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Barbara Hammer in the Seventies: Or, What a Body Can Do addresses the intersection of experimental film, lesbian sexuality, and the women's movement in Hammer's early films. Grounded in an embodied, sexual, and gendered positionality, these films interrogate the politics of visibility and identity and perform a discontinuous repertoire of lesbian images that resist the medium of film's established constraints and the decade's broader systems of signification. Hammer's films offer a critique of the dominant discourse that privileges the discreteness and self-sufficiency of the individualistic human subject. By performing the (lesbian) body in its 'environment'-in erotic and communal relation to other bodies-and staging the relation of human bodies with the materiality of non-human beings and objects, they create a site of intervention into the humanist project, as it informs film studies, feminism, and queer theory. This rereading of Hammer's work offers an important contribution to conversations between feminism and queer studies. In remembering the feminist origins of queer studies, it recenters political and ethical questions such as the fundamental relationality of the subject, the subject's dependency on others, and the resulting ethical responsibility for and towards the other. Krystyna Mazur received her MA from the English Department of the University of Warsaw and her PhD from Cornell University. Her first book, Poetry and Repetition: Walt Whitman, Wallace Stevens, John Ashbery, was published by Routledge in 2005 as part of the series Literary Criticism and Cultural Theory. Her major research interests include U.S. literature, American studies, queer studies, and film studies. .

Experimental films. --- Experimental Film.

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Cinematically Rendering Confucius marks the first book-length enquiry into China’s first two big screen treatments of arguably the best-known and most influential thinker in world history: Confucius. By interweaving methods drawn from Film Studies, Comparative Philosophy, and Media Archaeology in response to broader calls to deepen and thicken the scope and purview of film philosophical enquiry, this trailblazing book grounds Fei Mu’s 1940 patriotic art film Kǒng Fūzǐ and Hu Mei's 2010 “Huallywood” blockbuster Kǒngzǐ as pre- and postsocialist examples of Chinese politico-philosophical filmmaking that straddle the PRC’s revolutionary Marxist socio-political experiment. After exploring the geopolitics surrounding why Confucius has been historically included and excluded from the European classification of “philosopher” and addressing the difficulties that entering into “Chinese Thought” presents to non-natives, the book’s first half undertakes a deep dive into the history of (re)mediating the Confucian image-imagination. Arguing that Confucius might be a form of film philosopher avant la lettre, we thereafter explore repetitions and differences surrounding the ever-changing treatment and representation of Confucius on-screen—concluding with a look at the latest AI-infused theory-film When Marx Met Confucius (2023). David H. Fleming is a Senior Lecturer in Film & Media at the University of Stirling. He is series editor of the Screens, Thinking, Worlds book series and author of The Squid Cinema From Hell: Kinoteuthis Infernalis and the Emergence of Chthulumedia (with William Brown 2020), Chinese Urban Shi-nema: Cinematicity, Society and Millennial China (with Simon Harrison, 2020), and Unbecoming Cinema: Unsettling Encounters with Ethical Event Films (2017). Forthcoming he has monographs entitled Infinite Ontologies of the Chthulustream (with William Brown) and Global Philosophers on Film: Conceptualising Aesthetics. David also increasingly researches using the video-essay form and has several practical film-philosophy works forthcoming, including his gonzo Hiber-nation: The Green Ray from Under the Skin with [In]Transition.

Motion pictures --- Motion pictures. --- Film Philosophy. --- Asian Film and TV. --- Film Theory. --- Aesthetics. --- Asia.

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This book explores the practice of artist filmmaker William Raban from 1970 to the present. The trajectory from his early experimental, landscape and expanded cinema works of the 1970s leads into more recent films on the River Thames and London; his techniques are examined and engagingly explained to attract a wide readership including both experts and those with little knowledge of the subject. This is a personal account of what it means to make work in a radical filmmaking context to explore both the political and perceptual/formal qualities of film through a period of immense social and technological change. William Raban has made over 50 films and film installations that have been shown internationally in cinemas, museums and galleries. His film teaching includes Saint Martin's School of Art, London College of Communication, Goldsmiths College and the Royal College of Art. He lives and works in London and is Professor Emeritus at the University of the Arts London.

Experimental films. --- Motion pictures --- Experimental Film. --- British Film and TV. --- Film and TV History. --- Film and Television Production. --- History. --- Production and direction.

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The only work investigating and breaking down the contemporary American Survival Film (from Cast Away onwards), focusing on film, television, literature and video games.

Film genres --- Motion pictures --- Survival in popular culture. --- Film theory & criticism --- The environment

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"Absolutely fascinating! I, of course, knew nothing about stage prologues. You've very successfully whetted my appetite." - Peter Holland, McNeel Family Professor in Shakespeare Studies, University of Notre Dame. This open access book seeks answers to a series of questions about the littlestudied subject of prologues or theatrical presentations in American movie theaters from the late 1910s to the mid-1920s. How did prologues emerge out of prior practices? Who were the exhibitors most involved? What characteristics would come to define prologues? How widespread did they become not only in metropolitan palace cinemas but also in movie theaters in mid-sized cities and even small towns? If they generally created an atmosphere that complimented or harmonized with the feature films, could they also be what at the time was called "contrastive"? Who were the performers in these theatrical presentations? Were prologues ever described, in ads and audience responses, as a program's main attraction and to what effect? The book comprises five chapters and up to a hundred photographs of prologue stage settings. Moreover, supplementing each chapter is one or more relevant trade press documents. Overall, the chapters construct a set of practices and typologies that came to define the theatrical presentations that typically preceded the feature films. They also advance this argument: the variety format of combined stage and screen performance in movie theaters has a longer and unexpectedly revealing history than usually assumed. In short, an exhibitor would have a certain degree of creativity in his/her programming, which in turn could strongly impact an audience's movie-going experience. Richard Abel is Professor Emeritus of International Cinema and Media Studies at the University of Michigan, USA. His most recent books include Menus for Movie Land: Newspapers and the Emergence of American Film Culture, 1913-1916 (2015), Motor City Movie Culture, 1916-1925 (2020), and Our Country/Whose Country?: Early Westerns and Travel Films as Stories of Settler Colonialism (2023) as well as Barbara C. Hodgdon's Ghostly Fragments, co-edited with Peter Holland (2021), and the edited collection, Movie Mavens: US Newspaper Women Take on the Movies, 1914-1923 (2021).

Motion pictures, American. --- Motion picture industry. --- Television broadcasting. --- Theater --- American Film and TV. --- Film and Television Industry. --- Theatre History. --- History.