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"Cinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t become filmmakers, and in which Hitchcock never came to Hollywood.The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism."

aternative realism, cinema, film history, film studies, historiography, speculative fiction

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The Heimat film genre, assumed to be outdated by so many, is very much alive. Who would have thought that this genre - which has been almost unanimously denounced within academic circles, but which seems to resonate so deeply with the general public - would experience a renaissance in the 21st century? The genre's recent resurgence is perhaps due less to an obsession with generic storylines and stereotyped figures than to a basic human need for grounding that has resulted in a passionate debate about issues of past and present. This book traces the history of the Heimat film genre from the early mountain films to Fatih Akin's contemporary interpretations of Heimat. »Die Studie liefert einen profunden Überblick über die filmische Auseinandersetzung mit Heimat und ermöglicht, sich aus der Perspektive des Heimatfilms quellenreich mit der kulturhistorischen Entwicklung Deutschlands auseinanderzusetzen.« Beate Binder, Zeitschrift für Volkskunde, 108/1 (2012) »Ein bisher nicht möglicher Überblick über Heimat-Vorstellungen, wie und soweit sie sich im Unterhaltungsfilm spiegeln; gleichzeitg erlaubt dieser eine genauere Sicht auf die jeweilige Weltsicht der Zeit.« Willi Höfig, Informationsmittel (IFB), 4 (2012) Reviewed in: www.kino-zeit.de, 5 (2011), Stefan Otto GERMANISTIK, 52/3-4 (2012)

Cinema; Film; Heimat; Film History; Genre History; Cultural History; Media Studies; --- Cultural History. --- Film History. --- Film. --- Genre History. --- Heimat. --- Media Studies.

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Jean-Louis Comolli’s six-part essay Technique and Ideology had a revolutionary effect on film theory and history when it first appeared in Cahiers du Cinéma in 1971. In 2009, Comolli revisited his earlier text, arguing that the present age, marked by the total dominance of media-filtered spectacle over image production, makes the need for an 'emancipated, critical spectator' more pressing than ever. In this volume, Daniel Fairfax presents annotated translations of these two texts to provide an overview of Comolli’s activity as both a theorist and a filmmaker.

Motion pictures --- Philosophy. --- Film Theory, Ideology, Cinema and Politics, Film History, Cahiers du cinéma.

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Environmentalism and ecology are areas of rapid growth in academia and society at large. Screening Nature is the first comprehensive work that groups together the wide range of concerns in the field of cinema and the environment, and what could be termed "posthuman cinema." It comprises key readings that highlight the centrality of nature and nonhuman animals to the cinematic medium, and to the language and institution of film. The book offers a fresh and timely intervention into contemporary film theory through a focus on the nonhuman environment as principal register in many filmic texts. Screening Nature offers an extensive resource for teachers, undergraduate students, and more advanced scholars on the intersections between the natural world and the worlds of film. It emphasizes the cross-cultural and geographically diverse relevance of the topic of cinema ecology.

Performing Arts / Film / History & Criticism --- Social Science / Popular Culture --- Performing arts --- Show business --- Arts --- Performance art

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"Wag the Dog is a film that became a media event and a cultural icon because it inadvertently short-circuited the distance that is supposed to separate reality and fiction. The film's narration challenges the established boundaries between the fiction and nonfiction tradition, as Barry Levinson, the director, embeds his interest in documentary filmmaking and complicates the issue of narrative agency in the way he frames the story. The examination of the historical and social context in which it was produced, exhibited and received worldwide enables the author to illuminate a series of changes in the way a fiction film reflects and interacts with reality, urging us to reconsider some of our central and long-standing concepts or even paradigms in film theory. Eleftheria Thanouli provides new insights into a series of issues from both classical and contemporary film theory, like the conceptual and ontological stakes in the use of digital technology, the impact of mass media on public memory and the political role of cinema in a globalized and conglomerated world."--

Motion pictures --- Philosophy. --- Social aspects --- Wag the dog (Motion picture) --- Bite the bullet (Motion picture) --- Film history, theory and criticism