Böcker i Routledge Advances in Film Studies-serien

This volume examines race filmmaking from numerous perspectives. By reanimating a critical but neglected period of early cinema-the years between the turn-of-the-century and 1930, the end of the silent film era-it provides a fascinating look at the efforts of early race film pioneers and offers a vibrant portrait of race and racial representatio

This book examines film as a multimodal text and an audiovisual synthesis, bringing together current work within the fields of narratology, philosophy, multimodal analysis, sound as well as cultural studies in order to cover a wide range of international academic interest.

This book brings together essays by international scholars who take up Barbara Creed¿s ideas, first explored in her book The Monstrous-Feminine. in new ways and fresh contexts or, exploring possible futures for feminist and/or psychoanalytically informed art history and film theory.

This book interprets the formal strategies used by filmmakers to depict real or imaginary places and turn them into abstract, conceptual spaces.

This comprehensive collection provides theoretical accounts of the grounds and phenomenon of film acting. Each section proposes novel ways of considering the recurring motifs in academic enquiries into film acting.

This interdisciplinary study forwards a productive pairing of Asian cinema and space, in which space is used as a discursive tool to understand Asian cinema. The variety of spaces examined includes natural geographic elements, buildings, cities, and landscapes, both urban and rural.

This volume investigates the Western film genre's impact, migrations, and reconfigurations in the Global South.

Postcolonial Film: History, Empire, Resistance examines films of the later twentieth and early twenty-first centuries from postcolonial countries around the globe.

This volume brings together original research on religion and cinema. Contributors look beyond the film text, content, or aesthetics, instead concentrating on the cinema-related actions, strategies, and policies developed by the Catholic Church and Catholic organizations in order to influence cinema.

This volume presents a new definition of the field of Iranian film studies, one that engages global media flows, transmedia interaction, and a heterogeneous Iranian national cinema.

This book investigates film's complex role in representing ecological traumas. Contributors to this volume engage with eco-trauma cinema in its three general forms: accounts of people who are traumatized by the natural world, narratives that represent people or social processes which traumatize the environment or its species, and stories that depict the aftermath of ecological catastrophe.

Akira Kurosawa's 1950 film Rashomon has arguably become the best known Japanese film of all time. This book addresses issues beyond the realm of Rashomon within film studies, and the Rashomon effect, which itself has become a widely recognized English term referring to significantly different perspectives of eyewitnesses to the same dramatic event.

This book brings together three areas of study that have received consistent academic attention in recent years - affect theory, horror cinema, and performance studies - to make a significant contribution to the study of moving images of mutilation and audience reception.

As a rapidly aging continent, Europe increasingly depends on the successful integration of migrants. Unfortunately, contemporary political and media discourses observe and frequently also support the development of nationalist, eurosceptic and xenophobic reactions to immigration and growing multiethnicity. Confronting this trend, European cinema has developed and disseminated new transcultural and postcolonial alternatives that might help to improve integration and community cohesion in Europe, and this book investigates these alternatives in order to identify examples of good practices that can enhance European stability. While the cinematic spectrum is as wide and open as most notions of Europeanness, the films examined share a fundamental interest in the Other. In this qualitative film analysis approach, particular consideration is given to British, French, German, and Spanish productions, and a comparison of multiethnic conviviality in Chicano cinema.

Collective Trauma and the Psychology of Secrets in Transnational Film advances a methodological line of inquiry based on a fresh insight into the ways in which cinematic meaning is generated and can be ascertained.

This collection examines the exchange of Asian identities at the levels of both film production and film reception amongst pan-Pacific cinemas. Topics include the reception of Hollywood films by Asian audiences, the construction of raced and gendered identity in Thai, Japanese, and Hong Kong cinemas, and pan-Pacific co-productions.

This book brings together three areas of study that have received consistent academic attention in recent years - affect theory, horror cinema, and performance studies - to make a significant contribution to the study of moving images of mutilation and audience reception.

The 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.

Critical theory and popular wisdom are rife with images of surveillance as an intrusive, repressive practice often suggestively attributed to eastern powers and opposed to western liberalism. Hollywood-dominated global media has long promulgated a geopoliticized east-west axis of freedom vs. control. This book focuses on Asian and Asia-based films and cinematic traditions obscured by lopsided western hegemonic discourse and-more specifically-probes these films'' treatments of a phenomenon that western film often portrays with neo-orientalist hysteria. Exploring recent and historical movies made in post-social and anti-Communist societies such as China, Hong Kong, Taiwan, Vietnam and South Korea, the book picks up on the political and economic concerns implicitly underlying Sinophobic and anti-Communist Asian images in Hollywood films while also considering how these societies and states depict the issues of centralization, militarization and technological innovation so often figured as distinctive of the difference between eastern despotism and western liberalism.

The aim of this collection is to (re)consider the complex dynamics of transnational cultural flows between American and Chinese-language film industries.

This book examines film as a multimodal text and an audiovisual synthesis, bringing together current work within the fields of narratology, philosophy, multimodal analysis, sound as well as cultural studies in order to cover a wide range of international academic interest.

This volume examines race filmmaking from numerous perspectives. By reanimating a critical but neglected period of early cinemäthe years between the turn-of-the-century and 1930, the end of the silent film eräit provides a fascinating look at the efforts of early race film pioneers and offers a vibrant portrait of race and racial representation in American film and culture.

This collection explores how film and television depict the complex and diverse milieu of the eighteenth century as a literary, historical, and cultural space.

This book is a study in film and philosophy that explores the intersection of global post-fascist cinema, ethics and justice, and screen bodies.

Akira Kurosawa is widely known as the director who opened up Japanese film to Western audiences, and following his death in 1998, a process of reflection has begun about his life''s work as a whole and its legacy to cinema. Kurosawa''s 1950 film Rashomon has become one of the best-known Japanese films ever made, and continues to be discussed and imitated more than 60 years after its first screening. This book examines the cultural and aesthetic impacts of Akira Kurosawa''s Rashomon, as well as the director''s larger legacies to cinema, its global audiences and beyond. It demonstrates that these legacies are manifold: not only cinematic and artistic, but also cultural and cognitive. The book moves from an examination of one filmmaker and his immediate social context in Japan, and goes on to explore how an artist''s ideas might transcend their cultural origins to ultimately provide global influences. Discussing how Rashomon''s effects began to multiply with the film being re-imagined and repurposed in numerous media forms in the decades that followed its initial release, the book also shows that the film and its ideas have been applied to a wider range of social and cultural phenomena in a variety of institutional contexts. It addresses issues beyond the realm of Rashomon within film studies, extending to the Rashomon effect, which itself has become a widely recognized English term referring to the significantly different interpretations of different eyewitnesses to the same dramatic event. As the first book on Rashomon since Donald Richie''s 1987 anthology, it will be invaluable to students and scholars of film studies, film history, Japanese cinema and communication studies. It will also resonate more broadly with those interested in Japanese culture and society, anthropology and philosophy.

As a rapidly aging continent, Europe increasingly depends on the successful integration of migrants. Unfortunately, contemporary political and media discourses observe and frequently also support the development of nationalist, eurosceptic and xenophobic reactions to immigration and growing multiethnicity. Confronting this trend, European cinema has developed and disseminated new transcultural and postcolonial alternatives that might help to improve integration and community cohesion in Europe, and this book investigates these alternatives in order to identify examples of good practices that can enhance European stability. While the cinematic spectrum is as wide and open as most notions of Europeanness, the films examined share a fundamental interest in the Other. In this qualitative film analysis approach, particular consideration is given to British, French, German, and Spanish productions, and a comparison of multiethnic conviviality in Chicano cinema.

This book examines the ways in which the house appears in films and the modes by which it moves beyond being merely a backdrop for action. Specifically, it explores the ways that domestic spaces carry inherent connotations that filmmakers exploit to enhance meanings and pleasures within film.

This volume investigates the Western film genre's impact, migrations, and reconfigurations in the Global South.