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Gingold M: Armies of the Night

Armies of the Night

The Warriors and Its Legacy

Go behind the scenes of Dreamworks Animation's first live-action animation hybrid film.DreamWorks Animation brings its global smash streaming series Gabby's Dollhouse to the big screen. The Art &amp; Making of DreamWorks Gabby's Dollhouse: The Movie showcases never-before-seen production art, insider perspectives, and the elaborate artistry involved in making the live-action/animation cinematic adventure. Join Gabby and her irresistible Gabby Cats as they venture through the real world and their magical mini-world to save the dollhouse before it's too late. Includes: ¿ Foreword by singer, songwriter, actress, and author Gloria Estefan, who plays Grandma Gigi ¿ Preface by actress Laila Lockhart Kraner, who reprises her role of Gabby from the Netflix television series ¿ Hundreds of character designs, concept art, sketches, storyboards, color keys, and final frames from the making of the movie ¿ Exclusive interviews with the artists, filmmakers, and key creators

The Art & Making of DreamWorks Gabby's Dollhouse: The Movie

The popular and critical successes of films like The Sixth Sense and The Ring and its sequels in the late 1990s led to an impressive international explosion of scary films dealing with ghosts. This book takes a close look at a number of those films from different countries, including the United States, Japan, South Korea, Spain, and Great Britain. Making a crucial distinction between these atmospheric films and conventional horror, Michael Walker argues that they are most productively seen as ghost melodramas, which opens them up to a powerful range of analytic tools from the study of melodrama, including, crucially, psychoanalysis.

'What Lies Beneath'

Modern Ghost Melodramas

Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema, Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.

Studies on Italian Avant-Garde Film

Futurist Cinema

Exploring British society's response to cinematic espionage

The chapters of this book explore how British society responded to cinematic and film representations of espionage from the early twentieth century to the present day. Interrogating themes like fear of fifth columns to representation of gender, nation, space and nostalgia, these essays provide commentary on how British culture has depicted this apparently murky underworld.

Key Features 
<ul>
<li>Re-ignites ongoing debates about the relationship between British culture and espionage </li>
<li>Considers issues of gender, politics, memory, and culture</li>
<li>Presents fresh readings of cinematic espionage</li>
</ul>

Explores&nbsp;how British society responded to cinematic and film representations of espionage from the early twentieth century to the present day. Interrogating themes like fear of fifth columns to representation of gender, nation, space and nostalgia.

Journal of British Cinema and Television Volume 15, Issue 3

Spies on British Screens

The Italian giallo was a sleazy, violent, and stylistically baroque form of horror film that was produced in the hundreds from the 1960s to the 1980s. Sound and Horror in the Giallo Film listens closely to these films, asking how their soundtracks and their use of the human voice can help us understand the giallo's significance at a time when Italy was undergoing profound postwar social, economic, political, and cultural change. Throughout the history of Italian cinema, soundtracks have been a site of concerted and sustained intervention by political and economic forces. In Sound and Horror in the Giallo Film, author Damien Pollard argues that, because the giallo film pushed the boundaries of film form while also touting unapologetic commercialism, the voices on its soundtracks were both aesthetically exaggerated and directly shaped by commercial imperatives, which were influenced by Italy's turbulent postwar years. Featuring case studies of several well-known giallo films, including The Girl Who Knew Too Much, The Bird with the Crystal Plumage, and Tenebrae, Sound and Horror in the Giallo Film is an original analysis that reveals how the cinematic voice binds film and history.

Sound and Horror in the Giallo Film

<h4>Focuses on the aural elements which combine with moving images</h4>

The New Soundtrack is fully peer-reviewed and includes contributions from recognised practitioners in the field, including composers, sound designers and directors, giving voice to the development of professional practice, alongside academic contributions. 

<ul><li>Brings together leading edge academic and professional perspectives on the complex relationship between sound and moving images</li>
<li>Covers a wide range of topics, including filmmaking, production, documentaries and macro-sounds</li>
<li>Provides a new platform for discourse on how aural elements combine with moving images</li></ul>

The New Soundtrack is fully peer-reviewed and includes contributions from recognised practitioners in the field, including composers, sound designers and directors.

Volume 8, Issue 2

The New Soundtrack

Who makes films and television shows? How do those people make a living in Hollywood? Hollywood Unions tells the stories of the unions and guilds that have organized and negotiate on behalf of motion picture and television labor: the DGA, IATSE, SAG-AFTRA, and WGA.

Who makes films and television shows? How do those people make a living in Hollywood? Hollywood Unions tells the stories of the unions and guilds that have organized and negotiate on behalf of motion picture and television labor: the DGA, IATSE, SAG-AFTRA, and WGA.

Hollywood Unions

Global awareness of autism has skyrocketed since the 1980s, and popular culture has caught on, with film and television producers developing ever more material featuring autistic characters. Autism in Film and Television brings together more than a dozen essays on depictions of autism, exploring how autistic characters are signified in media and how the reception of these characters informs societal understandings of autism. Editors Murray Pomerance and R. Barton Palmer have assembled a pioneering examination of autism's portrayal in film and television. Contributors consider the various means by which autism has been expressed in films such as Phantom Thread,&nbsp;Mercury Rising, and Life Animated and in television and streaming programs including Atypical, The Bridge, Stranger Things, Star Trek: The Next Generation, and Community. Across media, the figure of the brilliant, accomplished, and "quirky" autist has proven especially appealing. Film and television have thus staked out a progressive position on neurodiversity by insisting on screen time for autism but have done so while frequently ignoring the true diversity of autistic experience. As a result, this volume is a welcome celebration of nonjudgmental approaches to disability, albeit one that is still freighted with stereotypes and elisions.

On the Island

Autism in Film and Television

During the last decade, contemporary German and Austrian cinema has grappled with new social and economic realities. The “cinema of consensus,” a term coined to describe the popular and commercially oriented filmmaking of the 1990s, has given way to a more heterogeneous and critical cinema culture. Making the greatest artistic impact since the 1970s, contemporary cinema is responding to questions of globalization and the effects of societal and economic change on the individual. 	 	This book explores this trend by investigating different thematic and aesthetic strategies and alternative methods of film production and distribution. Functioning both as a product and as an agent of globalizing processes, this new cinema mediates and influences important political and social debates. The contributors illuminate these processes through their analyses of cinema’s intervention in discourses on such concepts as “national cinema,” the effects of globalization on social mobility, and the emergence of a “global culture.” The essays illustrate the variety and inventiveness of contemporary Austrian and German filmmaking and highlight the complicated interdependencies between global developments and local specificities. They confirm a broader trend toward a more complex, critical, and formally diverse cinematic scene. 	 	This book offers insights into the strategies employed by German and Austrian filmmakers to position themselves between the commercial pressures of the film industry and the desire to mediate or even attempt to affect social change. It will be of interest to scholars in film studies, cultural studies, and European studies.

Cinema and Social Change in Germany and Austria

This deluxe two-volume set explores seven-time Academy Award-winner Rick Baker's 40-plus-year journey as a special makeup effects artist. Features a foreword by John Landis, a preface by Peter Jackson, and an introduction by Baker.

This deluxe two-volume set explores seven-time Academy Awardwinner Rick Bakers 40-plus-year journey as a special makeup effects artist. Features a foreword by John Landis, a preface by Peter Jackson, and an introduction by Rick Baker. Rick Baker: Metamorphosis chronicles the career of the legendary special effects and makeup artist, best known for his creature effects and designs. This deluxe, two-volume set, replete with more than 1,600 four-color images and original sketches, covers the makeup artists forty-plus-year journey, from his early days as a young monster maker, creating body parts in his parents kitchen, to his more than seventy film and television credits, which resulted in seven Academy Awards, one Emmy, and three BAFTAs, among numerous others. From the gory zombies of Michael Jacksons Thriller and the staggeringly lifelike Bigfoot in Harry and the Hendersons to the creative builds in Men in Black and the groundbreaking effects in An American Werewolf in London, Rick Bakers special effects, makeup, and prosthetics count among some of Hollywoods most enduring legacies.

Metamorphosis: Vol 1: 1950-1989, Vol 2: 1990-2019

Rick Baker

<div>Josephine Baker and Katherine Dunham were the two most acclaimed and commercially successful African American dancers of their era and among the first black women to enjoy international screen careers. Both also produced fascinating memoirs that provided vital insights into their artistic philosophies and choices. However, difficulties in accessing and categorizing their works on the screen and on the page have obscured their contributions to film and literature. Hannah Durkin investigates Baker and Dunham’s films and writings to shed new light on their legacies as transatlantic artists and civil rights figures. Their trailblazing dancing and choreography reflected a belief that they could use film to confront racist assumptions while also imagining-within significant confines-new aesthetic possibilities for black women. Their writings, meanwhile, revealed their creative process, engagement with criticism, and the ways each mediated cultural constructions of black women's identities. Durkin pays particular attention to the ways dancing bodies function as ever-changing signifiers and de-stabilizing transmitters of cultural identity. In addition, she offers an overdue appraisal of Baker and Dunham's places in cinematic and literary history.</div>

Josephine Baker and Katherine Dunham were the two most acclaimed and commercially successful African American dancers of their era and among the first black women to enjoy international screen careers. Both also produced fascinating memoirs that provided vital insights into their artistic philosophies and choices. However, difficulties in accessing and categorizing their works on the screen and on the page have obscured their contributions to film and literature. Hannah Durkin investigates Baker and Dunham's films and writings to shed new light on their legacies as transatlantic artists and civil rights figures. Their trailblazing dancing and choreography reflected a belief that they could use film to confront racist assumptions while also imaginingwithin significant confinesnew aesthetic possibilities for black women. Their writings, meanwhile, revealed their creative process, engagement with criticism, and the ways each mediated cultural constructions of black women's identities. Durkin pays particular attention to the ways dancing bodies function as ever-changing signifiers and de-stabilizing transmitters of cultural identity. In addition, she offers an overdue appraisal of Baker and Dunham's places in cinematic and literary history.

Dances in Literature and Cinema

Josephine Baker and Katherine Dunham

Gegenwärtig erleben wir eine zunehmende gesellschaftliche Diversifizierung und zugleich einen rechtskonservativen Backlash gegen diese Tendenz. In dieser paradoxen Situation gleichzeitiger Fort- und Rückschritte ist eine wissenschaftliche Auseinandersetzung mit Differenz enorm wichtig. Diese kann sich auf Kategorien wie Geschlecht, Klasse, 
 race
 , Alter oder Mensch/Tier beziehen; Differenzierungen finden sich aber auch in Film und Medien, wenn es um Gegensätze wie hell/dunkel oder Close Up/Totale geht. All diese und weitere Dimensionen von Differenz nimmt der Band als komplexe Gebilde kritisch in den Blick und bezieht sie (neu) aufeinander.
 Im Mittelpunkt der Beiträge stehen spezifische mediale, materielle und soziale Konstellationen, in denen Differenzen ausgehandelt werden. Diese versammeln dabei ein breites Themenspektrum, etwa verschiedene künstlerische Verfahren, die Darstellung von Migration und jüdischer Differenzerfahrung im Film, auf Sport bezogene Unterscheidungen, politische Verhältnisse in Kolumbien oder queere und diasporische Perspektiven. Im Weiterdenken intersektionaler Forschungen, die vor allem soziale Differenzen produktiv in Beziehung setzen, kommt den Bildausschnitten, Montagen, Dispositiven, Sounds etc. besondere Aufmerksamkeit zu.
 Die Wendung "differences that matter", mit der u.a. Donna Haraway, Sara Ahmed und Karen Barad argumentieren, gibt einen zentralen Impuls für den Band. 'Unterschiede von materieller Bedeutung' beziehen sich auf entsprechende Forderungen nach Ausdifferenzierung durch kapitalismus- und rassismuskritische Feministinnen of Color bereits seit dem 19. Jahrhundert. Gleichzeitig klingt in 
 Matters of Difference
 die unterschiedliche Wertigkeit der Kategorisierungen selbst an: In einer konkreten Figuration sind bestimmte Differenzen von größerem Gewicht als andere, und auch diese Unterscheidung ist sowohl hergestellt als auch mit materiellen und politischen Implikationen verbunden. Inwiefern kann die Orientierung an komplexen Differenzbeziehungen politisch produktiv sein und welche Rolle spielen dabei filmische, mediale und diskursive Dimensionen?
 Matters of Difference
 bildet den Auftakt der neuen Reihe 
 Figurationen - Filmische und mediale Verflechtungen von Differenz
 , die sich mit Fragen, Prozessen und Wahrnehmungen von Differenzverhältnissen befasst.
 Mit Beiträgen von
 Svea Bräunert, Angelica Fenner, Natascha Frankenberg, Karin Harrasser, Bettina Henzler, Till Kadritzke, Katrin Köppert, Gwendolin Lehnerer, Vera Mader, Winfried Pauleit, Drehli Robnik, Julia Schumacher / Lea Wohl von Haselberg, Markus Stauff und Susann Winsel.

Filmische, mediale und diskursive Differenzverflechtungen

Matters of Difference

Armies of the Night

Weitere Titel zum Thema