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Film als Kunst der Gesellschaft: Ästhetische Innovationen und gesellschaftliche Verhältnisse (Film und Bewegtbild in Kultur und Gesellschaft)
by Lutz Hieber Rainer WinterDer Band beschäftigt sich mit dem Kunstbegriff im Hinblick auf Film, wobei es sowohl um ästhetische Theorie als auch um konkrete Werke geht. Das Spektrum umfasst Spielfilme und Dokumentarfilme. Dabei liegt der Schwerpunkt auf den ästhetischen Innovationen des Mediums im Laufe seiner Geschichte und in der Gegenwart. Die Entwicklung visueller Ideen wird auf den historischen und gesellschaftlichen Kontext ihrer Entstehung und Rezeption bezogen. In den Blick geraten Filmautoren, Filmkünstler und Filmbewegungen, die nicht nur im Independent-Film, sondern auch im Mainstream zu finden sind.
Film als Medium der Verführung: Einführung in die Seduktionstheorie des Films
by Marcus StigleggerDie Seduktionstheorie definiert den Film im weiteren Sinne als ein Medium der Verführung, basierend auf dem französischen Begriff der séduction. Es handelt sich um einen von kontinentaler Philosophie und klassischer Filmtheorie geprägten theoretischen Ansatz, mit dem ein dreistufiges Analysemodell verknüpft ist. Das Buch führt in die theoretischen Grundlagen ein und stellt anhand unterschiedlicher klassischer und aktueller Beispiele aus der Filmgeschichte mögliche Analyseansätze vor.
Film and Comic Books
by Ian Gordon, Mark Jancovich and Matthew P. McAllisterContributions by Timothy P. Barnard, Michael Cohen, Rayna Denison, Martin Flanagan, Sophie Geoffroy-Menoux, Mel Gibson, Kerry Gough, Jonathan Gray, Craig Hight, Derek Johnson, Pascal Lefevre, Paul M. Malone, Neil Rae, Aldo J. Regalado, Jan van der Putten, and David Wilt In Film and Comic Books contributors analyze the problems of adapting one medium to another; the translation of comics aesthetics into film; audience expectations, reception, and reaction to comic book-based films; and the adaptation of films into comics. A wide range of comic/film adaptations are explored, including superheroes (Spider-Man), comic strips (Dick Tracy), realist and autobiographical comics (American Splendor; Ghost World), and photo-montage comics (Mexico's El Santo). Essayists discuss films beginning with the 1978 Superman. That success led filmmakers to adapt a multitude of comic books for the screen including Marvel's Uncanny X-Men, the Amazing Spider-Man, Blade, and the Incredible Hulk as well as alternative graphic novels such as From Hell, V for Vendetta, and Road to Perdition. Essayists also discuss recent works from Mexico, France, Germany, and Malaysia.
Film and Counterculture in the 2011 Egyptian Uprising
by Amir TahaThis book examines how film articulates countercultural flows in the context of the Egyptian Revolution. The book interrogates the gap between radical politics and radical aesthetics by analyzing counterculture as a form, drawing upon Egyptian films produced between 2010 and 2016. The work offers a definition of counterculture which liberates the term from its Western frame and establishes a theoretical concept of counterculture which is more globally redolent. The book opens a door for further research of the Arab Uprising, arguing for a new and topical model of rebellion and struggle, and sheds light on the interaction between cinema and the street as well as between cultural narratives and politics in the context of the 2011 Egyptian uprising. What is counterculture in the twenty-first century? What role does cinema play in this new notion of counterculture?
Film and Ethics: Foreclosed Encounters
by Lisa Downing Libby SaxtonFilm & Ethics considers a range of films and texts of film criticism alongside disparate philosophical discourses of ethics by Levinas, Derrida, Foucault, Lacanian psychoanalysts and postmodern theorists.
Film and Everyday Eco-disasters
by Robin L. Murray Joseph K. HeumannEco-disasters such as coal-mining accidents, oil spills, and food-borne diseases appear regularly in the news, making them seem nearly commonplace. These ecological crises highlight the continual tensions between human needs and the environmental impact these needs produce. Contemporary documentaries and feature films explore environmental-human conflicts by depicting the consequences of our overconsumption and dependence on nonrenewable energy.Film and Everyday Eco-disasters examines changing perspectives toward everyday eco-disasters as reflected in the work of filmmakers from the silent era forward, with an emphasis on recent films such as Dead Ahead, an HBO dramatization of the Exxon Valdez disaster; Total Recall, a science fiction action film highlighting oxygen as a commodity; The Devil Wears Prada, a comment on the fashion industry; and Food, Inc., a documentary interrogation of the food industry. The authors evaluate not only the success of these films as rhetorical arguments but also their rhetorical strategies. This interdisciplinary approach to film studies fuses cultural, economic, and literary critiques in articulating an approach to ecology that points to sustainable development as an alternative to resource exploitations and their associated everyday eco-disasters.
Film and Genocide
by Kristi M. WilsonFilm and Genocidebrings together scholars of film and of genocide to discuss film representations, both fictional and documentary, of the Holocaust, the Armenian genocide, and genocides in Chile, Australia, Rwanda, and the United States. Since 1955, when Alain Resnais created his experimental documentaryNight and Fogabout the Nazis' mass killings of Jews and other ostracized groups, filmmakers have struggled with using this medium to tell such difficult stories, to re-create the sociopolitical contexts of genocide, and to urge awareness and action among viewers. This volume looks at such issues as realism versus fiction, the challenge of depicting atrocities in a manner palatable to spectators and film distributors, the Holocaust film as a model for films about other genocides, and the role of new technologies in disseminating films about genocide. Film and Genocidealso includes interviews with three film directors, who discuss their experiences in working with deeply disturbing images and bringing hidden stories to life: Irek Dobrowolski, director ofThe Portraitist(2005) a documentary about Wilhelm Brasse, an Auschwitz-Birkenau prisoner ordered to take more than 40,000 photos at the camp; Nick Hughes, director of100 Days(2005) a dramatic film about the Rwandan mass killings; and Greg Barker, director ofGhosts of Rwanda(2004), a television documentary forFrontline.
Film and Modern American Art: The Dialogue between Cinema and Painting (Routledge Advances in Art and Visual Studies)
by Katherine ManthorneBetween the 1890s and the 1930s, movie going became an established feature of everyday life across America. Movies constituted an enormous visual data bank and changed the way artist and public alike interpreted images. This book explores modern painting as a response to, and an appropriation of, the aesthetic possibilities pried open by cinema from its invention until the outbreak of World War II, when both the art world and the film industry changed substantially. Artists were watching movies, filmmakers studied fine arts; the membrane between media was porous, allowing for fluid exchange. Each chapter focuses on a suite of films and paintings, broken down into facets and then reassembled to elucidate the distinctive art–film nexus at successive historic moments.
Film and Reform: John Grierson and the Documentary Film Movement (Routledge Library Editions: Cinema)
by Ian AitkenBest known for his documentaries such as Drifters, North Sea, and Housing Problems, John Grierson was the most important figure in the British documentary film movement and one of the most influential of British film theorists. This major assessment of Grierson and the documentary film movement examines the intellectual and aesthetic influences on his work, focusing on the material he produced in the inter-war years and comparing the idealistic strain of Grierson’s social commentary with other social reformists such as the Next Five Years Group and writers like Orwell and Priestley. Underlining the link between film and reform, the book clarifies the meaning and significance of Grierson’s ideas and the historical role of the documentary film movement. Originally published in 1990.
Film and Risk
by Mette HjortAn interdisciplinary collection exploring the many ways risk plays a role in film.
Film and Stereotype: A Challenge for Cinema and Theory
by Jörg Schweinitz Laura SchleussnerSince the early days of film, critics and theorists have debated the value of formula, cliché, conventional imagery, and recurring narrative patterns of reduced complexity. The high noon showdown or last-minute rescue, the lonely woman standing in the window or two lovers saying goodbye in the rain-many films rely on these scenes, and audiences have come to expect them. Outlining a comprehensive theory of film stereotype, a device as functionally important to film narrative as it is problematic, Jörg Schweinitz builds an overlooked critical history from the 1920s to today. Drawing on theories of stereotype in linguistics, literary analysis, art history, and psychology, Schweinitz identifies the major facets of film stereotype and articulates the positions of theorists in response to the challenges posed by stereotype. He reviews the writing of Susan Sontag, Roland Barthes, Theodor W. Adorno, Robert Musil, Béla Balázs, Hugo Münsterberg, and Edgar Morin, and he brings to light less prominent writers, such as René Fülöp-Miller and Gilbert Cohen-Séat, and traces the evolution of the discourse into a postmodern celebration of the device. Through detailed readings of specific films, Schweinitz also maps models for adapting and reflecting stereotype, from early ironic (Alexander Granowski) and conscious rejection (Robert Rossellini) to critical deconstruction (Robert Altman in the 1970s) and celebratory transfiguration (Sergio Leone and the Coen brothers). His history, which won the prestigious Geisteswissenschaften International award, reveals the role of film stereotype in shaping processes of communication and recognition, as well as its function in developing media competence beyond cinema.
Film and Stereotype: A Challenge for Cinema and Theory (Film and Culture Series)
by Jörg SchweinitzSince the early days of film, critics and theorists have contested the value of formula, cliché, conventional imagery, and recurring narrative patterns of reduced complexity in cinema. Whether it's the high-noon showdown or the last-minute rescue, a lonely woman standing in the window or two lovers saying goodbye in the rain, many films rely on scenes of stereotype, and audiences have come to expect them. Outlining a comprehensive theory of film stereotype, a device as functionally important as it is problematic to a film's narrative, Jörg Schweinitz constructs a fascinating though overlooked critical history from the 1920s to today.Drawing on theories of stereotype in linguistics, literary analysis, art history, and psychology, Schweinitz identifies the major facets of film stereotype and articulates the positions of theorists in response to the challenges posed by stereotype. He reviews the writing of Susan Sontag, Roland Barthes, Theodor W. Adorno, Rudolf Arnheim, Robert Musil, Béla Balázs, Hugo Münsterberg, and Edgar Morin, and he revives the work of less-prominent writers, such as René Fülöp-Miller and Gilbert Cohen-Séat, tracing the evolution of the discourse into a postmodern celebration of the device. Through detailed readings of specific films, Schweinitz also maps the development of models for adapting and reflecting stereotype, from early irony (Alexander Granowski) and conscious rejection (Robert Rossellini) to critical deconstruction (Robert Altman in the 1970s) and celebratory transfiguration (Sergio Leone and the Coen brothers). Altogether a provocative spectacle, Schweinitz's history reveals the role of film stereotype in shaping processes of communication and recognition, as well as its function in growing media competence in audiences beyond cinema.
Film and Television Collections in Europe - the MAP-TV Guide
by Eureka AudiovisuelThe MAP-TV Guide to film and television collections in Europe provides detailed information on almost 2,000 sources and archives of film and television in over forty European countries. This authoritative volume includes: the title listing of each collection both in English and the local language; research information; a subject and keyword index; an introduction to the collections in each country. This work will be of importance to all film researchers, production companies, film makers, archivists and reference librarians.
Film and Television Production in the Age of Climate Crisis: Towards a Greener Screen (Palgrave Studies in Media and Environmental Communication)
by Hunter Vaughan Pietari KääpäThis volume brings together a range of voices from across the global environmental media community to build a comparative international set of perspectives on ‘green’ film and television production. Through this, it provides a necessary intervention in environmental media studies that actively foregrounds media infrastructure, production, policy, and labour – that is, the management and practice of media production cultures.Due to its immense sociocultural influence and economic resources, the global screen media industry is at the forefront of raising awareness for the political and social issues resulting from accelerated environmental instability. However, the 21st century relationship between screen media and the environment has another face that demands urgent scrutiny. The advent of the digital age and the vast electrical and Information and Communication Technologies (ICT) infrastructures required to support digital production, distribution, and archiving has resulted in the rapid expansion and diversification of the industry’s resource use, infrastructure construction, energy dependency, and consequent waste and emissions production. Addressing these structures is essential to alleviating their environmental and social impact and ensuring that the industry’s rhetoric on environmental responsibility is reflected in its practice.As a mitigating counterbalance to the above trends, there has been a heightenedpush for sustainability measures along various lines of industry management, policy, and practice. These initiatives—including the cultural values they reflect, the political economies that form their logic, the managerial and marketing tactics that orchestrate them, and the environmental realities of their implementation—form the central object of inquiry for this collection.
Film and Video Budgets (Fifth Edition)
by Deke SimonFor over a decade, this classic budgeting book has helped filmmakers figure out: How do I put a budget together? How much will my project cost? How do I build an impressive-looking budget for Investors and funders'. . . and answers to hundreds of questions you may not have thought of! The 5th edition of this "industry bible" (over 45,000 copies sold) includes: Downloadable budget templates for free. Adapt these for your own use, and save yourself money and hundreds of hours of tedious data entry. Expanded chapter on preproduction. New site survey report. New information about shooting in High-Definition. All the sample budgets have been updated to include either digital capture or nonlinear digital post (picture and sound) line items and explanations. New appendix, resource section, and index. Book jacket.
Film and Video Editing Theory: How Editing Creates Meaning
by Michael FriersonFilm and Video Editing Theory offers an accessible, introductory guide to the practices used to create meaning through editing. In this book, Michael Frierson synthesizes the theories of the most prominent film editors and scholars, from Herbert Zettl, Sergei Eisenstein, and Noël Burch to the work of landmark Hollywood editors like Walter Murch and Edward Dmytryk. In so doing, he maps out a set of craft principles for readers, whether one is debating if a flashback reveals too much, if a certain cut clarifies or obscures the space of a scene, or if a shot needs to be trimmed. The book is grounded in the unity of theory and practice, looking beyond technical proficiency in a specific software to explain to readers how and why certain cuts work or don’t work.
Film and Video Production in the Cloud: Concepts, Workflows, and Best Practices
by Jack JamesWith cloud applications and services now widely available, film and video professionals have all the tools they need to work together on centralized platforms and effectively collaborate across separate desktop, web, and mobile devices. In Film and Video Production in the Cloud, veteran video production consultant Jack James provides a practical guide to cloud processes, concepts, and workflows as they relate to the most widely used cloud applications in the industry. Topics discussed include the benefits of cloud storage, cloud-based production and postproduction pipelines, project and asset management, distribution and archiving, budget and security considerations, and crowdsourcing. This book will allow readers to: • Harness cloud-based tools and processes to enhance your film and video production pipeline and help your creative team collaborate effectively across separate desktop, web, and mobile devices; • Discover the benefits of cloud-based film and video production, as well as key approaches to budgeting and planning, project and asset management, distribution and archiving, security considerations, and crowdsourcing in the cloud; • Learn how to apply fundamental cloud methodologies and best practices to the most widely used cloud services and applications in the industry, including Adobe Creative Cloud, Autodesk A360, Avid Media Composer Cloud, Asana, Basecamp, and Shotgun.
Film and the Afterlife (Routledge Studies in Religion and Film)
by David RankinThis book explores how post-death existence is represented in popular film, looking at issues such as continuity, personal identity, and the nature of existence beyond the grave. Film often returns to the theme of dying, death and the afterlife, both directly and indirectly, because there are very few subjects as compelling and universal. The book compares the representation of death, dying and the afterlife in films to scholarly surveys of attitudes towards life-after-death through the analysis of twenty films made between the end of World War II and now. It looks at the portrayals of stages between death and a final destination; spatio-temporal and personal continuity; the nature of afterlife existence in terms of embodiment, or not; and the contact between the worlds of the living and the dead. This book offers a wide-ranging view on a compelling subject in film. As such, it will be of great interest to scholars of Religion and Film, Religion and Media, the Philosophy of Religion, and the Sociology of Religion, as well as Religion, Media and Film Studies more generally .
Film and the American Presidency (Routledge Advances in Film Studies)
by Jeff Menne Christian B. LongThe contention of Film and the American Presidency is that over the twentieth century the cinema has been a silent partner in setting the parameters of what we might call the presidential imaginary. This volume surveys the partnership in its longevity, placing stress on especially iconic presidents such as Lincoln and FDR. The contributions to this collection probe the rich interactions between these high institutions of culture and politics—Hollywood and the presidency—and argue that not only did Hollywood acting become an idiom for presidential style, but that Hollywood early on understood its own identity through the presidency’s peculiar mix of national epic and unified protagonist. Additionally, they contend that studios often made their films to sway political outcomes; that the performance of presidential personae has been constrained by the kinds of bodies (for so long, white and male) that have occupied the office, such that presidential embodiment obscures the body politic; and that Hollywood and the presidency may finally be nothing more than two privileged figures of media-age power.
Film and the Anarchist Imagination: Expanded Second Edition
by Richard PortonHailed since its initial release, Film and the Anarchist Imagination offers the authoritative account of films featuring anarchist characters and motifs. Richard Porton delves into the many ways filmmakers have portrayed anarchism’s long traditions of labor agitation and revolutionary struggle. While acknowledging cinema’s predilection for ludicrous anarchist stereotypes, he focuses on films that, wittingly or otherwise, reflect or even promote workplace resistance, anarchist pedagogy, self-emancipation, and anti-statist insurrection. Porton ranges from the silent era to the classics Zéro de Conduite and Love and Anarchy to contemporary films like The Nothing Factory while engaging the works of Jean Vigo, Jean-Luc Godard, Lina Wertmüller, Yvonne Rainer, Ken Loach, and others. For this updated second edition, Porton reflects on several new topics, including the negative portrayals of anarchism over the past twenty years and the contemporary embrace of post-anarchism.
Film and the Chinese Medical Humanities (Routledge Advances in Asia-Pacific Studies)
by Chris Berry Vivienne Lo Guo LipingFilm and the Chinese Medical Humanities is the first book to reflect on the power of film in representing medical and health discourse in China in both the past and the present, as well as in shaping its future. Drawing on both feature and documentary films from mainland China, the chapters each engage with the field of medicine through the visual arts. They cover themes such as the history of doctors and their concepts of disease and therapies, understanding the patient experience of illness and death, and establishing empathy and compassion in medical practice, as well as the HIV/AIDs epidemic during the 1980s and 90s and changing attitudes towards disability. Inherently interdisciplinary in nature, the contributors therefore provide different perspectives from the fields of history, psychiatry, film studies, anthropology, linguistics, public health and occupational therapy, as they relate to China and people who identify as Chinese. Their combined approaches are united by a passion for improving the cross-cultural understanding of the body and ultimately healthcare itself. A key resource for educators in the Medical Humanities, this book will be useful to students and scholars of Chinese Studies and Film Studies as well as global health, medical anthropology and medical history.
Film and the Natural Environment: Elements and Atmospheres (Short Cuts)
by Adam O'BrienEnvironmental themes are present in cinema more than ever before. But the relationship between film and the natural world is a long and complex one, not reducible to issues such as climate change and pollution. This volume demonstrates how an awareness of natural features and dynamics can enhance our understanding of three key film-studies topics – narrative, genre, and national cinema. It does so by drawing on examples from a broad historical and geographical spectrum, including Sunrise, A River Called Titas, and Profound Desires of the Gods. The first introductory text on a topic which has long been overlooked in the discipline, Film and the Natural Environment argues that the nonhuman world can be understood not just as a theme but as a creative resource available to all filmmakers. It invites readers to consider some of the particular strengths and weaknesses of cinema as communicator of environmental phenomena, and collates ideas and passages from a range of critics and theorists who have contributed to our understanding of moving images and the natural world.
Film and the Working Class: The Feature Film in British and American Society (Routledge Library Editions: Cinema)
by Peter SteadTaking the subject chronologically from the 1890s to when the book was initially published in 1989, this book analyses those films specifically concerned with working-class conditions and struggle, and discusses them within the context of the debate on the social significance of the feature film. It concentrates on films which depict labour organizations and political activists, as well as life in working-class communities and actors with working-class identities such as James Cagney. Reviews of the original edition: ‘…fills a gap in film studies…the study of social and labour history, and the development of popular culture in Britain and the United States.’
Film as Philosophy
by Bernd HerzogenrathFilm and philosophy have much in common, and books have been written on film and philosophy. But can films be, or do, philosophy? Can they &“think&”? Film as Philosophy is the first book to explore this fascinating question historically, thematically, and methodically.Bringing together leading scholars from universities across the globe, Film as Philosophy presents major new research that leads film studies and philosophy into a productive dialogue. It provides a uniquely sweeping, historical overview of the confluence of film and philosophy for more than a century, considering films from Jean Renoir, Lars von Trier, Jørgen Leth, David Lynch, Michael Haneke, and others; the written works of filmmakers who also theorized on the medium, including Sergei Eisenstein and Jean Epstein; and others who have written on cinema, including Hugo Münsterberg, Béla Balázs, André Bazin, Henri Bergson, Gilles Deleuze, Stanley Cavell, Alain Badiou, Jacques Rancière, and many more. Representing a major step toward establishing a media philosophy that puts the status, role, and function of film into a new perspective, Film as Philosophy removes representational techniques from the center of inquiry, replacing these with the medium&’s ability to &“think.&” Hence it accords film with &“agency,&” and the dialogue between it and philosophy (and even neuroscience) is negotiated anew.Contributors: Nicole Brenez, U of Paris 3–Sorbonne; Elisabeth Bronfen, U of Zurich; Noël Carroll, CUNY; Tom Conley, Harvard U; Angela Dalle Vacche, Georgia Institute of Technology; Gregory Flaxman, U of North Carolina, Chapel Hill; Alex Ling, Western Sydney U; Adrian Martin, Monash U; John Ó Maoilearca, Kingston U, London; Robert Sinnerbrink, Macquarie U, Sydney; Murray Smith, U of Kent, Canterbury; Julia Vassilieva, Monash U, Melbourne; Christophe Wall-Romana, U of Minnesota; and Thomas E. Wartenberg, Mount Holyoke College.
Film as Religion, Second Edition: Myths, Morals, and Rituals
by John C. LydenArgues that popular films perform a religious function in our culture The first edition of Film as Religion was one of the first texts to develop a framework for the analysis of the religious function of films for audiences. Like more formal religious institutions, films can provide us with ways to view the world and the values to confront it. Lyden argues that the cultural influence of films is analogous to that of religions, so that films can be understood as representing a “religious” worldview in their own right. Thoroughly updating his examples, Lyden examines a range of film genres and individual films, from The Godfather to The Hunger Games to Frozen, to show how film can function religiously.