Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

An innovative and wide-ranging collection, Expressionism in Cinema re-canonizes the classical Expressionist aesthetic, extending the critical and historical discussion beyond pre-existing scholarship into comparative and interdisciplinary areas of film research that reach across national boundaries.

Expressionism in motion pictures. --- Motion pictures --- Film

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This volume takes a fresh look at the various aesthetics emerging globally in the early sound film era, with a focus on the films' fundamentally experimental and inventive character. By considering films and production contexts often neglected in film studies, it strives to counter the still dominant view of the transitional period as a time of yet-to-be-perfected forerunners of 'classical' sound film. Instead, authors highlight the sense of 'fruitful uncertainty' in this period of media change and transformation. Subjects covered include visual and auditory style; the uses of speech, music, and noises; aesthetic conceptions in sound film theory; and intermedial aesthetics. The volume's scope is decidedly international, covering production and reception contexts in the Soviet Union, Japan, the USA, Germany, France, Italy, the UK, and Switzerland.

Sound motion pictures --- History.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This book argues for a durational cinema that is distinct from slow cinema, and outlines the history of its three main waves: the New York avant-garde of the 1960s, the European art cinema in the years after 1968, and the international cinema of gallery spaces as well as film festivals since the 1990s. Figures studied include Andy Warhol, Ken Jacobs, Chantal Akerman, Marguerite Duras, Claude Lanzmann, James Benning, Kevin Jerome Everson, Lav Diaz, and Wang Bing.Durational cinema is predominantly minimal, but has from the beginning also included a more encompassing or encyclopedic kind of filmmaking. Durational cinema is characteristically representational, and converges on certain topics (the Holocaust, deindustrialization, the experience of the working class and other marginalized people), but has no one meaning, signifying differently at different moments and in different hands. Warhol's durational cinema of subtraction is quite different from Jacobs's durational cinema of social disgust, while Lav Diaz' durational sublime is quite different from Kevin Jerome Everson's unblinking studies of African-American working people.

Film --- History --- film --- geschiedenis --- Motion pictures --- Motion pictures.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Age group sociology --- Film --- anno 2000-2009 --- anno 1980-1989 --- anno 1990-1999 --- Argentina --- Motion pictures --- Children in motion pictures --- Nostalgia in motion pictures --- Allegory --- In motion pictures --- Children in motion pictures. --- Nostalgia in motion pictures. --- Allegory. --- Film. --- Kind. --- Kollektives Gedächtnis. --- Motion pictures. --- Argentinien. --- Argentina. --- In motion pictures. --- Motion pictures - Argentina --- Argentina - In motion pictures

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

With the success of Gladiator, both critics and scholars enthusiastically announced the return of a genre which had lain dormant for thirty years. However, this return raises important new questions which remain unanswered. Why did the epic come back, and why did it fall out of fashion? Are these the same kinds of epics as the 1950s and 60s, or are there aesthetic differences? Can we treat Kingdom of Heaven, 300 and Thor indiscriminately as one genre? Are non-Western histories like Hero and Mongol epics, too? Finally, what precisely do we mean when we talk about the return of the epic film, and why are they back? The Return of the Epic Film offers a fresh way of thinking about a body of films which has dominated our screens for a decade. With contributions from top scholars in the field, the collection adopts a range of interdisciplinary perspectives to explore the epic film in the twenty-first century.

Film --- Epic films --- Costume spectacles (Motion pictures) --- Film epics --- Heroic films --- Monumental films --- Spectacles (Motion pictures) --- Spectaculars (Motion pictures) --- Motion pictures --- History and criticism.