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| Author | : James Card |
| Publisher | : Alfred A. Knopf |
| Total Pages | : 344 |
| Release | : 1994 |
| Genre | : Performing Arts |
| ISBN | : |
He describes overlooked silent movies of social concern, among them The Cry of the Children, directed by George Nicholls; such classic thrillers as Herbert Brenon's Beau Geste and such early avant-garde American masterpieces as J. Sibley Watson's The Fall of the House of Usher.
| Author | : Claudia Morgan |
| Publisher | : Richards Education |
| Total Pages | : 287 |
| Release | : |
| Genre | : Performing Arts |
| ISBN | : |
Prepare to be captivated by the sultry allure and undeniable chemistry that have set cinema screens ablaze in "Seduction on Screen: The 100 Sexiest Movies of All Time." This steamy guide takes you on a journey through the most provocative and unforgettable moments in film history, showcasing the movies that have redefined sensuality, passion, and desire. Each chapter offers a tantalizing exploration of a different film, delving into the erotic artistry, mesmerizing performances, and sizzling storylines that have left audiences entranced. From the raw intensity of Basic Instinct to the romantic heat of Atonement and the bold sensuality of Call Me by Your Name, this book covers a wide range of genres and styles, all united by their electrifying appeal. Whether you're a film buff or simply in the mood for something a little more daring, "Seduction on Screen" is your ultimate companion to the world of cinematic seduction. This collection celebrates the films that have pushed boundaries, sparked conversations, and kindled the flames of passion, making them timeless classics in the realm of sensual storytelling. Dive into the 100 sexiest movies ever made, and let the magic of cinema sweep you off your feet.
| Author | : James Card |
| Publisher | : |
| Total Pages | : |
| Release | : 1995-10-01 |
| Genre | : |
| ISBN | : 9780517157695 |
| Author | : Joanne Bernardi |
| Publisher | : Indiana University Press |
| Total Pages | : 431 |
| Release | : 2021-02-01 |
| Genre | : Performing Arts |
| ISBN | : 0253053005 |
Remnants of early films often have a story to tell. As material artifacts, these film fragments are central to cinema history, perhaps more than ever in our digital age of easy copying and sharing. If a digital copy is previewed before preservation or is shared with a researcher outside the purview of a film archive, knowledge about how the artifact was collected, circulated, and repurposed threatens to become obscured. When the question of origin is overlooked, the story can be lost. Concerned contributors in Provenance and Early Cinema challenge scholars digging through film archives to ask, "How did these moving images get here for me to see them?" This volume, which features the conference proceedings from Domitor, the International Society for the Study of Early Cinema, 2018, questions preservation, attribution, and patterns of reuse in order to explore singular artifacts with long and circuitous lives.
| Author | : Caroline Frick |
| Publisher | : Oxford University Press |
| Total Pages | : 231 |
| Release | : 2011-01-21 |
| Genre | : Performing Arts |
| ISBN | : 019979264X |
The importance of media preservation has in recent years achieved much broader public recognition. From the vaults of Hollywood and the halls of Congress to the cash-strapped museums of developing nations, people are working to safeguard film from physical harm. But the forces at work aren't just physical. The endeavor is also inherently political. What gets saved and why? What remains ignored? Who makes these decisions, and what criteria do they use? Saving Cinema narrates the development of the preservation movement and lays bare the factors that have influenced its direction. Archivists do more than preserve movie history; they actively produce and codify cinematic heritage. At the same time, digital technologies have produced an entirely new reality, one that resists the material, artifact-driven approach that is the gold standard of preservation in the Western world. As it has become increasingly easy to capture and access moving images, increasing evidence of something many archivists have known for years has emerged: industrial and training films, amateur travel diaries, and even family videos are critical public resources. It has also raised question about the role of the profession. Is access equivalent to preservation, and, if it is, how should archivists alter their activities? The time is ripe for a reconsideration of the politics and practices of preservation. Saving Cinema is the book to guide that conversation.
| Author | : Barbara Mennel |
| Publisher | : Routledge |
| Total Pages | : 244 |
| Release | : 2019-05-13 |
| Genre | : Science |
| ISBN | : 1351016172 |
The second edition of Cities and Cinema provides an updated survey of films about cities, from their significance for modernity at the beginning of the twentieth century to the contemporary relationship between virtual reality and urban space. The book demonstrates the importance of the filmic depiction of capitals for national cinemas in the twentieth century and analyzes the transnational transfer of cinematic images surrounding global cities in the twenty-first century. Cities and Cinema covers the different facets of the cinematic depiction of cities. It rehearses distinct methodologies and offers a survey of the history of the cinematic city. The book also deepens our understanding of tropes and narrative conventions that shape films about urban settings and that reflect the transformation of cities throughout the twentieth and twenty-first centuries. Beginning with a discussion of the Weimar “street film,” it analyzes how the city film defined modernity. The book outlines the sociological context and the aesthetic features of so-called film noir, made in 1940s Hollywood and depicting Los Angeles. Paris became the site for the development of auteur cinema, which repeatedly depicts characters moving through the city. Tokyo took up noir to signal modern crime. The volume delineates how filmic genres, such as science fiction, comment on the present by imagining future forms of urban living. After analyzing how cinema captures the relationship between sexual identity and urban anonymity, migration and urban space, and marginalized ethnic and sexual identity in ghetto films, the book emphasizes transnational dynamics and global cities in the twenty-first century. Its conclusion points to the increasing virtual mediation of cities with new media. Cities and Cinema offers a historical overview of the development of films about cities and a theoretical approach to the intersection of urban studies and film studies. This title is designed as a textbook primarily for second-year undergraduate students in Film/Media studies, Urban studies, as well as Geography and Planning.
| Author | : Anupama Chopra |
| Publisher | : Grand Central Publishing |
| Total Pages | : 272 |
| Release | : 2007-10-02 |
| Genre | : Performing Arts |
| ISBN | : 0446508985 |
Here is the astonishing true story of Bollywood, a sweeping portrait about a country finding its identity, a movie industry that changed the face of India, and one man's struggle to become a star. Shah Rukh Khan's larger than life tale takes us through the colorful and idiosyncratic Bollywood movie industry, where fantastic dreams and outrageous obsessions share the spotlight with extortion, murder, and corruption. Shah Rukh Khan broke into this $1.5 billion business despite the fact that it has always been controlled by a handful of legendary film families and sometimes funded by black market money. As a Muslim in a Hindu majority nation, exulting in classic Indian cultural values, Shah Rukh Khan has come to embody the aspirations and contradictions of a complicated culture tumbling headlong into American style capitalism. His story is the mirror to view the greater Indian story and the underbelly of the culture of Bollywood. "A bounty for cinema lovers everywhere." --Mira Nair, Director, The Namesake and Monsoon Wedding "King of Bollywood is the all-singing, all-dancing back stage pass to Bollywood. Anupama Chopra chronicles the political and cultural story of India with finesse and insight, through fly-on-wall access to one of its biggest, most charming and charismatic stars." -- Gurinder Chadha, director of Bend it Like Beckham "The "Easy Rider Raging Bull" of the Bollywood industry and essential reading for any Shah Rukh Khan fan." --Emma Thompson, actress "Anu Chopra infuses the pivotal moments of Shah Rukh Khan's life with an edge-of-your-seat tension worthy of the best Bollywood blockbusters." --Kirkus
| Author | : Lora Ann Sigler |
| Publisher | : McFarland |
| Total Pages | : 236 |
| Release | : 2019-06-20 |
| Genre | : Performing Arts |
| ISBN | : 1476634416 |
The heyday of silent film soon became quaint with the arrival of "talkies." As early as 1929, critics and historians were writing of the period as though it were the distant past. Much of the literature on the silent era focuses on its filmic art--ambiance and psychological depth, the splendor of the sets and costumes--yet overlooks the inspiration behind these. This book explores the Middle Ages as the prevailing influence on costume and set design in silent film and a force in fashion and architecture of the era. In the wake of World War I, designers overthrew the artifice of prewar style and manners and drew upon what seemed a nobler, purer age to create an ambiance that reflected higher ideals.
| Author | : Robert Sitton |
| Publisher | : Columbia University Press |
| Total Pages | : 498 |
| Release | : 2014-04-01 |
| Genre | : Performing Arts |
| ISBN | : 0231165781 |
Iris Barry (1895Ð1969) was one of the first critics to recognize film as an art form. The mother of film preservation internationally, she founded the film department at New York City's Museum of Modern Art and became its first curator, cementing filmÕs critical legitimacy. Drawing on letters, memorabilia, and other documentary sources, Robert Sitton reconstructs Barry's remarkable life and work, sharing the story of a thoroughly modern muse and mentor to some of the most influential artists of her day. Although she had the bearing of a British aristocrat, Barry was the self-educated daughter of a brass founder and a palm-reader from the Isle of Man. An aspiring poet, her early work attracted the attention of Ezra Pound, whose letters to Barry comprise the essence of his thoughts on writing. Moving to London at Pound's suggestion in 1917, Barry joined a demimonde of Bloomsbury figures, including Ford Maddox Ford, T. S. Eliot, Arthur Waley, Edith Sitwell, and William Butler Yeats, and fell in love with PoundÕs eccentric fellow Vorticist, Wyndham Lewis. During these tumultuous years, Barry launched a career as a novelist, biographer, and critic of motion pictures, which were dismissed as lower-class amusements. She wrote articles for the Spectator positioning film as a new art form and in 1925 cofounded the London Film Society. Emigrating to America in 1930, Barry joined the modernist Askew Salon, where she met Alfred Barr Jr., the director of the new Museum of Modern Art. Barr helped Barry establish a film library and convince powerful Hollywood interests to submit their work for exhibition, creating a significant new respect for film and prompting the founding of the International Federation of Film Archives, for which Barry served as Life President. Barry continued to augment MoMAÕs film library until World War II, when she joined the Office of Strategic Services to develop pro-American films with Orson Welles, Walt Disney, John Houston, Samuel Goldwyn, and Frank Capra. Yet despite these patriotic efforts, BarryÕs ÒforeignnessÓ and association with such filmmakers as Luis Buuel made her the target of an anticommunist witch hunt. She eventually left for France, working for MoMA only as consultant. Barry died in obscurity, her contribution to film and cultural history largely forgotten. Sitton reclaims her phenomenal achievements while recasting the political involvement of artistic institutions in the early twentieth century.
| Author | : Jon Else |
| Publisher | : Penguin |
| Total Pages | : 433 |
| Release | : 2017-01-24 |
| Genre | : History |
| ISBN | : 1101980931 |
“[TRUE SOUTH] does several things at once. On one level, it’s a biography . . . On another, it’s a lucid recap of many of the signal events of the civil rights movement . . . A warm and intelligent book.”—The New York Times “No one is better suited to write this moving account of perhaps the greatest American documentary series ever made. . . . [Else] tells the story with the compassion and eloquence it deserves.”—Adam Hochschild, author of KING LEOPOLD’S GHOST, BURY THE CHAINS, and TO END ALL WARS The inside story of Eyes on the Prize, one of the most important and influential TV shows in history. Published on the 30th anniversary of the initial broadcast, which reached 100 million viewers. Henry Hampton’s 1987 landmark multipart television series, Eyes on the Prize, an eloquent, plainspoken chronicle of the civil rights movement, is now the classic narrative of that history. Before Hampton, the movement’s history had been written or filmed by whites and weighted heavily toward Dr. King’s telegenic leadership. Eyes on the Prize told the story from the point of view of ordinary people inside the civil rights movement. Hampton shifted the focus from victimization to strength, from white saviors to black courage. He recovered and permanently fixed the images we now all remember (but had been lost at the time)—Selma and Montgomery, pickets and fire hoses, ballot boxes and mass meetings. Jon Else was Hampton’s series producer and his moving book focuses on the tumultuous eighteen months in 1985 and 1986 when Eyes on the Prize was finally created. It’s a point where many wires cross: the new telling of African American history, the complex mechanics of documentary making, the rise of social justice film, and the politics of television. And because Else, like Hampton and many of the key staffers, was himself a veteran of the movement, his book braids together battle tales from their own experiences as civil rights workers in the south in the 1960s. Hampton was not afraid to show the movement’s raw realities: conflicts between secular and religious leaders, the shift toward black power and armed black resistance in the face of savage white violence. It is all on the screen, and the fight to get it all into the films was at times as ferocious as the history being depicted. Henry Hampton utterly changed the way social history is told, taught, and remembered today.
