Böcker i Routledge Advances in Film Studies-serien

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.

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.

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.

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

This volume looks at the significance and range of ethical questions that pertain to various film practices. Diverse philosophical traditions provide useful frameworks to discuss spectators¿ affective and emotional engagement with film, which can function as a moral ground for one¿s connection to others and to the world outside the self. Contributors explore the moral engagement of the spectator and the ethical consequences of both producing and consuming films.

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.

Through a series of detailed film case histories ranging from The Great Dictator to Hiroshima mon amour to The Lives of Others, The Aesthetics of Antifascist Film: Radical Projection explores the genesis and recurrence of antifascist aesthetics as it manifests in the WWII, Cold War and Post-Wall historical periods.

Cinematic products in the twenty-first century increasingly emerge from, engage with, and are consumed in cross-cultural settings. This volume contends that "crossover cinema" is the most apt contemporary description for those aspects of contemporary cinema on which it focuses. Each of the three sections of the volume considers crossover film from one of three perspectives: production, the texts themselves, and distribution and consumption.

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 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 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.

In this edited volume, an international ensemble of scholars looks at how the world¿s various cinemas, including Asia, Africa, Latin America, Europe, and the U.S., have variously performed, contested, and reinforced the worldwide transition to neoliberalism. Grounded in Marxist theory, the volume considers how the contradictions of capital, both as culture and commerce, have played out globally in contemporary media culture.

Exploring Latin American cinema, this anthology challenges established continental and national histories and canons which often exclude exploitation cinema due to its perceived 'low' cultural status. It argues that Latin American exploitation cinema makes an important aesthetic and social contribution to the larger body of Latin American cinema.