By Robert Stam, Alessandra Raengo
A spouse to Literature in movie provides cutting-edge examine on global literature, movie, and the complicated theoretical dating among them. 25 essays by way of foreign specialists disguise an important issues within the examine of literature and picture diversifications.
* Covers a wide selection of subject matters, together with cultural, thematic, theoretical, and style matters
* Discusses movie variations from the start of cinema to the current day
* Explores a various variety of titles and genres, together with movie noir, biblical epics, and Italian and chinese language cinema
Read Online or Download A Companion to Literature and Film (Blackwell Companions in Cultural Studies) PDF
Best film books
Knowing electronic Cinema: a qualified instruction manual is a finished source on all facets of completing, dispensing and exhibiting movie digitally. For technical execs in addition to non-technical decision-makers, the e-book is an in depth exploration of each portion of the method, from learning to theater administration.
The profound impression of the Hollywood musical throughout geographical and cultural barriers has lengthy been overlooked. This unique selection of essays seeks to begin a brand new severe debate by means of forthcoming vintage Hollywood motion pictures from views comparable to 'musicology'. Broadening the scope of earlier reviews, this quantity additionally examines the style during which eu cinema appropriated the musical to create new meanings.
From certainly one of our prime movie historians and interpreters: a brilliantly researched, irresistibly witty, delightfully illustrated exam of “the marriage movie”; what it truly is (or isn’t) and what it has to inform us in regards to the movies—and ourselves.
As lengthy as there were characteristic video clips there were marriage video clips, and but Hollywood has regularly been wary approximately tips to label them—perhaps simply because, not like the other style of movie, the wedding motion picture resonates without delay with the adventure of virtually each grownup coming to determine it. this is “happily ever after”—except while issues aren't satisfied, and while “ever after” is unexpectedly terminated via divorce, tragedy . . . or perhaps homicide. together with her large-hearted figuring out of the way movies—and audiences—work, Jeanine Basinger strains the various methods Hollywood has tussled with this difficult topic, explicating the relationships of numerous marriages from Blondie and Dagwood to the heartrending couple within the Iranian A Separation, from Tracy and Hepburn to Laurel and Hardy (a marriage if ever there has been one) to teach and his spouse in Friday evening lighting.
A treasure trove of perception and sympathy, illustrated with rankings of splendidly telling motion picture stills, posters, and advertisements.
From King Kong to Candyman, the boundary-pushing style of the horror movie has continuously been a website for provocative explorations of race in American pop culture. In Horror Noire: Blacks in American Horror motion pictures from 1890's to provide, Robin R. potential Coleman lines the background of impressive characterizations of blackness in horror cinema, and examines key degrees of black participation on display and in the back of the digital camera. She argues that horror bargains a representational house for black humans to problem the extra detrimental, or racist, photos noticeable in different media retailers, and to painting better range in the thought of blackness itself.
Horror Noire provides a different social background of blacks in the USA via altering photographs in horror motion pictures. through the textual content, the reader is inspired to unpack the genre’s racialized imagery, in addition to the narratives that make up renowned culture’s remark on race.
Offering a complete chronological survey of the style, this booklet addresses a whole variety of black horror movies, together with mainstream Hollywood fare, in addition to art-house motion pictures, Blaxploitation motion pictures, direct-to-DVD movies, and the rising U. S. /hip-hop culture-inspired Nigerian "Nollywood" Black horror motion pictures. Horror Noire is, therefore, crucial examining for someone looking to know the way fears and anxieties approximately race and race kin are made happen, and infrequently challenged, at the silver screen.
- Fotografieren für Fortgeschrittene
- The Patagonian Hare: A Memoir
- Movie Freak: My Life Watching Movies
- Film Theory: Creating a Cinematic Grammar (Short Cuts)
- The Films of James Bridges
- Fifty Years Of Carry On
Additional info for A Companion to Literature and Film (Blackwell Companions in Cultural Studies)
I try to exclude titles wherever possible . . ”71 The word “borrow” implies that words do not belong to ﬁlm, but rather constitute temporary literary loans until ﬁlm’s images can speak for themselves. In 1928, Ukrainian theorist Leonid Skrypnyk complained: “Cinema has to humiliate itself and seek compromises [with literature]. 73 When intertitles give way to spoken dialogue, critics and ﬁlmmakers attack it as a reinfestation of ﬁlm by literature, rather than a new technology or an integral component of ﬁlm.
Eisenstein extends the literary analogy from practice to criticism. Lamenting that “in comparison with analyses of [literature] . . my analysis is still quite descriptive and easy,” he offers analogical remedies: “An analysis of the very lenses employed in ﬁlming . . with camera angles and lighting . . would serve as an exact analogy to an analysis of the expressiveness of phrases and words . . in a literary work” (p. 120). “The Art of the Sub-Title,” The Picturegoer (May 1921), 21. Edmund Wilson, The Boys in the Back Room (San Francisco: Colt Press, 1941), p.
Rather, it must result from the word and image rivalries that have so clouded critical objectivity for more than a century. It emerges as almost comical that critical rhetoric insists on ﬁlm as book illustration analogically, yet overlooks ways in which actual illustrations may have directly inﬂuenced ﬁlm techniques. To do so, however, would require a reconsideration of ﬁlm images’ claim to language and undermine the rivalries that it fosters. Kamilla Elliott 16 exactly this: montage sequences that interweave intertitles and ﬁlmed scenes to form hybrid verbal-visual “sentences” governed by verbal syntax.