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Mastering Fear analyzes horror as play and examines what functions horror has and why it is adaptive and beneficial for audiences. It takes a biocultural approach, and focusing on emotions, gender, and play, it argues we play with fiction horror. In horror we engage not only with the negative emotions of fear and disgust, but with a wide range of emotions, both positive and negative. The book lays out a new theory of horror and analyzes female protagonists in contemporary horror from child to teen, adult, middle age, and old age. Since the turn of the millennium, we have seen a new generation of female protagonists in horror. There are feisty teens in The Vampire Diaries (2009–2017), troubled mothers in The Babadook (2014), and struggling women in the New French extremity with Martyrs (2008) and Inside (2007). At the fuzzy edges of the genre are dramas like Pan's Labyrinth (2006) and Black Swan (2010), and middle-age women are now protagonists with Carol in The Walking Dead (2010–) and Jessica Lange's characters in American Horror Story (2011–). Horror is not just for men, but also for women, and not just for the young, but for audiences of all ages.
Explosive images of sex and violence in films by directors such as Catherine Breillat, Gaspar Noe, Michael Haneke and Lars von Trier have attracted media attention for the ways in which they seek to shock and provoke the spectator into powerful affective and visceral responses. This first collection of essays devoted to the new extremism in contemporary European cinema critically interrogates this highly contentious body of work and demonstrates that these films and the controversies they engender are indispensable to the critical task of rethinking the terms of spectatorship. Through critical discussions of key films and directors, this book sheds new light on cutting-edge debates in Film Studies regarding sexuality, violence and spectatorship, affect and ethics, and the political dimensions of extreme cinema.Including important new work from internationally renowned scholars Martin Barker and Martine Beugnet, as well as combining a range of approaches to extreme cinema across audience research and
A hilarious collection of essays, riffs, and lists that celebrate the insanity of Hollywood--for anyone who loves the movies. Richard Roeper, like the rest of us, adores the movies. In this uproarious, off-beat book, he gives us a whole new set of critical lenses for assessing the movies and the people and the industry that make them. With his characteristic acerbic wit, he weaves short essays with lists that work together to explain where Hollywood succeeds -- and where it so often frustrates, disappoints, and fails us. But while Roeper devotes most of the book to mockery and ridicule, this book is, in the end, a love letter to film. Some of the essays and lists included in Schlock Value: Comical statistical breakdowns, including career batting averages of actors Reviews of Hollywood finances, including budgets, salaries, and ticket prices A proposed moratorium on pet projects, e.g., Kevin Costner's The Postman or John Travolta's Battlefield Earth The age differences between Woody Allen and his various leading ladies Actors appearing around the world in television commercials, including a list of the biggest stars that do overseas commercials -- and the products they push Schlock Value is the perfect book for anyone who loves grumbling and complaining about the movies -- but still can't help spending their weekends and evenings in front of the screen.
Movement and Performance in Berlin School Cinema by Olivia Landry Pdf
“A rich and welcome addition to the surge of scholarly interest in the Berlin School.” —Studies in European Cinema Through a study of the contemporary German film movement the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance. She argues that a preoccupation with presence, liveness, and affect—all of which are viewed as critical components of live performance—can be found in many of the films of the Berlin School. Challenging the perception that the Berlin School is a sheer adherent of “slow cinema,” Landry closely analyzes the use of movement, dynamism, presence, and speed in a broad selection of films to show how filmmakers such as Christian Petzold, Angela Schanelec, Thomas Arslan, and Christoph Hochhäusler invoke the pulse of the kinesthetic and the tangibly affective. Her analysis draws on an array of film theories from early materialism to body theories, phenomenology, and contemporary affect theories. Arguing that these theories readily and energetically forge a path from film to performance, Landry traces a trajectory between the two through which live experience, presence, spectacle, intersubjectivity, and the body in motion emerge and powerfully intersect. Ultimately, Movement and Performance in Berlin School Cinema expands the methodological and disciplinary boundaries of film studies by offering new ways of articulating and understanding movement in cinema.
The Negro Motorist Green Book by Victor H. Green Pdf
The Negro Motorist Green Book was a groundbreaking guide that provided African American travelers with crucial information on safe places to stay, eat, and visit during the era of segregation in the United States. This essential resource, originally published from 1936 to 1966, offered a lifeline to black motorists navigating a deeply divided nation, helping them avoid the dangers and indignities of racism on the road. More than just a travel guide, The Negro Motorist Green Book stands as a powerful symbol of resilience and resistance in the face of oppression, offering a poignant glimpse into the challenges and triumphs of the African American experience in the 20th century.
New Blood in Contemporary Cinema by Pisters Patricia Pisters Pdf
Since the turn of the millennium, a growing number of female filmmakers have appropriated the aesthetics of horror for their films. In this book, Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadzihalilovic and Ana Lily Amirpour, who put 'a poetics of horror' to new use in their work, expanding the range of gendered and racialised perspectives in the horror genre. Exploring themes such as rage, trauma, sexuality, family ties and politics, New Blood in Contemporary Cinema takes on avenging women, bloody vampires, lustful witches, scary mothers, terrifying offspring and female Frankensteins. By following a red trail of blood, the book illuminates a new generation of women directors who have enlarged the general scope and stretched the emotional spectrum of the genre.
Author : E. Dawn Hall Publisher : Edinburgh University Press Page : 472 pages File Size : 50,6 Mb Release : 2018-06-30 Category : Performing Arts ISBN : 9781474411141
Challenging audiences and critics alike, the films of Oliver Stone have compelled many viewers to re-examine some of their most revered beliefs about America's past. Stone has generated enormous controversy and debate among those who take issue with his dramatic use of history. This book brings Stone face to face with some of his most thoughtful critics and supporters and allows him room to respond to their views. Writers including David Halberstam, Stephen Ambrose, Arthur Schlesinger Jr, Walter LaFeber and Robert Rosenstone critique Stone's most contested films to show how they may distort, amplify or transcend the historical realities they appear to depict.
'The streets are full of admirable craftsmen, but so few practical dreamers.' – Man Ray What if there were movies made the same way as suits, custom fitted, each one tailored for one person? Not broadcast, but narrowcast? Not theatres around the world showing the same globalized pictures, but instead a local circumstance, a movie so particular, so peculiar, it could cure night blindness or vertigo? Welcome to the world of fringe movies, where artists have been busy putting queer shoulders to the wheels, or bending light to talk about First Nations rights (and making it funny at the same time), or demonstrating how a personality can be taken apart and put together again, all in the course of a ten-minute movie which might take years to make. Practical Dreamers takes us to this other side of the media plantation. In it, twenty-seven Canadian artists dish about how they get it done and why it matters. The conversations are personal, up close and jargon free, smart without smarting. The stellar cast includes smartbomb Steve Reinke; visionary Peter Mettler; Middle East specialist Jayce Salloum; queer Asian avatars Richard Fung, Midi Onodera, Ho Tam, and Wayne Yung; footage recyclers Aleesa Cohene and Jubal Brown; overhead projector king Daniel Barrow; First Nations vets Kent Monkman and Shelley Niro; international art presence Paulette Philips; and documentarian Donigan Cumming. These in-depth talks come lavishly illustrated in an oversized volume.
A hilariously filthy tale of sex, crime, and family dysfunction from the brilliantly twisted mind of John Waters, the legendary filmmaker and bestselling author of Mr. Know-It-All. Marsha Sprinkle: Suitcase thief. Scammer. Master of disguise. Dogs and children hate her. Her own family wants her dead. She’s smart, she’s desperate, she’s disturbed, and she’s on the run with a big chip on her shoulder. They call her Liarmouth—until one insane man makes her tell the truth. Liarmouth, the first novel by John Waters, is a perfectly perverted “feel-bad romance,” and the reader will thrill to hop aboard this delirious road trip of riotous revenge.
Feeling Backward weighs the costs of the contemporary move to the mainstream in lesbian and gay culture. While the widening tolerance for same-sex marriage and for gay-themed media brings clear benefits, gay assimilation entails other losses--losses that have been hard to identify or mourn, since many aspects of historical gay culture are so closely associated with the pain and shame of the closet. Feeling Backward makes an effort to value aspects of historical gay experience that now threaten to disappear, branded as embarrassing evidence of the bad old days before Stonewall. It looks at early-twentieth-century queer novels often dismissed as "too depressing" and asks how we might value and reclaim the dark feelings that they represent. Heather Love argues that instead of moving on, we need to look backward and consider how this history continues to affect us in the present. Through elegant readings of Walter Pater, Willa Cather, Radclyffe Hall, and Sylvia Townsend Warner, and through stimulating engagement with a range of critical sources, Feeling Backward argues for a form of politics attentive to social exclusion and its effects.
This volume advocates for including feature films in secondary history classrooms through examining the ways in which films can promote students’ historical understanding while also addressing the potential drawbacks to using film. In part one the essays explore three frameworks for the analysis of film by secondary students. Part two fills a void in the scholarship, reporting on four recent studies that explore how the use of film may encourage the development of students’ historical understanding. Finally, part three describes the results from two secondary teachers incorporating film into their history classrooms.