Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Analyzing a range of South African and West African films inspired by African and non-African literature, Lindiwe Dovey identifies a specific trend in contemporary African filmmaking-one in which filmmakers are using the embodied audiovisual medium of film to offer a critique of physical and psychological violence. Against a detailed history of the medium's savage introduction and exploitation by colonial powers in two very different African contexts, Dovey examines the complex ways in which African filmmakers are preserving, mediating, and critiquing their own cultures while seeking a united vision of the future. More than merely representing socio-cultural realities in Africa, these films engage with issues of colonialism and postcolonialism, "updating" both the history and the literature they adapt to address contemporary audiences in Africa and elsewhere. Through this deliberate and radical re-historicization of texts and realities, Dovey argues that African filmmakers have developed a method of filmmaking that is altogether distinct from European and American forms of adaptation.

Motion pictures --- Violence in motion pictures. --- Africa --- In motion pictures. --- Violence in moving-pictures

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Passionate Detachments investigates the rise of graphic violence in American films of the late 1960s and early 1970s and the popular aesthetics and critical responses this violence inspired. Amy Rust examines four technologies adopted by commercial American cinema after the fall of the Hollywood Production Code: multiple-camera montage, squibs (small explosive devices) and artificial blood, freeze-frames, and zooms. Approaching these technologies as figures, as opposed to mere tools, Rust traces the encounters they mediate between perception (what one sees, hears, and feels) and representation (how those sights, sounds, and feelings make meaning). These technologies, she argues, lend shape to film violence while organizing viewers' on- and off-screen relationships to it.The result proves meaningful for an era self-consciously and perilously preoccupied with bloodshed. The post-Code period found Americans across the political spectrum demanding visual—and increasingly violent—demonstrations of presumably "authentic" realities. Corroborating fantasies of authenticity from military to counterculture, these technologies challenge them as well, pointing, however unwittingly, to the violently classed, gendered, and racialized blind spots such fantasies harbor. More broadly, the technologies answer concerns that films control violence too much or too little. Offering neither mere discourse nor mere thrills, they recover sense and sensation for all, not some, or even most, depictions of bloodshed. As figures, the devices also remediate vision and violence for film theory, which exhibits distrust for each in spite of the complexities phenomenology and psychoanalysis have brought to cinematic perception and pleasure.

Violence in motion pictures. --- Motion pictures --- Violence in moving-pictures --- Social aspects

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

When Thelma and Louise outfought the men who had tormented them, women across America discovered what male fans of action movies have long known—the empowering rush of movie violence. Yet the duo's escapades also provoked censure across a wide range of viewers, from conservatives who felt threatened by the up-ending of women's traditional roles to feminists who saw the pair's use of male-style violence as yet another instance of women's co-option by the patriarchy. In the first book-length study of violent women in movies, Reel Knockouts makes feminist sense of violent women in films from Hollywood to Hong Kong, from top-grossing to direct-to-video, and from cop-action movies to X-rated skin flicks. Contributors from a variety of disciplines analyze violent women's respective places in the history of cinema, in the lives of viewers, and in the feminist response to male violence against women. The essays in part one, "Genre Films," turn to film cycles in which violent women have routinely appeared. The essays in part two, "New Bonds and New Communities," analyze movies singly or in pairs to determine how women's movie brutality fosters solidarity amongst the characters or their audiences. All of the contributions look at films not simply in terms of whether they properly represent women or feminist principles, but also as texts with social contexts and possible uses in the re-construction of masculinity and femininity.

Violence in motion pictures. --- Women in motion pictures. --- Motion pictures --- Violence in moving-pictures

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The Cinema Makers investigates how cinema spectators in south-eastern and central European cities became cinema makers through such practices as squatting in existing cinema spaces, organizing cinema 'events', writing about film and making films themselves. Drawing on a corpus of interviews with cinema activists in Germany, Austria and the former Yugoslavia, Anna Schober compares the activities and artistic productions they staged in cities such as Vienna, Cologne, Munich, Berlin, Hamburg, Ljubljana, Belgrade, Novi Sad, Subotica, Zagreb and Sarajevo. The resulting study illuminates the differerences

Motion pictures --- Violence in motion pictures. --- Violence in moving-pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History --- History and criticism

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Violence in motion pictures --- #SBIB:AANKOOP --- #SBIB:309H1321 --- #SBIB:309H520 --- Violence in moving-pictures --- Motion pictures --- Films met een amusementsfunctie en/of esthetische functie: algemeen --- Audiovisuele communicatie: algemene werken --- Violence in motion pictures.