, from its roots in neorealism and the French New Wave, to its flowering in the work of Lars von Trier and the Dogma 95 movement. Subsequent chapters explore the potentially democratic and even anarchic forces of digital filmmaking; the influences of hypertext and other new media; the increased role of the viewer in arranging and manipulating the chronology of a film; and the role of new punk cinema in plotting a course beyond the postmodern. The book examines a range of films, including The Blair Witch Project, Time Code, Run Lola Run, Memento, The Celebration, Gummo and Requiem for a Dream.Less
This book examines a new breed of film that is indebted to the punk spirit of experimentation, do-it-yourself ethos, and an uneasy, often defiant relationship with the mainstream. An array of scholars trace and map the contours of new punk cinema, from its roots in neorealism and the French New Wave, to its flowering in the work of Lars von Trier and the Dogma 95 movement. Subsequent chapters explore the potentially democratic and even anarchic forces of digital filmmaking; the influences of hypertext and other new media; the increased role of the viewer in arranging and manipulating the chronology of a film; and the role of new punk cinema in plotting a course beyond the postmodern. The book examines a range of films, including The Blair Witch Project, Time Code, Run Lola Run, Memento, The Celebration, Gummo and Requiem for a Dream.
David Martin-Jones
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780748633913
- eISBN:
- 9780748651207
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633913.003.0012
- Subject:
- Film, Television and Radio, Film
It would appear that indigenous film production is likely to continue to expand in Scotland. Even if Scotland remains a small national cinema in global terms, it is to be hoped that it will carry on ...
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It would appear that indigenous film production is likely to continue to expand in Scotland. Even if Scotland remains a small national cinema in global terms, it is to be hoped that it will carry on making a big impact globally. Whether it does or not, however, it seems probable that international film coproductions and location shooting will, because of the mutual benefit that Scotland's landscape brings to filmmakers from outside Scotland, the Scottish film industry and related industries like tourism. The increasingly blurry boundaries surrounding the category of ‘Scottish’ cinema require a reconsideration of Scottish filmmaking and filmmaking in Scotland inclusively, both in terms of its artistic and popular merits and in relation to an increasingly global context of production and distribution. Moreover, a brief survey of a few of the films not discussed in this book illustrates the variety of fantasy Scotlands that continue to exist and that have been created by filmmakers within, and from outside, Scotland, and the exploration of identities they facilitate.Less
It would appear that indigenous film production is likely to continue to expand in Scotland. Even if Scotland remains a small national cinema in global terms, it is to be hoped that it will carry on making a big impact globally. Whether it does or not, however, it seems probable that international film coproductions and location shooting will, because of the mutual benefit that Scotland's landscape brings to filmmakers from outside Scotland, the Scottish film industry and related industries like tourism. The increasingly blurry boundaries surrounding the category of ‘Scottish’ cinema require a reconsideration of Scottish filmmaking and filmmaking in Scotland inclusively, both in terms of its artistic and popular merits and in relation to an increasingly global context of production and distribution. Moreover, a brief survey of a few of the films not discussed in this book illustrates the variety of fantasy Scotlands that continue to exist and that have been created by filmmakers within, and from outside, Scotland, and the exploration of identities they facilitate.
Liam Burke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462036
- eISBN:
- 9781626745193
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462036.003.0001
- Subject:
- Literature, Comics Studies
This Introduction traces the history of today’s comic book film adaptation trend back to the earliest days of cinema with Louis Lumière’s 1895 film L’Arroseur Arrosé. It outlines the scope of the ...
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This Introduction traces the history of today’s comic book film adaptation trend back to the earliest days of cinema with Louis Lumière’s 1895 film L’Arroseur Arrosé. It outlines the scope of the book and establishes key terms. This section also identifies where this project fits in the field of adaptation studies. Specifically, it argues that a study of the comic book film adaptation is well positioned to traverse the research quagmires of the past and move the study of adaptation into new and more productive territory.Less
This Introduction traces the history of today’s comic book film adaptation trend back to the earliest days of cinema with Louis Lumière’s 1895 film L’Arroseur Arrosé. It outlines the scope of the book and establishes key terms. This section also identifies where this project fits in the field of adaptation studies. Specifically, it argues that a study of the comic book film adaptation is well positioned to traverse the research quagmires of the past and move the study of adaptation into new and more productive territory.
Liam Burke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462036
- eISBN:
- 9781626745193
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462036.003.0005
- Subject:
- Literature, Comics Studies
The Golden Age of Comic Book Filmmaking saw filmmakers engaging with the language of comics with unprecedented enthusiasm, often by utilizing the control offered by digital technologies. Bullet-time, ...
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The Golden Age of Comic Book Filmmaking saw filmmakers engaging with the language of comics with unprecedented enthusiasm, often by utilizing the control offered by digital technologies. Bullet-time, which was innovated for The Matrix as a means to approximate the limitless discourse time of comics, probably proliferated most widely. However, there were many further efforts to adapt the language of comics to cinema. For instance, filmmakers often went beyond ready-made equivalents in their desire to create comic book-like panels and transitions, visualize sound, and bring previously specific codes to the screen. The enthusiasm for the comic language, coupled with the plasticity of the digital film image, even led to a measure of comic book graphiation seeping into cinema. Although many of these techniques did not enjoy the success of bullet-time, collectively they testify to a concerted effort to achieve a comic aesthetic, which has served to enrich the expressivity of mainstream cinema.Less
The Golden Age of Comic Book Filmmaking saw filmmakers engaging with the language of comics with unprecedented enthusiasm, often by utilizing the control offered by digital technologies. Bullet-time, which was innovated for The Matrix as a means to approximate the limitless discourse time of comics, probably proliferated most widely. However, there were many further efforts to adapt the language of comics to cinema. For instance, filmmakers often went beyond ready-made equivalents in their desire to create comic book-like panels and transitions, visualize sound, and bring previously specific codes to the screen. The enthusiasm for the comic language, coupled with the plasticity of the digital film image, even led to a measure of comic book graphiation seeping into cinema. Although many of these techniques did not enjoy the success of bullet-time, collectively they testify to a concerted effort to achieve a comic aesthetic, which has served to enrich the expressivity of mainstream cinema.
Liam Burke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628462036
- eISBN:
- 9781626745193
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628462036.003.0007
- Subject:
- Literature, Comics Studies
This final section summarizes the key points raised in the book, while anticipating the future of the comic book movie.
This final section summarizes the key points raised in the book, while anticipating the future of the comic book movie.
Daniel Kremer
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780813165967
- eISBN:
- 9780813166742
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813165967.003.0014
- Subject:
- Film, Television and Radio, Film
Here the author describes Furie’s upcoming project, which Furie claims will be his final film, his swan song. Drive Me to Vegas and Mars, a comedy-drama-caper, is slated to be produced as a ...
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Here the author describes Furie’s upcoming project, which Furie claims will be his final film, his swan song. Drive Me to Vegas and Mars, a comedy-drama-caper, is slated to be produced as a microbudget digital film, a summing up of a career in more ways than one.Less
Here the author describes Furie’s upcoming project, which Furie claims will be his final film, his swan song. Drive Me to Vegas and Mars, a comedy-drama-caper, is slated to be produced as a microbudget digital film, a summing up of a career in more ways than one.
Julia Knight and Christine Gledhill (eds)
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039683
- eISBN:
- 9780252097775
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039683.001.0001
- Subject:
- Film, Television and Radio, Film
Research into and around women's participation in cinematic history is enjoying a period of dynamic growth. A broadening of scope and interests encompasses not only different kinds of filmmaking ...
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Research into and around women's participation in cinematic history is enjoying a period of dynamic growth. A broadening of scope and interests encompasses not only different kinds of filmmaking (mainstream fiction, experimental, and documentary) but also practices (publicity, journalism, distribution and exhibition) seldom explored in the past. Cutting-edge and inclusive, this book addresses women's filmmaking in Europe and the United States while also moving beyond to explore the influence of women on the cinemas of India, Chile, Turkey, Russia, and Australia. The book grapples with historiographic questions that cover film history from the pioneering era to the present day. Yet it also addresses the very mission of practicing scholarship. Chapters explore essential issues like identifying women's participation in their cinema cultures, locating previously unconsidered sources of evidence, developing methodologies and analytical concepts to reveal the impact of gender on film production, distribution and reception, and reframing women's film history to accommodate new questions and approaches.Less
Research into and around women's participation in cinematic history is enjoying a period of dynamic growth. A broadening of scope and interests encompasses not only different kinds of filmmaking (mainstream fiction, experimental, and documentary) but also practices (publicity, journalism, distribution and exhibition) seldom explored in the past. Cutting-edge and inclusive, this book addresses women's filmmaking in Europe and the United States while also moving beyond to explore the influence of women on the cinemas of India, Chile, Turkey, Russia, and Australia. The book grapples with historiographic questions that cover film history from the pioneering era to the present day. Yet it also addresses the very mission of practicing scholarship. Chapters explore essential issues like identifying women's participation in their cinema cultures, locating previously unconsidered sources of evidence, developing methodologies and analytical concepts to reveal the impact of gender on film production, distribution and reception, and reframing women's film history to accommodate new questions and approaches.
Derek Schilling and Philippe Met (eds)
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781526106858
- eISBN:
- 9781526135995
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526106858.001.0001
- Subject:
- Film, Television and Radio, Film
Long before the emergence in the 1990s of a ‘cinéma de banlieue’ on the heels of Mathieu Kassovitz’s La Haine (1995), French filmmakers looked beyond the gates of the French capital for inspiration ...
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Long before the emergence in the 1990s of a ‘cinéma de banlieue’ on the heels of Mathieu Kassovitz’s La Haine (1995), French filmmakers looked beyond the gates of the French capital for inspiration and content. In the Paris suburbs, they found a vast reservoir of architectural forms, landscapes and contemporary social types in which to anchor their fictions. From the villas and vacant lots of silent serials of the 1910s and the bucolic riverside guinguettes of 1930s poetic realism, to the housing estates and motorways of the second post-war, the suburban landscape came to form a privileged site in the French cinematographic imaginary. In keeping with directorial vision, the prerogatives of the film industry or the internal demands of genre, the suburb could be made to impart a strong impression of reality or unreality, novelty or ordinariness, danger or enjoyment. The contributors to this volume argue collectively for a long history of the suburban imaginary by contrasting diverse ‘structures of feeling’ (Raymond Williams) that correlate to divergent aesthetic and ideological programmes. Commenting on narrative, documentary and essay films, they address such themes as class conflict, leisure, boredom, violence and anti-authoritarianism, underscoring the broader function of the suburb as a site of intense cultural productivity.Less
Long before the emergence in the 1990s of a ‘cinéma de banlieue’ on the heels of Mathieu Kassovitz’s La Haine (1995), French filmmakers looked beyond the gates of the French capital for inspiration and content. In the Paris suburbs, they found a vast reservoir of architectural forms, landscapes and contemporary social types in which to anchor their fictions. From the villas and vacant lots of silent serials of the 1910s and the bucolic riverside guinguettes of 1930s poetic realism, to the housing estates and motorways of the second post-war, the suburban landscape came to form a privileged site in the French cinematographic imaginary. In keeping with directorial vision, the prerogatives of the film industry or the internal demands of genre, the suburb could be made to impart a strong impression of reality or unreality, novelty or ordinariness, danger or enjoyment. The contributors to this volume argue collectively for a long history of the suburban imaginary by contrasting diverse ‘structures of feeling’ (Raymond Williams) that correlate to divergent aesthetic and ideological programmes. Commenting on narrative, documentary and essay films, they address such themes as class conflict, leisure, boredom, violence and anti-authoritarianism, underscoring the broader function of the suburb as a site of intense cultural productivity.
Douglas Keesey
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9781628466973
- eISBN:
- 9781628467024
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628466973.003.0031
- Subject:
- Film, Television and Radio, Film
This concluding chapter looks back into De Palma's oeuvre in order to chart a brief history of his life and his attempts to move forward from the rivalries of his past to the compassion that he hopes ...
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This concluding chapter looks back into De Palma's oeuvre in order to chart a brief history of his life and his attempts to move forward from the rivalries of his past to the compassion that he hopes for his daughters' futures. It also examines the public reception of De Palma's works, particularly his lack of awards and distinctions in comparison to his peers, such as Francis Ford Coppola, Martin Scorsese, and Steven Spielberg. De Palma, after all, has argued himself that he cannot be acknowledged as a “Great Director” by the public because of his frequently controversial, anti-establishment stance in his films. Hence the chapter delves into De Palma's own attitudes toward filmmaking, highlighting his own struggles to move past competition and emphasizing that he is a great director in his own right.Less
This concluding chapter looks back into De Palma's oeuvre in order to chart a brief history of his life and his attempts to move forward from the rivalries of his past to the compassion that he hopes for his daughters' futures. It also examines the public reception of De Palma's works, particularly his lack of awards and distinctions in comparison to his peers, such as Francis Ford Coppola, Martin Scorsese, and Steven Spielberg. De Palma, after all, has argued himself that he cannot be acknowledged as a “Great Director” by the public because of his frequently controversial, anti-establishment stance in his films. Hence the chapter delves into De Palma's own attitudes toward filmmaking, highlighting his own struggles to move past competition and emphasizing that he is a great director in his own right.
M.K. Raghavendra
- Published in print:
- 2011
- Published Online:
- September 2012
- ISBN:
- 9780198071587
- eISBN:
- 9780199080793
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198071587.003.0004
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter examines Kannada films from the 1990s. It discusses how from the late 1980s onwards, Kannada cinema becomes depleted because of a lack of signifiers — the cinema does not ‘mean’ in the ...
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This chapter examines Kannada films from the 1990s. It discusses how from the late 1980s onwards, Kannada cinema becomes depleted because of a lack of signifiers — the cinema does not ‘mean’ in the way it had done hitherto. The region is absent as an imagined community in these Kannada films and this perhaps accounts for them being unable to ‘mean’. It considers one aspect of Kannada cinema that has distressed its avid followers — the vulgarity that appears to overwhelm it in the early 1990s. It also looks at the treatment of women in these films, specifically the notion of feminine promiscuity. It discusses the attitude of Kannada cinema towards Bangalore and how a large number of films are either ‘framed’ as stories being related by filmmakers or involve the process of filmmaking in some way.Less
This chapter examines Kannada films from the 1990s. It discusses how from the late 1980s onwards, Kannada cinema becomes depleted because of a lack of signifiers — the cinema does not ‘mean’ in the way it had done hitherto. The region is absent as an imagined community in these Kannada films and this perhaps accounts for them being unable to ‘mean’. It considers one aspect of Kannada cinema that has distressed its avid followers — the vulgarity that appears to overwhelm it in the early 1990s. It also looks at the treatment of women in these films, specifically the notion of feminine promiscuity. It discusses the attitude of Kannada cinema towards Bangalore and how a large number of films are either ‘framed’ as stories being related by filmmakers or involve the process of filmmaking in some way.
Henry Lowood and Michael Nitsche (eds)
- Published in print:
- 2011
- Published Online:
- August 2013
- ISBN:
- 9780262015332
- eISBN:
- 9780262295369
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262015332.001.0001
- Subject:
- Computer Science, Game Studies
Over the last decade, machinima—the use of computer game engines to create movies—has emerged as a vibrant area in digital culture. Machinima as a filmmaking tool grew from the bottom up, driven by ...
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Over the last decade, machinima—the use of computer game engines to create movies—has emerged as a vibrant area in digital culture. Machinima as a filmmaking tool grew from the bottom up, driven by enthusiasts who taught themselves to deploy technologies from computer games to create animated films quickly and cheaply. This book provides a critical overview of this rapidly developing field. The contributors include both academics and artist-practitioners. They explore machinima from multiple perspectives, ranging from technical aspects of machinima, from real-time production to machinima as a performative and cinematic medium, while paying close attention to the legal, cultural, and pedagogical contexts for machinima. The book extends critical debates originating within the machinima community to a wider audience and provides a foundation for scholarly work from a variety of disciplines. It charts the emergence of machinima as a game-based cultural production that spans technologies and media, forming new communities of practice on its way to a history, an aesthetic, and a market.Less
Over the last decade, machinima—the use of computer game engines to create movies—has emerged as a vibrant area in digital culture. Machinima as a filmmaking tool grew from the bottom up, driven by enthusiasts who taught themselves to deploy technologies from computer games to create animated films quickly and cheaply. This book provides a critical overview of this rapidly developing field. The contributors include both academics and artist-practitioners. They explore machinima from multiple perspectives, ranging from technical aspects of machinima, from real-time production to machinima as a performative and cinematic medium, while paying close attention to the legal, cultural, and pedagogical contexts for machinima. The book extends critical debates originating within the machinima community to a wider audience and provides a foundation for scholarly work from a variety of disciplines. It charts the emergence of machinima as a game-based cultural production that spans technologies and media, forming new communities of practice on its way to a history, an aesthetic, and a market.
Robert Miklitsch (ed.)
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038594
- eISBN:
- 9780252096518
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038594.001.0001
- Subject:
- Film, Television and Radio, Film
Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating ...
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Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle. But a new generation of writers is pushing aside the fog of cigarette smoke surrounding classic noir scholarship. This book is a bold collection of essays that reassesses the genre's iconic style, history, and themes. Chapters analyze the oft-overlooked female detective and little-examined aspects of filmmaking like love songs and radio aesthetics, discuss the significance of the producer and women's pulp fiction, as well as investigate Disney noir and the Fifties heist film, B-movie back projection and blacklisted British directors. At the same time the writers' collective reconsideration unwinds the impact of hot-button topics like race and gender, history and sexuality, technology and transnationality.Less
Consider the usual view of film noir: endless rainy nights populated by down-at-the-heel boxers, writers, and private eyes stumbling toward inescapable doom while stalked by crooked cops and cheating wives in a neon-lit urban jungle. But a new generation of writers is pushing aside the fog of cigarette smoke surrounding classic noir scholarship. This book is a bold collection of essays that reassesses the genre's iconic style, history, and themes. Chapters analyze the oft-overlooked female detective and little-examined aspects of filmmaking like love songs and radio aesthetics, discuss the significance of the producer and women's pulp fiction, as well as investigate Disney noir and the Fifties heist film, B-movie back projection and blacklisted British directors. At the same time the writers' collective reconsideration unwinds the impact of hot-button topics like race and gender, history and sexuality, technology and transnationality.
Linda Badley, Claire Perkins, Michele Schreiber, and Michele Schreiber (eds)
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474403924
- eISBN:
- 9781474426756
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474403924.001.0001
- Subject:
- Film, Television and Radio, Film
With the consolidation of ‘indie’ culture in the twenty-first century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, ...
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With the consolidation of ‘indie’ culture in the twenty-first century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe ‘maverick’ white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream ‘chick flick’ and the ideological and experimental radicalism of feminist counter-cinema alike, women’s indie filmmaking is neither ironic, popular nor political enough to be readily absorbed into any pre-existing categories. This collection – the first sustained examination of the work of female practitioners within American independent cinema – reclaims the ‘difference’ of female indie filmmaking. Through case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, the contributors explore the innovation of a range of female practitioners by attending to the sensibilities, ideologies and industrial practices that distinguish their work – while embracing the ‘in-between’ space in which the complex narratives they represent and embody can be revealed. The volume is organised into an introduction and four parts: ‘Production and Distribution Contexts’ (chapters 1-5), ‘Genres and Modalities’ (chapters 6-9), ‘Identities’ (chapters 10-14) and ‘Collaborations’ (chapters 15-18).Less
With the consolidation of ‘indie’ culture in the twenty-first century, female filmmakers face an increasingly indifferent climate. Within this sector, women work across all aspects of writing, direction, production, editing and design, yet the dominant narrative continues to construe ‘maverick’ white male auteurs such as Quentin Tarantino or Wes Anderson as the face of indie discourse. Defying the formulaic myths of the mainstream ‘chick flick’ and the ideological and experimental radicalism of feminist counter-cinema alike, women’s indie filmmaking is neither ironic, popular nor political enough to be readily absorbed into any pre-existing categories. This collection – the first sustained examination of the work of female practitioners within American independent cinema – reclaims the ‘difference’ of female indie filmmaking. Through case studies of directors, writers and producers such as Ava DuVernay, Lena Dunham and Christine Vachon, the contributors explore the innovation of a range of female practitioners by attending to the sensibilities, ideologies and industrial practices that distinguish their work – while embracing the ‘in-between’ space in which the complex narratives they represent and embody can be revealed. The volume is organised into an introduction and four parts: ‘Production and Distribution Contexts’ (chapters 1-5), ‘Genres and Modalities’ (chapters 6-9), ‘Identities’ (chapters 10-14) and ‘Collaborations’ (chapters 15-18).
