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Stephen Dwoskin Is

A Reappraisal

Feminist Media Histories

Archiving the Past&nbsp;uncovers&nbsp;the story of the women in&nbsp;France who, from the 1920s to the 1970s, played critical roles in the production of global cinema's history: as&nbsp;archivists&nbsp;charged with collecting films and other materials, as&nbsp;witnesses&nbsp;tasked with remembering their own film careers, and as&nbsp;activists&nbsp;committed to recovering women's contributions to film history. Reflecting on how gender politics informs the production of film history, Aurore Spiers&nbsp;recasts the film archive as a site of women's agency, modeling strategies for inclusivity, recuperation, and liberation within feminist film historiography.

Women’s Film History in France, 1927–1978

Archiving the Past

New Critical Humanities

This book demonstrates how cinematic treatments of blackness which offer explicit counter-narratives to society's deep-seated racist culture fail to escape the trappings of antiblackness and the basic antagonistic relationship between black people and the modern world and are instead features of it-all the while posing as anti-racist.

Blackhood At-Large

The Cinema of Social Death

Topics and Issues in National Cinema

Focuses on the history of government subsidies for feature films in Flanders (the northern, Dutch-language region of Belgium) and its role in stimulating a Flemish identity. It provides an empirical contribution to the study of the relationship between film, national identity and governmental film policy. This book is a timely empirical contribution to the underdeveloped field of Belgian film history. By focusing on film policy, the book contributes to the long neglected but currently burgeoning international field of film policy studies. Furthermore, because of its focus on film policy, the book provides an original contribution to the international research tradition on the relationship between film and national identity by going beyond an examination of textual representations.

Film Policy and National Identity in Flanders

Constructing a Flemish Cinema

Rewrites the history of the development of film and TV industries and cultures through questions of gender during the critical decade of the 1970s Spain.

Leading Women in Spanish Cinema and Television, 1970-1980

Divorce, Hollywood Style shares known and lesser-known stories of Hollywood split-ups.

Divorce, Hollywood Style

Women's Film History in France, 1927–1978

Insights into the Industry and its Players

Handbook of Board Games

Global East Asian Screen Cultures

Power, Precarity and Working Cultures

Producing Chinese Reality Television

The Settled Screen: Landscape and National Identity in New Zealand Cinema is the first title to explore the relationship between the representation of landscape and the development of both a national cinema and a national identity. Through the early years of New Zealand's cinema, prior to any formalized governmental support, those few feature length narrative films repeated wholesale the modes of representing the landscape and its inhabitants, while the developing documentary and travelogue industries would construct the fantasy of 'Maoriland' with New Zealand becoming internationally known as a green paradise, a Pacific idyll with an exotic, tamed, indigenous population. This precursor of the now contemporary 'Brand New Zealand' - itself a modern, politically-corrected version of these earlier narratives - would be adjusted and amended over time, especially with the formation of the New Zealand Film Commission in the late 1970s, but never entirely discarded. Beginning with a discussion on films in which landscape - and particularly the colonial or settler landscapes - have been represented in other Western cinemas, like The Searchers and Thelma &amp; Louise, Wilson compares in indigenous films like Whale Rider, To Love a Maori and The Piano to exemplify the simultaneous strands of New Zealand cinema: a way of marketing the country based on the success of such spectacular films as Peter Jackson's Tolkien epics, and the simultaneous attempts by Maori, immigrant and minority filmmakers to find a way to represent other stories in this land without recourse to the tropes of a by-now dominant national industry.

Landscape and National Identity in New Zealand Cinema

The Settled Screen

Film Theory in Practice

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. This book provides a broad introduction to network theory and shows how this theory can motivate a close reading of Robert Altman's 1975 film Nashville. By offering a tour of the expansive intellectual network we can now call network theory, the book demonstrates how analyzing the ubiquitous characteristics of networks changes the way film fans, students, and scholars might understand cinema's storytelling possibilities. It models a method of interpretation (focusing on character, cinematography, and sound) that students can practice with other feature films. Moreover, it situates film within a larger discourse about art and society, offering students the tools for analyzing other large-form cultural objects. Organized into two parts, the first section of the book presents an overview of network theory, its various facets as a still-emerging discourse, and its historical context in post-industrial life, before turning to Altman's Nashville. It then explores the film's narrative style and character system as a special case of network cinema, to show how there is more than "connectedness" alone to the network form.

Network Theory and Nashville

Hundreds of stickers to beautify your junk journal: the perfect companion to The Ransom Note Sticker Book. This cute little sticker book is packed with extraordinary images that can be used for scrapbooks, journals, collages and many other creative pursuits. Over 800 vintage illustrations, collected in categories, include old stamps, flower fairies, bus tickets, paint swatches, zodiac signs, pointing hands and dancing figures.

The Curious Collectibles Sticker Book

An introduction to the career of Travis Banton, one of the preeminent costume/fashion designers of Hollywood's Celebrated "Golden Age." Banton was responsible for creating the on-screen images of such legendary actresses as Carole Lombard, Claudette Colbert, Mae West, and most notably Marlene Dietrich.

Haute Couture in Hollywood's Golden Age

Banton of Paramount

Stephen Dwoskin Is

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