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The Korean Cinema Book

The Korean Cinema Book.- Contents.- Preface (800 words).- Author TBC.- Introduction (10, 000 words).- Nikki J.Y. Lee and Julian Stringer.- Part I: Historical Trajectories.- 1. Modern History and Cultural Production in Korea (8000 words).- Michael Robinson.- 2. Film Policy and Censorship (8000 words).- Darcy Paquet.- 3. The Culture of Film Exhibition: History and Characteristics (7000 words) Cho Jun-hyung.- 4. Technology and Film Style (10,000 words).- Chung Chong-hwa.- 5. Film Stars and Performance: Historicizing Cultural Engagement (7000 words).- Chung-kang Kim.- 6. Independent Filmmaking in South Korea (6000 words).- Nohchool Park.- 7. South Korean Political Documentaries (6000 words).- Eunkwang Huh.- Part II: Colonial Korean Cinema.- 8. Film Audiences without Movie Theaters: Early Korean Film Culture, 1897-1919 (6000 words).- Dong Hoon Kim.- 9. Melodic Variations of Colonial Modernity: From Itinerant Byeonsa to the Talkies, 1907-1937 (6000 words).- Roald Maliangkay and Brian Yecies.- 10. Invaded Homeland: Colonialism and Cinema Technology in Early Cinema (6000 words).- Baek Moon-im.- 11. The Urban Life of Colonial Chosun and Crossroads of Youth (1934) (6000 words).- Jeong Min-Ah.- 12. The Mother in Chos?n (Korean) Cinema: Between Realism and Wartime Propaganda (5000 words).- Kyeong-Hee Choi and Hyun-Hee Park.- Part III: Post-War South Korean Genres.- 13. 1950s Korean Cinema and the Culture of the Cold War (5000 words).- Yom Chan Hee.- 14. Korean Melodrama: Dynamics of the Melodramatic, the Sinpa-tic, and the National (6000 words).- Eunsun Cho.- 15. State, Family and Laughter: The Historical Development of Korean Comedy from the Late 1950s to the 1970s (5000 words).- Moon Gwan-gyu.-p 16. Sex-Exploitation Movies in the 1970s: The Politics of Decadence and the Military Regime's Hypernationalization Project (6000 words).- Sun-Young You.- 17. Gangster Films (5000 words).- Author TBC.- 18. Some 'R' Points: Repression, Repulsion, Revelation, and Redemption in South Korean Horror Films (6000 words).- David Scott Diffrient.- 19. Regional Hits: Korean Blockbusters (5000 words).- Jinhee Choi.- Part IV: North Korean Cinema.- 20. North Korean Cinema: An Historical Overview (5000 words) Hyangjin Lee.- 21. The Birth of North Korean Cinema and Joo In-gyu (6000 words).- Han Sang Eon.- 22. Cinema and the Formation of North Korean Style Socialism, 1958-1966 (7000 words).- Ham Chung Beom .- 23. The Representation of Femininity in North Korean Juche Films (5000 words).- Lee Myung-ja.- 24. My North Korean Cinema (5000 words).- Author TBC.- Part V: Contemporary South Korean Film Cultures: Transnational Dimensions.- 25. The Development of Korean Cinema Studies in North America (6000 words).- Kyung Hyun Kim.- 26. What Price Glory?: Transnational Canon Formations and the Local Reception of Korean Cinema (6000 words).- Hye Seung Chung.- 27. The Promotion and Reception of Korean Cinema in the UK (6000 words).- Daniel Martin.- 28. Hollywood in Korea/Korea in Hollywood (6000 words).- Julian Stringer.- 29. Inter-Asia Film Studies: The Case of Korea/Japan (5000 words).- Kim Soyoung.- 30. The 'Asianization' of South Korean Cinema (6000).- Nikki J. Y. Lee.- Appendices: Bibliography, Electronic Resources, Film Availability (DVD), Glossary.- TOTAL = 187, 800 words (excluding Appendices).

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 studentsâEUR¿ 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

Too often, film and the cinema have been treated primarily as a visual medium, with the consequence that spectatorship has come to be regarded as a matter of the eye alone. In Film History: An Introduction through the Senses, Thomas Elsaesser and Michael Wedel put the other senses at the centre of the cinematic experience, charting the dynamics along which the cinema has configured, positioned, and rearticulated itself over time within the larger cultural force field of media technologies, the body, and the senses. Much like Film Theory: An Introduction through the Senses, each chapter in this new book begins by identifying the major terms of a particular period--including early cinema, classical cinema, modern (art) cinema, post-classical cinema, avant-garde cinema, world cinema, and digital cinema--and closely analyzing of one or more of the era's key films. Using major twentieth century media theorists, the authors then examine the way in which media technologies have affected, altered, traversed, or perverted the body and the senses. For example, they consider:-the cinema as a site for the training of the body and the mass production of the senses-the cinema as the exploitation of the body and the commodification of the senses-the cinema as a public space to adapt the body and educate the senses to the demands of societyBy broadening our understanding of spectatorship Elsaesser and Wedel are able to provide an account of film history that more easily accomodates the new forms that the cinematic experience is taking in the 21st century. The advanced undergraduate will find this book to be an excellent introduction to both major media theorists like McLuhan and Kracauer and also film history more generally.

An Introduction through the Senses

Film History

A Simon &amp; Schuster Book. Simon &amp; Schuster has a great book for every reader.

A Simon &amp; Schuster Book. Simon &amp; Schuster has a great book for every reader.

Untitled IMC

Videogames Go to the Movies explores the impact of videogames on cinema--and cinema on videogames--from the early 1980s to the present. Chapters consider:<ul> <li>the mediums' mutual framing of each other</li> <li>case studies of adaptation in both directions</li> <li>the flows and functions of contemporary transmedia entertainment</li> <li>experimentation and hybridization at the mediums' boundaries</li> <li>the fundamental transformations of fandom, production toosl, and resulting media forms that promise to shape the videogame-cinema relationship in the future</li> </ul>Informed by a detailed knowledge both of film theory and history and the technical and aesthetic particulars of digital interactive media, Videogames Go to the Movies introduces students to the theory and history of the relationship between videogames and films, while also addressing larger questions about new media culture and technology.

Videogames Go to the Movies explores the impact of videogames on cinema--and cinema on videogames--from the early 1980s to the present. Chapters consider:<ul> <li>the mediums' mutual framing of each other</li> <li>case studies of adaptation in both directions</li> <li>the flows and functions of contemporary transmedia entertainment</li> <li>experimentation and hybridization at the mediums' boundaries</li> <li>the fundamental transformations of fandom, production toosl, and resulting media forms that promise to shape the videogame-cinema relationship in the future</li> </ul>Informed by a detailed knowledge both of film theory and history and the technical and aesthetic particulars of digital interactive media, Videogames Go to the Movies introduces students to the theory and history of the relationship between videogames and films, while also addressing larger questions about new media culture and technology.

Videogames Go to the Movies

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

Downtime explores the history and aesthetics of slow motion, from its origins in early film to its prominence today.

The Twentieth Century in Slow Motion

Downtime

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.

Have you got a plant problem and don’t know how to fix it? This complete, practical guide has all the answers you need. Drawing on the expertise and authority of the RHS, RHS Pests and Diseases has been carefully conceived to help you make a correct diagnosis – and find the most effective cure. This brand new, updated edition includes helpful new entries detailing how to cope with the latest prevalent problems, and how to keep your garden healthy while respecting the environment. Look up possible ailments in the plant-by-plant listings; make a visual identification from the extensive gallery of symptoms; then follow detailed advice in the A-Z directory to remedy the issue. With a focus on growing for food and an emphasis on sustainable solutions, RHS Pests and Diseases will help your garden stay productive, attractive, and in the best of health while caring for the planet.

Keep Your Produce and Plants Healthy

Pests and Diseases

Distinctive, unusual and spectacularly entertaining

Quantick's Quite Difficult Quiz Book

Cinema Two

Hirokazu Koreeda

Are you a fan of the popular phone app,&nbsp;Bobby Approved, Grocery Shopping Tips? Welcome to&nbsp;The&nbsp;Grocery Store Bible—a valuable companion to Bobby’s phone app and an essential aid to enhancing your food store knowledge and shopping experience.

Are you a fan of the popular phone app,&nbsp;Bobby Approved, Grocery Shopping Tips? Welcome to&nbsp;The&nbsp;Grocery Store Bible—a valuable companion to Bobby’s phone app and an essential aid to enhancing your food store knowledge and shopping experience.

Bobby Approved Guide to the Healthiest Food Store Products

The Grocery Store Bible

The Bengali filmmaker, Ritwik Kumar Ghatak (1925-1976), wrote, produced, directed and/or acted in plays, feature films and documentaries in Bengal during the socially and politically tumultuous period from the late 1940s through the mid-1970s. Why Ghatak? Within the contexts of Bengali, Indian and world cinema, Ghatak is considered an innovative, revolutionary master of the cinematic medium who possessed a singular cinematic sensibility. He composed numerous essays on film and filmmaking in English and Bengali. Dozens of interviews have been recorded that present an artist who was contemplative, outspoken, at times misunderstood, at turns obstinate and contradictory. 

From his first film, Nagarik ("The Citizen," 1953) through his final film, Jukti Takko ar Gappo ("An Argument, a Debate, and a Story," 1974), Ghatak constructed detailed visual and aural filmic commentaries about modern Bengali culture and society. Twice during his lifetime Bengal was physically rent apart - in 1947 with the Partition of India engendered by the departure of the British and in 1971 by the Bangladeshi War of Independence. In Ghatak's films, the ambivalence and contradictions of Bengali society in post-1947, post-Partition, post-Independence India are pointedly portrayed. Against this frequently adverse milieu, Bengal's modern cultural memory, identity, and history are interrogated and continually reassessed in his cinema.

The Bengali filmmaker, Ritwik Kumar Ghatak (1925-1976), wrote, produced, directed and/or acted in plays, feature films and documentaries in Bengal during the socially and politically tumultuous period from the late 1940s through the mid-1970s. Why Ghatak? Within the contexts of Bengali, Indian and world cinema, Ghatak is considered an innovative, revolutionary master of the cinematic medium who possessed a singular cinematic sensibility. He composed numerous essays on film and filmmaking in English and Bengali. Dozens of interviews have been recorded that present an artist who was contemplative, outspoken, at times misunderstood, at turns obstinate and contradictory. 

From his first film, Nagarik (“The Citizen,” 1953) through his final film, Jukti Takko ar Gappo (“An Argument, a Debate, and a Story,” 1974), Ghatak constructed detailed visual and aural filmic commentaries about modern Bengali culture and society. Twice during his lifetime Bengal was physically rent apart – in 1947 with the Partition of India engendered by the departure of the British and in 1971 by the Bangladeshi War of Independence. In Ghatak’s films, the ambivalence and contradictions of Bengali society in post-1947, post-Partition, post-Independence India are pointedly portrayed. Against this frequently adverse milieu, Bengal’s modern cultural memory, identity, and history are interrogated and continually reassessed in his cinema.

Ritwik Ghatak’s Cinematic Sensibility

The Korean Cinema Book

Bibliografische Angaben

Inhaltsverzeichnis

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Bibliografische Angaben

Inhaltsverzeichnis

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