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  • Columbia University Press  (136)
Document type
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  • 1
    Online Resource
    Online Resource
    2020
    ISBN: 9780231851176 
    Person(s): Morag, Raya
    Title: Perpetrator Cinema
    Subtitle: Confronting Genocide in Cambodian Documentary
    Publisher(s): Columbia University Press
    Year of publication: 2020
    Document type: Online Resource
    ISBN: 9780231851176
    Terms of use: Vorläufiger Zugriff bis zum Jahresende
    Abstract: Perpetrator Cinema explores a new trend in the cinematic depiction of genocide that has emerged in Cambodian documentary in the late twentieth- and early twenty-first centuries. While past films documenting the Holocaust and genocides in Yugoslavia, Rwanda, and elsewhere have focused on collecting and foregrounding the testimony of survivors and victims, the intimate horror of the autogenocide enables post–Khmer Rouge Cambodian documentarians to propose a direct confrontation between the first-generation survivor and the perpetrator of genocide. These films break with Western tradition and disrupt the political view that reconciliation is the only legitimate response to atrocities of the past. Rather, transcending the perpetrator’s typical denial or partial confession, this extraordinary form of “duel” documentary creates confrontational tension and opens up the possibility of a transformation in power relations, allowing viewers to access feelings of moral resentment.Raya Morag examines works by Rithy Panh, Rob Lemkin and Thet Sambath, and Lida Chan and Guillaume Suon, among others, to uncover the ways in which filmmakers endeavor to allow the survivors’ moral status and courage to guide viewers to a new, more complete understanding of the processes of coming to terms with the past. These documentaries show how moral resentment becomes a way to experience, symbolize, judge, and finally incorporate evil into a system of ethics. Morag’s analysis reveals how perpetrator cinema provides new epistemic tools and propels the recent social-cultural-psychological shift from the era of the witness to the era of the perpetrator
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  • 2
    Online Resource
    Online Resource
    2019
    ISBN: 9780231544153 
    Title: Hollywood's Dirtiest Secret
    Subtitle: The Hidden Environmental Costs of the Movies
    Publisher(s): Columbia University Press
    Year of publication: 2019
    Document type: Online Resource
    ISBN: 9780231544153
    Terms of use: Vorläufiger Zugriff bis zum Jahresende
    Abstract: In an era when many businesses have come under scrutiny for their environmental impact, the film industry has for the most part escaped criticism and regulation. Its practices are more diffuse; its final product, less tangible; and Hollywood has adopted public-relations strategies that portray it as environmentally conscious. In Hollywood's Dirtiest Secret, Hunter Vaughan offers a new history of the movies from an environmental perspective, arguing that how we make and consume films has serious ecological consequences.Bringing together environmental humanities, science communication, and social ethics, Hollywood's Dirtiest Secret is a pathbreaking consideration of the film industry's environmental impact that examines how our cultural prioritization of spectacle has distracted us from its material consequences and natural-resource use. Vaughan examines the environmental effects of filmmaking from Hollywood classics to the digital era, considering how popular screen media shapes and reflects our understanding of the natural world. He recounts the production histories of major blockbusters-Gone with the Wind, Singin' in the Rain, Twister, and Avatar-situating them in the contexts of the development of the film industry, popular environmentalism, and the proliferation of digital technologies. Emphasizing the materiality of media, Vaughan interweaves details of the hidden environmental consequences of specific filmmaking practices, from water use to server farms, within a larger critical portrait of social perceptions and valuations of the natural world
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  • 3
    Online Resource
    Online Resource
    2019
    ISBN: 9780231545082 
    Person(s): Menne, Jeff
    Title: Post-Fordist Cinema
    Subtitle: Hollywood Auteurs and the Corporate Counterculture
    Publisher(s): Columbia University Press
    Year of publication: 2019
    Document type: Online Resource
    ISBN: 9780231545082
    Terms of use: Vorläufiger Zugriff bis zum Jahresende
    Abstract: The New Hollywood boom of the late 1960s and 1970s is celebrated as a time when maverick directors bucked the system. Against the backdrop of counterculture sensibilities and the prominence of auteur theory, New Hollywood directors such as Robert Altman and Francis Ford Coppola seemed to embody creative individualism. In Post-Fordist Cinema, Jeff Menne rewrites the history of this period, arguing that auteur theory served to reconcile directors to Hollywood's corporate project.Menne traces the surprising affinities between auteur theory and management gurus such as Peter Drucker, who envisioned a more open and flexible corporate style. In founding production companies, New Hollywood filmmakers took part in the creation of new corporate models that emphasized entrepreneurial creativity. For firms such as Kirk Douglas's Bryna Productions, Altman's Lion's Gate Films, the Zanuck-Brown Company, and BBS Productions, the counterculture ethos limbered up the studio system's sclerotic production process-with striking parallels to how management theory conceived of the role of the individual within the firm. Menne offers insightful readings of how films such as Lonely Are the Brave, Brewster McCloud, Jaws, and The King of Marvin Gardens narrate the conditions in which they were created, depicting shifting notions of work and corporate structure. While auteur theory allowed directors to cast themselves as independent creators, Menne argues that its most consequential impact came as a management doctrine. An ambitious rethinking of New Hollywood, Post-Fordist Cinema sheds new light on the cultural myth of the great director and the birth of the "creative economy."
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  • 4
    Online Resource
    Online Resource
    2019
    ISBN: 9780231548632 
    Title: Suburban Fantastic Cinema
    Subtitle: Growing Up in the Late Twentieth Century
    Publisher(s): Columbia University Press
    Year of publication: 2019
    Document type: Online Resource
    ISBN: 9780231548632
    Terms of use: Vorläufiger Zugriff bis zum Jahresende
    Abstract: Suburban Fantastic Cinema is a study of American movies in which preteen and teenage boys living in the suburbs are called upon to combat a disruptive force that takes the form of popular cultural figures of the fantastic-aliens, ghosts, vampires, demons, and more. Beginning in the 1980s with Poltergeist and E.T. (both 1982) and a cycle of films made by Amblin Entertainment, the suburban fantastic established itself as a popular commercial model combining coming-of-age melodramas with elements drawn from science fiction, fantasy, and horror. The films that exemplify the subgenre generally focus on a young male protagonist who, at the outset, chafes at his stifling suburban milieu, wherein power is invested in whiteness, maleness, and heterosexuality. A fantastic occurrence intervenes - the arrival of an alien, a ghost, or some other magical or otherworldly force - threatening this familiar order, thrusting the young man - at first unwittingly - into the role of defender and upholder of the social order. He is able to rescue the suburban social order, and in doing so normalizes (for himself and for the primarily white, male, adolescent audience) its values. This study discusses some of the key instances of this subgenre, such as Gremlins (1984), Back to the Future (1985), Jumanji (1995), and Small Soldiers (1998), as well as its more recent resurgence in Stranger Things (2016-) and IT (2017). Exploring the importance of suburbia as a setting and the questionable ideological blindness of its heroes, this book reveals these underappreciated Hollywood films as the primary cinematic representation of late-twentieth-century American childhood
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  • 5
    Online Resource
    Online Resource
    2019
    ISBN: 9780231549486 
    Contributer: Kaffen, Philip
    Title: What Is Japanese Cinema?
    Subtitle: A History
    Publisher(s): Columbia University Press
    Year of publication: 2019
    Document type: Online Resource
    ISBN: 9780231549486
    Terms of use: Vorläufiger Zugriff bis zum Jahresende
    Abstract: What might Godzilla and Kurosawa have in common? What, if anything, links Ozu's sparse portraits of domestic life and the colorful worlds of anime? In What Is Japanese Cinema? Yomota Inuhiko provides a concise and lively history of Japanese film that shows how cinema tells the story of Japan's modern age.Discussing popular works alongside auteurist masterpieces, Yomota considers films in light of both Japanese cultural particularities and cinema as a worldwide art form. He covers the history of Japanese film from the silent era to the rise of J-Horror in its historical, technological, and global contexts. Yomota shows how Japanese film has been shaped by traditonal art forms such as kabuki theater as well as foreign influences spanning Hollywood and Italian neorealism. Along the way, he considers the first golden age of Japanese film; colonial filmmaking in Korea, Manchuria, and Taiwan; the impact of World War II and the U.S. occupation; the Japanese film industry's rise to international prominence during the 1950s and 1960s; and the challenges and technological shifts of recent decades. Alongside a larger thematic discussion of what defines and characterizes Japanese film, Yomota provides insightful readings of canonical directors including Kurosawa, Ozu, Suzuki, and Miyazaki as well as genre movies, documentaries, indie film, and pornography. An incisive and opinionated history, What Is Japanese Cinema? is essential reading for admirers and students of Japan's contributions to the world of film
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  • 6
    Online Resource
    Online Resource
    2019
    ISBN: 9780231503549 
    Person(s): Klevan, Andrew
    Title: Film Performance
    Subtitle: From Achievement to Appreciation
    Publisher(s): Columbia University Press
    Year of publication: 2019
    Document type: Online Resource
    ISBN: 9780231503549
    Terms of use: Vorläufiger Zugriff bis zum Jahresende
    Abstract: Performers make a crucial contribution to the achievement of narrative films. By moving through exemplary sequences, this book closely follows the movement and behaviour of screen performers - Charlie Chaplin, Laurel and Hardy, Cary Grant, Katherine Hepburn, Marlene Dietrich, Barbara Stanwyck, Richard Widmark - and by emphasising their relationship to other aspects of film style - camera, location and plot - it develops accounts that are specific and involved. This study concentrates on films from the 'Golden Age' of Hollywood and moment-by-moment descriptions enable fresh interpretations to emerge and evolve. These reveal the significance and intensity of a performer's engagement with the world of a film
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  • 7
    Online Resource
    Online Resource
    2019
    ISBN: 9780231547000 
    Person(s): Maciak, Phil
    Title: The Disappearing Christ
    Subtitle: Secularism in the Silent Era
    Publisher(s): Columbia University Press
    Year of publication: 2019
    Document type: Online Resource
    ISBN: 9780231547000
    Terms of use: Vorläufiger Zugriff bis zum Jahresende
    Abstract: At the turn of the twentieth century, American popular culture was booming with opportunities to see Jesus Christ. From the modernized eyewitness gospel of Ben-Hur to the widely circulated passion play films of Edison, Lumière, and Pathé; from D. W. Griffith's conjuration of a spectral white savior in Birth of a Nation to W. E. B. Du Bois's "Black Christ" story cycle, Jesus was constantly and inventively visualized across media, and especially in the new medium of film. Why, in an era traditionally defined by the triumph of secular ideologies and institutions, were so many artists rushing to film Christ's miracles and use his story and image to contextualize their experiences of modernity?In The Disappearing Christ, Phillip Maciak examines filmic depictions of Jesus to argue that cinema developed as a model technology of secularism, training viewers for belief in a secular age. Negotiating between the magic trick and the documentary image, the conflicting impulses of faith and skepticism, the emerging aesthetic of film in this period visualized the fraught process of secularization. Cinematic depictions of an appearing and disappearing Christ became a powerful vehicle for Americans to navigate a rapidly modernizing society. Studying these films alongside a multimedia, interdisciplinary archive of novels, photographs, illustrations, and works of theology, travel writing, and historiography, The Disappearing Christ offers a new narrative of American cultural history at the intersection of cinema studies and religious studies
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  • 8
    Online Resource
    Online Resource
    2019
    ISBN: 9780231550116 
    Title: Play Time
    Subtitle: Jacques Tati and Comedic Modernism
    Publisher(s): Columbia University Press
    Year of publication: 2019
    Document type: Online Resource
    ISBN: 9780231550116
    Terms of use: Vorläufiger Zugriff bis zum Jahresende
    Abstract: Jacques Tati is widely regarded as one of the greatest postwar European filmmakers. He made innovative and challenging comedies while achieving international box office success and attaining a devoted following. In Play Time, Malcolm Turvey examines Tati's unique comedic style and evaluates its significance for the history of film and modernism.Turvey argues that Tati captured elite and general audiences alike by combining a modernist aesthetic with slapstick routines, gag structures, and other established traditions of mainstream film comedy. Considering films such as Monsieur Hulot's Holiday (1953), Mon Oncle (1958), Play Time (1967), and Trafic (1971), Turvey shows how Tati drew on the rich legacy of comic silent film while modernizing its conventions in order to encourage his viewers to adopt a playful attitude toward the modern world. Turvey also analyzes Tati's sardonic view of the bourgeoisie and his complex and multifaceted satire of modern life. Tati's singular and enduring achievement, Turvey concludes, was to translate the democratic ideals of the postwar avant-garde into mainstream film comedy, crafting a genuinely popular modernism. Richly illustrated with images from the director's films, Play Time offers an illuminating and original understanding of Tati's work
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  • 9
    Online Resource
    Online Resource
    2019
    ISBN: 9780231549455 
    Person(s): Archer, Neil
    Title: Twenty-First-Century Hollywood
    Subtitle: Rebooting the System
    Publisher(s): Columbia University Press
    Year of publication: 2019
    Document type: Online Resource
    ISBN: 9780231549455
    Terms of use: Vorläufiger Zugriff bis zum Jahresende
    Abstract: Twenty-First-Century Hollywood looks into the contexts of studio film production in the new century in order to understand what shapes the style and content of present-day cinema. In an era dominated in box-office terms by the franchise and the family film, this book combines close textual readings and industrial analysis, illustrating why these kinds of movies are favored in the contemporary climate by producers and audiences alike. Neil Archer critically explores the narrative and aesthetic strategies at work in Hollywood's most high-profile films, from Harry Potter, to Marvel's Cinematic Universe, to The Lego Movie. Along the way, the book answers some often unexpected questions: Why is Hollywood nervous about flying saucers? Why might the cinematic auteur be Hollywood's savior? And why are the most grown-up movies those made for children? As this study shows, like the films themselves, the answers to these questions are often complex and surprising
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  • 10
    Online Resource
    Online Resource
    2019
    ISBN: 9780231548038 
    Person(s): Rogers, Ariel
    Title: On the Screen
    Subtitle: Displaying the Moving Image, 1926-1942
    Publisher(s): Columbia University Press
    Year of publication: 2019
    Document type: Online Resource
    ISBN: 9780231548038
    Terms of use: Vorläufiger Zugriff bis zum Jahresende
    Abstract: Today, in a world of smartphones, tablets, and computers, screens are a pervasive part of daily life. Yet a multiplicity of screens has been integral to the media landscape since cinema's golden age. In On the Screen, Ariel Rogers rethinks the history of moving images by exploring how experiments with screen technologies in and around the 1930s changed the way films were produced, exhibited, and experienced.Marshalling extensive archival research, Rogers reveals the role screens played at the height of the era of "classical" Hollywood cinema. She shows how filmmakers, technicians, architects, and exhibitors employed a variety of screens within diverse spaces, including studio soundstages, theaters, homes, stores, and train stations. Far from inert, screens served as means of structuring mediated space and time, contributing to the transformations of modern culture. On the Screen demonstrates how particular approaches to the use of screens traversed production and exhibition, theatrical and extratheatrical practice, mainstream and avant-garde modes, and even cinema and television. Rogers's history challenges conventional narratives about the novelty of the twenty-first-century multiscreen environment, showing how attention to the variety of historical screen practices opens up new ways to understand contemporary media
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