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Rebello Stephen: Hitchcockian Thrillers

Hitchcockian Thrillers

Must-See Films in the Style of the Suspense Master

The Study of Sound

Bringing concepts from early film theory into dialogue with the vibrant field of contemporary sound studies, Wild Sound turns an analytic eye and ear to the role of the soundscape in cinema, particularly the way that film soundtracks capture, create, represent, and even critique our sonic environment. Listening beyond music and dialogue, this book draws attention to the oft-ignored background soundscape-film's "wild sound"-which plays a quiet but substantial role in determining how film audiences feel about certain places, people, and processes. It explores the relationship between location sound and wider practices of phonographic field recording in the creation of a cinematic sonic environment. The latter half of the book shifts attention from from the controlled soundscapes of cinema to the relatively chaotic sonic environments of the world around us. Michael Pigott ultimately demonstrates how a theory of cinematic soundscapes helps us develop practical strategies for investigating the sonic environment in our personal and natural sound worlds, beyond the cinema auditorium.

Wild Sound

Cinema Two

Hirokazu Koreeda

Depictions of the Nazi Genocide and National Identity

Holocaust Cinema Since 2000

Routledge Contemporary Introductions to Philosophy

The book provides a critical overview of the most important issues in the philosophy of film, from "What is Film?" to "Can Film Do Philosophy?" It provides an objective analysis of the principal arguments on each side of each issue. The set of issues includes all of the most important topics as well as some that are less well represented in the discipline, such as whether the power of cinema derives from its similarity to dreams. The coverage is more comprehensive and up to date than its chief competitors, and the presentation is more objective than the existing monographs that survey the area. Philosophy of Film: A Contemporary Introduction consists of 11, similarly sized and structured chapters, plus an introduction and a final References list. Each chapter begins with an overview and ends with a summary and an annotated bibliography to guide students' further readings. Each chapter also includes a short annotated filmography of illustrative examples. A companion website provides actual film clips, more extensive bibliographies, and other external resources, for each of the 11 chapters.

The book provides a critical overview of the most important issues in the philosophy of film, from "What is Film?" to "Can Film Do Philosophy?" It provides an objective analysis of the principal arguments on each side of each issue. The set of issues includes all of the most important topics as well as some that are less well represented in the discipline, such as whether the power of cinema derives from its similarity to dreams. The coverage is more comprehensive and up to date than its chief competitors, and the presentation is more objective than the existing monographs that survey the area.Philosophy of Film: A Contemporary Introduction consists of 11, similarly sized and structured chapters, plus an introduction and a final References list. Each chapter begins with an overview and ends with a summary and an annotated bibliography to guide students‘ further readings. Each chapter also includes a short annotated filmography of illustrative examples. A companion website provides actual film clips, more extensive bibliographies, and other external resources, for each of the 11 chapters.

An Introduction

Philosophy of Film

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

BFI Film Classics

The 1989 anime Kiki's Delivery Service, the story of a young witch struggling to find her place in society, is one of the richest of Hiyao Miyazaki's films, and one of the first to enjoy distribution in the West. Daniel Martin's insightful study addresses the film from two key angles: firstly, in terms of its place within the shojo genre in Japanese popular culture: stories about the transformative adventures of teenaged girls, rich in metaphor and meaning. Secondly, Martin discusses Miyazaki's unique approach to the fantasy genre, and the ways his distinct evocation of a grounded but enchanting 'magical realism' in his films relates to theories in fantasy studies. Martin thereby explores the ways in which Miyazaki's filmmaking, and Kiki's Delivery Service in particular, can be understood to have an important place in the canon of popular fantasy that includes the works of J.R.R. Tolkien, C.S. Lewis, and J.K. Rowling.

Kiki's Delivery Service

and the Cultural Geography of Horror

Urban Legends

Global Exploitation Cinemas

Discourses of cult cinema primarily centre around the West, with a particular emphasis upon Anglo-American cinema and fandom. Meanwhile, scholarship on world cinema privileges art cinema traditions and downplays those areas of popular cinema that intersect with cult. Global Cult Cinemas makes a decisive intervention by specifically addressing the transnational dynamics underpinning cult cinema. From studies of film reception that trace the international spread of cult film practices through to accounts of cult filmmaking traditions from a diverse range of film cultures, Global Cult Cinemas works towards the goal of de-Westernizing the discipline.

With contributors and topics from across the globe, Global Cult Cinemas explores this de-Westernization through filmmakers and current events such as Alejandro Jodorowsky in the era of #MeToo, cinephilia in Pakistan, and the reception of the Czech Crazy Comedy. While broadening the study of cult cinema beyond its predominant US focus, this book disrupts the realm of traditional cult cinema scholarship.

Global Cult Cinemas calls for a decolonisation of cult film studies. 
 
To date, discourses of cult cinema have predominantly focused upon Anglo-American cinema and its reception in the West. Even when cult scholarship has expanded to include non-English language cinema from regions such as East and Southeast Asia, what nevertheless tends to define these cinemas as cult has been the subcultural fandom for those films in the West. Shifting the focus onto cult film traditions and fandoms beyond the Anglosphere, Global Cult Cinemas makes a decisive intervention in the field by calling for a decolonisation of cult film studies. 
 
This volume therefore interrogates both the coloniality and gendered nature of much cult scholarship and the extent to which an implicit white male perspective needs challenging in an age of decolonising the academy. Our contributors focus their research on circuits of cult film production and reception beyond the predominant Anglophone centres, with particular attention to cult practices across the Global South. Chapters include investigations of specific cult film traditions within countries such as Brazil, Indonesia and Pakistan, alongside explorations of the politics of indigenous cult filmmaking, the global circulation of cult icons such as El Santo, and the status of auteurs such as Alejandro Jodorowsky in the era of #MeToo. In sum, this collection critiques the Eurocentric assumptions that lie at the heart of much existing cult film scholarship, and offers new ways of theorizing global cult cinemas to work towards the goal of decolonising cult film studies.

Decolonizing Cult Film Studies

Global Cult Cinemas

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.

Hitchcockian Thrillers

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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