Suggested reading for FLM101, FLM 103, FLM 201
Published by the British Film Institute (BFI), The Cinema Book has been extensively revised, updated, and expanded in response to developments in cinema and cinema studies. Illustrated in colour and with a wealth of case studies.
This book explores how contemporary cinema treats state-sponsored atrocity, evoking multiple landscapes of state terror. It investigates the ethical potential of cinematic atrocity images. Asserting a crucial distinction between morality and ethics, it proposes a new conceptualisation of human rights cinema that repositions human rights morality within an ethical framework that reflects upon the causes and contexts of violence. It builds upon theories of embodied spectatorship to explore how films can implicate us in histories that may appear to be distant and unrelated to us, and how they draw connections between past and present patterns of oppression.
Suggested reading for FLM101, FLM103
Cinema Studies: The Key Concept is an essential guide for anyone interested in film. Providing accessible coverage of a comprehensive range of genres, movements, theories, and production terms, this is a must-have guide to a fascinating area of study and arguably the greatest art form of modern times. The book includes new topical entries such as CGI Convergence Cult cinema Digital cinema/Post-digital cinema Dogme 95 Movement-image/Time-image Quota quickies 3-D technology.
This book provides a detailed account of genre history and contemporary trends in the film genre, alongside the critical debates they have provoked. The book ranges widely across the field, dealing separately and in detail with classic genres e.g. the Western, the musical, the war film, the gangster film, and film noir – to more recent trends such as body-horror, Holocaust films, and action blockbusters. It shows how notions of genre help shape the ways that filmmakers, critics, and audiences view films and how the often complex scholarly debates around genre reflect important differences in the ways cinema is understood in relation to its social and historical contexts.
Film Genre Reader has been the standard reference and classroom text for the study of genre in film. This fourth edition adds new essays on genre definition and cycles, action movies, science fiction, and heritage films, along with a comprehensive and updated bibliography.
This book describes how lenses can produce aesthetically and narratively compelling images in movies, through a close examination of the various ways lens techniques control the look of space, movement, focus, flares, distortion, and the "optical personality" of your story's visual landscape. It provides filmmakers, at any level or experience, with a wealth of knowledge to unleash the full expressive power of any lens at their disposal, whether they are shooting with state-of-the-art cinema lenses or a smartphone, and everything in between.
This book is organised into ten sections-each comprising the major fields of critical controversy and analysis and features reformulated introductions and biographical headnotes that contextualise the readings for students and film enthusiasts.
Learn how to execute the visual style of your genre in this highly illustrative, inspirational guide to shots and sequences for genre films. Jam-packed with full-color examples from the movies you love. Learn, for example, how to play with the emotions and expectations of your audience by using camera techniques such as dolly zooms and ghost reveals.
Combing through all fifty-two extant feature films and representative episodes from Hitchcock’s television series, Walker traces over forty motifs that emerge in recurring objects, settings, character types, and events. Whether the loaded meaning of staircases, the symbolic status of keys and handbags, homoeroticism, guilt, and confession, or the role of art, Walker analyses such elements to reveal a complex web of cross-references in Hitchcock’s art. He gives full attention to the broader social contexts in which the motifs and themes are played out, arguing that these interwoven elements add new depths to Hitchcock’s oeuvre.
This is the textbook for this course.
An Introduction to Film Genres, written by leading film scholars specifically for undergraduates who are new to the study of film, provides an introduction that helps students see thirteen film genres in a new light---to help them identify the themes, iconography, and distinctive stylistic traits of each genre.
Suggested reading for FLM101, FLM103
A wide range of theories and theorists are presented from Formalism to Feminism, from Eisenstein to Deleuze. This book is lavishly illustrated with 150 film stills and production shots, in full color throughout.
In the words of Richard Maltby . . . "Maximum Movies--Pulp Fictions describes two improbably imbricated worlds and the piece of cultural history their intersections provoked." One of these worlds comprises a clutch of noisy, garish pulp movies--Kiss Me Deadly, Shock Corridor, Fixed Bayonets!, I Walked with a Zombie, The Lineup, Terror in a Texas Town, Ride Lonesome. The other is occupied by critics, intellectuals, cinephiles, and filmmakers such as Jean-Luc Godard, Manny Farber, and Lawrence Alloway.
"Film noir" evokes memories of stylish, cynical, black-and-white movies from the 40s and 50s, melodramas about private eyes, femmes fatales, criminal gangs, and lovers on the run. James Naremore's prize-winning book discusses these pictures, but also shows that the central term is more complex and paradoxical than we realise. It treats noir as a term in criticism, as an expression of artistic modernism, as a symptom of Hollywood censorship and politics, as a market strategy, as an evolving style, and as an idea that circulates through all the media.
The French film director Robert Bresson was one of the great artists of the twentieth century and among the most radical, original, and radiant stylists of any time. Notes on the Cinematograph distills the essence of Bresson's theory and practice as a filmmaker and artist. He discusses the fundamental differences between theater and film; parses the deep grammar of silence, music, and noise; and affirms the mysterious power of the image to unlock the human soul.
Drawing upon the expertise of film scholars from around the world, Puzzle Films investigates a number of films that sport complex storytelling--from Memento, Old Boy, Run Lola Run, to The Infernal Affairs Trilogy and In the Mood for Love. It also draws upon the expertise of film scholars from North America, Britain, China, Poland, Holland, Italy, Greece, New Zealand, and Australia.
Analysing the extraordinary trans-cultural popularity of The Ring phenomenon, The Scary Screen locates much of its power in the ways in which the books and films astutely graft contemporary cultural preoccupations onto the generic elements of the ghost story, in particular, the Japanese ghost story. The contributors demonstrate these cultural concerns are themselves underwritten by a range of anxieties triggered by the advent of new communications and media technologies, perhaps most significantly, the shift from analog to digital.
With numerous student and professional examples, this engaging and practical guide progresses from taking notes and writing first drafts to creating polished essays and comprehensive research projects. Moving from movie reviews to theoretical and critical essays, the text demonstrates how an analysis of a film can become more subtle and rigorous as part of a compositional process.
Suggested reading for FLM101, FLM201
Looks at the development and changing organisation of the star system in the American film industry. Tracing the popularity of star performers from the early "cinema of attractions" to the Internet universe, Paul McDonald explores the ways in which Hollywood has made and sold its stars. Through focusing on particular historical periods, case studies of Mary Pickford, Bette Davis, James Cagney, Julia Roberts, Tom Cruise, and Will Smith illustrate the key conditions influencing the star system in silent cinema, the studio era and the New Hollywood.
Suggested reading for FLM101, FLM103
What are the most appropriate theories and methods for analysing contemporary American cinema? This book answers this question by taking an innovative approach to writing about individual movies: in each of the main chapters, the authors examine the assumptions behind one traditional theory of film (e.g. auteurism, narratology, psychoanalysis), distill a method of analysis from it, and then analyse a contemporary American movie. They then go beyond the traditional theory by analysing the same movie using a more current theory and method (e.g. new media theory, deconstruction, cognitivism).
Suggested reading for FLM101, FLM201, FLM353
Transmedia Marketing covers the fundamentals of a sound 21st-century marketing and content plan. You'll master the strategy behind conducting research, identifying target audiences, setting goals, and branding your project. And, you'll learn first-hand how to execute your plan's publicity, events, advertising, trailers, digital and interactive content, and social media. Transmedia Marketing enlivens these concepts with hundreds of vibrant examples from across media platforms.
Suggested reading for FLM101, FLM103, FLM201
American filmmakers have created a durable tradition--one that we should not be ashamed to call artistic, and one that survives in both mainstream entertainment and niche-marketed indie cinema. Bordwell traces the continuity of this tradition in a wide array of films made since 1960. He discusses generational, technological, and economic factors leading to stability and change in Hollywood cinema and includes close analyses of selected shots and sequences. This book provides an engaging interpretation of how Hollywood moviemakers have created a tradition of cinematic storytelling that continues to engage audiences around the world.
The Cambridge Companion to Literature on Screen offers a multi-disciplinary approach to literature on film and television. Writers are drawn from different backgrounds to consider broad topics, such as the issue of adaptation from novels and plays to the screen, canonical and popular literature, fantasy, genre, and adaptations for children. There are also case studies, such as Shakespeare, Jane Austen, the nineteenth-century novel, and modernism, which allow the reader to place adaptations of the work of writers within a wider context.
A collection of original essays addressing all aspects of French cinema from 1990 to the present day. Features original contributions from top film scholars relating to all aspects of contemporary French cinema. Includes new research on matters relating to the political economy of contemporary French cinema, developments in cinema policy, audience attendance, and the types, building, and renovation of theaters. Contains an unusually large range of methodological approaches and perspectives, including those of genre, gender, auteur, industry, economic, star, postcolonial and psychoanalytic studies. Includes essays by French cinema scholars.
Suggested reading for FLM101, FLM103, FLM201, FLM362
This book introduces key concepts, seminal moments, and pivotal figures in the development of cinematic sound. Each of the book's six chapters covers a different era in the history of Hollywood, from silent films to the digital age, and 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.
Suggested reading for FLM101, FLM103, FLM201,
The book considers all aspects of sound practices during the entire silent film period. Based on extensive original research and accompanied by gorgeous illustrations, the book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema. Rick Altman discusses the variety of sound strategies and the way early cinema exhibitors used these strategies to differentiate their products.. He details the ways in which these diverse interests and industries come together to produce extraordinarily successful audio-visual art.
Reality and fantasy - science fiction has played a key role in such cinematic cult formation. This book examines that largely unexplored relationship, looking at how the film's own double nature neatly matches up with a persistent double vision common to the cult film. It does so by bringing together an international array of scholars to address key questions about the intersections of science fiction and cult cinema: how different genre elements, directors, and stars contribute to cult formation; what role fan activities, including "con" participation, play in cult development; and how the occulted or "bad" cult film works.
An alternative to literary models that either minimise or exalt the writer's creative role, film theory, in Lehmann's view, perceives authorship as a site of constitutive conflict, generating in the process the notion of the auteur. By projecting film theory from the postmodern to the early modern and back again, Lehmann demonstrates the ways in which Shakespeare emerges as a special effect--indeed, as an auteur--in two cultures wherein authors fear to tread.
A great movie's first few minutes provide the key to the rest of the film. In Cinematic Overtures, Annette Insdorf discusses the opening sequence, inviting viewers to turn first impressions into deeper understanding of cinematic technique. She offers a series of revelatory readings of individual films by some of cinema's leading directors.
Action cinema is a popular and familiar form that reflects the cultural, industrial, and historical landscape from which it emerges. Lisa Purse analyses the genre's pleasures and complexities in the light of both its cinematic history and the latest critical debates. Focussing on action cinema of the 2000s, this book explores issues of visual style, narrative, representation, and the various contexts of production through a diverse series of case studies including Avatar (2009), Casino Royale (2006), The Hurt Locker (2008) and Banlieue 13 (2004) .
Beginning in the 1950s, "Euro Horror" movies materialized in astonishing numbers from Italy, Spain, and France and popped up in the US. Gorier, sexier, and stranger than most American horror films of the time, they were embraced by hardcore fans and denounced by critics as the worst kind of cinematic trash. In this volume, Olney explores some of the most popular genres of Euro Horror cinema--including Giallo films, named for the yellow covers of Italian pulp fiction, the S&M horror film, and cannibal and zombie films--and develops a theory that explains their renewed appeal to audiences today.
From Mouse to Mermaid is an interdisciplinary collection of original essays. The book contemplates Disney's duality as an American icon and as an industry of cultural production, created in and through fifty years of filmmaking. The contributors treat a range of topics at issue in contemporary cultural studies: the performance of gender, race, and class; the engendered images of science, nature, technology, family, and business. The compilation of voices in From Mouse to Mermaid creates a persuasive cultural critique of Disney's ideology.
Ranging from Japanese silent films and women's films to French, Hong Kong, and Nordic New Waves, this book explores the influence of noir on international cinematic traditions and challenges prevailing film scholarship. It includes extensive bibliography and filmographies for recommended reading and viewing.
Screening the Stage consists of a series of chapter-length studies of feature-length films, the plays and musicals on which they were based, and their remakes where pertinent. Founded on awareness of evolving technologies and industrial practices rather than the tenets of adaptation theory, particular attention is paid to the evolving practices of Hollywood as well as to the purport and structure of the plays and stage musicals on which the film versions were based. Each play or musical is contextualised and summarised in detail, and each film is analysed so as to pinpoint the ways in which they articulate, modify, or rework the former.
Suggested reading for FLM101, FLM103, FLM201
Silent Film Sound reconsiders all aspects of sound practices during the entire silent film period. Based on extensive original research and accompanied by gorgeous illustrations, the book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema. Rick Altman discusses the variety of sound strategies and the way early cinema exhibitors used these strategies to differentiate their products. Silent Film Sound details the ways in which these diverse interests and industries come together to produce extraordinarily successful audio-visual art.
Suggested reading for FLM101, FLM103, FLM201
Offers a detailed and innovative discussion of film sound and gender in mainstream US cinema. The representation of gender in the film remains an intensely debated topic, particularly in academic considerations of US mainstream cinema where it is often perceived as perpetuating rigid, binary views of gender, and reinforcing patriarchal, dominant notions of masculinity and femininity. While the previous scholarly discussion has focused on visual or narrative portrayals of gender, this book considers the ways that film sound - music, voice, sound effects, and silence - is used to represent gender.
Christopher Nolan is the writer and director of Hollywood blockbusters like The Silent Film Sound and The Dark Knight Rises and also of arthouse films like Memento and Inception. Underlying his staggering commercial success however, is a darker sensibility that questions the veracity of human knowledge, the allure of appearance over reality and the latent disorder in contemporary society. Taking a thematic approach to Nolan’s oeuvre, Robbie Goh examines how the director’s postmodern inclinations manifest themselves in non-linearity, causal agnosticism, the threat of social anarchy and the frequent use of the mise en abyme, while running counter to these are narratives of heroism, moral responsibility and the dignity of human choice. For Goh, Nolan is a ‘reluctant postmodernist’. His films reflect the cynicism of the modern world, but with their representation of heroic moral triumphs, they also resist it.