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Bits and Pieces: Screening Animal Life and Death gathers pivotal and more mundane moments, dispersed across a predominantly Western history of moving images, in which animals materialize in movies and TV shows, from iconic scenes of cattle slaughter in early Soviet montage to quandaries over hunting trophies in recent home-renovation reality TV series, to animals in Black horror films. Sarah O'Brien carefully views these fragments in dialogue with germinal texts at the intersection of animal studies, film and television studies, and cultural studies. She explores the capacity of moving images to unsettle the ways in which audiences have become habituated to viewing animal life and death on screens, and, more importantly, to understanding these images as more and less connected to the "production for consumption" of animals that is specific to modern industrialization. By looking back at films and TV series in which the places and practices of killing or keeping animals enter, occupy, or slip from the foreground, Bits and Pieces takes seriously the idea that cinema and television have the capacity not only to catch but to challenge and change viewers' regard for animals.
Animals in motion pictures. --- Animals in moving-pictures --- Motion pictures
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Extreme Cinema examines the highly stylized treatment of sex and violence in post-millennial transnational cinema, where the governing convention is not the narrative but the spectacle.
Motion pictures --- Sex in motion pictures. --- Violence in motion pictures. --- Violence in moving-pictures --- Sex in moving-pictures --- Erotic films --- Pornographic films --- History. --- History and criticism
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"Neorrealismo y cine en Cuba: Historia y discurso entorno a la primera polemica de la Revolución, 1951-1962 [Neorealism and Cinema in Cuba: History and Discourse on the First Polemic of the Revolution, 1951-1962] examines the aesthetic history and relations between Cuban film production and Italian Neorealism. The historical framework begins in 1951 before the triumph of the Cuban Revolution and ends in 1962, a year that marks a rupture between Cuban filmmakers and the Italian neorealist aesthetic. The main collaborations happened between Cuban directors Tomás Gutierrez Alea and Julio García Espinosa and Italian neorealist filmmaker Cesare Zavattini. The circumstances that led to the end of the relationship between Zavattini and the Cuban filmmakers are connected to the film El joven rebelde [The Young Rebel], directed by García Espinosa and screened for the first time in 1961. The rupture centered on creative and ideological differences regarding the way in which the protagonist was to be portrayed in the movie. This seemingly minor disagreement had considerably larger repercussions, the end result of which was that García Espinosa and Gutierrez Alea, as well as the rest of the Cuban filmmakers who worked within the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) after 1959, were driven to find their own creative strategies to craft a national film production. However, the Cuban filmmakers would not have found the necessary grammar to rewrite their own revolutionary cinema without the rupture with Zavattini. This new cinematographic language could not have existed without the various pauses and the distances that characterized the Cuban relationship with Neorealism. In other words, the fragmentary interchange between García Espinosa, Gutierrez Alea, and Zavattini created new spaces in which the Cubans could find creative opportunities to express their own cinematic vision"--
Realism in motion pictures. --- Motion pictures --- History --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Realism in moving-pictures --- History and criticism
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Orphan works, or artworks for which no copyright holder is traceable, pose a growing problem for museums, archives, and other heritage institutions. As they come under more and more pressure to digitize and share their archives, they are often hampered by the uncertain rights status of items in their collections. The Greatest Films Never Seen: The Film Archive and the Copyright Smokescreen uses the prism of copyright to reconsider human agency and the politics of the archive, and asks what the practical implications are for educational institutions, the creative industries, and the general public.
Film archives. --- Archives, Motion picture --- Motion picture archives --- Archives --- Motion picture film collections --- Orphan works (Copyright) --- Copyright --- Motion pictures. --- Motion pictures --- Moving-pictures --- Moving pictures, Talking --- Sound motion pictures --- Film Archive, Intellectual Property, Orphan Works, Public Domain, Film Historiography.
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From parents and teachers to politicians and policymakers, there is a din of voices participating in the debate over how young people are affected by violence, strong language, and explicit sexual activity in films. The Motion Picture Association of America (MPAA) responded to this concern in 1968 when it introduced a classification and rating system based on the now well-known labels: "G," "PG," PG-13," "R," and "X." For some, these simple tags are an efficient way to protect children from viewing undesirable content. But do the MPAA ratings only protect children? In The Naked Truth, Kevin S. Sandler argues that perhaps even more than viewers, ratings protect the Hollywood film industry. One prime indicator of this is the collective abandonment of the NC-17 rating in 1990 by the major distributors of the MPAA and the main exhibitors of the National Association of Theatre Owners. By categorizing all films released by Hollywood and destined for mainstream theaters into R ratings (or lower), the industry ensures that its products are perceived as "responsible entertainment"—films accessible by all audiences and acceptable to Hollywood's various critics and detractors.
Sex in motion pictures. --- Motion pictures --- Sex in moving-pictures --- Erotic films --- Pornographic films --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Ratings --- History and criticism --- Sex in motion pictures --- E-books
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This second volume builds on the initial groundwork laid by Ecocinema Theory and Practice by examining the ways in which ecocritical cinema studies has matured and proliferated over the last decade, opening whole new areas of study and research.
Motion pictures. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism
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Explores the emergence of cinema as a primary medium of artistic production, offering an in-depth inquiry into its genesis, its defining features, and its ramifications. Erika Balsom also tackles cinema studies' great disciplinary obsession--namely, what cinema was, is, and will become in a digital future. Rich in theoretical reflections and critical analyses, Exhibiting Cinema in Contemporary Art offers insights into the whole history of cinema from the vantage point of today's art.
Art and motion pictures. --- Art in motion pictures. --- Motion picture industry -- Technological innovations. --- Motion pictures and the arts. --- Music, Dance, Drama & Film --- Film --- Motion picture industry --- Technological innovations. --- Arts and motion pictures --- Moving-pictures and the arts --- Film industry (Motion pictures) --- Moving-picture industry --- Art in moving-pictures --- Art and moving-pictures --- Motion pictures and art --- Arts --- Cultural industries --- Motion pictures
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Motion pictures --- Cinéma --- Motion pictures. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- History and criticism --- Audio-visual materials --- Mass media --- Performing arts
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'One of the first books to put memory at the centre of analysis when exploring the relationship between film culture and the past. Provides a sustained, interdisciplinary perspective on memory and film from early cinema to the present, drawing from film studies, American studies and cultural studies. Adopts a resolutely cultural perspective and unlike psychoanalytic or formalist approaches to memory, explores questions of culture, power and identity. Contributes to the growing debate about the status and function of the past in cultural life and discourse, discussing issues of memory in film, and of film as memory. Considers such well known films as Forrest Gump, Pleasantville, and Jackie Brown'
Motion pictures --- Social aspects --- History --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism
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The movies and the masses erupted on the world stage together. In a few decades around the turn of the twentieth century, millions of persons who rarely could afford a night at the theater and had never voted in an election became regular paying customers at movie palaces and proud members of new political parties. The question of how to represent these new masses fascinated and plagued politicians and filmmakers alike.Michael Tratner examines the representations of masses—the crowd scenes—in Hollywood films from The Birth of a Nation through such popular love stories as Gone with the Wind, The Sound of Music, and Dr. Zhivago. He then contrasts these with similar scenes in early Soviet and Nazi films. What emerges is a political debate being carried out in filmic style. In both sets of films, the crowd is represented as a seething cauldron of emotions.
Motion pictures --- Crowds in motion pictures. --- Political aspects. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism
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