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Rushton Richard: Modern European Cinema
and Love

Modern European Cinema and Love

Asteroid City (adapted from a "hypothetical" play) takes place in a fictional desert town, circa 1955. Synopsis: the itinerary of the annual Junior Stargazer/Space Cadet convention (organized to bring together students and parents from across the country for fellowship and scholarly competition) is spectacularly disrupted by world-changing events. A theatrical ensemble character piece; a poetic meditation on the meaning of life. In addition to the screenplay, this volume also contains a gallery of images and a conversation about the film with Wes Anderson, Roman Coppola, Jason Schwartzman, and Jake Ryan. One source of artistic inspiration describes the phenomena the movie attempts to illustrate:"For me, the American West is the place where things fall apart. Civilization simply passed through: first a century ago by rail, then in our own century by car... Only a few people stayed, leaving the gas stations and the unneeded cars rusting away everywhere. The decay goes rapidly in the heat, sun, and rain. You have the feeling that in another hundred years there will be nothing of all this left at all." - Wim Wenders (1987)

Asteroid City

Screening Cinema

Screening Adult Cinema

Bloomsbury Studies in Digital Cultures

"This book explores a phenomenon which it calls the new A.I. cinema and television, arguing that since the mid-2010s a distinctly new phase in the representation of A.I. has occurred. Discussing films such as Blade Runner 2049, Ex Machina and Ghost in the Shell alongside television series such as Westworld and Humans it argues that they have moved away from apocalyptic scenarios towards questions of personhood, consciousness, and social inclusion and exclusion. In doing so, it intervenes in some of today's most pressing debates, including gender representation, A.I. ethics, climate catastrophe, and the rights of artificially intelligent beings"--

The 21st-century has witnessed rapid advances in artificial intelligence, giving rise to a society at once hopeful but also mistrustful of the possibilities that this technology offers. Our hopes and anxieties have played out across a variety of media in recent times, but arguably nowhere more significantly than on our screens. This book explores a phenomenon which it calls the new A.I. cinema and television, arguing that since the mid-2010s a distinctly new phase in the representation of A.I. has occurred. Discussing films such as Blade Runner 2049, Ex Machina and Ghost in the Shell alongside television series such as Westworld and Humans it argues that they have moved away from apocalyptic scenarios towards questions of personhood, consciousness, and social inclusion and exclusion. In doing so, it intervenes in some of today's most pressing debates, including gender representation, A.I. ethics, climate catastrophe, and the rights of artificially intelligent beings.

Representing the New AI in Film and Television

Topics and Issues in National Cinema

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

Music and Sound on the International Screen

Throughout the Cold War, the films produced on both sides of the Iron Curtain both reflected and were shaped by the ideologies of their respective countries. Music played a key role defining the messages sent by these films. The essays in this book offer the first extended look at the relationship between music and ideology in the European cinema of the Cold War era. With contributions from an international array of scholars, this volume examines cinematic productions from Britain, East and West Germany, France, Yugoslavia, Poland, the Soviet Union, and Francoist Spain. The contributors explore the interactions between music, ideology, and cinema that shaped mass culture in the Cold War.

Throughout the Cold War, the films produced on both sides of the Iron Curtain both reflected and were shaped by the ideologies of their respective countries. Music played a key role defining the messages sent by these films. The essays in this book offer the first extended look at the relationship between music and ideology in the European cinema of the Cold War era. With contributions from an international array of scholars, this volume examines cinematic productions from Britain, East and West Germany, France, Yugoslavia, Poland, the Soviet Union, and Francoist Spain. The contributors explore the interactions between music, ideology, and cinema that shaped mass culture in the Cold War.

1940s to 1980s

Music, Ideology, and Commerce in European Popular Cinema

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

The first ever account of the making of the cinematic classic The Way We Were starring Barbara Streisand and Robert Redford, revealing the full story behind its genesis and continued controversies, its many deleted scenes, its much-anticipated but never-filmed sequel, and the real-life romance that inspired this groundbreaking love story… It’s one of the greatest movie romances of all time. Fifty years on, the chemistry between Barbra Streisand as Jewish working-class firebrand Katie Morosky and Robert Redford as all-American golden boy Hubbell Gardiner remains potent. Yet ­the friction and controversy surrounding The Way We Were were so enormous, the movie was nearly never made at all. Impeccably researched and eye-opening, here is the full story behind the challenges, rivalries, and real-life romance surrounding the movie. Even the iconic casting was fraught. Screenwriter Arthur Laurents wrote the role of Katie with Streisand in mind, but finding Hubbell was another matter. Redford was reluctant to play what he perceived as the “Ken doll” to Streisand’s lead, resulting in ten writers—among them Francis Ford Coppola—being called in to rework the script. The first preview was disastrous. Several scenes were cut, angering Streisand and Laurents, yet the new version was a resounding success, and its appeal endures, earning it a regular spot in the AFI’s annual Top 10 movie romances. The Way They Were also explores the deep, surprising love story that inspired the screenplay—the relationship between Laurents, a Jewish Brooklyn-born college leftist, and his longtime partner, Tom Hatcher. Drawing on Laurents’s unpublished writings, as well as interviews with Streisand, Redford, and other key players, this is the definitive account of a film that changed the rules of moviemaking and has defined romance ever since.

The first ever account of the making of the cinematic classic The Way We Were starring Barbara Streisand and Robert Redford, revealing the full story behind its genesis and continued controversies, its many deleted scenes, its much-anticipated but never-filmed sequel, and the real-life romance that inspired this groundbreaking love story… It’s one of the greatest movie romances of all time. Fifty years on, the chemistry between Barbra Streisand as Jewish working-class firebrand Katie Morosky and Robert Redford as all-American golden boy Hubbell Gardiner remains potent. Yet ­the friction and controversy surrounding The Way We Were were so enormous, the movie was nearly never made at all. Impeccably researched and eye-opening, here is the full story behind the challenges, rivalries, and real-life romance surrounding the movie. Even the iconic casting was fraught. Screenwriter Arthur Laurents wrote the role of Katie with Streisand in mind, but finding Hubbell was another matter. Redford was reluctant to play what he perceived as the “Ken doll” to Streisand’s lead, resulting in ten writers—among them Francis Ford Coppola—being called in to rework the script. The first preview was disastrous. Several scenes were cut, angering Streisand and Laurents, yet the new version was a resounding success, and its appeal endures, earning it a regular spot in the AFI’s annual Top 10 movie romances. The Way They Were also explores the deep, surprising love story that inspired the screenplay—the relationship between Laurents, a Jewish Brooklyn-born college leftist, and his longtime partner, Tom Hatcher. Drawing on Laurents’s unpublished writings, as well as interviews with Streisand, Redford, and other key players, this is the definitive account of a film that changed the rules of moviemaking and has defined romance ever since.

How Epic Battles and Bruised Egos Brought a Classic Hollywood Love Story to the Screen

The Way They Were

"From Victimhood to Empowerment brings the cinematographic works of Georgia's State Film Industry from the margins of Soviet film studies to the center, focusing on women's representations and exploring how the gender roles were modified throughout the decade according to the new social and political ideals through discourse analysis, postcolonial perspectives, and psychoanalytical feminist film theories. It surveys to what extent women's screen images were emancipated and what the functional meaning of this emancipation was its context, how the new ideals of New Soviet woman were inscribed in films, and how these ideals were combined with Georgian nationality"--

Representing Women in 1920s Soviet Georgian Cinema

From Victimhood to Empowerment

Iconic Directors

The Complete Unofficial Guide

Sofia Coppola

"Dabashi&nbsp;is sui generis: there is no other scholar like him in the study of Iranian cinema or Persian literature."—Shaj Mathew, Trinity University &nbsp;

When Abbas Kiarostami suddenly passed away in July 2016, he was already an iconic figure in world cinema—and his reputation as a master filmmaker has only grown since.&nbsp;In this book, celebrated scholar Hamid Dabashi offers a new way of looking at Kiarostami's artworld, one that questions the very idea of film philosophy. Dabashi's authoritative account of the philosophical resonances of Kiarostami's oeuvre offers an iconoclastic critique of the field's Eurocentrism and, in vivid prose, makes the case for a new method of appreciating the work of this essential figure. The result is a provocative perspective on the totality of Kiarostami's legacy that, with deep roots in Iranian aesthetic and Persian poetic and philosophical traditions, overcomes film's provincial preoccupation with its Western heritage and charts a new path forward for film-philosophy.

Toward a Postcolonial Film-Philosophy

Where Is Abbas Kiarostami?

'Nobody could make a film like Stanley Kubrick.' Steven SpielbergKubrick's interest in observing human folly produced some of the most important works of art of the twentieth century, including 2001: A Space Odyssey, A Clockwork Orange, Dr. Strangelove, Barry Lyndon and The Shining. Based on Kubrick's archive, as well as new interviews with family members and those who worked with him, Kubrick: An Odyssey offers comprehensive, in-depth coverage of Kubrick's personal, public and working life. This long-awaited, new biography dispels the myths surrounding the allegedly reclusive director, who spent his career determined to transcend traditional film-making. 'Kolker and Abrams have unearthed some superb new facts about the director.' The Times, 'Book of the Week''An authoritative portrait of the director. Filled with striking behind-the-scenes stories and elevated by a keen understanding of Kubrick's style, this is a biography as monumental as its subject.' Publishers Weekly'Myths are debunked, and everyone from the Kubrick obsessive to the casual fan will be beguiled.' Guardian

'Nobody could make a film like Stanley Kubrick.' Steven Spielberg Kubrick's interest in observing human folly produced some of the most important works of art of the twentieth century, including 2001: A Space Odyssey, A Clockwork Orange, Dr. Strangelove, Barry Lyndon and The Shining. Based on Kubrick's archive, as well as new interviews with family members and those who worked with him, Kubrick: An Odyssey offers comprehensive, in-depth coverage of Kubrick's personal, public and working life. This long-awaited, new biography dispels the myths surrounding the allegedly reclusive director, who spent his career determined to transcend traditional film-making. 'Kolker and Abrams have unearthed some superb new facts about the director.' The Times, 'Book of the Week' 'An authoritative portrait of the director. Filled with striking behind-the-scenes stories and elevated by a keen understanding of Kubrick's style, this is a biography as monumental as its subject.' Publishers Weekly 'Myths are debunked, and everyone from the Kubrick obsessive to the casual fan will be beguiled.' Guardian

An Odyssey

Kubrick

Race and Masculinity in the United States at Midcentury

White Screens, Black Dance

Modern European Cinema and Love

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

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