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Historically, cinema in the Americas has been signed by a state of precariousness. Notwithstanding the growing accessibility to video and digital technologies, access to the material means of film production is still limited, affecting the spheres of production, distribution, and reception. Equally, questions about the precarious can be traced in cultural and archival policies, film legislations, as well as in thematic and aesthetic choices. While conventional definitions of the precarious have been associated with notions of scarcity and insecurity, this volume looks at precariousness from a non-monolithic angle, exploring its productivity and potential for original, critical approaches, with the aim of providing new readings to the variedly rich and complex cinemas of the Americas.
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This book examines performances in the American film industry’s highest-earning and most influential films. Countering decades of discourse and the conventional notion that special effects are the real stars of Hollywood blockbusters, this book finds that the acting performances in these big-budget action movies are actually better, and more genre-appropriate, than reputed. It argues that while blockbusters are often edited for speed, thrills, and simplicity, and performances are sometimes tailored to this style, most major productions feature more scenes of stage-like acting than hyper-kinetic action. Knowing this, producers of the world’s highest-budgeted motion pictures usually cast strong or generically appropriate actors. With chapters offering unique readings of some of cinema’s biggest hits, such as The Dark Knight, Pirates of the Caribbean, Star Wars, Iron Man and The Hunger Games, this unprecedented study sheds new light on the importance of performance in the Hollywood blockbuster. .
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Historically, cinema in the Americas has been signed by a state of precariousness. Notwithstanding the growing accessibility to video and digital technologies, access to the material means of film production is still limited, affecting the spheres of production, distribution, and reception. Equally, questions about the precarious can be traced in cultural and archival policies, film legislations, as well as in thematic and aesthetic choices. While conventional definitions of the precarious have been associated with notions of scarcity and insecurity, this volume looks at precariousness from a non-monolithic angle, exploring its productivity and potential for original, critical approaches, with the aim of providing new readings to the variedly rich and complex cinemas of the Americas.
Culture --- Cultural studies --- Study and teaching. --- Motion pictures, American. --- Motion pictures-United States. --- Ethnology-Latin America. --- United States-Study and teaching. --- Latin American Cinema and TV. --- American Cinema and TV. --- Latin American Culture. --- American Culture. --- Latino Culture. --- American motion pictures --- Moving-pictures, American --- Foreign films --- Motion pictures—United States. --- Ethnology—Latin America. --- United States—Study and teaching.
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Studying the case of Latin American cinema, this book analyzes one of the most public - and most exportable- forms of postcolonial national culture to argue that millennial era globalization demands entirely new frameworks for thinking about the relationship between politics, culture, and economic policies. Concerns that globalization would bring the downfall of national culture were common in the 1990s as economies across the globe began implementing neoliberal, free market policies and abolishing state protections for culture industries. Simultaneously, new technologies and the increased mobility of people and information caused others to see globalization as an era of heightened connectivity and progressive contact. Twenty-five years later, we are now able to examine the actual impact of globalization on local and regional cultures, especially those of postcolonial societies. Tracing the full life-cycle of films and studying blockbusters like City of God, Motorcycle Diaries, and Children of Men this book argues that neoliberal globalization has created a highly ambivalent space for cultural expression, one willing to market against itself as long as the stories sell. The result is an innovative and ground-breaking text suited to scholars interested in globalization studies, Latin-American studies and film studies.
Motion pictures --- Motion pictures, American. --- Ethnology-Latin America. --- Globalization. --- Latin American Cinema and TV. --- Latin American Culture. --- Global cities --- Globalisation --- Internationalization --- International relations --- Anti-globalization movement --- American motion pictures --- Moving-pictures, American --- Foreign films --- Ethnology—Latin America.
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This book traces the development of investigative cinema, whose main characteristic lies in reconstructing actual events, political crises, and conspiracies. These documentary-like films refrain from a simplistic reconstruction of historical events and are mainly concerned with what does not immediately appear on the surface of events. Consequently, they raise questions about the nature of the “truth” promoted by institutions, newspapers, and media reports. By highlighting unanswered questions, they leave us with a lack of clarity, and the questioning of documentation becomes the actual narrative. Investigative cinema is examined in relation to the historical conjunctures of the “economic miracle” in Italy, the simultaneous decolonization and reordering of culture in France, the waves of globalization and neoliberalism in post-dictatorial Latin America, and the post-Watergate, post-9/11 climate in US society. Investigative cinema is exemplified by the films Salvatore Giuliano, The Battle of Algiers, The Parallax View, Gomorrah, Zero Dark Thirty, and Citizenfour.
Culture --- Motion pictures --- Motion pictures. --- Historiography. --- Cultural and Media Studies. --- Film Theory. --- European Cinema. --- American Cinema. --- Global Cinema. --- Memory Studies. --- Historical criticism --- History --- Authorship --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Cultural studies --- Study and teaching. --- United States. --- European influences. --- Criticism --- Historiography --- History and criticism --- Motion pictures-European influen. --- Motion pictures-United States. --- European Cinema and TV. --- American Cinema and TV. --- Global Cinema and TV. --- Motion pictures—European influences. --- Motion pictures—United States.
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American Revenge Narratives critically examines the nation’s vengeful storytelling tradition. With essays on late twentieth and twenty-first century fiction, film, and television, it maps the coordinates of the revenge genre’s contemporary reinvention across American culture. By surveying American revenge narratives, this book measures how contemporary payback plots appraise the nation’s political, social, and economic inequities. The volume’s essays collectively make the case that retribution is a defining theme of post-war American culture and an artistic vehicle for critique. In another sense, this book presents a scholarly coming to terms with the nation’s love for vengeance. By investigating recent iterations of an ancient genre, contributors explore how the revenge narrative evolves and thrives within American literary and filmic imagination. Taken together, the book’s diverse chapters attempt to understand American culture’s seemingly inexhaustible production of vengeful tales.
Culture --- United States --- Motion pictures --- America --- Cultural and Media Studies. --- American Culture. --- Popular Culture. --- American Cinema. --- North American Literature. --- Mass Media. --- Cultural studies --- Study and teaching. --- United States. --- Literatures. --- American essays --- United States-Study and teaching. --- Motion pictures-United States. --- America-Literatures. --- Communication. --- Popular Culture . --- American Cinema and TV. --- Media and Communication. --- Communication, Primitive --- Mass communication --- Sociology --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- United States—Study and teaching. --- Motion pictures—United States. --- America—Literatures.
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Although it has only been in the last decade that the planet’s population balance tipped from a predominantly rural makeup towards an urban one, the field of cinema history has demonstrated a disproportionate skew toward the urban. Within audience studies, however, an increasing number of scholars are turning their attention away from the bright lights of the urban, and towards the less well-lit and infinitely more variegated history of rural cinema-going. Rural Cinema Exhibition and Audiences in A Global Context is the first volume to consider rural cinema-going from a global perspective. It aims to provide a rich and wide-ranging introduction to this growing field, and to further develop some of its key questions. It brings together eighteen international scholars or teams, all representatives of a dynamic, new field. Moving beyond a Western focus is essential for thinking through questions of rural exhibition, distribution and cinema experience, since over the relatively short history of cinema it is the rural that has dominated cinema-goers’ lives in much of the developing world. To this end, the volume also innovates by bringing discussions of North American and European ruralities into dialogue with contributions on Kenya, Brazil, China, Thailand, South Africa and Australia.
Motion pictures --- History. --- History and criticism --- Motion pictures. --- Motion pictures-European influen. --- Motion pictures, American. --- Africa. --- Australasia. --- Motion pictures-United States. --- Global Cinema and TV. --- European Cinema and TV. --- Latin American Cinema and TV. --- African Cinema and TV. --- Australasian Cinema and TV. --- American Cinema and TV. --- American motion pictures --- Moving-pictures, American --- Foreign films --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Motion pictures—European influences. --- Motion pictures—United States.
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Subverting Mainstream Narratives in the Reagan Era explores how artists, novelists, and directors were able to present narratives of strong dissent in popular culture during the Reagan Era. Using but subverting the tools of mainstream novels and films, these visionaries’ works were featured alongside other books in major bookstores and promoted alongside blockbusters in movie theatres across the country. Ashley M. Donnelly discusses how the artists accomplished this, why it is so important, and how new artists can use these techniques in today’s homogenous and mundane media.
Culture --- United States --- Communication. --- Motion pictures --- America --- Cultural and Media Studies. --- American Culture. --- American Cinema. --- North American Literature. --- Popular Culture. --- Media and Communication. --- Communication, Primitive --- Mass communication --- Sociology --- Cultural studies --- Study and teaching. --- United States. --- Literatures. --- United States-Study and teaching. --- Motion pictures-United States. --- America-Literatures. --- American Cinema and TV. --- Popular Culture . --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- United States—Study and teaching. --- Motion pictures—United States. --- America—Literatures.
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This book offers a different take on the early history of Warner Bros., the studio renowned for introducing talking pictures and developing the gangster film and backstage musical comedy. The focus here is on the studio’s sustained commitment to produce films based on stage plays. This led to the creation of a stock company of talented actors, to the introduction of sound cinema, to the recruitment of leading Broadway stars such as John Barrymore and George Arliss and to films as diverse as The Gold Diggers (1923), The Marriage Circle (1924),Beau Brummel (1924), Disraeli (1929), Lilly Turner (1933), The Petrified Forest (1936) and The Private Lives of Elizabeth and Essex (1939). Even the most crippling effects of the Depression in 1933 did not prevent Warners’ production of films based on stage plays, many being transformed into star vehicles for the likes of Ruth Chatterton, Leslie Howard and Bette Davis.
Culture --- United States --- Motion pictures --- Motion picture acting. --- Theater. --- Cultural and Media Studies. --- American Cinema. --- Screen Performance. --- Film History. --- Theatre and Performance Studies. --- American Culture. --- Study and teaching. --- United States. --- History. --- Film acting --- Moving-picture acting --- Cultural studies --- History and criticism --- Acting --- Motion pictures-United States. --- Motion pictures-History. --- United States-Study and teaching. --- American Cinema and TV. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Actors --- Motion pictures—United States. --- Motion pictures—History. --- United States—Study and teaching. --- Warner Bros. Pictures (1923-1967) --- California --- Warner Bros.-First National Picture --- Warner Bros. --- Warner Bros. Productions Corp. --- Warner Brothers --- Warner Brothers Pictures (1923-1967) --- Warner Bros.-Seven Arts --- Warner's Features
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This book argues that 3D films are becoming more sophisticated in utilising stereoscopic effects for storytelling purposes. Since Avatar (2009), we have seen a 3D revival marked by its integration with new digital technologies. With this book, the author goes beyond exploring 3D’s spectacular graphics and considers how 3D can be used to enhance visual storytelling. The chapters include visual comparisons between 2D and 3D to highlight their respective narrative features; an examination of the narrative tropes and techniques used by contemporary 3D filmmakers; and a discussion of the narrative implications brought by the coexistence of flatness and depth in 3D visuality. In demonstrating 3D cinematic aesthetics and storytelling, Yong Liu analyses popular films such as Hugo (2011), Life of Pi (2012), Gravity (2013), Star Trek Into Darkness (2013, and The Great Gatsby (2013). The book is an investigation into contemporary forms of stereoscopic storytelling derived from a unique, long-existing mode of cinematic illusions. .
Culture --- Motion pictures --- Cultural and Media Studies. --- Film/TV Technology. --- Digital/New Media. --- American Cinema. --- Cultural studies --- Study and teaching. --- United States. --- 3-D films --- Cinematography. --- History and criticism. --- Aesthetics. --- Photography --- Chronophotography --- 3D films --- Moving-pictures, Three-dimensional --- Stereoscopic motion pictures --- Three-dimensional motion pictures --- Three-dimensional display systems --- Aesthetics --- Animated pictures --- Motion pictures. --- Digital media. --- Motion pictures-United States. --- American Cinema and TV. --- Electronic media --- New media (Digital media) --- Mass media --- Digital communications --- Online journalism --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Performing arts --- History and criticism --- Motion pictures—United States.
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