Böcker i Wisconsin studies in film-serien

Situates the classical Hollywood film score and its practice in historical, theoretical and musical context, examining the conventions and strategies underpinning film scoring in Hollywood, and investigating the influential and powerful relationship between music and film.

Analyzes Stanley Kubrick's films from a variety of perspectives. This is a study of one of the controversial filmmakers of the twentieth century. It ends with three viewpoints on Kubrick's final film, ""Eyes Wide Shut"", placing it in the contexts of film history, the history and theory of psychoanalysis, and the sociology of sex and power.

The French New Wave cinema is the most fascinating of all film movements, famous for its exuberance, daring, and avant-garde techniques. This work offers a look at the social, economic, and aesthetic mechanisms that shaped French film in the 1950s, as well as detailed studies of the important New Wave movies of the late 1950s and early 1960s.

This is an English translation of Arnheim's ""Kritiken und Aufsatze zum Film"", which collects both film reviews and theoretical essays written between 1925 and 1940. The 30 essays on film theory discuss early sound film; production; style and content; and the relationship of film and the state.

From the 1920s to World War II, film became a crucial tool in Japan. Detailing the way Japanese directors, scriptwriters, company officials and bureaucrats colluded to produce films that supported the war effort, "Imperial Screen" is an account of the realities of cultural life in wartime Japan.

A study of a decade's native Russian film production through the 1917 Revolution. Showing how these films appealed to a new middle class, the author examines the organization and evolution of the industry and looks at genres, motifs and themes in 65 of the most important surviving films.

Mixing film history with social history, ""Reel Patriotism"" examines the role played by the American film industry during World War I and the effects of the industry's pragmatic patriotism after the war. It looks at such films as ""Joan the Woman"" and ""Wings"" and at the stars of the time.

John Williams has penned some of the most unforgettable film scores - while netting more than fifty Academy Award nominations. This updated edition of Emilio Audissino's groundbreaking volume takes stock of Williams's creative process and achievements, including the most recent sequels in the film franchises that made him famous.

Examining the vanguard of New Turkish Cinema, Laurence Raw shows how these films reveal the effects of profound socio economic change on ordinary people in contemporary Turkey. Raw interleaves his film discussion with thoughtful commentary on nationalism, gender, personal identity, and cultural pluralism.

Mai Elizabeth Zetterling (1925-94) is among the most exceptional postwar female filmmakers. Critics have compared her work to that of Bergman, Bunuel, and Fellini, but Zetterling had her own distinct style. Mariah Larsson provides a lively and authoritative take on Zetterling's legacy and complicated position within film and women's history.

This first biography of Oscar-winning filmmaker Richard Brooks, writer-director of "Elmer Gantry" and "Cat on a Hot Tin Roof," restores to importance the career of one of the mid-twentieth century's most influential Hollywood figures and includes analysis of Brooks's filmography and interviews with stars Sidney Poitier and Jean Simmons, Brooks's wife for twenty years.

This biography documents the life and the occasionally scandalous private life of Glenn Ford, chronicling a renowned actor's relentless infidelities and long, slow fade-out, while also celebrating his talent-driven career.

From the late 1930s to the early twenty-first century, European and American filmmakers have displayed an enduring fascination with Nazi leaders, rituals, and symbols, making scores of films from Confessions of a Nazi Spy (1939) and Watch on the Rhine (1943) through Des Teufels General (The Devil's General, 1955) and Pasqualino settebellezze (Seven Beauties, 1975), up to Der Untergang (Downfall, 2004), Inglourious Basterds (2009), and beyond. Probing the emotional sources and effects of this fascination, Sabine Hake looks at the historical relationship between film and fascism and its far-reaching implications for mass culture, media society, and political life. In confronting the specter and spectacle of fascist power, these films not only depict historical figures and events but also demand emotional responses from their audiences, infusing the abstract ideals of democracy, liberalism, and pluralism with new meaning and relevance. Hake underscores her argument with a comprehensive discussion of films, including perspectives on production history, film authorship, reception history, and questions of performance, spectatorship, and intertextuality. Chapters focus on the Hollywood anti-Nazi films of the 1940s, the West German anti-Nazi films of the 1950s, the East German anti-fascist films of the 1960s, the Italian "Naziploitation" films of the 1970s, and issues related to fascist aesthetics, the ethics of resistance, and questions of historicization in films of the 1980s-2000s from the United States and numerous European countries.

Reveals the author's experience of Hollywood in its golden days and tells the stories of the stars who appeared in his films, including Natalie Wood, John Wayne, Peter Sellers, Sidney Poitier, Steve McQueen, Marilyn Monroe, and many others.