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Examinations and Analysis of Sequels and Serials in the Film Industry
There are many elements in the concept of visual continuity, and they are all interrelated. In films or film series that are described as sequels, establishing a visual integrity relationship between films comes to the fore. The concept of the sequel appears in two ways. Sometimes, while the ideas are scripted, the story is divided into more than one part. Sometimes the story is planned as a single movie, and after a certain time, it can be realized as a follow-up movie/film for different reasons. In both systems of expression, it is necessary to seek harmony between all elements of visual design. Examinations and Analysis of Sequels and Serials in the Film Industry examines certain contents through the concepts of cinematography and narrative, focusing more on the practical side of cinema and partially on the theoretical side. It examines samples, sequels, serials, and trilogy universes on the axis of cinematography and narration. Covering topics such as film landscape, repeated narrative elements, and storytelling, this premier reference source is an excellent resource for film industry workers, film students and educators, sociologists, librarians, academicians, and researchers.
Coproducing Europe
Up until the 1990s, when the EU launched film policies intended to encourage political and cultural collaboration among its member states, film coproductions were limited to specific industries and mostly based on the cultural and national values of individual nations. Coproducing Europe explores the impact of these EU policies on the coproduction networks that now serve as a driving force in contemporary creative economies. By focusing on regional film markets in Thessaloniki, Sarajevo and Tbilisi, this comparative ethnography looks beyond the economic nature of film coproductions to their role in Europeanization, memories of the Cold War and preconstructed political agendas.
New Approaches to Islam in Film
Many global film industries fail in expanding the role of Muslims on screen. Too often they produce a dichotomy between "good" and "bad" Muslims, limiting the narrative domain to issues of national security, war, and terrorism. Naturally, much of the previous scholarship on Muslims in film focused on stereotypes and the politics of representation. This collection of essays, from an international panel of contributors, significantly expands the boundaries of discussion around Muslims in film, asking new questions of the archive and magnifying analyses of particular cultural productions. The volume includes the exploration of regional cinemas, detailed analysis of auteurs and individual films,...
European Film and Television Co-production
This volume offers an up-to-date analysis of film and television co-production in Europe. It brings together the voices of policy professionals, industry practitioners and media industry scholars to trace the contours of a complex practice that is of increasing significance in the global media landscape. Analysis of the latest production statistics sits alongside interviews with producers and the critical evaluation of public film policies. The volume incorporates contributions from representatives of major public institutions—Eurimages, the European Audiovisual Observatory and the European Commission—and private production companies including the pan-European Zentropa Group. Policy issu...
Italian National Cinema
From such films as La Dolce Vita and Bicycle Thieves to Cinema Paradiso and Dear Diary, Italian cinema has provided striking images of Italy as a nation and a people. In the first comprehensive study of Italian cinema from 1886-1996, Pierre Sorlin explores the changing relationship of Italian cinema and Italian society and asks whether the national cinema really does represent Italian interests and culture.
Searching for John Ford
John Ford's classic films—such as Stagecoach, The Grapes of Wrath, How Green Was My Valley, The Quiet Man, and The Searchers—have earned him worldwide admiration as America's foremost filmmaker, a director whose rich visual imagination conjures up indelible, deeply moving images of our collective past. Joseph McBride's Searching for John Ford, described as definitive by both the New York Times and the Irish Times, surpasses all other biographies of the filmmaker in its depth, originality, and insight. Encompassing and illuminating Ford's myriad complexities and contradictions, McBride traces the trajectory of Ford's life from his beginnings as “Bull” Feeney, the nearsighted, football-playing son of Irish immigrants in Portland, Maine, to his recognition, after a long, controversial, and much-honored career, as America's national mythmaker. Blending lively and penetrating analyses of Ford's films with an impeccably documented narrative of the historical and psychological contexts in which those films were created, McBride has at long last given John Ford the biography his stature demands.
Capital and Popular Cinema
Popular cinema has mostly been discussed from a 'cult' perspective that celebrates uncritically its 'transgressive' qualities. Capital and popular cinema responds to the need for a more solid academic approach by situating 'low' film genres in their economic and culturally-specific contexts and by exploring the interconnections between those contexts, the immediate industrial-financial interests sustaining the films, and the films' aesthetics. Through the examination of three different cycles in film production - the Italian giallo of Mario Bava, the Mexican films of Fernando Méndez, and the Hindi horror cinema of the Ramsay Brothers - Capital and popular cinema proposes a comparative approach that accounts for the whole of a national film industry's production ('popular' and 'canonic'), and is applicable to the study of film genres globally. Based on new research, Capital and popular cinema will be of interest to undergraduate and post-graduate students, researchers and scholars of cult and exploitation cinema, genre cinema, national cinema, film and media theory, and area studies.
The Greek Film Musical
The Greek film musical was the most popular film genre in Greece in the 1960s. The songs became instant hits, the dances were performed at parties, and the fashions were imitated by people of all ages. Challenging assumptions that the Greek film musical was a culturally lacking imitation of Hollywood, this work examines the genre as a cinematic and historical phenomenon that condensed key social and cultural concerns of its time, and contributed to the development of a national popular culture in the light of the rapid Americanization of postwar Greece. During two decades characterized by affluence and upward mobility in Greek society, the musical expressed and reinforced the optimism of the...
Theorising National Cinema
Why do we think of clusters of films as 'national cinema'? Why has the relationship between the nation and film become so widely and uncritically accepted? 'Theorising National Cinema' is a major contribution to work on national cinema, by many of the leading scholars in the field. It addresses the knotty and complex relationship between cinema and national identity, showing that the nationality of a cinema production company, and the films that its made, have not always been seen as pertinent. The volume begins by reviewing and rethinking the concept of national cinema in an age of globalisation, and it goes on to chart the parallel developments of national film industries and the idea of a...
