In The End of Japanese Cinema Alexander Zahlten moves film theory beyond confines of itself, attending to emergence of new kinds of aesthetics, politics, temporalities, understandings of media. He traces evol
Some say that telling the story of Holocaust is impossible, yet, artists have told thousands of time since end of World War II in novels, dramas, paintings, music, sculpture, film. Over past seven decades, hundreds of doc
This is the first substantial study of British cinema's most neglected genre. Bringing together original work from some of leading writers on popular film, this book includes interviews with key directors Mike Hodges (Get Carter
The 1970s was an enormously creative period for experimental film. Its innovations and debates have had far reaching long lasting influence, with a resurgence of interest in the decade revealed by new gallery events, screenings social
This book is about the popular cinema of North India ("Bollywood") and how it recasts literary classics. It addresses questions interface of film literature, such as movies rework themes, offer differ
The Internet is the most terrifying and beautifully innovative invention of twentieth century. Using film theory close textual analysis, Tucker offers an explanation of a brief history of its portrayal on in orde
This book presents an expert analysis of the transnational aspects of Finnish cinema throughout its history. As a small cinema, film culture has, even at most nationalistic, always been attached to developments in other pr
This book explores cultural conceptions of the child and cinematic absence of black children from contemporary Hollywood film. Debbie Olson argues that within discourse of children's studies scholarship in relation to
With full frontal genitalia, erections, even actual sex featuring increasingly in films, this explicitness in presentation has caused critical consternation and accusations that such narratives are pornographic. This book explores how, rather
Cinema and Spectatorship is the first book to focus entirely on history role of spectator in contemporary film studies. While 1970s theory insisted on a distinction betweeen cinematic subject goers, Judith Ma