Roots of Film Noir: Precursors from the Silent Era to the 1940s, Kevin Grant
Автор: Roots James Название: The 100 Greatest Silent Film Comedians ISBN: 1442236493 ISBN-13(EAN): 9781442236493 Издательство: Rowman & Littlefield Publishers Рейтинг: Цена: 147840.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: This book ranks the top 100 silent film stars based on a scale that considers creativity, originality, chemistry with fellow performers, and other factors. The author also promotes some lesser-known performers, singles out each artist`s best works, and identifies key films available on DVD.
Автор: Roots James Название: 100 Essential Silent Film Comedies ISBN: 1442278242 ISBN-13(EAN): 9781442278240 Издательство: Rowman & Littlefield Publishers Рейтинг: Цена: 67590.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: This book celebrates 100 significant silent film comedies from around the globe, including The Circus, The General, Safety Last, and Steamboat Bill Jr. Each entry contains information about the cast and crew, production details, DVD availability, and an explanation of why the film is essential viewing.
Автор: Charles Musser, Jane Marie Gaines, Pearl Bowser Название: Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era ISBN: 0253021359 ISBN-13(EAN): 9780253021359 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 20070.00 T Наличие на складе: Поставка под заказ. Описание: Oscar Micheaux—the most prolific African American filmmaker to date and a filmmaking giant of the silent period—has finally found his rightful place in film history. Both artist and showman, Micheaux stirred controversy in his time as he confronted issues such as lynching, miscegenation, peonage and white supremacy, passing, and corruption among black clergymen. In this important collection, prominent scholars examine Micheaux's surviving silent films, his fellow producers of race films who alternately challenged or emulated his methods, and the cultural activities that surrounded and sustained these achievements. The relationship between black film and both the stage (particularly the Lafayette Players) and the black press, issues of underdevelopment, and a genealogy of Micheaux scholarship, as well as extensive and more accurate filmographies, give a richly textured portrait of this era. The essays will fascinate the general public as well as scholars in the fields of film studies, cultural studies, and African American history. This thoroughly readable collection is a superb reference work lavishly illustrated with rare photographs.
Links film history with church history over the past century, illuminating America’s broader relationship with religious currents over time Moments of prayer have been represented in Hollywood movies since the silent era, appearing unexpectedly in films as diverse as Rebecca of Sunnybrook Farm, Frankenstein, Amistad, Easy Rider, Talladega Nights, and Alien 3, as well as in religiously inspired classics such as Ben-Hur and The Ten Commandments. Here, Terry Lindvall examines how films have reflected, and sometimes sought to prescribe, ideas about how one ought to pray. He surveys the landscape of those films that employ prayer in their narratives, beginning with the silent era and moving through the uplifting and inspirational movies of the Great Depression and World War II, the cynical, anti-establishment films of the 60s and 70s, and the sci-fi and fantasy blockbusters of today. Lindvall considers how the presentation of cinematic prayer varies across race, age, and gender, and places the use of prayer in film in historical context, shedding light on the religious currents at play during those time periods. God on the Big Screen demonstrates that the way prayer is presented in film during each historical period tells us a great deal about America’s broader relationship with religion.
A tour de force chronicling the development of realism in Chinese cinema
The history of Chinese cinema is as long and complicated as the tumultuous history of China itself. Be it the silent, the Communist, or the contemporary, each Chinese cinematic era has necessitated its own form in conversation with broader trends in politics and culture.
In Chinese Film, Jason McGrath tells this fascinating story by tracing the varied claims to cinematic realism made by Chinese filmmakers, officials, critics, and scholars. Understanding realism as a historical dynamic that is both enabled and mitigated by aesthetic conventions of the day, he analyzes it across six different types of claims: ontological, perceptual, fictional, social, prescriptive, and apophatic.
Through this method, McGrath makes major claims not just about Chinese cinema but also about realism as an aesthetic form that negotiates between cultural conventions and the ever-evolving real. He comes to envision it as more than just a cinematic question, showing how the struggle for realism is central to the Chinese struggle for modernity itself.
Автор: Steven Ungar Название: Critical Mass: Social Documentary in France from the Silent Era to the New Wave ISBN: 0816689210 ISBN-13(EAN): 9780816689217 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 23410.00 T Наличие на складе: Невозможна поставка. Описание: Thirty-five years of nonfiction films offer a unique lens on twentieth-century French social issuesCritical Mass is the first sustained study to trace the origins of social documentary filmmaking in France back to the late 1920s. Steven Ungar argues that socially engaged nonfiction cinema produced in France between 1945 and 1963 can be seen as a delayed response to what filmmaker Jean Vigo referred to in 1930 as a social cinema whose documented point of view would open the eyes of spectators to provocative subjects of the moment.Ungar identifies Vigo’s manifesto, his 1930 short ? propos de Nice, and late silent-era films by Georges Lacombe, Boris Kaufman, Andr? Sauvage, and Marcel Carn? as antecedents of postwar documentaries by Eli Lotar, Ren? Vautier, Alain Resnais, Chris Marker, and Jean Rouch, associated with critiques of colonialism and modernization in Fourth and early Fifth Republic France. Close readings of individual films alternate with transitions to address transnational practices as well as state- and industry-wide reforms between 1935 and 1960. Critical Mass is an indispensable complement to studies of nonfiction film in France, from Georges Lacombe’s La Zone (1928) to Chris Marker’s Le Joli Mai (1963).
Автор: Eleanor Rees Название: Designing Russian Cinema: The Production Artist and the Material Environment in Silent Era Film ISBN: 1350246352 ISBN-13(EAN): 9781350246355 Издательство: Bloomsbury Academic Рейтинг: Цена: 30610.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: This book highlights the significant role that production artists played when Russian cinema was still in its infancy. It uncovers Russian cinema’s connections with other art forms, examining how production artists drew on both aesthetic traditions and modernist experiments in architecture, painting and theatre as they explored the new medium of cinema and its potential to engender new models of perception and forms of audience engagement.Drawing on set design sketches, archival documents and film-makers’ memoirs, Eleanor Rees reveals how less-canonical films such as Behind the Screen (Kulisy ekrana, 1919) and Palace and Fortress (Dvorets i krepost?, 1923), were remarkable from a design perspective, and also provides new readings of well-known films, such as Children of the Age (Deti veka, 1915) and Strike (Stachka, 1925). Rees brings to light information on significant but understudied figures such as Vladimir Egorov and Sergei Kozlovskii, and highlights the involvement of well-known figures such as Lev Kuleshov and Aleksandr Rodchenko. Unlike the majority of late Imperial directors and camera operators, many early-Russian production artists continued to work in cinema in the Soviet era and to draw on practices forged before the 1917 Revolution. In spanning the entire silent era, this book highlights the often overlooked continuities between the late-Imperial and early-Soviet periods of cinema, thus questioning traditional historical periodisations.
Links film history with church history over the past century, illuminating America’s broader relationship with religious currents over time Moments of prayer have been represented in Hollywood movies since the silent era, appearing unexpectedly in films as diverse as Rebecca of Sunnybrook Farm, Frankenstein, Amistad, Easy Rider, Talladega Nights, and Alien 3, as well as in religiously inspired classics such as Ben-Hur and The Ten Commandments. Here, Terry Lindvall examines how films have reflected, and sometimes sought to prescribe, ideas about how one ought to pray. He surveys the landscape of those films that employ prayer in their narratives, beginning with the silent era and moving through the uplifting and inspirational movies of the Great Depression and World War II, the cynical, anti-establishment films of the 60s and 70s, and the sci-fi and fantasy blockbusters of today. Lindvall considers how the presentation of cinematic prayer varies across race, age, and gender, and places the use of prayer in film in historical context, shedding light on the religious currents at play during those time periods. God on the Big Screen demonstrates that the way prayer is presented in film during each historical period tells us a great deal about America’s broader relationship with religion.
In 1896, Maxim Gorky declared cinema the Kingdom of Shadows. In its silent, ashen-grey world, he saw a land of spectral, and ever since then cinema has had a special relationship with the haunted and the ghostly. Cinematic Ghosts is the first collection devoted to this subject, including fourteen new essays, dedicated to exploring the many permutations of the movies' phantoms.
Cinematic Ghosts contains essays revisiting some classic ghost films within the genres of horror (The Haunting, 1963), romance (Portrait of Jennie, 1948), comedy (Beetlejuice, 1988) and the art film (Uncle Boonmee Who Can Recall His Past Lives, 2010), as well as essays dealing with a number of films from around the world, from Sweden to China. Cinematic Ghosts traces the archetype of the cinematic ghost from the silent era until today, offering analyses from a range of historical, aesthetic and theoretical dimensions.
A tour de force chronicling the development of realism in Chinese cinema
The history of Chinese cinema is as long and complicated as the tumultuous history of China itself. Be it the silent, the Communist, or the contemporary, each Chinese cinematic era has necessitated its own form in conversation with broader trends in politics and culture.
In Chinese Film, Jason McGrath tells this fascinating story by tracing the varied claims to cinematic realism made by Chinese filmmakers, officials, critics, and scholars. Understanding realism as a historical dynamic that is both enabled and mitigated by aesthetic conventions of the day, he analyzes it across six different types of claims: ontological, perceptual, fictional, social, prescriptive, and apophatic.
Through this method, McGrath makes major claims not just about Chinese cinema but also about realism as an aesthetic form that negotiates between cultural conventions and the ever-evolving real. He comes to envision it as more than just a cinematic question, showing how the struggle for realism is central to the Chinese struggle for modernity itself.
Автор: Steven Ungar Название: Critical Mass: Social Documentary in France from the Silent Era to the New Wave ISBN: 0816689199 ISBN-13(EAN): 9780816689194 Издательство: Marston Book Services Цена: 93720.00 T Наличие на складе: Невозможна поставка. Описание: Thirty-five years of nonfiction films offer a unique lens on twentieth-century French social issuesCritical Mass is the first sustained study to trace the origins of social documentary filmmaking in France back to the late 1920s. Steven Ungar argues that socially engaged nonfiction cinema produced in France between 1945 and 1963 can be seen as a delayed response to what filmmaker Jean Vigo referred to in 1930 as a social cinema whose documented point of view would open the eyes of spectators to provocative subjects of the moment.Ungar identifies Vigo\u2019s manifesto, his 1930 short \u00c0 propos de Nice, and late silent-era films by Georges Lacombe, Boris Kaufman, Andr\u00e9 Sauvage, and Marcel Carn\u00e9 as antecedents of postwar documentaries by Eli Lotar, Ren\u00e9 Vautier, Alain Resnais, Chris Marker, and Jean Rouch, associated with critiques of colonialism and modernization in Fourth and early Fifth Republic France. Close readings of individual films alternate with transitions to address transnational practices as well as state- and industry-wide reforms between 1935 and 1960. Critical Mass is an indispensable complement to studies of nonfiction film in France, from Georges Lacombe\u2019s La Zone (1928) to Chris Marker\u2019s Le Joli Mai (1963).
In 1896, Maxim Gorky declared cinema the Kingdom of Shadows. In its silent, ashen-grey world, he saw a land of spectral, and ever since then cinema has had a special relationship with the haunted and the ghostly. Cinematic Ghosts is the first collection devoted to this subject, including fourteen new essays, dedicated to exploring the many permutations of the movies' phantoms.
Cinematic Ghosts contains essays revisiting some classic ghost films within the genres of horror (The Haunting, 1963), romance (Portrait of Jennie, 1948), comedy (Beetlejuice, 1988) and the art film (Uncle Boonmee Who Can Recall His Past Lives, 2010), as well as essays dealing with a number of films from around the world, from Sweden to China. Cinematic Ghosts traces the archetype of the cinematic ghost from the silent era until today, offering analyses from a range of historical, aesthetic and theoretical dimensions.
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