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This book examines the Western genre in the period since Westerns ceased to be a regular feature of Hollywood filmmaking. For most of the 20th Century, the Western was a major American genre. The production of Westerns decreased in the 1960s and 1970s; by the 1980s, it was apparent that the genre occupied a less prominent position in popular culture. After an extended period as one of the most prolific Hollywood genres, the Western entered its “afterlife”. What does it now mean for a Hollywood movie to be a Western, and how does this compare to the ways in which the genre has been understood at other points in its history? This book considers the conditions in which the Western has found itself since the 1980s, the latter-day associations that the genre has acquired and the strategies that more recent Westerns have developed in response to their changed context. Pete Falconer is a lecturer in Film at the University of Bristol, UK. He has published work on the forms and genres of popular cinema (particularly Westerns, but also horror movies and on other aspects of popular culture, including country music).

Western films --- History and criticism. --- Motion pictures—History. --- Film genres. --- United States—Study and teaching. --- Film History. --- Genre. --- American Culture. --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures --- Plots, themes, etc.

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This book is one of the first to apply the theoretical tools proposed by French philosopher Bruno Latour, through the example of the American Teen Film genre. With a particular focus on Actor-Network Theory (ANT), the book delineates how Teen Film has established itself as one of Hollywood’s most consistent and dynamic genres. While many productions recycle formulaic patterns, coming-of-age narratives have become an arena for aesthetically and politically progressive, experimental, and complex films. The case studies develop a Latourian film semiotics as a flexible analytical approach which raises new questions, not only about the history, types and tropes of teen films, but also about their aesthetics, mediality, materiality, and composition. Through an exploration of a wide and diverse range of examples, including those by female and African-American directors, urban and rural perspectives, and non-heteronormative sexualities, this book demonstrates how the classic ‘teen film canon’ has been renewed, expanded and regurgitated.

Teen films --- Teen cinema --- Teen drama (Motion pictures) --- Teen movies --- Teen-targeted films --- Teenage films --- Teenage movies --- Teenpics --- Young adult films --- Youth films --- Motion pictures --- History and criticism. --- Film genres. --- Aesthetics. --- Genre. --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Genre films --- Genres, Film --- Motion picture genres --- Psychology --- Plots, themes, etc. --- Radio broadcasting Aesthetics --- Aesthetics

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This book rethinks the study of European Cinema in a way that centres on students and their needs, in a comprehensive volume introducing undergraduates to the main discourses, directions and genres of twenty-first-century European film. Importantly, this collection is the first of its kind to apply a transversal approach to European Cinema, bringing together the East and the West, while providing a broad picture of key trends, aesthetics, genres, national identities, and transnational concerns. Lewis and Canning's collection effectively addresses some of the most pressing questions in contemporary European film, such as ecology, migration, industry, identity, disability, memory, auteurship, genre, small cinemas, and the national and international frameworks which underpin them. Combining accessible original research with a thorough grounding in recent histories and contexts, each chapter includes key definitions, reflective group questions, and a summative case study. Overall, this book makes a strong contribution to our understanding of recent European Cinema, making it an invaluable resource for lecturers and students across a variety of film-centred modules.

Motion pictures --- Film genres. --- Genre films --- Genres, Film --- Motion picture genres --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History --- Plots, themes, etc. --- History and criticism --- Motion pictures—European influences. --- Motion pictures. --- European Cinema and TV. --- Film/TV Industry. --- Genre. --- Film Theory.

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This book brings together nine original chapters to examine genre agency in East Asian cinema within the transnational context. It addresses several urgent and pertinent issues such as the distribution and exhibition practices of East Asian genre films, intra-regional creative flow of screen culture, and genre’s creative response to censorship. The volume expands the scholarly discussion of the rich heritage and fast-changing landscape of filmmaking in East Asian cinemas. Confronting the complex interaction between genres, filmic narrative and aesthetics, film history and politics, and cross-cultural translation, this book not only reevaluates genre’s role in film production, distribution, and consumption, but also tackles several under-explored areas in film studies and transnational cinema, such as the history of East Asian commercial cinema, the East Asian film industry, and cross-media and cross-market film dissemination. Lin Feng is the Director of Studies of History of Art and Film at the University of Leicester, UK. Her research primarily focuses on Chinese and transnational cinemas, cinematic cities, star studies, and the representation and reception of East Asia in Anglophone cinemas. James Aston is a Senior Lecturer in Film Studies at the University of Hull, UK. His research primarily focuses on contemporary global horror and East Asian cinemas. He is the author of Hardcore Horror in the 21st Century: Production, Marketing and Consumption (2018). .

Motion pictures—Asia. --- Film genres. --- Ethnology—Asia. --- Motion pictures. --- Asian Cinema and TV. --- Genre. --- Asian Culture. --- Global Cinema and TV. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Genre films --- Genres, Film --- Motion picture genres --- Motion pictures --- History and criticism --- Plots, themes, etc. --- Film genres

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"What role did cinema play in the Chinese Communist Party's political project of shaping ideal socialist citizens in the early People's Republic? In Moulding the Socialist Subject, Xiaoning Lu deploys case studies from popular film genres, movie star culture and rural film exhibition practices to argue that Chinese cinema in 1949-1966, at once an important political instrument, an enjoyable yet instructive form of entertainment, and a specific manifestation of the socialist society of the spectacle, was an everyday site where the moulding of the new socialist person unfolded. While painting a broad picture of Chinese socialist cinema, Lu credits the human agency of film professionals, whose self-reflexivity and individual adaptability played an intrinsic role in the Party's political project"--

Motion pictures --- Socialism and motion pictures --- Film genres --- History --- Social aspects --- Genre films --- Genres, Film --- Motion picture genres --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Motion pictures and socialism --- Plots, themes, etc. --- History and criticism --- S04/0910 --- S04/0920 --- S06/0900 --- S17/2000 --- China: History--PRC: 1949 - 1958 --- China: History--PRC: 1958 - 1966 --- China: Politics and government--Political propaganda --- China: Art and archaeology--Film