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Gingold M: Armies of the Night

Armies of the Night

The Warriors and Its Legacy

A new offering in the nascent Reel West film history series that focuses on that quintessentially American cinematic art form, the western. Few lines of movie dialogue have had greater impact than the most famous line from John Ford’s 1962 masterpiece The Man Who Shot Liberty Valance: “This is the West, sir. When the legend becomes fact, print the legend.” Although critics of the day did not realize its magnitude, with time The Man Who Shot Liberty Valance has become cemented in our popular culture. This film connects to nearly every Western before or after, from Ford’s own Stagecoach (1939) to Clint Eastwood’s Unforgiven (1992). Coming six years after The Searchers, Ford’s other great late-career masterpiece, The Man Who Shot Liberty Valance may be even more archetypal of a changing West. In this first-ever book on the subject, Chris Yogerst unpacks one of the signature films of the post-classic Western period and one of the greatest works of director John Ford and actors John Wayne, James Stewart, Lee Marvin, and Woody Strode.

The Man Who Shot Liberty Valance

Federal Motion Picture Commission: # Before the Committee On Education, House of Representatives... January #, 14, #, 17, 18, and 19, 1916

Celebrate the artistry of the HARRY POTTER(TM) films with this DEATHLY HALLOWS(TM)-themed journal and pen set. Inspired by the wizarding world's famous Deathly Hallows, this journal features a gorgeous full-color cover emblazoned with the iconic Deathly Hallows symbol and a collectable, sculpted Elder Wand pen. This hardcover journal lies flat when open and includes 192 ruled pages, a ribbon placeholder, an elastic band, and a back pocket for storing keepsakes and mementos.

<div>New from Insight Editions' best-selling Harry Potterstationery line, the Harry Potter: Deathly Hallows Hardcover Ruled Journal(With Pen) brings a bold Deathly Hallows touch to your everyday journalingand includes a collectible Elder Wand pen! </div><div>Celebrate the artistry of the Harry Potter films with thisDeathly Hallows-themed journal and pen set. Inspired by the wizarding world'sfamous Deathly Hallows, this journal features a gorgeous full-color coveremblazoned with the iconic Deathly Hallows symbol and a collectable, sculptedElder Wand pen. This hardcover journal lies flat when open and includes 192ruled pages, a ribbon placeholder, an elastic band, and a back pocket forstoring keepsakes and mementos. </div>

Harry Potter: Deathly Hallows Hardcover Journal and Elder Wand Pen Set

Film historian and acclaimed New York Times bestselling biographer Scott Eyman has written the definitive biography of Hollywood legend Cary Grant, one of the most accomplished—and beloved—actors of his generation, who remains as popular as ever today. Born Archibald Leach in 1904, he came to America as a teenaged acrobat to find fame and fortune, but he was always haunted by his past. His father was a feckless alcoholic, and his mother was committed to an asylum when Archie was eleven years old. He believed her to be dead until he was informed she was alive when he was thirty-one years old. Because of this experience Grant would have difficulty forming close attachments throughout his life. He married five times and had numerous affairs. Despite a remarkable degree of success, Grant remained deeply conflicted about his past, his present, his basic identity, and even the public that worshipped him in movies such as Gunga Din, Notorious, and North by Northwest. Drawing on Grant’s own papers, extensive archival research, and interviews with family and friends, this is the definitive portrait of a movie immortal.

Film historian and acclaimed bestselling biographer Scott Eyman has written the definitive biography of Hollywood legend Cary Grant, one of the most accomplished actors of his generation.

A Brilliant Disguise

Cary Grant

A deep dive into the grit and glamor of America’s favorite criminal couple and the nation’s love affair with guns. On May 23, 1934, two borderline inept but ruthless criminals named Clyde Barrow and Bonnie Parker met their end in a hail of semiautomatic gunfire on a rural road in the Louisiana backcountry. The duo had terrorized Depression-era Middle America with a string of robberies and a brazen daylight prison escape, killing nearly a dozen police officers along the way. A legend was born. Thirty-two years later, a movie crew gathered on a Warner Bros. studio ranch to re-create the scene of Bonnie and Clyde’s violent demise. It was the end of a difficult shoot. Almost everyone involved knew they were on to something, but getting there had taken a toll on relationships both professional and personal. The result was destined to become what is arguably the landmark film of the New Hollywood era. Nothing like it had ever been attempted anything similar had, in fact, been forbidden by censorship. When the lights finally came up after an agonizing moment of black, Hollywood would never be the same. Almost sixty years since it exploded onto American screens, Bonnie and Clyde still retains the power to shock, amaze, and provoke, as fresh and relevant today as when it was first released in 1967. The movie’s resonance goes well beyond the peerless filmmaking of director Arthur Penn, producer-star Warren Beatty, and their talented team of collaborators. Bonnie and Clyde taps into a dark wellspring in the American psyche. Produced in a time of great social upheaval, with a country divided under a deeply polarizing president, the film addresses troubling questions about our country’s founding myth and its obsession with firearms, questions that remain part of our national debate. They Kill People is the story of the making of Bonnie and Clyde. It is the story of the outlaws whose real lives were anything but glamorous. Most of all, it is the story of how violence and a predilection for firearms became a fundamental part of American identity.

Bonnie and Clyde, a Hollywood Revolution, and America's Obsession with Guns and Outlaws

They Kill People

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

Written from an international perspective, this account of the origins of the cinema begins in 1833 with the introduction of optical toys for reproducing movement and ends with a thorough examination of the first full year of projected moving pictures in 1896. Comprehensive and verifiable, with citations that support each individual entry, the book examines the events that culminated in the establishment of the moving picture world that was the dominant visual medium of the last century. Drawing on a range of international sources, this chronology is a readable, vivid account that corrects many longstanding errors in the story of moving pictures while at the same time recording the astounding diversity of ideas, apparatus, personalities, and exhibitions that turned a passing novelty into a major industry. Populated by dreamers, inventors, scientists, and entrepreneurs with widely different skills, interests, and backgrounds, the many origins of the cinema are all recorded here in a rich tapestry that has been woven with attention to the detailed shape and placement of each individual thread. The result is a fully- indexed reference that reflects the state of modern scholarship and should be useful over the long term as both a reference to the period of early cinema and as a starting point for further research.

Chronology of the Birth of Cinema 1833-1896

Memory, Subjectivity and Independent Chinese Cinema provides a historically informed examination of independent moving image works made between 1990 and 2010 in China. Showcasing an evolving personal mode of narrating memory, documenting reality, and inscribing subjectivity in over sixteen selected works that range from narrative film and documentary to experimental video and digital media (even including a multimedia avant-garde play), this book presents a provocative portrait of the independent filmmakers as a peculiarly pained yet active group of historical subjects of the transitional, post-socialist era. Through a connected investigation of cultural and cinematic concepts including historical consciousness, personal memory, narrative, performance, subjectivity, spatiality, and the body, Wang weaves a critical narrative of the formation of a unique post-socialist cultural consciousness that enables independent cinema and media to become a highly significant and effective conduit for historical thinking in contemporary China. Covering directors such as Zhang Yimou, Chen Kaige, Jia Zhangke, Jiang Wen, Lou Ye, Meng Jinghui, Wang Bing, Wang Guangli, Duan Jinchuan, Cui Zi'en, Shi Tou, and Tang Danhong, this book is essential reading for all students and scholars in Chinese film.

Memory, Subjectivity and Independent Chinese Cinema

Explores the influence of the graphic user interface on contemporary screen media

Screen Entertainment and the Graphic User Interface

Gooey Media

Cutaways

"Beugnet's ingenious insights seep like a fog into once-crisp categories of film analysis, unsettling notions of blur as visual deficiency. Near-sighted characters, formless smudges, teary and weary vision, and perspectival and atmospheric distortions energize this compelling love song to the affordances of and cinematic predisposition toward visual chaos, vagueness, uncertainty and confusion. Clearly, it's the perfect moment for both cinema and blur."--Karen Redrobe, author of Crash: Cinema and the Politics of Speed and Stasis In cinema, blurriness is usually intended to go unnoticed. When it appears it is either considered an error -- a mistake of focus or a technological failure -- or a background effect of shallow focus intended to offset a defined image. As Martine Beugnet argues, however, blur is an essential feature of the cinema, possessing its own properties and affordances, and capable of powerful effects. Examining an array of notable examples of blurriness from horror to art cinema and experimental film, and including the works of the Lumière brothers, Josef von Sternberg, Agnès Varda and many others, she develops a taxonomy of blurs, from speed and motion blur to the hand-held, "shaky camera" blur common in contemporary digital cinema. These wide-ranging instances all return the viewer to the sensorial and material qualities of the moving image. In the face of technological developments that valorize sharpness as an indicator of progress, blur stands as a provocative reminder of the value of uncertainty--a sign of the irreducible mystery at the heart of the filmic image. Martine Beugnet is Professor in Visual Studies at the Université Paris Cité and a member of ECHELLES, a CNRS research institute.

Blur

Mervyn Leroy Comes to Town

<div>Covering everything from&nbsp;Black Panther&nbsp;to&nbsp;American Sniper, and from&nbsp;Frozen&nbsp;to&nbsp;Get Out,&nbsp;American Cinema in the 2010s&nbsp;takes a close look at the memorable movies, visionary filmmakers, and behind-the-scenes drama that made this divisive decade such an exciting time to be a moviegoer.</div>

Covering everything fromÂ&nbsp;Black PantherÂ&nbsp;toÂ&nbsp;American Sniper, and fromÂ&nbsp;FrozenÂ&nbsp;toÂ&nbsp;Get Out,Â&nbsp;American Cinema in the 2010sÂ&nbsp;takes a close look at the memorable movies, visionary filmmakers, and behind-the-scenes drama that made this divisive decade such an exciting time to be a moviegoer.

Themes and Variations

American Cinema of the 2010s

Armies of the Night

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