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"A comparative history of Latin America's national cinemas over the course of five major periods: silent cinema, studio cinema, neorealism/art cinema, the New Latin American Cinema, and contemporary cinema. Close readings of approximately fifty films illustrate the major aesthetic, economic, and technological trends that define each period and the transitions between them. The selection of films reflects the tripartite division of film production in the region: 75 percent are from Brazil, Mexico, and Argentina; 25 percent are from countries other than the big three"--Provided by publisher.
Motion pictures --- Motion picture industry --- Film industry (Motion pictures) --- Moving-picture industry --- History. --- Cultural industries --- Film --- Latin America --- History --- Motion picture industry - Latin America - History. --- Lateinamerika --- Iberoamerika --- Lateinamerikaner --- american cinema. --- art cinema. --- comparative cinema. --- contemporary cinema. --- contemporary latin american cinema. --- film and cinema. --- film studies. --- film theory. --- latin american cinema. --- latin american cinematography. --- latin american motion pictures. --- latin american silent cinema. --- latin american studio cinema. --- latinx cinema. --- neorealism latin american cinema. --- new latin american cinema. --- silent films. --- studio films. --- the church and latin american cinema.
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This book gathers eleven scholarly contributions dedicated to the work of Mexican director Arturo Ripstein. The collection, the first of its kind, constitutes a sustained critical engagement with the twenty-nine films made by this highly acclaimed yet under-studied filmmaker. The eleven essays included come from scholars whose work stands at the intersection of the fields of Latin American and Mexican Film Studies, Gender and Queer Studies, Cultural Studies, History and Literary studies. Ripstein's films, often scripted by his long-time collaborator, Paz Alicia Garciadiego, represent an unprecedented achievement in Mexican and Latin American film. Unlike many of his contemporaries, Ripstein has successfully maintained a prolific output unmatched by any director in the region. Though several book-length studies have been published in Spanish, French, German, and Greek, to date no analogue exists in English. This volume provides a much-needed contribution to the field.
Latin American Cinema and TV. --- Latin american culture --- Culture-Study and teaching. --- Motion pictures, American. --- Film --- Ripstein y Rosen, Arturo
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Hollywood at the Intersection of Race and Identity explores the ways Hollywood represents race, gender, class, and nationality at the intersection of aesthetics and ideology and its productive tensions. This collection of essays asks to what degree can a close critical analysis of films, that is, reading them against their own ideological grain, reveal contradictions and tensions in Hollywood’s task of erecting normative cultural standards? How do some films perhaps knowingly undermine their inherent ideology by opening a field of conflicting and competing intersecting identities? The challenge set out in this volume is to revisit well-known films in search for a narrative not exclusively constituted by the Hollywood formula and to answer the questions: What lies beyond the frame? What elements contradict a film’s sustained illusion of a normative world? Where do films betray their own ideology and most importantly what intersectional spaces of identity do they reveal or conceal?
Identity (Psychology) in motion pictures. --- Race in motion pictures. --- Motion pictures --- Intersectionality (Sociology) --- History. --- Hollywood, race, identity, intersectionality, ethnicity, gender, sexuality, nationality, cinema, movies, film, camera, video, aesthetics, ideology, film analysis, United States cinema, American cinema, Hollywood formula, representation.
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In Mock Classicism Nilo Couret presents an alternate history of Latin American cinema that traces the popularity and cultural significance of film comedies as responses to modernization and the forerunners to a more explicitly political New Latin American Cinema of the 1960s. By examining the linguistic play of comedians such as Cantinflas, Oscarito and Grande Otelo, Niní Marshall, and Luis Sandrini, the author demonstrates aspects of Latin American comedy that operate via embodiment on one hand and spatiotemporal emplacement on the other. Taken together, these parallel examples of comedic practice demonstrate how Latin American film comedies produce a ";critically proximate"; spectator who is capable of perceiving and organizing space and time differently. Combining close readings of films, archival research, film theory, and Latin American history, Mock Classicism rethinks classicism as a discourse that mediates and renders the world and argues that Latin American cinema became classical in distinct ways from Hollywood.
Motion pictures --- Motion picture actors and actresses --- Comedy films --- Comedy videos --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Film actors --- Film stars --- Motion picture stars --- Movie stars --- Moving-picture actors and actresses --- Stars, Movie --- Actors --- Actresses --- Production and direction --- History --- History and criticism --- 1960s. --- alternate history. --- archival research. --- cantinflas oscarito. --- comedians. --- comedic practice. --- cultural significance. --- embodiment. --- film comedies. --- film theory. --- films. --- grande otelo. --- latin america. --- latin american cinema. --- latin american history. --- linguistic play. --- luis sandrini. --- modernization. --- new latin american cinema. --- nini marshall. --- popularity. --- spatiotemporal emplacement.
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Examines the use of transvestism and role changing as themes in motion pictures, and shows how these films reflect changing attitudes about men's and women's roles in American society.
Impersonators, Female, in motion pictures --- Impersonators, Male, in motion pictures --- Motion pictures --- Acteurs travestis au cinéma --- Actrices travesties au cinéma --- Cinéma --- History --- Histoire --- Acteurs travestis au cinéma --- Actrices travesties au cinéma --- Cinéma --- Female impersonators in motion pictures --- Male impersonators in motion pictures --- CDL --- 791.43 --- American cinema films, to 1984. --- Special themes: Androgyny
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Glamour photography. --- Portrait photography. --- Photography --- 77.041 --- CDL --- Portraiture --- Boudoir photography --- Cheesecake photography --- Glamor photography --- Pin-up photography --- Pinup photography --- Photography, Artistic --- Portraits --- American portrait photography, 1900-1950. --- Special subjects: American cinema films --- Acting --- Stars, 1916-1942 - Collections --- Glamour photography --- Portrait photography
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From the very beginning of cinema, there have been amateur filmmakers at work. It wasn't until Kodak introduced 16mm film in 1923, however, that amateur moviemaking became a widespread reality, and by the 1950s, over a million Americans had amateur movie cameras. In Amateur Cinema, Charles Tepperman explores the meaning of the "amateur" in film history and modern visual culture. In the middle decades of the twentieth century-the period that saw Hollywood's rise to dominance in the global film industry-a movement of amateur filmmakers created an alternative world of small-scale movie production and circulation. Organized amateur moviemaking was a significant phenomenon that gave rise to dozens of clubs and thousands of participants producing experimental, nonfiction, or short-subject narratives. Rooted in an examination of surviving films, this book traces the contexts of "advanced" amateur cinema and articulates the broad aesthetic and stylistic tendencies of amateur films.
Amateur films --- Production and direction --- History --- Amateur moving-pictures --- Home movies --- Personal films --- Motion pictures --- 20th century american film history. --- alternative. --- amateur filmmakers. --- amateur films movement. --- amateur moviemaking. --- american film. --- art. --- camera. --- cinema and film. --- cinema. --- creativity. --- experimental film. --- film and television. --- film studies. --- film. --- filmmaking. --- global film industry. --- historical. --- history of american cinema. --- history. --- kodak. --- modern visual culture. --- movie cameras. --- movie theory. --- non theatrical cinema. --- nonfiction film. --- performing arts. --- short subject film. --- small scale movie circulation. --- small scale movie production.
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In 1895, Louis Lumière supposedly said that cinema is "an invention without a future." James Naremore uses this legendary remark as a starting point for a meditation on the so-called death of cinema in the digital age, and as a way of introducing a wide-ranging series of his essays on movies past and present. These essays include discussions of authorship, adaptation, and acting; commentaries on Howard Hawks, Alfred Hitchcock, Orson Welles, Vincente Minnelli, John Huston, and Stanley Kubrick; and reviews of more recent work by non-Hollywood directors Pedro Costa, Abbas Kiarostami, Raúl Ruiz, and Apichatpong Weerasethakul. Important themes recur: the relations between modernity, modernism, and postmodernism; the changing mediascape and death of older technologies; and the need for robust critical writing in an era when print journalism is waning and the humanities are devalued. The book concludes with essays on four major American film critics: James Agee, Manny Farber, Andrew Sarris, and Jonathan Rosenbaum.
Film --- Motion pictures. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- acting. --- adaptation. --- alfred hitchcock. --- american cinema. --- andrew sarris. --- authorship. --- cinema in the digital age. --- cinema. --- death of cinema. --- digital age. --- film and television. --- film criticism. --- film. --- filmmaking. --- history of cinema. --- howard hawks. --- humanities. --- james agee. --- john huston. --- jonathan rosenbaum. --- literary studies. --- manny farber. --- mediascape. --- modernism. --- modernity and film. --- movies. --- orson welles. --- postmodernism and film. --- postmodernity. --- print journalism. --- stanley kubrick. --- technology. --- vincente minnelli.
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White slave films, dramas documenting sex scandals, filmed prize fights featuring the controversial African-American boxer Jack Johnson, D.W. Griffith's The Birth of a Nation-all became objects of public concern after 1906, when the proliferation of nickelodeons brought moving pictures to a broad mass public. Lee Grieveson draws on extensive original research to examine the controversies over these films and over cinema more generally. He situates these contestations in the context of regulatory concerns about populations and governance in an early-twentieth-century America grappling with the powerful forces of modernity, in particular, immigration, class formation and conflict, and changing gender roles.Tracing the discourses and practices of cultural and political elites and the responses of the nascent film industry, Grieveson reveals how these interactions had profound effects on the shaping of film content, form, and, more fundamentally, the proposed social function of cinema: how cinema should function in society, the uses to which it might be put, and thus what it could or would be. Policing Cinema develops new perspectives for the understanding of censorship and regulation and the complex relations between governance and culture. In this work, Grieveson offers a compelling analysis of the forces that shaped American cinema and its role in society.
Motion pictures --- Censorship --- History. --- african americans. --- american cinema. --- american culture. --- birth of a nation. --- censorship. --- cinema historians. --- class differences. --- controversial films. --- cultural history. --- early 20th century. --- film content. --- film culture. --- film industry. --- film regulations. --- film scholars. --- film studies. --- gender roles. --- governance and culture. --- immigration issues. --- nonfiction. --- policing art. --- political elites. --- power of cinema. --- prize fights. --- racism. --- role of cinema. --- sex scandals. --- slave films. --- social function. --- social history. --- social justice. --- textbooks.
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In the first book devoted to Charles Burnett, a crucial figure in the history of American cinema often regarded as the most influential member of the L.A. Rebellion group of African American filmmakers, James Naremore provides a close critical study of all Burnett's major pictures for movies and television, including Killer of Sheep, To Sleep with Anger, The Glass Shield, Nightjohn, The Wedding, Nat Turner: A Troublesome Property, and Warming by the Devil's Fire. Having accessed new information and rarely seen material, Naremore shows that Burnett's career has developed against the odds and that his artistry, social criticism, humor, and commitment to what he calls "symbolic knowledge" have given his work enduring value for American culture.
African American motion picture producers and directors. --- Afro-American motion picture producers and directors --- Motion picture producers and directors, African American --- Motion picture producers and directors --- Burnett, Charles, --- Criticism and interpretation. --- a troublesome property. --- african american filmmakers. --- american cinema. --- cinematography. --- film appreciation. --- film collectors. --- film theorists. --- film theory. --- killer of sheep. --- movie history. --- nat turner. --- nightjohn. --- social criticism. --- the glass shield. --- the wedding. --- to sleep with anger. --- warming by the devils fire.
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