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Genre-Labels determinieren Genre-Korpora und -Geschichten, sie lenken die Text-Lektüre. Ausgehend von dieser Prämisse fragt Peter Scheinpflug nach den Diskursen und Praktiken der kulturellen Aneignung von Genres. Hierzu erweitert er die filmwissenschaftliche Genre-Theorie um eine medienkulturwissenschaftliche Perspektive: Anhand von Filmen, die im Kino als Krimis, auf VHS als Horror/Slasher und auf DVD als Giallo klassifiziert sind, werden die Interdependenzen von Texten, Medien, ihrer Rezeption und ihrer Diskursivierung fokussiert. Die so erzielte Genre-Theorie lässt sich auf Genres in allen Medien und auf alle Disziplinen übertragen. »Die Dissertation [...] besticht durch einen genretheoretisch breit angelegten Fokus, der die Theoriediskurse gewissermaßen erschöpfend in Bezug zu Filmen des Giallo setzt und diskutiert.« Karina Kirsten, MEDIENwissenschaft, 1 (2015) Besprochen in: www.hhprinzler.de, 16.04.2014, Hans Helmut Prinzler tv diskurs, 71/1 (2015), Michael Wedel GERMANISTIK, 55/3-4 (2014)
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An overview of the place of parody in film history. It defines the genre, differentiating it from satire, and demonstrates how a well-executed spoof provides an educational blueprint of its target genre. Films discussed include ""Destry Rides Again"" (1939) and ""Scream"" (1996).
Parody films --- #SBIB:033.AANKOOP --- #SBIB:309H1326 --- Film genre parodies --- Film parodies --- Genre parodies (Motion pictures) --- Genre parody films --- Motion picture parodies --- Movie parodies --- Send-up films --- Spoof films --- Spoofs (Motion pictures) --- Takeoff films --- Comedy films --- Parodies --- History and criticism --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- History and criticism.
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Dennis Hopper (1936-2010) was one of most charismatic and protean figures to emerge from the American independent film movement of the 1960s and '70s, an incredibly compelling screen presence who helped give cult classics like Easy Rider and Blue Velvet their off-kilter appeal. But his artistic interests went far beyond acting, and this collection of essays is the first major work to take in Hopper as a creative artist in all his fields of endeavour, from acting and directing to photography, sculpture, and expressionist painting. Stephen Naish doesn't skimp on covering Hopper's best-known work, but he breaks new ground in putting it in context with his other creative enterprises, showing how one medium informs another, and how they offer a portrait of an artist who was restless, even flawed at times, but always aiming to live up to his motto: create or die. Follow the podcasts by Steve Naish here
ART --- PERFORMING ARTS --- Show business --- Arts --- Performance art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Aesthetics --- General. --- Reference. --- Hopper, Dennis, --- Criticism and interpretation. --- Khopper, Dennis, --- ART / General. --- ART / Film & Video. --- Dennis Hopper, film theory, film genre, art and photography,.
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Though Luis Buñuel, one of the most important filmmakers of the twentieth century, spent his most productive years as a director in Mexico, film histories and criticism invariably pay little attention to his work during this period. The only book-length English-language study of Buñuel's Mexican films, this book is the first to explore a significant but neglected area of this filmmaker's distinguished career and thus to fill a gap in our appreciation and understanding of both Buñuel's achievement and the history of Mexican film. Ernesto Acevedo-Muñoz considers Buñuel's Mexican films-made between 1947 and 1965-within the context of a national and nationalist film industry, comparing the filmmaker's employment of styles, genres, character types, themes, and techniques to those most characteristic of Mexican cinema. In this study Buñuel's films emerge as a link between the Classical Mexican cinema of the 1930's through the 1950's and the "new" Cinema of the 1960's, flourishing in a time of crisis for the national film industry and introducing some of the stylistic and conceptual changes that would revitalize Mexican cinema.
Motion pictures --- Buñuel, Luis, --- Buñuel, Louis, --- Buñuel Portolés, Luis, --- Portolés, Luis Buñuel, --- Criticism and interpretation. --- Buñuel, Luis --- Portolés, Luis Buñuel --- Portolés, Luics Buñuel, --- auteur. --- bunueliana. --- cabaretera. --- cinema. --- cultural studies. --- director. --- el. --- ensayo de un crimen. --- family melodrama. --- film criticism. --- film genre. --- film history. --- film industry. --- film theory. --- film. --- filmmaking. --- gran casino. --- hispanic studies. --- hispanic. --- latin america. --- latino. --- los olvidados. --- luis bunuel. --- mexican cinema. --- mexican film. --- mexican history. --- mexico. --- national identity. --- nationalism. --- performance. --- performing arts. --- political film. --- politics. --- satire. --- social commentary. --- subida al cielo. --- surrealism. --- susana. --- una mujer sin amor. --- Bunuel, Luis,
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André Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinéma, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protégé of François Truffaut, who honors him touchingly in his foreword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."
Motion pictures. --- Performing arts. --- Show business --- Arts --- Performance art --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Aesthetics --- Film --- auteur. --- bazin. --- cahiers du cinema. --- chaplin. --- cinema and screen. --- cinema. --- citizen kane. --- critical theory. --- cultural studies. --- digital film. --- directors. --- editing. --- eroticism. --- fellini. --- film and animation. --- film cinematography. --- film criticism. --- film genre. --- film history. --- film literature. --- film movements. --- film studies. --- film technique. --- film theory. --- film. --- filmmaking. --- french cinema. --- image culture. --- jean renoir. --- literary studies. --- mass media. --- media. --- neorealism. --- nonfiction. --- orson welles. --- roberto rossellini. --- surrealism. --- truffaut. --- visual culture. --- aesthetics. --- andre bazin. --- art criticism. --- charlie chaplin. --- cinematography. --- drama. --- film and art. --- film and media. --- flim. --- mixed cinema. --- montage. --- movies. --- narrative. --- performing arts. --- photography. --- sartre. --- sound cinema. --- technology. --- theater. --- total cinema.
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The vast and influential American military has been aided and abetted by cinema since the earliest days of the medium. The army, navy, and air force put films to work in myriad ways, enlisting them to entertain, train, and heal soldiers as well as to propagandize, strategize, spy, map, and develop weapons, from rifles to atomic bombs. Presenting new essays based on archival research, Cinema's Military Industrial Complex addresses the relationship of military cinema to Hollywood, technological innovation, new modes of filmmaking, unique film styles and genres, and the rise of American soft power across the long twentieth century. This rich and timely volume is essential for scholars interested in the military's use of media and the exercise of influence within and beyond American borders.
Military cinematography --- War films --- Motion picture industry --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Cinematography --- Photography, Military --- History and criticism. --- Military aspects --- Military applications --- #SBIB:309H1312 --- #SBIB:309H1313 --- History and criticism --- Filmwezen: bedrijfseconomische aspecten, productie- en distributiestructuren --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek) --- academic. --- air force. --- american history. --- american military. --- archival research. --- army. --- atomic bombs. --- bombs. --- cinema studies. --- cinema. --- film genre. --- film studies. --- film style. --- film. --- filmmaking. --- guns. --- hollywood. --- influential. --- mass media. --- military cinema. --- military industrial complex. --- military power. --- military. --- navy. --- political science. --- propaganda. --- research. --- scholarly. --- spy. --- strategy. --- television. --- tv and movies. --- us history. --- wartime. --- weapons.
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Explores the variety of ways British film culture has used forms of parody, from the 1960s to the present day. It provides a contextual and textual analysis of a range of works that, while popular, have only rarely been the subject of serious academic attention from Morecambe and Wise to Shaun of the Dead to the London 2012 Olympics' opening ceremony. Combining the methodologies of both film history and film theory, Beyond a Joke locates parody within specific industrial and cultural moments, while also looking in detail at the aesthetics of parody as a mode. Ultimately, such works are shown to be a form of culturally specific film or televisual product for exporting to the global market, in which 'Britishness', shaped in self-mocking and ironic terms, becomes the selling point. Written in an accessible style and illustrated throughout with a diverse range of examples, Beyond a Joke is the first book to explore parody within a specifically British context and makes an invaluable contribution to the scholarship on both British and global film culture.
Television comedies --- Comedies, Television --- Comedy programs --- Comedy programs, Television --- Comedy television programs --- Television comedy programs --- Television programs --- Parody films --- Television comedies. --- Parody films. --- History and criticism --- History and criticism. --- 1900-1999 --- Great Britain. --- Film genre parodies --- Film parodies --- Genre parodies (Motion pictures) --- Genre parody films --- Motion picture parodies --- Movie parodies --- Send-up films --- Spoof films --- Spoofs (Motion pictures) --- Takeoff films --- Comedy films --- Parodies --- Anglia --- Angliyah --- Briṭanyah --- England and Wales --- Förenade kungariket --- Grã-Bretanha --- Grande-Bretagne --- Grossbritannien --- Igirisu --- Iso-Britannia --- Marea Britanie --- Nagy-Britannia --- Prydain Fawr --- Royaume-Uni --- Saharātchaʻānāčhak --- Storbritannien --- United Kingdom --- United Kingdom of Great Britain and Ireland --- United Kingdom of Great Britain and Northern Ireland --- Velikobritanii͡ --- Wielka Brytania --- Yhdistynyt kuningaskunta --- Northern Ireland --- Scotland --- Wales
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What does it mean for someone or something to be Hungarian? People in Hungary grappled with this far-reaching question in the wake of the losses and transformation brought by World War I. Because the period also saw the rise of cinema, audiences, filmmakers, critics, and officials often looked at films with an eye to that question, too. Did the Hungary seen on screen represent the Hungary they knew from everyday life? And-crucially-did the major role played by Jewish Hungarians in the film industry make the sector and its creations somehow Jewish rather than Hungarian? Jews, it was soon decided, could not really be Hungarian, and acts of Parliament soon barred them from taking major roles in cinema production. This book tells the troubled story of that period in Hungarian cinematic history, taking it up through World War II.
Motion pictures
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Motion picture industry
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National characteristics, Hungarian.
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Jews in motion pictures.
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Hungarian national characteristics
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Film industry (Motion pictures)
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Moving-picture industry
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Cultural industries
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History.
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#SBIB:309H1313
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#SBIB:309H1320
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Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek)
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De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land)
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Jews in motion pictures
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History
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cinema, Hungary, anti-Semitism, popular film, genre.
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Hungary.
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Ungarn
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Ungarische Räterepublik
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Königreich Ungarn
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