Results by title

618 books match the query 'Motion pictures' and 33 start with s

cover of Savage Theory: Cinema as Modern Magic

Savage Theory

Cinema as Modern Magic

Rachel O. Moore

Duke University Press, 2000

Savage Theory articulates the powerful mythology of cinema as the premier medium for magic in modern times. Envisioning the cinema as a form of magical ritual that possesses the power to enliven, heal, and enchant, Rachel O. Moore explores modernity’s relationship to the primitive by analyzing understandings of primitive belief and ritual in early film theory alongside illustrative scenes from popular as well as avant-garde film.
Moore mines the theories of language, spectatorship, and cinematic expression in the writings of Vachel Lindsay, Sergei Eisenstein, Siegfried Kracauer, and Walter Benjamin, among others. Illuminating the links between these theorists’ preoccupations with cinema as a form of primal communication and the numbing effects of modernity, she demonstrates how movies are uniquely able to negotiate the fragmentary and isolating nature of a modern world. In constructing an alternative to cognitive, psychoanalytic, and ideological approaches to film analysis, Moore provides eye-opening discussions of films such as Kenneth Anger’s Scorpio Rising, Hollis Frampton’s Nostalgia, and Robert Bresson’s l’Argent. Drawing from Marx’s theory of the commodity and Lukács’s work on second nature, she outlines the fetish character of the film image and reveals the emergence of the camera as a magical tool replete with animistic powers otherwise lost in the storm of progress.
Bound to influence the way future scholars think about the connection between modernism and primitivism, as well as the role of cinema therein during the early twentieth century, Savage Theory will be welcomed by scholars of film theory and anthropology and will also appeal to a wider cultural studies audience.
[more]
cover of Screen Traffic: Movies, Multiplexes, and Global Culture

Screen Traffic

Movies, Multiplexes, and Global Culture

Charles R. Acland

Duke University Press, 2003

In Screen Traffic, Charles R. Acland examines how, since the mid-1980s, the U.S. commercial movie business has altered conceptions of moviegoing both within the industry and among audiences. He shows how studios, in their increasing reliance on revenues from international audiences and from the ancillary markets of television, videotape, DVD, and pay-per-view, have cultivated an understanding of their commodities as mutating global products. Consequently, the cultural practice of moviegoing has changed significantly, as has the place of the cinema in relation to other sites of leisure.

Integrating film and cultural theory with close analysis of promotional materials, entertainment news, trade publications, and economic reports, Acland presents an array of evidence for the new understanding of movies and moviegoing that has developed within popular culture and the entertainment industry. In particular, he dissects a key development: the rise of the megaplex, characterized by large auditoriums, plentiful screens, and consumer activities other than film viewing. He traces its genesis from the re-entry of studios into the movie exhibition business in 1986 through 1998, when reports of the economic destabilization of exhibition began to surface, just as the rise of so-called e-cinema signaled another wave of change. Documenting the current tendency toward an accelerated cinema culture, one that appears to arrive simultaneously for everyone, everywhere, Screen Traffic unearths and critiques the corporate and cultural forces contributing to the “felt internationalism” of our global era.

[more]
cover of Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema

Screening China

Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema

Zhang Yingjin

University of Michigan Press, 2001

Even as lawsuits challenging its admissions policies made their way through the courts, the University of Michigan carried the torch for affirmative action in higher education.In June 2003, the Supreme Court vindicated UM's position on affirmative action when it ruled that race may be used as a factor for universities in their admissions programs, thus confirming what the UM had argued all along: diversity in the classroom translates to a beneficial and wide-ranging social value. With the green light given to the law school's admissions policies, Defending Diversity validates the positive benefits gained by students in a diverse educational setting.Written by prominent University of Michigan faculty, Defending Diversity is a timely response to the court's ruling. Providing factual background, historical setting, and the psychosocial implications of affirmative action, the book illuminates the many benefits of a diverse higher educational setting -- including preparing students to be full participants in a pluralistic democracy -- and demonstrates why affirmative action is necessary to achieve that diversity.Defending Diversity is a significant contribution to the ongoing discussion on affirmative action in higher education. Perhaps more important, it is a valuable record of the history, events, arguments, and issues surrounding the original lawsuits and the Supreme Court's subsequent ruling, and helps reclaim the debate from those forces opposed to affirmative action.
[more]
cover of Screening Cuba: Film Criticism as Political Performance during the Cold War

Screening Cuba

Film Criticism as Political Performance during the Cold War

Hector Amaya

University of Illinois Press, 2010

Hector Amaya advances into new territory in Latin American and U.S. cinema studies in this innovative analysis of the differing critical receptions of Cuban film in Cuba and the United States during the Cold War. Synthesizing film reviews, magazine articles, and other primary documents, Screening Cuba compares Cuban and U.S. reactions to four Cuban films: Memories of Underdevelopment, Lucia, One Way or Another, and Portrait of Teresa.
 
In examining cultural production through the lens of the Cold War, Amaya reveals how contrasting interpretations of Cuban and U.S. critics are the result of the political cultures in which they operated. While Cuban critics viewed the films as powerful symbols of the social promises of the Cuban revolution, liberal and leftist American critics found meaning in the films as representations of anti-establishment progressive values and Cold War discourses. By contrasting the hermeneutics of Cuban and U.S. culture, criticism, and citizenship, Amaya argues that critical receptions of political films constitute a kind of civic public behavior.
[more]
cover of Screening Modernism: European Art Cinema, 1950-1980

Screening Modernism

European Art Cinema, 1950-1980

András Bálint Kovács

University of Chicago Press, 2007

Casting fresh light on the renowned productions of auteurs like Antonioni, Fellini, and Bresson and drawing out from the shadows a range of important but lesser-known works, Screening Modernism is the first comprehensive study of European art cinema’s postwar heyday.

Spanning from the 1950s to the 1970s, András Bálint Kovács’s encyclopedic work argues that cinematic modernism was not a unified movement with a handful of styles and themes but rather a stunning range of variations on the core principles of modern art. Illustrating how the concepts of modernism and the avant-garde variously manifest themselves in film, Kovács begins by tracing the emergence of art cinema as a historical category. He then explains the main formal characteristics of modern styles and forms as well as their intellectual foundation. Finally, drawing on modernist theory and philosophy along the way, he provides an innovative history of the evolution of modern European art cinema.

Exploring not only modernism’s origins but also its stylistic, thematic, and cultural avatars, Screening Modernism ultimately lays out creative new ways to think about the historical periods that comprise this golden age of film.
[more]
cover of Screening Morocco: Contemporary Film in a Changing Society

Screening Morocco

Contemporary Film in a Changing Society

Valérie K. Orlando

Ohio University Press, 2011

Since 1999 and the death of King Hassan II, Morocco has experienced adramatic social transformation. Encouraged by the more openly democraticclimate fostered by young King Mohammed VI, filmmakers have begunto explore the sociocultural and political debates of their country whilealso seeking to document the untold stories of a dark past.Screening Morocco: Contemporary Film in a ChangingSociety focuses on Moroccan films produced and distributedfrom 1999 to the present. Moroccan cinema serves as an all-inclusive medium that providesa sounding board for a society that is remaking itself.Male and female directors present the face of an engaged,multiethnic and multilingual society. Their cinematographypromotes a country that is dynamic and connected to theglobal sociocultural economy of the twenty-first century. Atthe same time, they seek to represent the closed, obscurepast of a nation’s history that has rarely been told, drawingon themes such as human rights abuse, the former incarcerationof thousands during the Lead Years, women’semancipation, poverty, and claims for social justice. Screening Morocco will introduce American readers to therichness in theme and scope of the cinematic production ofMorocco.
[more]
cover of Screening Neoliberalism: Transforming Mexican Cinema, 1988-2012

Screening Neoliberalism

Transforming Mexican Cinema, 1988-2012

Ignacio M. Sánchez Prado

Vanderbilt University Press, 2014

Cavernous, often cold, always dark, with the lingering smell of popcorn in the air: the experience of movie-going is universal. The cinematic experience in Mexico is no less profound, and has evolved in complex ways in recent years. Films like Y Tu Mama Tambien, El Mariachi, Amores Perros, and the work of icons like Guillermo del Toro and Salma Hayek represent much more than resurgent interest in the cinema of Mexico. In Screening Neoliberalism, Ignacio Sanchez Prado explores precisely what happened to Mexico's film industry in recent decades. Far from just a history of the period, Screening Neoliberalism explores four deep transformations in the Mexican film industry: the decline of nationalism, the new focus on middle-class audiences, the redefinition of political cinema, and the impact of globalization. This analysis considers the directors and films that have found international notoriety as well as those that have been instrumental in building a domestic market. Screening Neoliberalism exposes the consequences of a film industry forced to find new audiences in Mexico's middle-class in order to achieve economic and cultural viability.
[more]
cover of Screening Out the Past: The Birth of Mass Culture and the Motion Picture Industry

Screening Out the Past

The Birth of Mass Culture and the Motion Picture Industry

Lary May

University of Chicago Press, 1983

"A scrupulously argued, clearly written account of Hollywood's role in bringing America skipping and giggling from the Victorian world into the twentieth century."—Philip French, London Sunday Observer

"It is impossible to follow a narrow trail through the movies. The vistas keep opening, and May, linking movies to mass society, finds and makes new perceptions on emerging women, the rise of the studios, the special growth and appeal of Los Angeles, the nature of studio leadership and the early and persistent imputed corrupting power of film."—Charles Champlin, Los Angeles Times

"Lary May . . . has provided a set of new and rich insights into the changing patterns of American culture, 1890-1929. . . . His concentration on social and cultural history indirectly provides answers to questions which have baffled political historians for several decades."—David W. Noble, Minneapolis Tribune

"[Screening Out the Past is] a scrupulously argued, clearly written account of Hollywood's role in bringing America skipping and giggling from the Victorian world into the twentieth century. May is splendid on the psychology of the immigrant movie moguls, on Douglas Fairbanks and Mary Pickford as post Great War role models, and many other things."—Philip French, London Sunday Observor

"Altogether, the book represents the most successful blending of movie and cultural history to date."—Benjamin McArthur, Journal of Social History
[more]
cover of Screening Stephen King: Adaptation and the Horror Genre in Film and Television

Screening Stephen King

Adaptation and the Horror Genre in Film and Television

By Simon Brown

University of Texas Press, 2018

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.

[more]
cover of Seeing by Electricity: The Emergence of Television, 1878-1939

Seeing by Electricity

The Emergence of Television, 1878-1939

Doron Galili

Duke University Press, 2020

Already in the late nineteenth century, electricians, physicists, and telegraph technicians dreamed of inventing televisual communication apparatuses that would “see” by electricity as a means of extending human perception. In Seeing by Electricity Doron Galili traces the early history of television, from fantastical image transmission devices initially imagined in the 1870s such as the Telectroscope, the Phantoscope, and the Distant Seer to the emergence of broadcast television in the 1930s. Galili examines how televisual technologies were understood in relation to film at different cultural moments—whether as a perfection of cinema, a threat to the Hollywood industry, or an alternative medium for avant-garde experimentation. Highlighting points of overlap and divergence in the histories of television and cinema, Galili demonstrates that the intermedial relationship between the two media did not start with their economic and institutional rivalry of the late 1940s but rather goes back to their very origins. In so doing, he brings film studies and television studies together in ways that advance contemporary debates in media theory.
[more]
cover of Seeing the Big Picture, Revised Edition: A Cinematic Approach to Understanding Cultures in America

Seeing the Big Picture, Revised Edition

A Cinematic Approach to Understanding Cultures in America

Ellen Summerfield and Sandra Lee

University of Michigan Press, 2006

Seeing the Big Picture, Revised Edition, is designed to broaden students' awareness, understanding, and appreciation of the many cultures and subcultures in the United States. The authors have chosen popular films as tools for exposing students to aspects of cultures, including those of African Americans, Chinese Americans, Mexican Americans, and Muslim Americans. Writing and discussion activities will help students explore the cultural points of view portrayed in each of the films. Students are also advised to keep a film journal that will allow them to observe how their reactions and observations develop through the course of the class.

In addition to increasing students' knowledge and understanding of cultural differences, Seeingthe Big Picture will help students develop strong critical-thinking and analytic abilities as they learn to recognize and question messages inherent in the films' portrayals of different populations. A unique feature of the text are the Points of View segments from directors, insiders, and students that appear throughout the text, provoking perspectives students might not otherwise encounter.

This text is the ideal coursebook for undergraduate diversity electives and other multicultural awareness courses.
[more]
cover of Shadows on the Past: Studies in the Historical Fiction Film

Shadows on the Past

Studies in the Historical Fiction Film

Leger Grindon

Temple University Press, 1994

Studying popular Hollywood films from Gone With the Wind to Reds and such distinguished European films as La Marseillaise and The Rise to Power of Louis XIV, Leger Grindon examines how historical fiction films interpret the present through a representation of the past.

The historical fiction film is characterized by a set of motives and, Grindon argues, deserves to be considered a genre unto itself. Appropriation of historical events can insinuate a film's authority of its subject, veil an intention, provide an escape into nostalgia, or direct a search for knowledge and origins. Utilizing the past as a way of responding to social conflicts in the present, Grindon shows how the genre promotes a political agenda, superseding the influence of scholarship on the public's perception and interpretation of history.

In the series Culture and the Moving Image, edited by Robert Sklar.

 

[more]
cover of Shaping the Future of African American Film: Color-Coded Economics and the Story Behind the Numbers

Shaping the Future of African American Film

Color-Coded Economics and the Story Behind the Numbers

Monica White Ndounou

Rutgers University Press, 2014

Received the Distinction Honor for the 2016 C. Calvin Smith Book Award from the Southern Conference on African American Studies, Inc. 

In Hollywood, we hear, it’s all about the money. It’s a ready explanation for why so few black films get made—no crossover appeal, no promise of a big payoff.  But what if the money itself is color-coded?  What if the economics that governs film production is so skewed that no film by, about, or for people of color will ever look like a worthy investment unless it follows specific racial or gender patterns?  This, Monica Ndounou shows us, is precisely the case.  In a work as revealing about the culture of filmmaking as it is about the distorted economics of African American film, Ndounou clearly traces the insidious connections between history, content, and cash in black films.

How does history come into it?  Hollywood’s reliance on past performance as a measure of potential success virtually guarantees that historically underrepresented, underfunded, and undersold African American films devalue the future prospects of black films.  So the cycle continues as it has for nearly a century.  Behind the scenes, the numbers are far from neutral.  Analyzing the onscreen narratives and off-screen circumstances behind nearly two thousand films featuring African Americans in leading and supporting roles, including such recent productions as Bamboozled, Beloved, and Tyler Perry’s Diary of a Mad Black Woman, Ndounou exposes the cultural and racial constraints that limit not just the production but also the expression and creative freedom of black films. Her wide-ranging analysis reaches into questions of literature, language, speech and dialect, film images and narrative, acting, theater and film business practices, production history and financing, and organizational history.

By uncovering the ideology behind profit-driven industry practices that reshape narratives by, about, and for people of color, this provocative work brings to light existing limitations—and possibilities for reworking stories and business practices in theater, literature, and film.
[more]
cover of Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change

Shimmering Images

Trans Cinema, Embodiment, and the Aesthetics of Change

Eliza Steinbock

Duke University Press, 2019

In Shimmering Images Eliza Steinbock traces how cinema offers alternative ways to understand gender transitions through a specific aesthetics of change. Drawing on Barthes's idea of the “shimmer” and Foucault's notion of sex as a mirage, the author shows how sex and gender can appear mirage-like on film, an effect they label shimmering. Steinbock applies the concept of shimmering—which delineates change in its emergent form as well as the qualities of transforming bodies, images, and affects—to analyses of films that span time and genre. These include examinations of the fantastic and phantasmagorical shimmerings of sex change in Georges Méliès's nineteenth-century trick films and Lili Elbe's 1931 autobiographical writings and photomontage in Man into Woman. Steinbock also explores more recent documentaries, science fiction, and pornographic and experimental films. Presenting a cinematic philosophy of transgender embodiment that demonstrates how shimmering images mediate transitioning, Steinbock not only offers a corrective to the gender binary orientation of feminist film theory; they open up new means to understand trans ontologies and epistemologies as emergent, affective, and processual.
[more]
cover of Shot on Location: Postwar American Cinema and the Exploration of Real Place

Shot on Location

Postwar American Cinema and the Exploration of Real Place

Palmer, R. Barton

Rutgers University Press, 2016

In the early days of filmmaking, before many of Hollywood’s elaborate sets and soundstages had been built, it was common for movies to be shot on location. Decades later, Hollywood filmmakers rediscovered the practice of using real locations and documentary footage in their narrative features. Why did this happen? What caused this sudden change?
 
Renowned film scholar R. Barton Palmer answers this question in Shot on Location by exploring the historical, ideological, economic, and technological developments that led Hollywood to head back outside in order to capture footage of real places. His groundbreaking research reveals that wartime newsreels had a massive influence on postwar Hollywood film, although there are key distinctions to be made between these movies and their closest contemporaries, Italian neorealist films. Considering how these practices were used in everything from war movies like Twelve O’Clock High to westerns like The Searchers, Palmer explores how the blurring of the formal boundaries between cinematic journalism and fiction lent a “reality effect” to otherwise implausible stories.
 
Shot on Location describes how the period’s greatest directors, from Alfred Hitchcock to Billy Wilder, increasingly moved beyond the confines of the studio. At the same time, the book acknowledges the collaborative nature of moviemaking, identifying key roles that screenwriters, art designers, location scouts, and editors played in incorporating actual geographical locales and social milieus within a fictional framework. Palmer thus offers a fascinating behind-the-scenes look at how Hollywood transformed the way we view real spaces. 
[more]
cover of Siren City: Sound and Source Music in Classic American Noir

Siren City

Sound and Source Music in Classic American Noir

Miklitsch, Robert

Rutgers University Press, 2011

Hailed for its dramatic expressionist visuals, film noir is one of the most prominent genres in Hollywood cinema. Yet, despite the "boom" in sound studies, the role of sonic effects and source music in classic American noir has not received the attention it deserves. Siren City engagingly illustrates how sound tracks in 1940s film noir are often just as compelling as the genre's vaunted graphics.

Focusing on a wide range of celebrated and less well known films and offering an introductory discussion of film sound, Robert Miklitsch mobilizes the notion of audiovisuality to investigate period sound technologies such as the radio and jukebox, phonograph and Dictaphone, popular American music such as "hot" black jazz, and "big numbers" featuring iconic performers such as Lauren Bacall, Veronica Lake, and Rita Hayworth. Siren City resonates with the sounds and source music of classic American noir-gunshots and sirens, swing riffs and canaries. Along with the proverbial private eye and femme fatale, these audiovisuals are central to the noir aesthetic and one important reason the genre reverberates with audiences around the world.
[more]
cover of Six Turkish Filmmakers

Six Turkish Filmmakers

Laurence Raw

University of Wisconsin Press, 2017

Examining the vanguard of New Turkish Cinema, Laurence Raw shows how these films reveal the effects of profound socioeconomic change on ordinary people in contemporary Turkey.

In analysis of and personal interviews with Dervis Zaim, Zeki Demirkubuz, Semih Kaplanoglu, Çagan Irmak, Tolga Örnek, and Palme d'Or winner Nuri Bilge Ceylan, Raw draws connections with Turkish theater, art, sculpture, literature, poetry, philosophy, and international cinema. A native of England and a twenty-five-year resident of Turkey, Raw interleaves his film discussion with thoughtful commentary on nationalism, gender, personal identity, and cultural pluralism.
[more]
cover of Skyscraper Cinema: Architecture and Gender in American Film

Skyscraper Cinema

Architecture and Gender in American Film

Merrill Schleier

University of Minnesota Press, 2008

Whether tall office buildings, high-rise apartments, or lofty hotels, skyscrapers have been stars in American cinema since the silent era. Cinema’s tall buildings have been variously represented as unbridled aspiration, dens of iniquity and eroticism, beacons of democracy, and well-oiled corporate machines. Considering their intriguing diversity, Merrill Schleier establishes and explains the impact of actual skyscrapers on America’s ideologies about work, leisure, romance, sexual identity, and politics as seen in Hollywood movies.

Schleier analyzes cinematic works in which skyscrapers are an integral component, interpreting the iconography and spatial practices in these often fictional modern buildings, especially on concepts of gender. Organized chronologically and thematically, she offers close readings of films including Safety Last, Skyscraper Souls, Wife vs. Secretary, Baby Face, The Fountainhead, and Desk Set. Opening with the humorous antics of Harold Lloyd, the premier skyscraper actor of the silent era, the book moves through the disillusionment of the Depression era, in which skyscrapers are employed as players in moralistic, class-conscious stories, to post–World War II and its reimagining of American political and economic values and ends with the complicated prosperity of the 1950s and the lives of white-collar workers and their spouses.

Taking inspiration from Walter Benjamin’s Arcades Project, among works of other critical theorists, Schleier creates in this book a model for understanding architecture as a purveyor of desire and class values and, ultimately, contributes broadly to thinking on the rich intersection of the built environment, cinema, and gender.
[more]
cover of Small Nation, Global Cinema: The New Danish Cinema

Small Nation, Global Cinema

The New Danish Cinema

Mette Hjort

University of Minnesota Press, 2005

Small Nation, Global Cinema engages the effects of globalization from the perspective of small nations. Focusing her study on the specific cultural context of the international film market, Mette Hjort argues that the New Danish Cinema presents an opportunity to understand the effects of globalization within the culture and economy of a privileged small nation. 

Hjort offers two key strategies underwriting the transformation and globalization of contemporary Danish cinema—the processes of cultural circulation and the psychological efficacy of heritage. Exploring the Dogma 95 movement initiated by Lars von Trier and Thomas Vinterberg as well as films by Erik Clausen, Gabriel Axel, Henning Carlsen, and Ole Bornedal, among others, Hjort examines means for cinematic globalization specific to Denmark, but then evolves her investigation into a truly comparative framework encompassing references to Hong Kong, Latin America, and Hollywood filmmaking. Providing a fresh way of looking at cultural influence in the era of globalization, Hjort’s concept of “small” nation points as much to the dynamics of recognition, indifference, and participation as it does to more common measures of population size, economic strength, or linguistic reach. 

Mette Hjort is professor of intercultural studies at Aalborg University.
[more]
cover of So What, or How to Make Films with Words

So What, or How to Make Films with Words

Alexander García Düttmann

Northwestern University Press, 2023

A series of philosophical meditations on the nature of aesthetics across a wide array of filmmaking styles
 
Images, whether filmic or not, cannot be replaced by words. Yet words can make images. This is the general thesis underlying So What, a collection of essays on canonical filmmakers like Luchino Visconti and Orson Welles; more experimental directors, such as Marguerite Duras and Albert Serra; and visual artists, including Hollis Frampton and Agnes Martin. Alexander García Düttmann aims to make their films as if they did not precede his text, capturing their idea and experience.
 
If the relationship between filmic image and text is a heterogeneous one, then this heterogeneity must leave a trace. This is why the book’s chapters are organized not according to historical periods or on the basis of film theories but rather by single concepts that function like dictionary entries. The chapters adopt different forms, blurring the lines between art and philosophy. So What is a practical exercise in “making films with words,” inviting readers to draw out insights from its conceptual play.
 
So What compiles previously untranslated and hard-to-find essays into a single volume, one that represents the absorbing and singular thought process of a major contemporary philosopher.
[more]
cover of Sociology on Film: Postwar Hollywood's Prestige Commodity

Sociology on Film

Postwar Hollywood's Prestige Commodity

Cagle, Chris

Rutgers University Press, 2016

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. 
 
[more]
cover of Sound Design and Science Fiction

Sound Design and Science Fiction

By William Whittington

University of Texas Press, 2007

Sound is half the picture, and since the 1960s, film sound not only has rivaled the innovative imagery of contemporary Hollywood cinema, but in some ways has surpassed it in status and privilege because of the emergence of sound design.

This in-depth study by William Whittington considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema.

The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented.Whittington focuses on seminal science fiction films that have made specific advances in film sound, including 2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut), Terminator 2: Judgment Day and The Matrix trilogy and games—milestones of the entertainment industry's technological and aesthetic advancements with sound.

Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.

[more]
cover of Sound: Dialogue, Music, and Effects

Sound

Dialogue, Music, and Effects

Kalinak, Kathryn

Rutgers University Press, 2015

Sound has always been an integral component of the moviegoing experience. Even during the so-called “silent era,” motion pictures were regularly accompanied by live music, lectures, and sound effects. Today, whether we listen to movies in booming Dolby theaters or on tiny laptop speakers, sonic elements hold our attention and guide our emotional responses. Yet few of us are fully aware of the tremendous collaborative work, involving both artistry and technical wizardry, required to create that cinematic soundscape. 
 
Sound, the latest book in the Behind the Silver Screen series, introduces key concepts, seminal moments, and pivotal figures in the development of cinematic sound. Each of the book’s six chapters cover a different era in the history of Hollywood, from silent films to the digital age, and each is written by an expert in that period. Together, the book’s contributors are able to explore a remarkable range of past and present film industry practices, from the hiring of elocution coaches to the marketing of soundtrack records.  
 
Not only does the collection highlight the achievements of renowned sound designers and film composers like Ben Burtt and John Williams, it also honors the unsung workers whose inventions, artistry, and performances have shaped the soundscapes of many notable movies. After you read Sound, you’ll never see—or hear—movies in quite the same way. 
 
Sound is a volume in the Behind the Silver Screen series—other titles in the series include Acting; Animation; Art Direction and Production Design; Cinematography; Costume, Makeup, and Hair; Directing; Editing and Special Visual Effects; Producing; and Screenwriting.
 
 
 
[more]
cover of Sounding the Modern Woman: The Songstress in Chinese Cinema

Sounding the Modern Woman

The Songstress in Chinese Cinema

Jean Ma

Duke University Press, 2015

From the beginning of the sound cinema era, singing actresses captivated Chinese audiences. In Sounding the Modern Woman, Jean Ma shows how their rise to stardom attests to the changing roles of women in urban modernity and the complex symbiosis between the film and music industries. The songstress—whether appearing as an opera actress, showgirl, revolutionary, or country lass—belongs to the lineage of the Chinese modern woman, and her forty year prevalence points to a distinctive gendering of lyrical expression in Chinese film. Ma guides readers through film history by way of the on and off-screen careers of many of the most compelling performers in Chinese film history, such as Zhou Xuan and Grace Chang, revealing the ways that national crises and Cold War conflict shaped their celebrity. As a bridge between the film cultures of prewar Shanghai and postwar Hong Kong, the songstress brings into view a dense web of connections linking these two periods and places that cut across the divides of war, national politics, and geography.
[more]
cover of Soviet Rock on Screen: The Life, Death, and Resurrection of a Film Genre

Soviet Rock on Screen

The Life, Death, and Resurrection of a Film Genre

Rita Safariants

University of Wisconsin Press, 2026

As the Iron Curtain fell and Cold War suspicions thickened in the second half of the twentieth century, the quintessentially American genre of rock and roll, seen as a potent symbol and product of an enemy ideology, quickly became a clandestine import in the USSR. The Soviet underground embraced the forbidden sounds, despite official propaganda that called rock stars social parasites and corrupting sluggards. Contrary to the regime’s desires, the genre grew in popularity until it could no longer be ignored. In the Soviet Union’s last decade, a flailing film industry, controlled by and dependent on an increasingly unstable central government, seized on the rock star as a central figure—and the Soviet rock film was born.

In Soviet Rock on Screen, Rita Safariants chronicles the birth, life, death, and resurrection of a genre that rapidly became one of the most readily recognized cultural signifiers of the perestroika era and which continues to reflect and codify Russian culture. During their initial heyday in the 1980s, rock films were influenced by and encouraged the cultural shifts of perestroika and the incipient political storm. Today, Safariants argues, the reemergence and reconfiguration of the genre indicates the extent to which Soviet-era cultural emblems inform Russian national identity and obliquely support the current political repression under Putin.
[more]
cover of Spanish Film Under Franco

Spanish Film Under Franco

By Virginia Higginbotham

University of Texas Press, 1988

How does a totalitarian government influence the arts, and how do the arts respond? Spanish Film Under Franco raises these important questions, giving English speakers a starting point in their study of Spanish cinema.

After a brief overview of Spanish film before Franco, the author proceeds to a discussion of censorship as practiced by the Franco regime. The response of directors to censorship—the “franquista aesthetic,” or “aesthetic of repression,” with its highly metaphorical, oblique style—is explored in the works of Luis Buñuel, Carlos Saura, Juan Antonio Bardem, Luis García Berlanga, and other important directors.

Virginia Higginbotham combines historical perspective with detailed critical analysis and interpretation of many famous Franco-era films. She shows how directors managed to evade the censors and raise public awareness of issues relating to the Spanish Civil War and the repressions of the Franco regime.

Film has always performed an educational function in Spain, reaching masses of poor and uneducated citizens. And sometimes, as this study also reveals, Spanish film has been ignored when the questions it raised became too painful or demanding.

The author concludes with a look at post-Franco cinema and the directions it has taken. For anyone interested in modern Spanish film, this book will be essential reading.

[more]
cover of Spectral Aesthetics: Visualizing the Crisis of Migrant Disappearance

Spectral Aesthetics

Visualizing the Crisis of Migrant Disappearance

China Medel

University of Texas Press, 2026

Analyzing how artists reimagine migrant disappearance and visibility at the US–Mexico border.

In the mid-1990s, the US government implemented Prevention through Deterrence, a major buildup of troops, walls, and surveillance around El Paso and San Diego. Cut off from these crucial urban crossings, migrants flowed into the dangerous surrounding deserts, where some ten thousand have since died. This is all according to plan: Pentagon documents describe the strategy of funneling migrants toward “mortal danger.”

In this bracing critique, China Medel explores the aesthetics enabling and resisting the crisis of migrant death. The nation-state’s performance of sovereignty along the border, predicated on mass casualties, is tolerated and even celebrated, thanks to the images in our heads of racialized and therefore criminal bodies, made invisible as they disintegrate in the baking sand. Spectral Aesthetics shows how state officials and mainstream media, relying on postracial ideologies and white-supremacist agendas, collectively foster this picture of a brown body so abject that it is disposable. In close readings of artworks contesting this murderous visual regime, Medel discovers an alternative kind of sight, one emphasizing the ghostly traces of the dead. These are images not of the individual “alien” but of life itself, indisposable.

[more]
cover of Sports Movies

Sports Movies

Lester D. Friedman

Rutgers University Press, 2020

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 in 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.
[more]
cover of Stanley Kubrick Produces

Stanley Kubrick Produces

James Fenwick

Rutgers University Press, 2021

Stanley Kubrick Produces provides the first comprehensive account of Stanley Kubrick’s role as a producer, and of the role of the producers he worked with throughout his career. It considers how he first emerged as a producer, how he developed the role, and how he ultimately used it to fashion himself a powerbase by the 1970s. It goes on to consider how Kubrick’s centralizing of power became a self-defeating strategy by the 1980s and 1990s, one that led him to struggle to move projects out of development and into active production.
 
Making use of overlooked archival sources and uncovering newly discovered ‘lost’ Kubrick projects (The Cop Killer, Shark Safari, and The Perfect Marriage among them), as well as providing the first detailed overview of the World Assembly of Youth film, James Fenwick provides a comprehensive account of Kubrick’s life and career and of how he managed to obtain the level of control that he possessed by the 1970s. Along the way, the book traces the rapid changes taking place in the American film industry in the post-studio era, uncovering new perspectives about the rise of young independent producers, the operations of influential companies such as Seven Arts and United Artists, and the whole field of film marketing.
 
[more]
cover of Stardust: Cinematic Archives at the End of the World

Stardust

Cinematic Archives at the End of the World

Hannah Goodwin

University of Minnesota Press, 2024

An exploration of the fundamental bond between cinema and the cosmos
 

The advent of cinema occurred alongside pivotal developments in astronomy and astrophysics, including Albert Einstein’s theories of relativity, all of which dramatically altered our conception of time and provided new means of envisioning the limits of our world. Tracing the many aesthetic, philosophical, and technological parallels between these fields, Stardust explores how cinema has routinely looked toward the cosmos to reflect our collective anxiety about a universe without us.

 

Employing a “cosmocinematic gaze,” Hannah Goodwin uses the metaphorical frameworks from astronomy to posit new understandings of cinematic time and underscore the role of light in generating archives for an uncertain future. Surveying a broad range of works, including silent-era educational films, avant-garde experimental works, and contemporary blockbusters, she carves out a distinctive area of film analysis that extends its reach far beyond mainstream science fiction to explore films that reckon with a future in which humans are absent.

 

This expansive study details the shared affinities between cinema and the stars in order to demonstrate how filmmakers have used cosmic imagery and themes to respond to the twentieth century’s moments of existential dread, from World War I to the atomic age to our current moment of environmental collapse. As our outlook on the future continues to change, Stardust illuminates the promise of cinema to bear witness to humanity’s fragile existence within the vast expanse of the universe.

[more]
cover of Still Moving: Between Cinema and Photography

Still Moving

Between Cinema and Photography

Karen Beckman and Jean Ma, eds.

Duke University Press, 2008

In Still Moving noted artists, filmmakers, art historians, and film scholars explore the boundary between cinema and photography. The interconnectedness of the two media has emerged as a critical concern for scholars in the field of cinema studies responding to new media technologies, and for those in the field of art history confronting the ubiquity of film, video, and the projected image in contemporary art practice. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, the contributors to this volume address issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another.

Foregrounding the productive tension between stasis and motion, two terms inherent to cinema and to photography, the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant-garde film, photography, and installation art. Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries, and that the question of medium specificity is a necessarily interdisciplinary question. From a variety of perspectives, the contributors take up that challenge, offering new ways to think about what contemporary visual practice is and what it will become.

Contributors: George Baker, Rebecca Baron, Karen Beckman, Raymond Bellour, Zoe Beloff,Timothy Corrigan, Nancy Davenport, Atom Egoyan, Rita Gonzalez, Tom Gunning, Louis Kaplan,
Jean Ma, Janet Sarbanes, Juan A. Suárez

[more]
cover of Suture and Narrative: Deep Intersubjectivity in Fiction and Film

Suture and Narrative

Deep Intersubjectivity in Fiction and Film

George Butte

The Ohio State University Press, 2017

Suture and Narrative: Deep Intersubjectivity in Fiction and Film by George Butte offers a new phenomenological understanding of how fiction and film narratives use particular techniques to create and represent the experience of community. Butte turns to the concept of suture from Lacanian film theory and to the work of Merleau-Ponty to contribute a deeper and broader approach to intersubjectivity for the field of narrative theory.

Butte’s approach allows for narratives that represent insight as well as blindness, love, and loss, locating these connections and disconnections in narratological techniques that capture the crisscrossing of perspectives, such as those in fiction’s free indirect discourse and in the oblique angle of film’s shot/reverse shot convention. Butte studies the implications of this chiasmus in the novels and film adaptations of later Henry James works, Barrie’s Peter Pan tales and film adaptations, and the films Silence of the Lambsand Nothing But a Man. Suture’s story in the twentieth century, according to Butte, is a story of the loss of immediacy and community. Yet in concluding this, Butte finds optimism in the Coen brothers’ Raising Arizona as well as in Why Be Happy When You Could Be Normal? by Jeanette Winterson and Marc Webb’s film (500) Days of Summer.

[more]
cover of Sync: Stylistics of Hieroglyphic Time

Sync

Stylistics of Hieroglyphic Time

Authored by James Tobias

Temple University Press, 2010

In Sync, James Tobias examines the development of musical sound and image in cinema and media art, indicating how these elements define the nature and experience of reception. Placing musicality at the center of understanding streaming media, Tobias presents six interwoven stories about synchronized audiovisual media—from filmmaker Sergei Eisenstein’s Alexander Nevsky to today’s contemporary digital art and computer games—to show how these effects are never  merely "musical" in the literal sense of organized sound.

[more]