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For the first time, Oscar-winning production designer and director Roger Christian reveals his life story, from his earliest work in the British film industry to his breakthrough contributions on such iconic science fiction masterpieces as Star Wars, Alien and his own rediscovered Black Angel. This candid biography delves into his relationships with legendary figures, as well as the secrets of his greatest work. The man who built the lightsaber finally speaks!
This book comprises what may be called exercises in ‘comparative cinema’. Its focus on endings, near-endings and ‘late style’ is connected with the author’s argument that comparative criticism itself may constitute an endgame of criticism, arising at the moment at which societies or individuals relinquish primary adherence to one tradition or medium. The comparisons embrace different works and artistic media and primarily concern works of literature and film, though they also consider issues raised by the interrelationship of language and moving and still images, as well as inter- and intra-textuality. The works probed most fully are ones by Theo Angelopoulos, Ingmar Bergman, Harun Farocki, Theodor Fontane, Henry James, Krzysztof Kieślowski, Chang-dong Lee, Roman Polański, Thomas Pynchon, and Paul Schrader, while the key recurrent motifs are those of dusk, the horizon, the labyrinth, and the ruin.
Cinematic Intermedialities and Contemporary Holocaust Memory by Victoria Grace Walden Pdf
This book explores the growing trend of intermediality in cinematic representations of the Holocaust. It turns to the in-betweens that characterise the cinematic experience to discover how the different elements involved in film and its viewing collaborate to produce Holocaust memory. Cinematic Intermedialities is a work of film-philosophy that places a number of different forms of screen media, such as films that reassemble archive footage, animations, apps and museum installations, in dialogue with the writing of Deleuze and Guattari, art critic-cum-philosopher Georges Didi-Huberman and film phenomenologies. The result is a careful and unique examination of how Holocaust memory can emerge from the relationship between different media, objects and bodies during the film experience. This work challenges the existing concentration on representation in writing about Holocaust films, turning instead to the materials of screen works and the spectatorial experience to highlight the powerful contribution of the cinematic to Holocaust memory.
Genre and the (Post-)Communist Woman by Florentina C.Andreescu,Michael J. Shapiro Pdf
This work is a critical intervention into the archive of female identity; it reflects on the ways in which the Central and Eastern European female ideal was constructed, represented, and embodied in communist societies and on its transformation resulting from the political, economic, and social changes specific to the post-communist social and political transitions. During the communist period, the female ideal was constituted as a heroic mother and worker, both a revolutionary and a state bureaucrat, which were regarded as key elements in the processes of industrial development and production. She was portrayed as physically strong and with rugged rather than with feminized attributes. After the post-communist regime collapsed, the female ideal’s traits changed and instead took on the feminine attributes that are familiar in the West’s consumer-oriented societies. Each chapter in the volume explores different aspects of these changes and links those changes to national security, nationalism, and relations with Western societies, while focusing on a variety of genres of expression such as films, music, plays, literature, press reports, television talk shows, and ethnographic research. The topics explored in this volume open a space for discussion and reflection about how radical social change intimately affected the lives and identities of women, and their positions in society, resulting in various policy initiatives involving women’s social and political roles. The book will be of interest to students and scholars of gender studies, comparative politics, Eastern European studies, and cultural studies.
Nadine Chan,Aaron Gerow,Jane Marie Gaines,Zhen Zhang,Thomas A. C. Barker,Nikki J. Y. Lee,José B. Capino
Author : Nadine Chan,Aaron Gerow,Jane Marie Gaines,Zhen Zhang,Thomas A. C. Barker,Nikki J. Y. Lee,José B. Capino Publisher : Indiana University Press Page : 304 pages File Size : 50,5 Mb Release : 2022-02 Category : History ISBN : 9780253059765
Theorizing Colonial Cinema by Nadine Chan,Aaron Gerow,Jane Marie Gaines,Zhen Zhang,Thomas A. C. Barker,Nikki J. Y. Lee,José B. Capino Pdf
Theorizing Colonial Cinema is a millennial retrospective on the entangled intimacy between film and colonialism from film's global inception to contemporary legacies in and of Asia. The volume engages new perspectives by asking how prior discussions on film form, theory, history, and ideology may be challenged by centering the colonial question rather than relegating it to the periphery. To that end, contributors begin by excavating little-known archives and perspectives from the colonies as a departure from a prevailing focus on Europe's imperial histories and archives about the colonies. The collection pinpoints various forms of devaluation and misrecognition both in and beyond the region that continue to relegate local voices to the margins. This pathbreaking study on global film history advances prior scholarship by bringing together an array of established and new interdisciplinary voices from film studies, Asian studies, and postcolonial studies to consider how the present is continually haunted by the colonial past.
Following a previous international conference at the Sapientia Hungarian University of Transylvania in Cluj-Napoca, Romania, and the subsequent publication of a volume of studies with the title Film in the Post-Media Age (Cambridge Scholars Publishing, 2012), which insisted, citing the words of Jacques Rancière, that the ecosystem of contemporary moving images should be understood not as a unified digital environment, but as a highly diversified, “multisensory milieu,” another conference was organised, focusing this time directly on the “multisensory” nature of moving images. Pairing the keywords “cinema” and “sensation”, an invitation was extended for presentations offering a closer examination of the sensual aspects of moving images in order to identify and map out at least some of the possible new directions perceived as taking shape as “sensuous” film studies. The questions contributors addressed included: What kind of paradigms, authors, and styles can be identified in the practice of a cinema exploring the palpable presence of bodies in film history? How can sensory, audiovisual perception and cognitive knowledge be connected when watching moving images? What does the experience of so-called haptic images entail in film and video art? How does an emphasis on sensations and the body relate to representations of social issues and cultural difference? How are representations of other arts in films, or the filmic image appearing as a painterly tableau perceived? How can new images incorporate a sensation of “old” images? What is the difference between haptic images and “hyper” cinema in the form of 3D movies? How can the new naturalistic trends in contemporary cinema be interpreted? What kind of sensual forms are devised for what is unrepresentable or impalpable? The conference took place between the 25th and 27th of May 2012, with the title The Cinema of Sensations, and attracted researchers from all over the world for what turned out to be three days of presentations on extremely varied subjects and lively discussions conducted in a memorably cheerful atmosphere. The present volume is the palpable outcome of these debates, and publishes a selection of articles that have been written for, or after, this conference.
A Companion to Eastern European Cinemas by Anikó Imre Pdf
A Companion to Eastern European Cinemas showcases twenty-five essays written by established and emerging film scholars that trace the history of Eastern European cinemas and offer an up-to-date assessment of post-socialist film cultures. Showcases critical historical work and up-to-date assessments of post-socialist film cultures Features consideration of lesser known areas of study, such as Albanian and Baltic cinemas, popular genre films, cross-national distribution and aesthetics, animation and documentary Places the cinemas of the region in a European and global context Resists the Cold War classification of Eastern European cinemas as “other” art cinemas by reconnecting them with the main circulation of film studies Includes discussion of such films as Taxidermia, El Perro Negro, 12:08 East of Bucharest Big Tõll, and Breakfast on the Grass and explores the work of directors including Tamás Almási, Walerian Borowczyk, Roman Polanski, Jerzy Skolimowski, Andrzej ̄u3awski, and Karel Vachek amongst many others
In this book, Michael J. Shapiro stages a series of pedagogical encounters between political theory, represented as a compositional challenge, and cinematic texts, emphasizing how to achieve an effective research paper/essay by heeding the compositional strategies of films. The text’s distinctiveness is its focus on the intermediation between two textual genres. It is aimed at providing both a conceptual introduction to the politics of aesthetics and a guide to writing strategies. In its illustrations of encounters between political theory and cinema, the book’s critical edge is its emphasis on how to intervene in cinematic texts with innovative conceptual frames in ways that challenge dominant understandings of life worlds. The Cinematic Political is designed as a teaching resource that introduces students to the relationship between film form and political thinking. With diverse illustrative investigations, the book instructs students on how to watch films with an eye toward writing a research paper in which a film (or set of films) constitutes the textual vehicle for political theorizing.
Retrospection and Revision in Modern and Contemporary Art, Literature and Music by Mette Gieskes,Mathilde Roza Pdf
This interdisciplinary book investigates the various ways in which North American and European modern and contemporary artists, authors, and musicians have returned to earlier works of their own, engaging in inventive revivals and transformations of the past in the present. The book is distinctive in its focus on such revisits, as well as in the diversity of art forms under review: in addition to visual art, the book explores fiction, poetry, literary criticism, film, rock music, and philosophy. This scope, together with the time-span covered in the book, from the 1850s to the twenty-first century, allows for a broad view on retrospection and revision. The case studies presented here offer a multifaceted exploration of the widely different goals to which practitioners of the arts have made retrospection and revision functional against the background of cultural, social, political, and personal forces.
Probing the Ethics of Holocaust Culture by Claudio Fogu,Wulf Kansteiner,Todd Presner Pdf
Probing the Ethics of Holocaust Culture is a reappraisal of the controversies that have shaped Holocaust studies since the 1980s. Historians, artists, and writers question if and why the Holocaust should remain the ultimate test case for ethics and a unique reference point for how we understand genocide and crimes against humanity.
Cinematic Reflections on The Legacy of the Holocaust by Diana Diamond,Bruce Sklarew Pdf
An international group of psychoanalysts and film scholars address the enduring emotional legacy of the Holocaust in Cinematic Reflections on the Legacy of the Holocaust: Psychoanalytic Perspectives. Particular focus is given to how second and third generation survivors have explored and confronted the psychic reverberations of Holocaust trauma in cinema. This book focuses on how film is particularly suited to depict Holocaust experiences with vividness and immediacy. The similarity of moving images and sound to our dream experience allows access to unconscious processing. Film has the potential to reveal the vast panorama of Holocaust history as well as its intrapsychic reverberations. Yet despite the recent prominence of Holocaust films, documentaries, and TV series as well as scholarly books and memoirs, these works lack a psychoanalytic optic that elucidates themes such as the repetition compulsion, survival guilt, disturbances in identity, and disruption of mourning that are underlying leitmotifs. Cinematic Reflections on the Legacy of the Holocaust will be of great interest to psychoanalysts and therapists as well as to scholars in trauma, film, and Jewish studies. It is also of interest to those concerned with the prevention of genocide and mass atrocities and their long-term effects.
A Companion to the Historical Film by Robert A. Rosenstone,Constantin Parvulescu Pdf
Broad in scope, this interdisciplinary collection of original scholarship on historical film features essays that explore the many facets of this expanding field and provide a platform for promising avenues of research. Offers a unique collection of cutting edge research that questions the intention behind and influence of historical film Essays range in scope from inclusive broad-ranging subjects such as political contexts, to focused assessments of individual films and auteurs Prefaced with an introductory survey of the field by its two distinguished editors Features interdisciplinary contributions from scholars in the fields of History, Film Studies, Anthropology, and Cultural and Literary Studies
Cinema's Alchemist by Renov Michael Nichols Bill Pdf
P(r)ter Forgics, based in Budapest, is best known for his award-winning films built on home movies from the 1930s to the 1960s that document ordinary lives soon to intersect with offscreen historical events. CinemaOCOs Alchemist offers a sustained exploration of the imagination and skill with which Forgics reshapes such film footage, originally intended for private and personal viewing, into extraordinary films dedicated to remembering the past in ways that matter for our future. ontributors: Whitney Davis, U of California, Berkeley; Liszl F. FAld(r)nyi, U of Theatre, Film and Television, Budapest; Marsha Kinder, U of Southern California; Tamis Korinyi; Scott MacDonald, Hamilton College; Tyrus Miller, U of California, Santa Cruz; Roger Odin, U of Paris III SorbonneOCoNouvelle; Catherine Portuges, U of Massachusetts Amherst; Michael S. Roth, Wesleyan U; Kaja Silverman, U of Pennsylvania; Ernst van Alphen, Leiden U, the Netherlands; Malin Wahlberg, Stockhol
Traditional historical documentaries strive to project a sense of objectivity, producing a top-down view of history that focuses on public events and personalities. In recent decades, in line with historiographical trends advocating “history from below,” a different type of historical documentary has emerged, focusing on tightly circumscribed subjects, personal archives, and first-person perspectives. Efrén Cuevas categorizes these films as “microhistorical documentaries” and examines how they push cinema’s capacity as a producer of historical knowledge in new directions. Cuevas pinpoints the key features of these documentaries, identifying their parallels with written microhistory: a reduced scale of observation, a central role given to human agency, a conjectural approach to the use of archival sources, and a reliance on narrative structures. Microhistorical documentaries also use tools specific to film to underscore the affective dimension of historical narratives, often incorporating autobiographical and essayistic perspectives, and highlighting the role of the protagonists’ personal memories in the reconstruction of the past. These films generally draw from family archives, with an emphasis on snapshots and home movies. Filming History from Below examines works including Péter Forgács’s films dealing with the Holocaust such as The Maelstrom and Free Fall; documentaries about the Israeli-Palestinian conflict; Rithy Panh’s work on the Cambodian genocide; films about the internment of Japanese Americans during the Second World War such as A Family Gathering and History and Memory; and Jonas Mekas’s chronicle of migration in his diary film Lost, Lost, Lost.