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Realism and the Audiovisual Media by L. Nagib,C. Mello Pdf
This collection examines two recent phenomena: the return of realist tendencies and practices in world cinema and television, and the 'rehabilitation' of realism in film and media theory. The contributors investigate these two phenomena in detail, querying their origins, relations, divergences and intersections from a variety of perspectives.
Realism and 'reality' in Film and Media by Anne Jerslev Pdf
The 2002 theme of 'Northern Lights' is dedicated to the representation of reality in film, TV and new media -- a question of new importance in modern film and media, where a new wave of realism has dominated cinema and reality -- TV became a mass phenomena on both TV and the internet. Eleven articles by Danish, British, and American film and media researchers focus on two sub-themes: 'Film and Realism' deals theoretically with film realism and analyses classic films and modern Danish Dogma films; 'Documentary Forms, Reality TV and New Media' treats new forms of non-fiction film, TV and on the internet in a both theoretical and historical perspective.
Cinema at the Periphery by Dina Iordanova,David Martin-Jones,Belén Vidal Pdf
Highlights the industries, markets, identities, and histories that distinguish cinema beyond the traditional hubs of mainstream Western cinema. From Iceland to Iran, from Singapore to Scotland, a growing intellectual and cultural wave of production is taking cinema beyond the borders of its place of origin--exploring faraway places, interacting with barely known peoples, and making new localities imaginable. In these films, previously entrenched spatial divisions no longer function as firmly fixed grid coordinates, the hierarchical position of place as "center" is subverted, and new forms of representation become possible. In Cinema at the Periphery, editors Dina Iordanova, David Martin-Jones, and Belén Vidal assemble criticism that explores issues of the periphery, including questions of transnationality, place, space, passage, and migration. Cinema at the Periphery examines the periphery in terms of locations, practices, methods, and themes. It includes geographic case studies of small national cinemas located at the global margins, like New Zealand and Scotland, but also of filmmaking that comes from peripheral cultures, like Palestinian "stateless" cinema, Australian Aboriginal films, and cinema from Quebec. Therefore, the volume is divided into two key areas: industries and markets on the one hand, and identities and histories on the other. Yet as a whole, the contributors illustrate that the concept of "periphery" is not fixed but is always changing according to patterns of industry, ideology, and taste. Cinema at the Periphery highlights the inextricable interrelationship that exists between production modes and circulation channels and the emerging narratives of histories and identities they enable. In the present era of globalization, this timely examination of the periphery will interest teachers and students of film and media studies.
World Cinema and the Ethics of Realism by Lúcia Nagib Pdf
A sweeping study of world cinema, illustrating how its creative peaks stem from the urge to reveal otherwise hidden political and social dimensions of reality. >
American Documentary Filmmaking in the Digital Age by Lucia Ricciardelli Pdf
American Documentary Filmmaking in the Digital Age examines the recent challenges to the conventions of realist documentary through the lens of war documentary films by Ken Burns, Michael Moore, and Errol Morris. During the twentieth century, the invention of new technologies of audiovisual representation such as cinema, television, video, and digital media have transformed the modes of historical narration and with it forced historians to assess the impact of new visual technologies on the construction of history. This book investigates the manner in which this contemporary Western "crisis" in historical narrative is produced by a larger epistemological shift in visual culture. Ricciardelli uses the theme of war as depicted in these directors’ films to focus her study and look at the model(s) of national identity that Burns, Morris, and Moore shape through their depictions of US military actions. She examines how postcolonial critiques of historicism and the advent of digitization have affected the narrative structure of documentary film and the shaping of historical consciousness through cinematic representation.
Impure Cinema goes back to Bazin's original title precisely for its defence of impurity, applying it on the one hand to cinema's interbreeding with other arts and on the other to its ability to convey and promote cultural diversity. In contemporary progressive film criticism, ideas of purity, essence and origin have been superseded by favourable approaches to 'hybridization', 'transnationalism', 'multiculturalism' and cross-fertilizations of all sorts. Impure Cinema builds on this idea in novel and exciting ways, as it draws on cinema's combination of intermedial and intercultural aspects as a means to bridge the divide between studies of aesthetics and culture. Film is revealed here as the location par excellence of media encounters, mutual questioning and self-dissolution into post-medium experiments. Most importantly, the book argues, film's intermedial relations can only be properly understood if their cultural determinants are taken into account. Scholars and students of film, cinefiles and students of the arts will discover here unexpected connections across many artistic practices.
The tradition of British realism has changed dramatically over the last 20 years, where films by directors such as Duane Hopkins, Joanna Hogg, Andrea Arnold, Shane Meadows and Clio Barnard have suggested a markedly poetic turn. This new realism rejects the instrumentalism and didacticism of filmmakers like Ken Loach in favour of lyrical and often ambiguous encounters with place, where the physical processes of lived experience interacts with the rhythms of everyday life. Taking these 5 filmmakers as case studies, this book seeks to explore in depth this new tradition of British cinema - and in the process, it reignites debates over realism that have concerned scholars for decades.
The Routledge Handbook of Ecomedia Studies by Antonio López,Adrian Ivakhiv,Stephen Rust,Miriam Tola,Alenda Y. Chang,Kiu-wai Chu Pdf
The Routledge Handbook of Ecomedia Studies gathers leading work by critical scholars in this burgeoning field. Redressing the lack of environmental perspectives in the study of media, ecomedia studies asserts that media are in and about the environment, and environments are socially and materially mediated. The book gives form to this new area of study and brings together diverse scholarly contributions to explore and give definition to the field. The Handbook highlights five critical areas of ecomedia scholarship: ecomedia theory, ecomateriality, political ecology, ecocultures, and eco-affects. Within these areas, authors navigate a range of different topics including infrastructures, supply and manufacturing chains, energy, e-waste, labor, ecofeminism, African and Indigenous ecomedia, environmental justice, environmental media governance, ecopolitical satire, and digital ecologies. The result is a holistic volume that provides an in-depth and comprehensive overview of the current state of the field, as well as future developments. This volume will be an essential resource for students, educators, and scholars of media studies, cultural studies, film, environmental communication, political ecology, science and technology studies, and the environmental humanities.
Realist Film Theory and Bicycle Thieves by Hilary Neroni Pdf
The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. Realist Film Theory and Bicycle Thieves offers a concise introduction to realist film theory in jargon-free language and shows how this theory can be deployed to interpret Vittorio De Sica's 1948 Italian neo realist masterpiece Bicycle Thieves. Hilary Neroni explores the original realist film theorists from the 1940s: André Bazin, Siegfried Kracauer, and Cesare Zavattini, among others. But rather than seeing realist film theory as simply a theory of the past to be moved beyond, the book argues that the prevalence of realism in many different forms within practice and theory suggests the importance of updating this original realist film theory with an understanding of realism that would sustain its viability. Throughout the book, Neroni analyzes neorealist film movements-such as Italian Neorealism, Parallel Cinema of India, and the Iranian New Wave-that challenge mainstream realism with a more radical form that exposes the social order instead of hiding it. Her in-depth investigation of Bicycle Thieves provides a realist methodology that reveals the radicality of its combination of realist techniques, a melodramatic story, and humanist values.
World Cinema and the Ethics of Realism by Lúcia Nagib Pdf
World Cinema and the Ethics of Realism is a highly original study. Traditional views of cinematic realism usually draw on the so-called classical cinema and its allegiance to narrative mimesis, but Nagib challenges this, drawing instead on the filmmaker's commitment to truth and to the film medium's material bond with the real. Starting from the premise that world cinema's creative peaks are governed by an ethics of realism, Nagib conducts comparative case studies picked from world new waves, such as the Japanese New Wave, the French nouvelle vague, the Cinema Novo, the New German Cinema, the Russo-Cuban Revolutionary Cinema, the Portuguese self-performing auteur and the Inuit Indigenous Cinema. Drawing upon Badiou and Rancière, World Cinema and the Ethics of Realism revisits and reformulates several fundamental concepts in film studies, such as illusionism, identification, apparatus, alienation effects, presentation and representation. Its groundbreaking scholarship takes film theory in a bold new direction.
Encyclopedia of Media Violence by Matthew S. Eastin Pdf
Via 134 signed entries, this encyclopedia provides students, researchers, and the general public with an accessible, comprehensive, and well-balanced eviddence-based examination of theory, research and debates related to media violence. Entries conclude with Cross-References and Suggestions for Further Readings to guide users to related entries and resources for further research, and a thematic Reader’s Guide in the front matter groups related entries by topic to make it easier for users to locate related entries of interest.
Major Realist Film Theorists by Aitken Ian Aitken Pdf
From the 1910s to the emergence of structuralism and post-structuralism in the 1960s, the writings of John Grierson, Siegfried Kracauer, Andre Bazin and Georg Lukacs dominated realist film theory. In this critical anthology, the first collection to address their work in one volume, a wide range of international scholars explore the interconnections between their ideas and help generate new understandings of this important, if neglected, field. Challenging preconceptions about 'classical' theory and the nature of realist representation, and in the process demonstrating how this body of work can be seen as a cohesive theoretical model, this invaluable collection will help return the realist paradigm of film theory to the forefront of academic enquiry.
The Moving Form of Film by Lúcia Nagib,Senior Lecturer in Media Studies Stefan Solomon,Stefan Solomon Pdf
The Moving Form of Film: Historicizing the Medium through Other Media charts the ways in which crossing borders between film and other arts and media can provide an encompassing, inclusive, and non-teleological understanding of film history. Evolutionary narratives of cinema have traditionally adopted the Second World War as a watershed that separates 'classical' Hollywood films from 'modern' European productions, a scheme that subjects the entire world to the cinematic history of two hegemonic centres. In turn, histories of film as a technological medium have focused on the specificity of cinema as it gradually separated from the other art and medial forms - theatre, dance, fairground spectacle, painting, literature, still photography and other pre-cinematic modes. Taking an ambitious step forward with relation to these approaches, this book focuses on the fluid quality of the film form by exploring an array of exciting and often neglected artistic expressions worldwide as they compare and interconnect films across temporal, geographical, and cultural borders. By observing the ebb and flow of film's contours within the bounds of other artistic and medial expressions, the chapters aspire to establish a flexible historical platform for the moving form of film, posited, from production to consumption, as a transforming and transformative medium.
Rethinking Brechtian Film Theory and Cinema by Angelos Koutsourakis Pdf
Making a compelling argument for the continuing relevance of Brechtian film theory and cinema, this book offers new research and analysis of Brecht the film and media theorist, placing his scattered writings on the subject within the lively film theory debates that took place in Europe between the 1920sÃǾ2ƠÂ01960s.
The SAGE Handbook of Media Processes and Effects by Robin L. Nabi,Mary Beth Oliver Pdf
Part III emphasizes the various factors that influence the critical functions of message selection and processing central to a host of mass media application contexts.