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Expressive Spaces in Digital 3D Cinema
This book puts forward a more considered perspective on 3D, which is often seen as a distracting gimmick at odds with artful cinematic storytelling. Owen Weetch looks at how stereography brings added significance and expressivity to individual films that all showcase remarkable uses of the format. Avatar, Gravity, The Hole, The Great Gatsby and Frozen all demonstrate that stereography is a rich and sophisticated process that has the potential to bring extra meaning to a film’s narrative and themes. Through close reading of these five very different examples, Expressive Spaces in Digital 3D Cinema shows how being sensitive to stereographic manipulation can nuance and enrich the critical appreciation of stereoscopic films. It demonstrates that the expressive placement of characters and objects within 3D film worlds can construct meaning in ways that are unavailable to ‘flat’ cinema.
A Critical Companion to James Cameron
This book offers a comprehensive, academic and detailed study of the works of James Cameron, whose films include successful productions such as the first two Terminator films (1984-91), Aliens (1986), Titanic (1997), and Avatar (2009), but also lesser known films such as Piranha 2: The Spawning (1981), The Abyss (1989), and True Lies (1994), and a series of documentaries on the depths of the ocean or on the tomb of Christ. Cameronʼs major productions have an immense and enduring popularity throughout the globe and have attracted both public and critical attention. This volume investigates several distinct areas of Cameronʼs works and addresses the different approaches and topics invited by the multidimensionality of the subject itself: the philosophical, the artistic, the socio-cultural and the personal. The methodologies adopted by the contributors differ significantly from each other, thus offering the reader a variegated and compelling picture of Cameronʼs oeuvre. Contrary to the numerous volumes published in the past on the subject, each chapter offers specific case studies that have been previously ignored, or only partially mentioned, by other scholars.
Reel Change
Ten years ago, a technological revolution swept through cinemas around the world, as analogue projectors were replaced with digital equipment. It was not just the plastic medium of film that was removed from projection boxes during this transformation; most cinemas took this opportunity to also evict the human projectionists who were hitherto in charge of screenings. Projectionists had been hidden from the sight of audiences for most of the history of photographic moving image projection, and their redundancies went largely unnoticed and unremarked upon. This book focuses attention on what has been happening behind film spectators' heads for the past 130 years, and attempts to write the hist...
Television and British Cinema
Undertaking a thorough and timely investigation of the relationship between television and cinema in Britain since 1990, Hannah Andrews explores the convergence between the two forms, at industrial, cultural and intermedial levels, and the ways in which the media have also been distinguished from one another through discourse and presentation.
Mockumentary Comedy
This book is the first to take comedy seriously as an important aspect of the popular mockumentary form of film and television fiction. It examines the ways in which mockumentary films and television programmes make visible—through comedy—the performances that underpin straight documentaries and many of our public figures. Mockumentary Comedy focuses on the rock star and the politician, two figures that regularly feature as mockumentary subjects. These public figures are explored through detailed textual analyses of a range of film and television comedies, including A Hard Day’s Night, This is Spinal Tap, The Thick of It, Veep and the works of Christopher Guest and Alison Jackson. This book broadens the scope of existing mockumentary scholarship by taking comedy seriously in a sustained way for the first time. It ultimately argues that the comedic performances—by performers and of documentary conventions—are central to the form’s critical significance and popular appeal.
3-D Cinema and Trauma
This book examines 3D cinema across the early 1950s, the early 1980s, and from 2009 to 2014, providing for the first time not only a connection between 3D cinema and historical trauma but also a consideration of 3D aesthetics from a cultural perspective. The main argument of the book is that 3D cinema possesses a privileged potential to engage with trauma. Exploring questions of representation, embodiment and temporality in 3-D cinema, the book takes an interdisciplinary approach, offering a compelling analysis to a combination of box office favorites and more obscure films, ranging across genres such as horror, erotica, fantasy, science fiction, and documentaries. Weaving theoretical discussions and film analysis this book renders complex theoretical frameworks such as Deleuze and trauma theory accessible.
Discussing Disney
These scholarly essays examine Disney’s cultural impact from various perspectives—including film studies, history, musicology, gender and more. The academic field of Disney Studies has evolved greatly over the years, as the twelve essays collected in this volume demonstrate. With a diversity of perspectives and concerns, the contributors examine the cultural significance and impact of the Disney Company’s various outputs, such as animated shorts and films, theme park attractions, television shows, books, music, and merchandising. By looking at Disney from some of its many angles—including the history and the persona of its founder, a selection of its successful and not-so-successful films, its approaches to animation, its branding and fandom, and its reception and reinterpreted within popular culture—Discussing Disney offers a more holistic understanding of a company that has been, and continues to be, one of the most important forces in contemporary culture.
Die ästhetisch-narrativen Dimensionen des 3D-Films
Dieser Band untersucht den ästhetisch-narrativen Möglichkeitsraum des 3D-Films, der sich zwischen den (neuen) technisch-apparativen Bedingungen sowie den kulturellen und psychologischen Wahrnehmungsmechanismen eröffnet. Dabei werden dezidiert audiovisuelle Möglichkeiten des "Raumtonfilms" sowohl an klassischen als auch gegenwärtigen 3D-Filmen kritisch analysiert. Ebenso wird das filmwissenschaftliche Instrumentarium sowie die gängige Fachterminologie in Bezug zum stereoskopischen Film einer Prüfung unterzogen und durch Filmanalysen an Beispielen erprobt.
Horror Films for Children
Children and horror are often thought to be an incompatible meeting of audience and genre, beset by concerns that children will be corrupted or harmed through exposure to horror media. Nowhere is this tension more clear than in horror films for adults, where the demonic child villain is one of the genre's most enduring tropes. However, horror for children is a unique category of contemporary Hollywood cinema in which children are addressed as an audience with specific needs, fears and desires, and where child characters are represented as sympathetic protagonists whose encounters with the horrific lead to cathartic, subversive and productive outcomes. Horror Films for Children examines the h...
Irony in Film
Irony in Film is the first book about ironic expression in this medium. We often feel the need to call films or aspects of them ironic; but what exactly does this mean? How do films create irony? Might certain features of the medium help or hinder its ironic potential? How can we know we are justified in dubbing any film or moment ironic? This book attempts to answer such questions, investigating in the process crucial and under-examined issues that irony raises for our understanding of narrative filmmaking. A much-debated subject in other disciplines, in film scholarship irony is habitually referred to but too seldom explored. Combining in-depth theorising with detailed close analysis, this pioneering study asks what ironic capacities films might possess, how film style may be used ironically, and what role intention should play in film interpretation. The proposed answers have significance for our understanding of not only ironic filmmaking, but the nature of expression in this medium.
