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In this volume, Richard Gilmore explores film as a channel through which to engage in philosophical reflection and analyzes the relationship between philosophy and film. This book argues that philosophy and film can and should be used for the amelioration of life’s difficulties and the promotion of life’s boons. Gilmore identifies how philosophy and film complement and enrich one another and explores their relationship by connecting classic wisdom texts to significant movies. For example, the volume analyzes the Coen brothers’ films The Big Lebowski and A Serious Man in light of The Book of Job. Gilmore considers the ancient idea of philosophy as “spiritual exercise” and a way of life. The volume concludes by examining what the author labels “sublime conversations” as the highest expression of philosophy. The book identifies and dissects these conversations in movies directed by the likes of Robert Bresson, Yasujirō Ozu, Jean-Luc Godard, and Ingmar Bergman, among others.
Motion pictures --- Philosophy in motion pictures. --- Philosophy. --- Motion pictures-United States. --- Philosophy of Man. --- American Cinema and TV. --- Mental philosophy --- Humanities --- Motion pictures—United States.
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This book explores the idea that while we see the vampire as a hero of romance, or as a member of an oppressed minority struggling to fit in and acquire legal recognition, the vampire has in many ways changed beyond recognition over recent decades due to radically shifting formations of the sacred in contemporary culture. The figure of the vampire has captured the popular imagination to an unprecedented extent since the turn of the millennium. The philosopher René Girard associates the sacred with a communal violence that sacred ritual controls and contains. As traditional formations of the sacred fragment, the vampire comes to embody and enact this ‘sacred violence’ through complex blood bonds that relate the vampire to the human in wholly new ways in the new millennium. Susan Chaplin specialises in Romanticism and Gothic Literature from the eighteenth century to the present. She has published extensively in these fields. Her works include The Gothic and the Rule of Law, 1764-1820, Gothic Literature: Texts, Contexts, Connections, The Romanticism Handbook (edited with Professor Joel Faflak), The Frankenstein Workbook, and Law, Literature and the Sublime in Eighteenth-Century Women’s Fiction.
Literature. --- Motion pictures --- Film genres. --- Literature, Modern --- America --- Twentieth-Century Literature. --- North American Literature. --- American Cinema. --- Genre. --- United States. --- 20th century. --- Literatures. --- Vampires in literature. --- Literature, Modern-20th century. --- America-Literatures. --- Motion pictures-United States. --- American Cinema and TV. --- Genre films --- Genres, Film --- Motion picture genres --- Plots, themes, etc. --- Literature, Modern—20th century. --- America—Literatures. --- Motion pictures—United States.
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This pivot considers key transformations within the Chinese film industry since the country opened its doors to the outside world in the late 1970s, and moved from an ideologically-centred censorship system to one of contestation and cooperation between politics, art and market. Focusing on Zhang Yimou, arguably one of China’s most innovative and controversial filmmakers and directors, the author addresses the challenges faced by contemporary Chinese cinema in the face of Hollywood dominance, notably making genre films in an increasingly globalized context, and the necessary compromises between the local and global, the national and the international. Through a combination of textual analysis and context study, it examines action-oriented films Zhang made as responses to a rapidly changing film market and industry.
Culture --- Motion pictures --- Cultural studies. --- Cultural and Media Studies. --- Asian Cinema. --- Cultural Studies. --- American Cinema. --- Study and teaching. --- United States. --- Asia. --- Zhang, Yimou --- Criticism and interpretation. --- Chang, I-mou --- Zhang, Yi Mou --- 张艺谋 --- 張藝謀 --- Mou, Zhang Yi --- Yimou, Zhang --- Motion pictures-Asia. --- Motion pictures-United States. --- Asian Cinema and TV. --- American Cinema and TV. --- Motion pictures—Asia. --- Motion pictures—United States.
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This volume explains how Star Trek allows viewers to comprehend significant aspects of Georg Hegel’s concept the absolute, the driving force behind history. Gonzalez, with wit and wisdom, explains how Star Trek exhibits central elements of the absolute. He describes how themes and ethos central to the show display the concept beautifully. For instance, the show posits that people must possess the correct attitudes in order to bring about an ideal society: a commitment to social justice; an unyielding commitment to the truth; and a similar commitment to scientific, intellectual discovery. These characteristics serve as perfect embodiments of Hegel’s conceptualization, and Gonzalez's analysis is sharp and exacting. George A. Gonzalez is Associate Professor of Political Science at the University of Miami, USA. He specializes in the fields of political theory, popular culture, and environmental politics and policy. In the areas of popular culture and political theory he has published two articles in the journal Foundation: The International Review of Science Fiction, as well as the book The Politics of Star Trek: Justice, War, and the Future.
Philosophy. --- Motion pictures --- History --- Idealism, German. --- German Idealism. --- Philosophy of History. --- American Cinema. --- United States. --- Star trek (Motion picture : 1979) --- Mental philosophy --- German idealism --- History, Modern --- Philosophy --- Star trek-- the motion picture (1979) --- History-Philosophy. --- Motion pictures-United States. --- American Cinema and TV. --- History—Philosophy. --- Motion pictures—United States.
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This book reveals the hitherto critically disregarded ludic elements in popular American comedy films, building on and expanding the theories developed by Johan Huizinga in his classic study Homo Ludens(1938) and Roger Caillois in Les jeux et les hommes (1958). To address the lack of attention paid to the play principle in film comedy studies, this book focuses exclusively on the elements typical of play that can be found in movies. It introduces two new categories describing play: óneiros and pragma, which allow analysis of how play in comedies is influenced by the relations between the player and non-players. The text is supplemented by the use of the author’s drawings, which, because of their analytical and selective nature, are used as a tool for visual study. The play principle has a long tradition in American humor and the films examined here were chosen for their popularity and wide appeal, often acting as vehicles for Hollywood stars (e.g. Chevy Chase, Dan Aykroyd, Bill Murray, Steve Martin, Eddie Murphy, Goldie Hawn, Mike Myers, Jackie Chan or Chris Tucker). The actors’ status allowed the filmmakers to construct situations in which the protagonists distanced themselves from the fictional situation. It is argued that the playful detachment from reality, typifying many of the fictional characters portrayed by actors with star status, is characteristic of the play principle in film. Another major consideration is the hotly debated notion of the accomplishment of goals in playful activities, and the book strongly supports the position that in narratives, play can (but does not have to) yield important results. The introduction of the categories of óneiros and pragma in play serves to highlight the complex relation between playfulness and practicality in the films discussed. Building on a comprehensive analysis of the ludic elements in selected popular American comedies, the book makes an important contribution to film studies, providing a unique perspective through its focus on the concept of homo ludens as a comic hero.
Didactics of the arts --- Film --- TV (televisie) --- film --- kunstonderwijs --- creativiteit --- United States --- America --- Art education. --- Motion pictures—United States. --- Creativity and Arts Education. --- American Cinema and TV. --- Art --- Art education --- Education, Art --- Art schools --- Analysis, interpretation, appreciation --- Education
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A Brief History of Comic Book Movies traces the meteoric rise of the hybrid art form of the comic book film. These films trace their origins back to the early 1940s, when the first Batman and Superman serials were made. The serials, and later television shows in the 1950s and 60s, were for the most part designed for children. But today, with the continuing rise of Comic-Con, they seem to be more a part of the mainstream than ever, appealing to adults as well as younger fans. This book examines comic book movies from the past and present, exploring how these films shaped American culture from the post-World War II era to the present day, and how they adapted to the changing tastes and mores of succeeding generations. Wheeler Winston Dixon is the James Ryan Professor of Film Studies, Coordinator of the Film Studies Program, and Professor of English at the University of Nebraska, Lincoln. Richard Graham is an associate professor and Media Services Librarian at the University of Nebraska-Lincoln, USA, and a nationally recognized authority on comic books, graphic novels, and comic book movies.
Culture --- Communication. --- Motion pictures --- Film genres. --- Cultural and Media Studies. --- Genre. --- Film History. --- American Cinema. --- Asian Cinema. --- Media and Communication. --- Study and teaching. --- United States. --- Asia. --- History. --- Genre films --- Genres, Film --- Motion picture genres --- Communication, Primitive --- Mass communication --- Cultural studies --- History and criticism --- Sociology --- Plots, themes, etc. --- Motion pictures-History. --- Motion pictures-United States. --- Motion pictures-Asia. --- American Cinema and TV. --- Asian Cinema and TV. --- Motion pictures—History. --- Motion pictures—United States. --- Motion pictures—Asia. --- Motion pictures and comic books.
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This book provides wide-ranging commentary on depictions of the black male in mainstream cinema. O’Brien explores the extent to which counter-representations of black masculinity have been achieved within a predominately white industry, with an emphasis on agency, the negotiation and malleability of racial status, and the inherent instability of imposed racial categories. Focusing on American and European cinema, the chapters highlight actors (Woody Strode, Noble Johnson, Eddie Anderson, Will Smith), genres (jungle pictures, westerns, science fiction) and franchises (Tarzan, James Bond) underrepresented in previous critical and scholarly commentary in the field. The author argues that although the characters and performances generated in these areas invoke popular genre types, they display complexity, diversity and ambiguity, exhibiting aspects that are positive, progressive and subversive. This book will appeal to both the academic and the general reader interested in film, race, gender and colonial issues. Daniel O'Brien is Lecturer at the University of Southampton. He is a writer and historian in film studies and a film tutor in Medical Humanities. His recent publications include Classical Masculinity and the Spectacular Body on Film: The Mighty Sons of Hercules (Palgrave Macmillan 2014).
Culture --- African Americans. --- Motion pictures --- Cultural and Media Studies. --- African American Culture. --- American Cinema. --- European Cinema. --- Sociology of Racism. --- Culture and Gender. --- Study and teaching. --- United States. --- European influences. --- African American men in motion pictures. --- Masculinity. --- Masculinity (Psychology) --- Sex (Psychology) --- Men --- Motion pictures-United States. --- Motion pictures-European influen. --- Racism in the social sciences. --- Culture. --- Gender. --- American Cinema and TV. --- European Cinema and TV. --- Cultural sociology --- Sociology of culture --- Civilization --- Popular culture --- Social sciences --- African Americans --- Afro-Americans --- Black Americans --- Colored people (United States) --- Negroes --- Africans --- Ethnology --- Blacks --- Social aspects --- Motion pictures—United States. --- Motion pictures—European influences. --- Black people
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This book explores cultural conceptions of the child and the cinematic absence of black children from contemporary Hollywood film. Debbie Olson argues that within the discourse of children’s studies and film scholarship in relation to the conception of “the child,” there is often little to no distinction among children by race—the “child” is most often discussed as a universal entity, as the embodiment of all things not adult, not (sexually) corrupt. Discussions about children of color among scholars often take place within contexts such as crime, drugs, urbanization, poverty, or lack of education that tend to reinforce historically stereotypical beliefs about African Americans. Olson looks at historical conceptions of childhood within scholarly discourse, the child character in popular film and what space the black child (both African and African American) occupies within that ideal.
Culture --- United States --- African Americans. --- Youth --- Communication. --- Motion pictures --- Cultural and Media Studies. --- American Cinema. --- American Culture. --- African American Culture. --- Youth Culture. --- Media and Communication. --- Study and teaching. --- Social life and customs. --- United States. --- Performing arts --- History. --- Show business --- Arts --- Performance art --- Motion pictures-United States. --- United States-Study and teaching. --- Youth-Social life and customs. --- American Cinema and TV. --- Communication, Primitive --- Mass communication --- Sociology --- African Americans --- Afro-Americans --- Black Americans --- Colored people (United States) --- Negroes --- Africans --- Ethnology --- Blacks --- Motion pictures—United States. --- United States—Study and teaching. --- Youth—Social life and customs. --- Black people --- Blacks in motion pictures. --- Children in motion pictures. --- Racism in motion pictures. --- Children, Black, in art. --- Social aspects. --- Black people in motion pictures.
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This book analyzes early twenty-first century film and television’s fascination with representing the Anglo-American eighteenth century. Grounded in cultural studies, film studies, and adaptation theory, the book examines how these works represented the eighteenth century to assuage anxieties about values, systems, and institutions at the start of a new millennium. The first two chapters reveal how films like Gulliver’s Travels (2010) or the remake of Poldark (2015) use history to establish the direct relationship between the eighteenth century and the twenty-first. The final chapters examine pairs of productions for how they address and legitimate different aspects of contemporary ideology such as attitudes toward race and gender, or the connection between technological and social progress.
Eighteenth century in motion pictures. --- Film criticism. --- Television criticism. --- Motion picture criticism --- Motion pictures --- Moving-picture criticism --- Criticism --- Dramatic criticism --- Evaluation --- Motion pictures-Great Britain. --- Motion pictures-United States. --- Film genres. --- Literature, Modern-18th century. --- British Cinema and TV. --- American Cinema and TV. --- Genre. --- Eighteenth-Century Literature. --- Genre films --- Genres, Film --- Motion picture genres --- Plots, themes, etc. --- Motion pictures—Great Britain. --- Motion pictures—United States. --- Literature, Modern—18th century.
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This collection explores the emergence of new spatialities and subjectivities in Brazilian films produced from the 1990s onwards, a period that became known as the retomada, but especially in the cinema of the new millennium. The chapters take spatiality as a powerful tool that can reveal aesthetic, political, social, and historical meanings of the cinematographic image instead of considering space as just a formal element of a film. From the rich cross-fertilization of different theories and disciplines, this edited collection engages with the connection between space and subjectivity in Brazilian cinema while raising new questions concerning spatiality and subjectivity in cinema and providing new models and tools for film analysis.
Brazilian literature. --- Portuguese literature --- Motion pictures, American. --- Ethnology-Latin America. --- Motion pictures. --- Communication. --- Sociology, Urban. --- Latin American Cinema and TV. --- Latin American Culture. --- Film Theory. --- Media and Communication. --- Urban Studies/Sociology. --- Urban sociology --- Cities and towns --- Communication, Primitive --- Mass communication --- Sociology --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- American motion pictures --- Moving-pictures, American --- Foreign films --- History and criticism --- Motion pictures --- Space in motion pictures. --- Ethnology—Latin America.
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