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The Routledge Companion to Inter-American Studies
An essential overview of this blossoming field, The Routledge Companion to Inter-American Studies is the first collection to draw together the diverse approaches and perspectives on the field, highlighting the importance of Inter-American Studies as it is practiced today. Including contributions from canonical figures in the field as well as a younger generation of scholars, reflecting the foundation and emergence of the field and establishing links between older and newer methodologies, this Companion covers: Theoretical reflections Colonial and historical perspectives Cultural and political intersections Border discourses Sites and mobilities Literary and linguistic perspectives Area studies, global studies, and postnational studies Phenomena of transfer, interconnectedness, power asymmetry, and transversality within the Americas.
Before the Wall Came Down
Proceedings of a conference on the topic of Soviet and East European film makers working in the West held at McMaster University in Ontario in March 1989. The volume considers Soviet, Polish, Czech and Hungarian cinema, with particular emphasis on the films by Milos Forman and Jerzy Skolimowski.
Cinema Is a Cat
Watching movies every night at home with his cats, film scholar and cat lover Daisuke Miyao noticed how frequently cats turned up on screen. They made brief appearances (think of Mafia boss Marlon Brando gently stroking a cat in a scene from The Godfather); their looks provided inspiration to film creators (Avatar); they even held major roles (The Lion King). In Cinema Is a Cat, Miyao uses the fascinating relationship between cats and cinema to offer a uniquely appealing introduction to film studies. Cats are representational subjects in the nine films explored in this book, and each chapter juxtaposes a feline characteristic—their love of dark places, their “star” quality—with discu...
Aftershocks of the New
The beginning of this century has brought with it a host of assumptions about the newness of our technologies, globalized economies, and transnational media practices. Our own time is a period marked by experiences of fragmentation, sensation, and shock. The essays here are joined by a common concern to chart another side to modernity--precisely after the shock of the new--when the new ceases to be shocking, and when the extraordinary and the sensational become linked to the boring and the everyday. Patrice Petro explores how the mechanisms of modernism, German cinema, and feminist film theory have evolved, and she discusses the directions in which they are headed. Petro's essays--some publi...
A Cinema of Obsession
Mai Elizabeth Zetterling (1925–94) is among the most exceptional postwar female filmmakers. Born in Sweden, she lived in England and France for most of her life, making her directorial debut in 1964 with the Swedish art film Loving Couples after a fraught transition from working in front of the camera as a successful actress. Critics have compared her work to that of Ingmar Bergman, Luis Buñuel, and Federico Fellini, but Zetterling had a distinct style—alternately radical and reactionary—that straddled the gendered divide between high art and mass culture. Tackling themes of sexuality, isolation, and creativity, her documentaries, short and feature films, and television works are visu...
Cinephilia and History, or The Wind in the Trees
Cinephilia and History, or The Wind in the Trees is in part a history of cinephilia, in part an attempt to recapture the spirit of cinephilia for the discipline of film studies, and in part an experiment in cinephilic writing. Cinephiles have regularly fetishized contingent, marginal details in the motion picture image: the gesture of a hand, the wind in the trees. Christian Keathley demonstrates that the spectatorial tendency that produces such cinematic encounters -- a viewing practice marked by a drift in visual attention away from the primary visual elements on display -- in fact has clear links to the origins of film as defined by André Bazin, Roland Barthes, and others. Keathley explores the implications of this ontology and proposes the "cinephiliac anecdote" as a new type of criticism, a method of historical writing that both imitates and extends the experience of these fugitive moments.
The Films of Arturo Ripstein
This book gathers eleven scholarly contributions dedicated to the work of Mexican director Arturo Ripstein. The collection, the first of its kind, constitutes a sustained critical engagement with the twenty-nine films made by this highly acclaimed yet under-studied filmmaker. The eleven essays included come from scholars whose work stands at the intersection of the fields of Latin American and Mexican Film Studies, Gender and Queer Studies, Cultural Studies, History and Literary studies. Ripstein’s films, often scripted by his long-time collaborator, Paz Alicia Garciadiego, represent an unprecedented achievement in Mexican and Latin American film. Unlike many of his contemporaries, Ripstein has successfully maintained a prolific output unmatched by any director in the region. Though several book-length studies have been published in Spanish, French, German, and Greek, to date no analogue exists in English. This volume provides a much-needed contribution to the field.
A Social History of Iranian Cinema, Volume 3
"Covering the late nineteenth century to the early twenty-first and addressing documentaries, popular genres, and art films, [this four-volume set] explains Iran's peculiar cinematic production modes, as well as the role of cinema and media in shaping modernity and a modern national identity in Iran."--Page 4 of cover.
French Blockbusters
The digitised spectacles conjured by a word like `blockbuster' may create a certain cognitive dissonance with received ideas about French cinema - long celebrated as a model for philosophical, economic and aesthetic resistance to globalised popular culture. While the Gallic `cultural exception' remains a forceful current to this day, this book shows how the onslaught of Hollywood mega-franchises and new media platforms since the 1980s has also provoked an overtly commercialised response from French producers eager to redefine the stakes and scope of their own traditions. Cutting across a swath of recent French-produced cinema, French Blockbusters offers the first book-length consideration of...
Popular Front Paris and the Poetics of Culture
The authors highlight the new symbolic forces put in play by technologies of the illustrated press and the sound film - technologies that converged with efforts among writers, artists, and other intellectuals to respond to the crises of the decade.
