• The Arts
      November 2019

      Masks in Horror Cinema

      Eyes Without Faces

      by Alexandra Heller-Nicholas

      Why has the mask been such an enduring generic motif in horror cinema? This book explores its transformative potential historically across myriad cultures, particularly in relation to its ritual and myth-making capacities, and its intersection with power, ideology and identity. All of these factors have a direct impact on mask-centric horror cinema: meanings, values and rituals associated with masks evolve and are updated in horror cinema to reflect new contexts, rendering the mask a persistent, meaningful and dynamic aspect of the genre’s iconography. This study debates horror cinema’s durability as a site for the potency of the mask’s broader symbolic power to be constantly re-explored, re-imagined and re-invented as an object of cross-cultural and ritual significance that existed long before the moving image culture of cinema.

    • Films, cinema

      Reversing the Lens

      Ethnicity, Race, Gender, & Sexuality Through Film

      by Jun Xing (Editor) , Lane R Hirabayashi (Editor)

      This book brings together noted scholars in history, anthropology, sociology, ethnic studies and film studies to promote film as a powerful classroom tool that can be used to foster cross-cultural communication with respect to race and ethnicity. Through such films as: Skin Deep; Slaying the Dragon; and Mississippi Masala; contributors demonstrate why and how visual media help delineate various forms of critical visual thinking and examine how radicalisation is either sedimented or contested in the popular imagination. Not limited to classroom use, the book is relevant to anyone who is curious about how video and film can be utilised to expose race as a social construction that -- in dialogue with other potential forms of difference -- is subject to political contestation.

    • Films, cinema
      January 2013

      James Bond on Location, Volume 2: U.K. (excluding London)

      An Unofficial Review & Guide to the Locations Used for the Entire Film Series from Dr. No to Skyfall

      by J. P. Sperati

      The James Bond films are famous for their exotic locations, matching and even surpassing the settings of Ian Fleming’s original novels. But all is not what it seems! (It rarely is in the cinema.) The gold-obsessed villain’s factory in Goldfinger – Switzerland or Buckinghamshire? The hovercraft chase in Die Another Day – North Korea or Oxfordshire? The U.S. air base in Tomorrow Never Dies – the South China Sea or Suffolk? The chase around the airport in Casino Royale – Miami or Surrey? Max Zorin’s mine in A View to a Kill – California or Sussex? The explosive climax of From Russia with Love – the Adriatic coast or Argyll? The oil pipeline in The World Is not Enough – Azerbaijan or Snowdonia? Those snowy scenes in Quantum of Solace – Tatarstan or Hampshire? J. P. Sperati’s intensively researched and lavishly illustrated book is the perfect guide to the British locations of all the official James Bond movies, from Doctor No to SkyFall – including the sound stage built for The Spy Who Loved Me at Pinewood, and the entire studio built for GoldenEye. Complete with historical information, many rare photographs, indexes and maps. A must for all James Bond Enthusiasts.

    • Film theory & criticism
      May 2013

      Cinema and the Republic

      Filming on the Margins in Contemporary France

      by Jonathan Ervine (Author)

      This book analyses contemporary French films by focussing closely on cinematic representations of immigrants and residents of suburban housing estates known as banlieues. It begins by examining how these groups are conceived of within France’s Republican political model before analysing films that focus on four key issues. Firstly, it will assess representations of undocumented migrants known as sans-papiers before then analysing depictions of deportations made possible by the controversial double peine law. Next, it will examine films about relations between young people and the police in suburban France before exploring films that challenge clichés about these areas. The conclusion assesses what these films show about contemporary French political cinema.

    • Film theory & criticism
      June 2013

      The Brazilian Road Movie

      Journeys of (Self) Discovery

      by Sara Brandellero (Editor)

      The Brazilian Road Movie: Journeys of (Self)Discovery explores some of the key trends and films in the development of the road movie in Brazil. Through a collection of essays by distinguished scholars, and covering a broad range of case studies, this text spans Brazilian film production from the silent era to the present day. This text examines issues such as the reworking of the genre in a Brazilian context, the relationship between documentary and fiction, between history, politics and cinema, gender and race, the wilderness and the urban space, the national and the transnational. The essays consider among other things how the experience of the journey helped develop and was instrumental in defining identities on screen. Adopting a variety of approaches, the volume considers the significance of the iconography of the road, the experience of movement and of life on the move for the representation of Brazil on screen.

    • Film theory & criticism
      July 2015

      Downtown Film and TV Culture


      by Hawkins, Joan

      Downtown Film and TV Culture 1975-2001 brings together essays by film-makers, exhibitors, cultural critics, and scholars from multiple generations of the New York Downtown scene to illuminate individual films and film-makers and explore the creation of a Downtown Canon, the impact of AIDS on younger film-makers, community access to cable television broadcasts, and the impact of the historic Downtown scene on contemporary experimental culture. The book includes J. Hoberman’s essay ‘No Wavelength: The Parapunk Underground,’ as well as historical essays by Tony Conrad and Lynne Tillman, interviews with film-makers Bette Gordon and Beth B, and essays by Ivan Kral and Nick Zedd.

    • Film theory & criticism
      October 2015

      Australian Film Theory and Criticism

      Volume 2 Interviews

      by King, Noel

      A three-volume project tracing key critical positions, people and institutions in Australian film, Australian Film Theory and Criticism interrogates not only the origins of Australian film theory but also its relationships to adjacent disciplines and institutions. The second volume in the series, this book gathers interviews with national and international film theorists and critics to chart the development of different discourses in Australian film studies through the decades. Seeking to examine the position of film theorists and their relationship to film industry practitioners and policy-makers, this volume succeeds mightily in reasserting Australian film’s place on the international scholarly agenda.

    • Film theory & criticism
      May 2015

      Inclusion in New Danish Cinema

      Sexuality and Transnational Belonging

      by Shriver-Rice, Meryl

      Often recognized as one of the happiest countries in the world, Denmark, like its Scandinavian neighbours, is known for its progressive culture, which is also reflected in its national cinema. It is not surprising, then, that Danish film boasts as many successful women film directors as men and the highest number of women directors of any national cinema, uses scripts that are often co-written by both the director and the screenwriter, and produces among the highest numbers of queer films directed by and starring women. Inclusion in New Danish Cinema offers the film industry and the general public an opportunity to glimpse the power of digital filmmaking as both a vehicle for self-reflexive emotional release, and as a locus for the negotiation of contemporary social, political and aesthetic issues. In a period of transnational, post-closeted, post-feminist and multicultural transition, Danish fiction films are showcasing the contestations of a society undergoing the impacts of globalization and shifting cultural norms. In particular, these films speak to an impatient screen-oriented culture that is becoming increasingly difficult to engage. Despite all this, Danish film is not widely written about, especially in English. Inclusion in New Danish Cinema brings this vibrant culture to Englishlanguage audiences. Meryl Shriver-Rice argues that Denmark has demonstrated that film can reinforce cultural ethics and political values while also navigating the ongoing and mounting forces of digital communication and globalization.

    • Film theory & criticism
      June 2014

      Real Objects in Unreal Situations

      Modern Art in Fiction Films

      by Felleman, Susan

      Real Objects in Unreal Situations is a lucid account of a much-neglected subject in art and cinema studies: the material significance of the art object incorporated into the fiction film. By examining the historical, political, and personal realities that situate the artworks, Susan Felleman offers an incisive account of how they operate not as mere objects but as powerful players within the films, thereby exceeding the narrative function of props, copies, pastiches, or reproductions. The book consists of a series of interconnected case studies of movies, including The Trouble with Harry, An Unmarried Woman, The Player, and Pride & Prejudice, among others, ultimately showing that when real art works enter into fiction films, they often embody themes and discourses in ways that other objects cannot.

    • Film theory & criticism
      December 2014

      The Visceral Screen

      Between the Cinemas of John Cassavetes and David Cronenberg

      by Furze, Robert

      Robert Furze argues the defining characteristic of John Cassavetes and David Cronenberg’s respective approaches is that of “visceral” cinema, a term that illustrates the anxiety these film-makers provoke in their audiences. Cassavetes demonstrates this through disregard for plot structure and character coherence, while Cronenberg’s focus is on graphic depictions of mutilation, extreme forms of bodily transformation, and violence. Cassavetes and Cronenberg are established auteurs, but the elements of their films that appear to be barriers to their artistic status, for example, slipshod method and lingering violence or pre-digital special effects, are reassessed here as indicators of creativity. In this way, Furze encourages debates of what makes a film good or bad.

    • Film theory & criticism
      December 2014

      The Roots of Modern Hollywood

      The Persistence of Values in American Cinema, from the New Deal to the Present

      by Smedley, Nick

      In this insightful study of Hollywood cinema since 1969, film historian Nick Smedley traces the cultural and intellectual heritage of American films, showing how recent Hollywood movies owe a profound debt to the liberal values of New Deal cinema. Hollywood cinema is not usually thought of as politically or socially engaged, but the author argues that it is, in fact, one of the most value-laden of all national cinemas. Drawing on a long historical view of persistent themes in Hollywood cinema, Smedley demonstrates how film-makers in America continue to explore the balance between unbridled capitalism and a more socially-engaged liberalism. He also brings out the persistence of pacifism in Hollywood’s consideration of American foreign policy in Vietnam and the Middle East. His third theme concerns the belated acceptance by the film community of the post-feminist American woman. Featuring important new interviews with Michael Mann, Peter Weir, Paul Haggis, and Tony Gilroy, The Roots of Modern Hollywood is an incisive account of where Hollywood is today, and the path it has taken to get there.

    • Film theory & criticism
      January 2015

      Rhetoric of Modern Death in American Living Dead Films

      by Hakola, Outi

      Zombies, vampires and mummies are frequent stars of American horror films. But what does their cinematic omnipresence, and audiences’ hunger for such films, tell us about American views of death? In this book, Outi Hakola investigates the ways in which American living dead films have addressed death through different narrative and rhetorical solutions during the twentieth century. She focuses on films from the 1930s, including Dracula, The Mummy and White Zombie, films of the 1950s and 1960s such as Night of the Living Dead and The Return of Dracula, as well as more recent fare like Bram Stoker’s Dracula, The Mummy (1999) and Resident Evil. In doing so, the book frames the tradition of living dead films, discusses the cinematic processes of addressing the films’ viewers, and analyzes the films’ sociocultural negotiation with death in this specific genre.

    • Film theory & criticism
      December 2014

      Lure of the Big Screen

      Cinema in Rural Australia and the United Kingdom

      by Aveyard, Karina

      Lure of the Big Screen explores film exhibition and consumption in rural parts of the UK and Australia, where film theatres are often highly valued as spaces around which isolated communities can gather and interact. Going beyond national borders, this book examines how theatres in areas of social and economic decline are sustained by resourceful individuals and sub-commercial operating structures. Systematic analysis of cinemas in non-metropolitan locations has yielded an original five-tiered clustering model through which Karina Aveyard recognizes a range of types between large commercial multiplexes in stable regional centres and their smallest improvised counterparts in remote settlements.

    • Film theory & criticism
      December 2014

      (Re)viewing Creative, Critical and Commercial Practices in Contemporary Spanish Cinema

      by Wheeler, Duncan

      Formulated around a number of key thematic concerns – including new creative trends; the politics and practices of memory; auteurship, genre, and stardom in a transnational age – this reassessment of contemporary Spanish cinema from 1992 to 2012 brings leading academics from a broad range of disciplinary and geographical backgrounds into dialogue with critically and commercially successful practitioners to suggest the need to redefine the parameters of one of the world’s most creative national cinemas. This volume will appeal not only to students and scholars of Spanish films, but also to anyone with an interest in contemporary world cinema.

    • Film theory & criticism
      February 2015

      Immigration Cinema in the New Europe

      by Ballesteros, Isolina

      Immigration Cinema in the New Europe examines a variety of films from the early 1990s that depict and address the lives and identities of both first-generation immigrants and children of the diaspora in Europe. Whether they are authored by immigrants themselves or by white Europeans who use the resources and means of production of dominant cinema to politically engage with the immigrants’ predicaments, these films, Isolina Ballesteros shows, are unmappable—a condition resulting from immigration cinema’s re-combination and deliberate blurring of filmic conventions pertaining to two or more genres. In an age of globalization and increased migration, this book theorizes immigration cinema in relation to notions such as gender, hybridity, transculturation, border crossing, transnationalism, and translation.

    • Film theory & criticism
      June 2015

      Film on the Faultline

      by Wright, Alan

      Film has always played a crucial role in the imagination of disaster. The earthquake, especially, transforms our understanding of the limits and possibilities of cinema, as well as of life itself. After major quakes in countries as dissimilar as Japan, Chile, Iran and New Zealand, film-makers have responded with films that challenge ingrained social, political, ethical and philosophical categories of thinking and being in the world. Film on the Faultline explores the fractious relationship between cinema and seismic experience and addresses the important role that cinema can play in the wake of such events.

    • Film theory & criticism
      September 2015

      Drive in Cinema

      Essays on Film, Theory and Politics

      by James Léger, Marc

      Drive in Cinema offers Žižek-influenced studies of films made by some of the most engaging and influential filmmakers of our time, from avant-garde directors Jean-Luc Godard, Werner Herzog, Alexander Kluge, Pier Paolo Pasolini and Věra Chytilová, to independent filmmakers William Klein, Oliver Ressler, Hal Hartley, Olivier Assayas, Vincent Gallo, Jim Jarmusch and Harmony Korine. These essays in critical cultural theory present interdisciplinary perspectives on the relations between art, film and politics. How does filmic symbolization mediate intersubjective social exchange? What are the possibilities for avant-gardism today and how does this correspond to what we know about cultural production after capitalism’s real subsumption of labour? How have various filmmakers communicated radical ideas through film as a popular medium? Drive in Cinema pursues Lacanian ethics to avenues beyond the academic obsession with cultural representation and cinematic technique. It will be of interest to anyone who is concerned with film’s potential as an emancipatory force.

    • The Arts
      January 2016

      Men with stakes

      Masculinity and the gothic in US television

      by Julia Wright

      Men with stakes builds on recent discussions of television Gothic by examining the ways in which the Gothic mode is deployed specifically to call into question televisual realism and, with it, conventional depictions of masculinity. Released from the mandate of realism to describe the world as it is supposed to be, television Gothic calls attention to the constructedness of gender - and therefore to the possibility of re-imagining men's agency, authority and the legitimated forms of knowledge with which men are traditionally associated (science in particular). In this context, after an overview of Gothic television's larger history, this study discusses in some depth seven series from the last two decades: American Gothic, Millennium, Angel, Carnivàle, Point Pleasant, Supernatural and American Horror Story. ;

    • The Arts
      December 2015

      Classical Hollywood cinema

      Point of view and communication

      by James Zborowski

      This book offers a new approach to filmic point of view by combining close analyses informed by the tools of narratology and philosophy with concepts derived from communication studies. Each chapter stages a conversation between two masterpieces of classical Hollywood cinema and one critical concept that can enrich our understanding of them: Vertigo (Alfred Hitchcock, 1958) and Mr. Deeds Goes to Town (Frank Capra, 1936) are interpreted in relation to point of view; Anatomy of a Murder (Otto Preminger, 1959) and The Man Who Shot Liberty Valance (John Ford, 1962) are considered with reference to the concept of distance; and Letter from an Unknown Woman (Max Ophuls, 1948) and Only Angels Have Wings (Howard Hawks, 1939) are explored through the lens of communication. Each encounter reveals new, exciting and mutually illuminating ways of appreciating not only these case studies, but also the critical concepts at stake. ;

    • Film theory & criticism
      November 2015

      Swedish crime fiction

      Novel, film, television

      by Steven Peacock

      Swedish crime fiction became an international phenomenon in the first decade of the twenty-first century, starting first with novels but then percolating through Swedish-language television serials and films and onto English-language BBC productions and Hollywood remakes. This book looks at the rich history of 'Scandinavian noir', examines the appeal of this particular genre and attempts to reveal why it is distinct from the plethora of other crime fictions. Examining the popularity of Steig Larsson's international success with his Millennium trilogy, as well as Henning Mankell's Wallander across the various media, Peacock also tracks some lesser-known novels and television programmes. He illustrates how the bleakness of the country's 'noirs' reflects particular events and cultural and political changes, with the clash of national characteristics becoming a key feature. It will appeal to students and researchers of crime fiction and of film and television studies, as well as the many fans of the novels and dramatic representations.

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