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Hidden in Plain Sight
What does it mean to describe cinematic effects as “movie magic,” to compare filmmakers to magicians, or to say that the cinema is all a “trick”? The heyday of stage illusionism was over a century ago, so why do such performances still serve as a key reference point for understanding filmmaking, especially now that so much of the cinema rests on the use of computers? To answer these questions, Colin Williamson situates film within a long tradition of magical practices that combine art and science, involve deception and discovery, and evoke two forms of wonder—both awe at the illusion displayed and curiosity about how it was performed. He thus considers how, even as they mystify aud...
The Invention of Hugo Cabret
An orphan and thief, Hugo lives in the walls of a busy train station. He desperately believes a broken automaton will make his dreams come true. But when his world collides with an eccentric girl and a bitter old man, Hugo's undercover life are put in jeopardy. Turn the pages, follow the illustrations and enter an unforgettable new world!
Film and Redemption
This book explores the representation of the idea or theme of redemption in contemporary, popular film. The discussion focuses primarily on the work of three directors – Clint Eastwood, Martin Scorsese and Kore-eda Hirokazu – but also considers a few films from other directorial hands. David Rankin divides the notion of personal redemption into transactional and transformational aspects, differentiating between redemption, understood as that which is external to the person but impacting on their being and environment, and that which is internal to the person. Redemption is viewed broadly as a journey from brokenness to wholeness, from imprisonment to release, or from some form of slavery to freedom. Both secular and religious (especially Christian) understandings of the notion are discussed, and consideration is given to how the former might inform the latter.
For the Love of Cinema
What role does love—of cinema, of cinema studies, of teaching and learning—play in teaching film? For the Love of Cinema brings together a wide range of film scholars to explore the relationship between cinephilia and pedagogy. All of them ask whether cine-love can inform the serious study of cinema. Chapter by chapter, writers approach this question from various perspectives: some draw on aspects of students' love of cinema as a starting point for rethinking familiar films or generating new kinds of analyses about the medium itself; others reflect on how their own cinephilia informs the way they teach cinema; and still others offer new ways of writing (both verbally and audiovisually) with a love of cinema in the age of new media. Together, they form a collection that is as much a guide for teaching cinephilia as it is an energetic dialogue about the ways that cinephilia and pedagogy enliven and rejuvenate one another.
Salvation from Cinema
Salvation from Cinema offers something new to the burgeoning field of "religion and film": the religious significance of film technique. Discussing the history of both cinematic devices and film theory, Crystal Downing argues that attention to the material medium echoes Christian doctrine about the materiality of Christ’s body as the medium of salvation. Downing cites Jewish, Muslim, Buddhist, and Hindu perspectives on film in order to compare and clarify the significance of medium within the frameworks of multiple traditions. This book will be useful to professors and students interested in the relationship between religion and film.
Remaking History
Remaking History considers the ways that historical fictions of all kinds enable a complex engagement with the past. Popular historical texts including films, television and novels, along with cultural phenomena such as superheroes and vampires, broker relationships to ‘history’, while also enabling audiences to understand the ways in which the past is written, structured and ordered. Jerome de Groot uses examples from contemporary popular culture to show the relationship between fiction and history in two key ways. Firstly, the texts pedagogically contribute to the historical imaginary and secondly they allow reflection upon how the past is constructed as ‘history’. In doing so, the...
3D Cinematic Aesthetics and Storytelling
This book argues that 3D films are becoming more sophisticated in utilising stereoscopic effects for storytelling purposes. Since Avatar (2009), we have seen a 3D revival marked by its integration with new digital technologies. With this book, the author goes beyond exploring 3D’s spectacular graphics and considers how 3D can be used to enhance visual storytelling. The chapters include visual comparisons between 2D and 3D to highlight their respective narrative features; an examination of the narrative tropes and techniques used by contemporary 3D filmmakers; and a discussion of the narrative implications brought by the coexistence of flatness and depth in 3D visuality. In demonstrating 3D cinematic aesthetics and storytelling, Yong Liu analyses popular films such as Hugo (2011), Life of Pi (2012), Gravity (2013), Star Trek Into Darkness (2013, and The Great Gatsby (2013). The book is an investigation into contemporary forms of stereoscopic storytelling derived from a unique, long-existing mode of cinematic illusions.
Spiritan Life and Mission Since Vatican II
The Second Vatican Council (1962–65) called for the renewal of all religious institutes in the Catholic Church. The Congregation of the Holy Spirit (Spiritans) responded initially under the leadership of Archbishop Marcel Lefebvre. Different interpretations of Vatican II caused divisions culminating in Lefebvre’s departure from the congregation. From this difficult starting-point the Spiritans sought to redefine themselves in creative fidelity to their founding intention, the spirit of Vatican II, and the “signs of the times.” Spiritan Life and Mission since Vatican II recounts this journey of renewal in three parts: the Spiritan world before Vatican II and the election of Archbishop...
New Silent Cinema
With the success of Martin Scorsese’s Hugo (2011) and Michel Hazanavicius’s The Artist (2011) nothing seems more contemporary in recent film than the styles, forms, and histories of early and silent cinemas. This collection considers the latest return to silent film alongside the larger historical field of visual repetitions and affective currents that wind their way through 20th and 21st century visual cultures. Contributors bring together several fields of research, including early and silent cinema studies, experimental and new media, historiography and archive theory, and studies of media ontology and epistemology. Chapters link the methods, concerns, and concepts of early and silent film studies as they have flourished over the last quarter century to the most recent developments in digital culture—from YouTube to 3D—recasting this contemporary phenomenon in popular culture and new media against key debates and concepts in silent film scholarship. An interview with acclaimed Canadian filmmaker Guy Maddin closes out the collection.
Jean Vigo
Jean Vigo is one of the legendary figures of world cinema, whose films 'L'Atalante' and 'Zéro de conduite' still inspire young audiences today. Film historian Michael Temple explores Vigo's intense career and asks why it has had such a long-lasting impact on film culture, not just in France, but also for generations of filmmakers, critics, and moviegoers around the world. Each film is examined under four headings: - social and political context - the making of the film, from conception to release -detailed analysis of narrative structure, main stylistic features and dominant themes - the reception of the film and its critical reputation Accessibly written, this will be essential reading for students, teachers, film enthusiasts and researchers, indeed for anyone who is interested in the cinema as a living art form
