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"One of the greatest film critics of his generation, Serge Daney wrote for Cahiers du cinéma before becoming a journalist for the daily newspaper Libération. The writings collected in this volume reflect Daney's evolving interests, from the auteur approach of the French New Wave to a more structural examination of film, psychoanalysis, and popular culture. Openly gay throughout his lifetime, Daney rarely wrote explicitly about homosexuality, but his writings reflect a queer sensibility that would influence future generations. In regular intellectual exchanges with Gilles Deleuze, Félix Guattari, and Roland Barthes, Daney wrote about cinema autobiographically while lyrically analyzing the transition from modern cinema to postmodern media. A noted polymath, Daney also published books about tennis and Haiti's notorious Duvalier regime. His criticism is open and challenging, polyvocal and compulsively readable"--Dust jacket flap.

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Depuis sa création, le cinéma regorge d'œuvres maudites qui, lors de leur sortie en salles, ont déchaîné les passions bien qu'elles aient aussi enflammé le box-office. Le scandale étant souvent le moteur du succès... Griffith, Eisenstein, Buñuel, Renoir, Autant-Lara, Clouzot, Vadim, Fellini, Pasolini, Kubrick, Godard, Oshima, Scorsese, Ferreri, Blier, Peckinpah, Boisset, Cronenberg, Haneke, von Trier... Tous auraient pu reprendre à leur compte la devise du Canard enchaîné adaptée au 7ème Art : « La liberté de filmer ne s'use que quand on ne s'en sert pas ». Souvent, avec le temps, ces films choquants, jugés indignes, sont réhabilités, voire encensés. Au point d'être considérés comme des « classiques » qu'il serait aberrant de ne pas avoir vus au moins une fois dans sa vie. A contrario, certains opus qui choquèrent naguère ne choquent plus guère des années plus tard. Parce que la société a évolué, les moeurs ont changé. Tour d'horizon, de 1915 à nos jours, de 80 très bons films parmi les plus scandaleux ! De Naissance d'une nation de David Wark Griffith à Grâce à Dieu de François Ozon.

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Ao estudarem o cinema colonial português a partir dos cineastas que trabalharam em Moçambique, Alexandre Ramos e Paulo Miguel Martins trazem uma perspectiva inovadora sobre o cinema que foi feito nesta antiga colónia, dando "viva voz" aos próprios intervenientes em todo esse processo. Apresentam também um conjunto de fontes diversificadas para a investigação da atividade cinematográfica colonial portuguesa.

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This set of conversations is essentially addressed to those who like storytelling. These are talks with a strong cinematographic slant, not only because their motto is cinema in Mozambique, but mainly because how the memories that inhabit that space are revealed is also often formulated through images that have movement. Abrir os Gomos do Tempo: Conversas Sobre Cinema em Moçambique (Opening the Buds of Time: Conversations About Cinema in Mozambique) is also for those who, like us, are happy to hear the line, "another world is possible!" again. It has, in our opinion, the beauty and strength of the words of those who believe in new life possibilities. It opens with a foreword by Nataniel Ngomane and features a series of conversations with key personalities in the history of Mozambican cinema: Américo Soares, Faria de Almeida, Gabriel Mondlane, Jean-Luc Godard, João Ribeiro, José Cardoso, Licinio Azevedo, Lopes Barbosa, Luís Carlos Patraquim, Pedro Pimenta, Ruy Guerra and Sol de Carvalho. The interviews were led by Ana Cristina Pereira, Diana Manhiça, Lurdes Macedo, Maria do Carmo Piçarra, Rosa Cabecinhas, Sheila Khan and Sílvia Vieira. The book ends with a speech by José Luís Cabaço, given in 1980, when he was minister of information in Mozambique. This speech is accompanied by an introduction, made by the minister himself, which corresponds to his current reading of that speech as a minister. This book is dedicated to the memory of Joaquim Lopes Barbosa and is simultaneously a heartfelt tribute to all filmmakers who dared to face state censorship. This modest gesture is meant to encourage all people who still face it in various forms. Dictators die, regimes expire, and films remain.

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Malaysian Cinema in the New Millennium offers a new approach to the study of multiculturalism in cinema by analysing how a new wave of filmmakers champion cultural diversity using cosmopolitan themes. Adrian Lee offers a new inquiry of Malaysian cinema that examines how the 'Malaysian Digital Indies' (MDI) have in recent years repositioned Malaysian cinema within the global arena. The book shines a new light on how politics and socioeconomics have influenced new forms and genres of the post-2000s generation of filmmakers, and provides a clear picture of the interactions between commercial cinema and politics and socioeconomics in the first two decades of the new millennium. It also assesses how the MDI movement was successful in creating a transnational cinema by displacing and deterritorialising itself from the context of the national, and illustrates how MDI functions as a site for questioning and proposing a new national identity in the era of advanced global capitalism and new Islamisation. Covering all these interrelated topics, Lee's book is a pioneering and comprehensive work in the study of Malaysian cinema in the recent decades.

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