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Since the fall of the Berlin Wall, there has been a proliferation of German historical films. These productions have earned prestigious awards and scored at box offices both at home and abroad, where they count among the most popular German films of all time. Suddenly, however, a significant departure has been made from the country's prominent cinematic take on history: the radical style, content, and politics of the New German Cinema. With in-depth analyses of the major trends and films, this book represents a comprehensive assessment of the historical film in postwall Germany. Challenging p

Film. --- Germans in motion pictures. --- Historia på film. --- Historical films --- Historical films. --- Historischer Film. --- History in motion pictures. --- Motion pictures. --- Tyskar på film. --- Tyskland. --- History and criticism. --- Deutschland. --- Germany --- Germany. --- In motion pictures. --- History in motion pictures --- Histoire au cinéma --- In motion pictures --- #SBIB:309H1328 --- Films met een ideologische en spiegelfunctie --- Histoire au cinéma --- Au cinéma --- #SBIB:309H1326 --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- Films historiques --- History and criticism --- Histoire et critique --- Allemagne --- Motion pictures --- Germans in motion pictures --- Alemania --- Ashkenaz --- BRD --- Bu̇gd Naĭramdakh German Uls --- Bundesrepublik Deutschland --- Deutsches Reich --- Deutschland --- Doitsu --- Doitsu Renpō Kyōwakoku --- Federal Republic of Germany --- Federalʹna Respublika Nimechchyny --- FRN --- German Uls --- Germania --- Germanii︠a︡ --- Germanyah --- Gjermani --- Grossdeutsches Reich --- Jirmānīya --- KhBNGU --- Kholboony Bu̇gd Naĭramdakh German Uls --- Nimechchyna --- Repoblika Federalin'i Alemana --- República de Alemania --- República Federal de Alemania --- Republika Federal Alemmana --- Vācijā --- Veĭmarskai︠a︡ Respublika --- Weimar Republic --- Weimarer Republik --- ХБНГУ --- Германия --- جرمانيا --- ドイツ --- ドイツ連邦共和国 --- ドイツ レンポウ キョウワコク --- Germany (East) --- Germany (Territory under Allied occupation, 1945-1955) --- Germany (Territory under Allied occupation, 1945-1955 : British Zone) --- Germany (Territory under Allied occupation, 1945-1955 : French Zone) --- Germany (Territory under Allied occupation, 1945-1955 : Russian Zone) --- Germany (Territory under Allied occupation, 1945-1955 : U.S. Zone) --- Germany (West) --- Holy Roman Empire --- Deguo --- 德国 --- Gėrman --- Герман Улс

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Received an Honorable Mention for the 2017 British Association of Film, Television and Screen Studies (BAFTSS) Best Monograph Award From Shortbus to Shame and from Oldboy to Irreversible, film festival premieres regularly make international headlines for their shockingly graphic depictions of sex and violence. Film critics and scholars alike often regard these movies as the work of visionary auteurs, hailing directors like Michael Haneke and Lars von Trier as heirs to a tradition of transgressive art. In this provocative new book, Mattias Frey offers a very different perspective on these films, exposing how they are also calculated products, designed to achieve global notoriety in a competitive marketplace. Paying close attention to the discourses employed by film critics, distributors, and filmmakers themselves, Extreme Cinema examines the various tightropes that must be walked when selling transgressive art films to discerning audiences, distinguishing them from generic horror, pornography, and Hollywood product while simultaneously hyping their salacious content. Deftly tracing the links between the local and the global, Frey also shows how the directors and distributors of extreme art house fare from both Europe and East Asia have significant incentives to exaggerate the exotic elements that would differentiate them from Anglo-American product. Extreme Cinema also includes original interviews with the programmers of several leading international film festivals and with niche distributors and exhibitors, giving readers a revealing look at how these institutions enjoy a symbiotic relationship with the "taboo-breakers" of art house cinema. Frey also demonstrates how these apparently transgressive films actually operate within a strict set of codes and conventions, carefully calibrated to perpetuate a media industry that fuels itself on provocation.

Motion picture industry --- Experimental films. --- Art in motion pictures. --- Motion pictures --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Video art --- Art in moving-pictures --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Marketing. --- Production and direction. --- Production and direction --- Direction

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"Algorithmic recommender systems, deployed by media companies to suggest content based on users' viewing histories, have inspired hopes for personalized, curated media, but also dire warnings of filter bubbles and media homogeneity. Curiously, both proponents and detractors assume that recommender systems are novel, effective, and widely used methods to choose films and series. Scrutinizing the world's most subscribed streaming service, Netflix, this book challenges that consensus. Investigating real-life users, marketing rhetoric, technical processes, business models, and historical antecedents, Mattias Frey demonstrates that these choice aids are neither as revolutionary nor alarming, neither as trusted nor widely used, as their celebrants and critics maintain. Netflix Recommends illustrates the constellations of sources that real viewers use to choose films and series in the digital age, and argues that, although some lament AI's hostile takeover of humanistic cultures, the thirst for filters, curators, and critics is stronger than ever"--

Streaming video --- Recommender systems (Information filtering) --- Social aspects --- Social aspects. --- Netflix (Firm) --- Engines, Recommendation (Information filtering) --- Recommendation engines (Information filtering) --- Recommendation systems (Information filtering) --- Systems, Recommendation (Information filtering) --- Systems, Recommender (Information filtering) --- Information filtering systems --- Streaming videos --- Video streaming --- Streaming technology (Telecommunications) --- E-books

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Subscription video on demand (SVOD) represents the fastest-growing means to consume films and series. Although market leaders Netflix and Amazon Prime have received much scholarly attention for the way that they use algorithms and big data to connect users to content, there is another significant, relatively unexamined model: curation-style services such as BFI Player, IFC Unlimited, the Criterion Channel or MUBI - the latter, which forms the focus of this book, claims to be the world's most subscribed independent video on demand service. These platforms take advantage of common anxieties about algorithms, cultural surplus and filter bubbles to promote discovery, human-generated recommendations and quality over quantity of content. Deploying an original, holistic methodology that includes analysis of technological affordances, marketing rhetoric, business models, interviews with company executives and a qualiquantitative audience study, this book critically analyses MUBI as a way to understand this particular mode of content aggregation, cultural recommendation, choice architecture and community building. Curation services address a real, but decidedly circumscribed gap in the market. Ultimately, MUBI offers film, media and business scholars an instructive example of the fate of art cinema and media diversity in a digital culture increasingly dominated by a few giant tech companies. Mattias Frey is Professor of Film, Media and Culture at the University of Kent, UK. He is the author or editor of eight books, including The Permanent Crisis of Film Criticism (2015); Film Criticism in the Digital Age (co-edited with Cecilia Sayad, 2015); and Netflix Recommends: Algorithms, Film Choice, and the History of Taste (2021).

Mass communications --- Film --- TV (televisie) --- sociale media --- Motion picture industry. --- Television broadcasting. --- Digital media. --- Film and Television Industry. --- Digital and New Media.

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Art