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Film as Social Practice (4th Edition)

This fourth edition of our bestselling classic text has been comprehensively updated and revised to include contemporary film analysis and recent films. With a focus on contemporary popular cinema and examples from Classical Hollywood, Graeme Turner examines the social and cultural aspects of film from audiences and ideologies to exhibition and technology. This fourth edition now includes: new sections dealing with debates about spectacle and special effects an extended treatment of sound and its contribution to cinema film theory's discussion of the representation of race and ethnicity a thorough update of individual film references a revised applications chapter that includes new contemporary examples new illustrations from contemporary popular cinema. Students of film studies, film practice and film theory will find this a welcome addition to their degree course studies.

Film Blackness: American Cinema and the Idea of Black Film

In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. Harris Jr.'s Chameleon Street (1989), blackness and noir in Bill Duke's Deep Cover (1992), and how place and desire impact blackness in Barry Jenkins's Medicine for Melancholy (2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality.

The Film Book

A comprehensive, fun-to-browse, and easy-to-use source of everything you want to know about the movies and the people behind them, The Film Book is a unique treasure trove of a guide that will appeal to anyone who loves movies. From the history of the art form to techniques, and then the films themselves, The Film Book provides an overview of cinematic styles and genres; the industry's greatest and most influential directors, and their key works; as well as looking at filmmaking around the world, from Hollywood to Bollywood.

The Film Buff's Bucket List: The 50 Movies of the 2000s to See Before You Die

From the star YouTube reviewer, “a fantastic selection of movies, both big and small, that all film lovers can enjoy . . . a wonderful reference guide” (Alicia Malone, author Backwards and in Heels).Comic book heroes, ice princesses, apocalyptic lovestruck teens, whatever masterpiece Pixar is rolling out—not to mention countless indies and foreign films—there’s been no shortage of things to watch in recent years. But which films are the best of the best? What are the top twenty-first century movies to see before you die?Chris Stuckmann, one of YouTube’s most popular film reviewers with over 125 million views, gives us his best of the best in this list of the fifty very best movies since 2000—with all the style and punch his YouTube fans have come to love.“Chris Stuckmann is the Roger Ebert of Youtube and this book is awesome.” —Varla Ventura, author of Sheroes

The Film Business: A History of British Cinema 1896-1972 (Routledge Revivals)

First published in 1973 The Film Business makes a factual survey of British films from their beginnings in 1896 to 1972. Ernest Betts offers character studies of men who have built the film industry and made it what it is. He examines the financial and political background and shows how, while intending to encourage film production, it has often had exactly the opposite effect and inhibited its free development. Betts also attacks the manner in which the American film industry has taken over the British film industry and points to the failure of successive governments to save it from repeated crises and losses. Through these fluctuations the author keeps a firm eye on the film itself and brings the judgement of film critics past and present to bear on British cinema, as it moves uncertainly and not without its triumphs into the 1970s. This is an interesting read for students and scholars of film studies, British film history and British cinema.

Film Censorship: Regulating America's Screen (Short Cuts)

Film Censorship is a concise overview of Hollywood censorship and efforts to regulate American films. It provides a lean introductory survey of U.S. cinema censorship from the pre-Code years and classic studio system Golden Age—in which film censorship thrived—to contemporary Hollywood. From the earliest days of cinema, movies faced controversy over screen images and threats of censorship. This volume draws extensively on primary research from motion picture archives to unveil the fascinating behind-the-scenes history of cinema censorship and explore how Hollywood responded to censorial constraints on screen content in a changing American cultural and industrial landscape.This primer on American film censorship considers the historical evolution of motion-picture censorship in the United States spanning the Jazz Age Prohibition era, lobbying by religious groups against Hollywood, industry self-censorship for the Hays Office, federal propaganda efforts during wartime, easing of regulation in the 1950s and 1960s, the MPAA ratings system, and the legacy of censorship in later years. Case studies include The Outlaw, The Postman Always Rings Twice, Scarface, Double Indemnity, Psycho, Bonnie and Clyde, Midnight Cowboy, and The Exorcist, among many others.

The Film Club: A True Story of a Father and a Son

From the 2005 winner of the Governor-General’s Award for Fiction and the former national film critic for CBC television comes a delightful and absorbing book about the agonies and joys of home-schooling a beloved son. Written in the spare elegant style he is known for, The Film Club is the true story about David Gilmour’s decision to let his 15-year-old son drop out of high school on the condition that the boy agrees to watch three films a week with him. The book examines how those pivotal years changed both their lives. From French New Wave, Kurosawa, and New German cinema, to De Palma, film noir, Cronenberg and Billy Wilder, among many others from world cinema, we read about key moments in each film, as the author teaches his son about life and the vagaries of growing up through the power of the movies. Replete with page-turning descriptions of scenes and actors and directors, the narrative is framed with the tender story of his son’s first bittersweet first loves. This is a charming and poignant story about a very special time in a father and son’s relationship. David Gilmour is a novelist who has earned critical praise from literary figures as diverse as William Burroughs and Northrop Frye, and from publications as different as the New York Times to People magazine. The author of six novels, he also hosted the award-winning Gilmour on the Arts. He lives in Toronto with his wife Tina Gladstone.

Film, Comedy, And Disability: Understanding Humour And Genre In Cinematic Constructions Of Impairment And Disability (Interdisciplinary Disability Studies)

This book has been written in an effort to discern some of the limits to representation for portrayals of disability in media, focussing on what is attributable to cinema as a specific medium.1 I will show that there is much understanding to be gained from a synthesis of Disability Studies

Film Comedy and the American Dream (Routledge Advances in Film Studies)

Film Comedy and the American Dream is an examination of national identity in the era of the American superpower as projected in popular comedic films that center on issues of upward mobility. It is the story of what made audiences laugh and why, and what this says about the changing shape of the American Dream from the end of the Second World War through the first part of the twenty-first century. Through a combination of narrative and thematic analyses of popular comedic films, contextualized within a dynamic historical framework, the book traces the increasing disillusionment with this central ideology in the face of multiple forms of systemic exclusion. It argues that film comedy is a major component of the discourse surrounding the American Dream because these movies often evoke humor by highlighting the incongruities that exist between the ideals that define this nation versus the actual lived experiences of its citizens.

Film Crazy

In Film Crazy, McGilligan shares some of his fascinating interviews with screen luminaries from his salad days as a young journalist working the Hollywood beat. He rides the presidential campaign bus with Ronald Reagan, visits Alfred Hitchcock on the set of the Master of Suspense's last film, "Family Plot," meets George Stevens at the Brown Derby and conducts the last interview with the director of "Shane" and "Giant." Other interview subjects captured for posterity include rough-and-ready pioneer directors William Wellman and Raoul Walsh; likeable actor Joel McCrea; actress - and the only female director of her era - Ida Lupino; French legend Rene Clair; and lowly-contract-writer-turned-studio-mogul Dore Schary. Film Crazy is a must for film students, scholars and professionals.

Film Criticism in the Digital Age

Over the past decade, as digital media has expanded and print outlets have declined, pundits have bemoaned a "crisis of criticism" and mourned the "death of the critic. " Now that well-paying jobs in film criticism have largely evaporated, while blogs, message boards, and social media have given new meaning to the saying that "everyone's a critic," urgent questions have emerged about the status and purpose of film criticism in the twenty-first century. In Film Criticism in the Digital Age, ten scholars from across the globe come together to consider whether we are witnessing the extinction of serious film criticism or seeing the start of its rebirth in a new form. Drawing from a wide variety of case studies and methodological perspectives, the book's contributors find many signs of the film critic's declining clout, but they also locate surprising examples of how critics--whether moonlighting bloggers or salaried writers--have been able to intervene in current popular discourse about arts and culture. In addition to collecting a plethora of scholarly perspectives, Film Criticism in the Digital Age includes statements from key bloggers and print critics, like Armond White and Nick James. Neither an uncritical celebration of digital culture nor a jeremiad against it, this anthology offers a comprehensive look at the challenges and possibilities that the Internet brings to the evaluation, promotion, and explanation of artistic works.

Film Criticism in the Digital Age

Over the past decade, as digital media has expanded and print outlets have declined, pundits have bemoaned a "crisis of criticism" and mourned the "death of the critic." Now that well-paying jobs in film criticism have largely evaporated, while blogs, message boards, and social media have given new meaning to the saying that "everyone's a critic," urgent questions have emerged about the status and purpose of film criticism in the twenty-first century. In Film Criticism in the Digital Age, ten scholars from across the globe come together to consider whether we are witnessing the extinction of serious film criticism or seeing the start of its rebirth in a new form. Drawing from a wide variety of case studies and methodological perspectives, the book's contributors find many signs of the film critic's declining clout, but they also locate surprising examples of how critics--whether moonlighting bloggers or salaried writers--have been able to intervene in current popular discourse about arts and culture. In addition to collecting a plethora of scholarly perspectives, Film Criticism in the Digital Age includes statements from key bloggers and print critics, like Armond White and Nick James. Neither an uncritical celebration of digital culture nor a jeremiad against it, this anthology offers a comprehensive look at the challenges and possibilities that the Internet brings to the evaluation, promotion, and explanation of artistic works.

Film Criticism, the Cold War, and the Blacklist

Film Criticism, the Cold War, and the Blacklist examines the long-term reception of several key American films released during the postwar period, focusing on the two main critical lenses used in the interpretation of these films: propaganda and allegory. Produced in response to the hearings held by the House Committee on Un-American Activities (HUAC) that resulted in the Hollywood blacklist, these films' ideological message and rhetorical effectiveness was often muddled by the inherent difficulties in dramatizing villains defined by their thoughts and belief systems rather than their actions. Whereas anti-Communist propaganda films offered explicit political exhortation, allegory was the preferred vehicle for veiled or hidden political comment in many police procedurals, historical films, Westerns, and science fiction films. Jeff Smith examines the way that particular heuristics, such as the mental availability of exemplars and the effects of framing, have encouraged critics to match filmic elements to contemporaneous historical events, persons, and policies. In charting the development of these particular readings, Film Criticism, the Cold War, and the Blacklist features case studies of many canonical Cold War titles, including The Red Menace, On the Waterfront, The Robe, High Noon, and Invasion of the Body Snatchers.

Film Dialogue

Film Dialogue is the first anthology in film studies devoted to the topic of language in cinema, bringing together leading and emerging scholars to discuss the aesthetic, narrative, and ideological dimensions of film speech.

Film Dialogue

Film Dialogue is the first anthology in film studies devoted to the topic of language in cinema, bringing together leading and emerging scholars to discuss the aesthetic, narrative, and ideological dimensions of film speech that have largely gone unappreciated and unheard. Consisting of thirteen essays divided into three sections: genre, auteur theory, and cultural representation, Film Dialogue revisits and reconfigures several of the most established topics in film studies in an effort to persuade readers that "spectators" are more accurately described as "audiences," that the gaze has its equal in eavesdropping, and that images are best understood and appreciated through their interactions with words. Including an introduction that outlines a methodology of film dialogue study and adopting an accessible prose style throughout, Film Dialogue is a welcome addition to ongoing debates about the place, value, and purpose of language in cinema.

Film Directing Fundamentals

Film Directing Fundamentals gives the novice director an organic methodology for realizing on the screen the full dramatic possibility of a screenplay. Unique among directing books, this book provides clear-cut ways to translate a script to the screen. Using the script as a blueprint, the reader is led through specific techniques to analyze and translate its components into a visual story. A sample screenplay is included that explicates the techniques. The book assumes no knowledge and thus introduces basic concepts and terminology.Appropriate for screenwriters, aspiring directors and filmmakers, Film Directing Fundamentals helps filmmakers bring their story to life on screen.

Film Directing Fundamentals: See Your Film Before Shooting

Film Directing Fundamentals gives the novice director an organic methodology for realizing on-screen the full dramatic possibility of a screenplay. Unique among directing books, Nicholas Proferes provides clear-cut ways to translate a script to the screen. Using the script as a blueprint, the reader is led through specific techniques to analyze and translate its components into a visual story. A sample screenplay is included that explicates the techniques discussed. Written for both students and entry-level professionals, the book assumes no knowledge and introduces basic concepts and terminology. Appropriate for screenwriters, aspiring directors and filmmakers, Film Directing Fundamentals helps filmmakers bring their story to life on screen. This fourth edition is updated with a new foreword by Student Academy Award-winner Jimmy Keyrouz, who studied with author Nicholas Proferes, as well as an enhanced companion website by Laura J. Medina, available at www.routledge.com/cw/proferes, which features new supplemental material for both instructors and students, including two new analyses of contemporary films—Wendy and Lucy (2008) and Moonlight (2016)—study questions, suggested assignments and exercises, as well as the instructor’s manual written by Proferes in 2008.

The Film Director Prepares: A Practical Guide to Directing for Film & TV

• Insider author gives no-nonsense advice • Required reading for film students, educators, anyone interested in film. From script analysis to post production, here is the all-inclusive guide to directing for film and television. Written by noted director-producer Myrl Schreibman, The Film Director Prepares offers practical insights on filmmaking, using real-life examples directors won’t learn in school. With topics including working with actors, using the camera to tell a story, setting mood, staging, maintaining performance levels, covering shots, and directing for different mediums, The Film Director Prepares will leave new directors truly prepared for their careers.

Film Discourse Interpretation: Towards a New Paradigm for Multimodal Film Analysis (Routledge Studies in Multimodality)

This book contributes to the analysis of film from a multimodal and textual perspective by extending formal semantics into the realm of multimodal discourse analysis. It accounts for both the inferential as well as intersemiotic meaning making processes in filmic discourse and therefore addresses one of the main questions that have been asked within film theory and multimodal analysis: How do we understand film and multimodal texts? The book offers an analytical answer to this question by providing a systematic tool for the description of this comprehension process. It aims to advance knowledge of the various resources in filmic texts, the ways the resources work together in constructing meaning and the ways people understand this meaning construction. This new approach to film interpretation is thus able to remodel and improve the classical paradigm of film text analysis.

Film Distribution in the Digital Age: Pirates And Professionals

Film Editing: The Art of the Expressive (Short Cuts)

Film Editing provides an introduction to the craft of editing in the non-silent film. In clear and accessible language, Valerie Orpen considers editing as an expressive strategy rather than a mere technique. She reveals that editing can be approached and studied in a similar way to other aspects of film. Traditionally, studies on editing or montage tend to focus on silent cinema, yet this book claims that an examination of editing should also consider the role of the soundtrack. The aim of Film Editing is to examine the way in which editing can make meaning. The book addresses editing as part of a wider context and as a crucial element of the overarching design and vision of a film. Consequently, this book incorporates other parameters, such as mise-en-scène, framing, sound, genre, history, and performance. By examining a number of mainstream and art films, such as Godard's A bout de souffle, Hitchcock's Rear Window, and Scorsese's Raging Bull, Film Editing seeks to dispel the notion that editing is necessarily polarized as continuity versus discontinuity.

The Film Encyclopedia: The Complete Guide to Film and the Film Industry

“Wow! What a book!” — Katharine Hepburn“Recommended for any reference collection in need of a world view of film.” — Booklist“The best movie reference book, hands down.” — Newsweek

Film: The Essential Study Guide

Providing a key resource to new students, Film: The Essential Study Guide introduces all the skills needed to succeed on a film studies course. This succinct, accessible guide covers key topics such as: Using the library Online research and resources Viewing skills How to watch and study foreign language films Essay writing Presentation skills Referencing and plagiarism Practical Filmmaking Including exercises and examples, Film: The Essential Study Guide helps film students understand how study skills are applicable to their learning and gives them the tools to flourish in their degree.

The Film Experience: An Introduction

Now with Macmillan's highly touted LaunchPad to deliver superior content online, The Film Experience offers a comprehensive introduction to the art, language, industry, culture, and experience of the movies?�with new digital tools to bring that experience to life and help students master course material. The text highlights how formal elements like cinematography, editing, and sound can be analyzed and interpreted within the context of a film as a whole. With superior tools for reading and writing about film, as well as unparalleled coverage of diversity, inclusion, and non-mainstream filmmaking traditions, The most robust introduction to film on the market, the Sixth Edition emphasizes film technology through expanded coverage of animation and a new Technology in Action feature, which puts the evolving technology of film in historical context. The Film Experience is also now available with LaunchPad, Macmillan�s customizable online course space, which includes the full e-book, LearningCurve adaptive quizzing, a rich array of video activities aligned with the text, and more.

The Film Experience: An Introduction (Third Edition)

The Film Experience is a comprehensive introduction to film that recognizes students as movie fans while surpassing all other texts in helping them understand the art form's full scope. Noted scholars and teachers Tim Corrigan and Patricia White capture the complete film experience, situating their strong coverage of the medium's formal elements within the larger cultural contexts that inform the ways we all watch film--from economics and exhibition to marketing and the star system. A host of learning tools gives students the support they need to make the transition from movie fan to critical viewer. Now with a sharper focus that highlights the essential formal and cultural concepts of cinema, and a powerful new suite of video and media, The Film Experience is the consummate introductory film text.