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Nordic National Cinemas
Nordic National Cinemas explores the film histories and cultures of Denmark, Finland, Norway, Iceland and Sweden. The authors trace the twentieth-century development of each country's domestic film production and audiences.
Kansas Bleeds
Luke Colton believes the South and slavery are right. How else will cotton get to market, tobacco harvested without slaves to do the work? Southern economy is based on such a workforce and besides, what would slaves do if they were free? Luke’s three brothers, parents, and his wife think slavery and states’ rights are wrong. They side with the Union. Here in Kansas, Luke chooses to ride with the leader of Quantrill’s Raiders, a ruthless group of border ruffians. He hides his decision from his family. James Colton, Luke’s older brother, a victim of Apache capture and torture, visits from New Mexico and displays what slavery looks like, explains what it costs. Unconvinced, Luke continues to ride with Quantrill by burning houses, raiding, looting, and assaulting men, until he realizes his family is right. But how to get out of the Confederate guerrilla’s clutches? Upon learning of Quantrill’s plans to burn Lawrence, Kansas, Luke’s hometown, the Colton brothers rush to save everyone. But, no one listens . . .
Cauldron
In late 1997, world order has been destabilized by recession and extreme nationalism. France and Germany unite to form the "European Confederation." EurCon's attempt to place Eastern Europe under its control meets with resistance, particularly from Poland, and soon the U.S. and Britain are pulled into the struggle. The war and its build-up are reported by various observers: the senior CIA field man in Moscow, the private advisor to the U.S. president, a French intelligence agent, a Hungarian police commander, a Russian intelligence man, a CIA economist and officers of the American, German and Polish armed forces. The nonstop action includes massive air, naval and land battles with first-line...
What Dreams Were Made Of
Humphrey Bogart. Abbott and Costello. Judy Garland and Mickey Rooney. John Wayne. Rita Hayworth and Betty Grable. Images of these film icons conjure up a unique moment in cinema and history, one of optimism and concern, patriotism and cynicism. What Dreams Were Made Of examines the performers who helped define American cinema in the 1940s, a decade of rapid and repeated upheaval for Hollywood and the United States. Through insightful discussions of key films as well as studio publicity and fan magazines, the essays in this collection analyze how these actors and actresses helped lift spirits during World War II, whether in service comedies, combat films, or escapist musicals. The contributors, all major writers on the stars and movies of this period, also explore how cultural shifts after the war forced many stars to adjust to new outlooks and attitudes, particularly in film noir. Together, they represented the hopes and fears of a nation during turbulent times, enacting on the silver screen the dreams of millions of moviegoers.
European Cinema
'European Cinema in Crisis' examines the conflicting terminologies that have dominated the discussion of the future of European film-making. It takes a fresh look at the ideological agendas, from 'avante-garde cinema' to the high/low culture debate and the fate of popular European cinema.
In Poe's Wake
"Edgar Allan Poe is one of American culture's most iconic figures, inspiring countless derivations beyond the literary realm, from commercial illustration and kitch to art installations and video games. Why has Poe been so hugely influential in media other than his own? What do filmmakers, composers, and other artists find in Poe that suits their purposes so often and so variously? Poe's works are violent and brooding, memorable both for certain grisly images and for certain prevailing moods-dread, creepiness, mournfulness. They are, in other words, distinctly graphic and richly atmospheric. Jonathan Elmer locates the source of Poe's fascination for artists in these two vernacular aesthetic ...
Ecocriticism and Indigenous Studies
This book addresses the intersections between the interdisciplinary realms of Ecocriticism and Indigenous and Native American Studies, and between academic theory and pragmatic eco-activism conducted by multiethnic and indigenous communities. It illuminates the multi-layered, polyvocal ways in which artistic expressions render ecological connections, drawing on scholars working in collaboration with Indigenous artists from all walks of life, including film, literature, performance, and other forms of multimedia to expand existing conversations. Both local and global in its focus, the volume includes essays from multiethnic and Indigenous communities across the world, visiting topics such as ...
The Empire of Effects
How one company created the dominant aesthetic of digital realism. Just about every major film now comes to us with an assist from digital effects. The results are obvious in superhero fantasies, yet dramas like Roma also rely on computer-generated imagery to enhance the verisimilitude of scenes. But the realism of digital effects is not actually true to life. It is a realism invented by Hollywood—by one company specifically: Industrial Light & Magic. The Empire of Effects shows how the effects company known for the puppets and space battles of the original Star Wars went on to develop the dominant aesthetic of digital realism. Julie A. Turnock finds that ILM borrowed its technique from th...
Global Film Color
Global Film Color: The Monopack Revolution at Midcentury explores color filmmaking in a variety of countries and regions including India, China, Japan, and Russia, and across Europe and Africa. Most previous accounts of color film have concentrated on early 20th century color processes and Technicolor. Far less is known about the introduction and application of color technologies in the period from the mid-1940s to the 1980s, when photochemical, “monopack” color stocks came to dominate global film markets. As Eastmancolor, Agfacolor, Fujicolor and other film stocks became broadly available and affordable, national film industries increasingly converted to color, transforming the look and feel of global cinema. Covering a broad range of perspectives, the chapters explore themes such as transnational flows, knowledge exchange and transfer, the cyclical and asymmetrical circulation of technology in a global context, as well as the accompanying transformation of color film aesthetics in the postwar decades.
Screen Nazis
From the late 1930s to the early twenty-first century, European and American filmmakers have displayed an enduring fascination with Nazi leaders, rituals, and symbols, making scores of films from Confessions of a Nazi Spy (1939) and Watch on the Rhine (1943) through Des Teufels General (The Devil’s General, 1955) and Pasqualino settebellezze (Seven Beauties, 1975), up to Der Untergang (Downfall, 2004), Inglourious Basterds (2009), and beyond. Probing the emotional sources and effects of this fascination, Sabine Hake looks at the historical relationship between film and fascism and its far-reaching implications for mass culture, media society, and political life. In confronting the specter ...
