An original collection of recent interviews with filmmakers whose works represent the trends in the film industries of their respective countries. Preceding the interviews, the author provides an introduction delineating historical information regarding the film industries of the countries included in the book. Each interview comprises of stills from important films discussed and a bio/filmography of the artist. In addition to creative concerns, the focal point of the interviews is to position the filmmaker within the social or political context of their respective country. The striking variety in approaches towards each interview creates a rich diversity of tone and an overwhelming impression of animation within the text. Cinemas of the Other offers a carefully researched and detailed first-hand account on the developments and trends in specific regional film industries.
Comprised of 43 innovative contributions, this companion is both an overview of, and intervention into the field of cinema and gender. The essays included here address a variety of geographical contexts, from an analysis of cinema. Islam and women and television under Eastern European socialism, to female audience reception in Nigeria, to changing class and race norms in Bollywood dance sequences. A special focus is on women directors in a global context that includes films and filmmakers from Asia, Africa, Australia, Europe, North and South America. The collection also offers a solid overview of feminist contributions to thinking on genre from the "chick flick" to the action or Western film, to film noir and the slasher. Readers will find contributions on a variety of approaches to spectatorship, reception studies and fandom, as well as transnational approaches to star studies and essays addressing the relationship between feminist film theory and new media. Other topics include queer and trans* cinema, eco-cinema and the post-human. Finally, readers interested in the history of film will find essays addressing the methodological dimensions of feminist film history, essays on silent and studio era women in film, and histories of female filmmakers in a variety of non-Western contexts.
From Lolita to The Sixth Sense, the figure of the child in cinematic works has been a contested site of symbolism and controversy. Childhood and Cinema examines how the child in film has ultimately been used to embody the anxieties and aspirations of modern life. Vicky Lebeau investigates how films use children to probe such themes as sexuality, death, imagination, the terrors of childhood, and hope. The book ranges over the whole history of Western cinema, from the Lumière brothers’ 1895 Feeding the Baby to Walt Disney’s animation classics to Truffaut’s L’enfant sauvage and recent works such as Capturing the Friedmans and Kids. The figure of the child in film, Lebeau argues, is fundamentally ambivalent—always hovering on the edge between hope and despair, vulnerability and violence, or pleasure and trauma—and it ultimately offers a unique way of thinking about the significance of cinema itself. By turns engaging, thought-provoking, and informative, Childhood and the Cinema challenges us to reconsider the child figure as a conduit for critical reflection on what it means to be human.
This book presents a historical overview of the Indonesian film industry, the relationship between censorship and representation, and the rise of Islamic popular culture. It considers scholarship on gender in Indonesian cinema through the lens of power relations. With key themes such as nationalism, women's rights, polygamy, and terrorism which have preoccupied local filmmakers for decades, Indonesia cinema resonates with the socio-political changes and upheavals in Indonesia’s modern history and projects images of the nation through the debates on gender and Islam. The text also sheds light on broader debates and questions about contemporary Islam and gender construction in contemporary Indonesia. Offering cutting edge accounts of the production of Islamic cinema, this new book considers gendered dimensions of Islamic media creation which further enrich the representations of the 'religious' and the 'Islamic' in the everyday lives of Muslims in South East Asia.
Women Screenwriters is a study of more than 300 female writers from 60 nations, from the first film scenarios produced in 1986 to the present day. Divided into six sections by continent, the entries give an overview of the history of women screenwriters in each country, as well as individual biographies of its most influential.
From the onset of the film medium, directors have found war an endlessly compelling and fruitful subject for their art. In War and Film, Chapman explores their fascination as well as audiences’ enduring need to examine and experience the vicissitudes of war. Chapman examines the issues of truthfulness and realism that arise in depictions of war, whether in the supposed truth telling of war documentaries or Hollywood battle scenes that are “more realistic than the real thing.” The book considers films from the U. S., Britain, and Europe, and the national responses to cinematic depictions of particular conflicts. In case studies of such legendary works as Das Boot, Apocalypse Now, and All Quiet on the Western Front, the book parses their dominant narrative themes, ranging from war as a pointless tragedy to combat as an exciting and heroic adventure. But few films, Chapman contends, probe into the deeper ramifications of war—the psychological scars left on the soldier and civilians. A study of remarkable breadth and scope, War and Film exposes the power of cinema in shaping our perceptions of violent conflict.
Imagine watching an action film in a small-town cinema hall in Bangladesh, and in between the gun battles and fistfights a short pornographic clip appears. This is known as a cut-piece, a strip of locally made celluloid pornography surreptitiously spliced into the reels of action films in Bangladesh. Exploring the shadowy world of these clips and their place in South Asian film culture, Lotte Hoek builds a rare, detailed portrait of the production, consumption, and cinematic pleasures of stray celluloid. Hoek's innovative ethnography plots the making and reception of Mintu the Murderer (2005, pseud.), a popular, Bangladeshi B-quality action movie and fascinating embodiment of the cut-piece phenomenon. She begins with the early scriptwriting phase and concludes with multiple screenings in remote Bangladeshi cinema halls, following the cut-pieces as they appear and disappear from the film, destabilizing its form, generating controversy, and titillating audiences. Hoek's work shines an unusual light on Bangladesh's state-owned film industry and popular practices of the obscene. She also reframes conceptual approaches to South Asian cinema and film culture, drawing on media anthropology to decode the cultural contradictions of Bangladesh since the 1990s.
Tunisian cinema is often described as the most daring of all Arab cinemas. For many, Tunisia appeared to be a model of equipoise between "East" and "West," and yet, during Zine El Abidine Ben Ali's presidency, from 1987 to 2011, the country became the most repressive state in the Maghreb. Against considerable odds, a generation of filmmakers emerged in the mid-1980s to make films that are allegories of resistance to the increasingly illiberal trends that were marking their society. In New Tunisian Cinema, Robert Lang focuses on eight films by some of the nation's best-known directors, including Man of Ashes (1986), Bezness (1992) and Making Of (2006) by Nouri Bouzid, Halfaouine (1990) by Férid Boughedir, The Silences of the Palace (1994) by Moufida Tlatli, Essaïda (1997) by Mohamed Zran, Bedwin Hacker (2002) by Nadia El Fani, and The TV Is Coming (2006) by Moncef Dhouib. He explores the political economy and social, historical, and psychoanalytic dimensions of these works and the strategies filmmakers deployed to preserve cinema's ability to shape debates about national identity. These debates, Lang argues, not only helped initiate the 2011 uprising that ousted Ben Ali's regime but also did much to inform and articulate the aspirations of the Tunisian people in the new millennium.
"Twenty-four essays on individual selected films, many by scholars and writers based in the region. It explores established film cultures such as those of Turkey and Iran, and also nascent cinemas such as those of Israel, Palestine and Syria. ... Selected films include Cairo Station (Egypt, 1958), Umat (Turkey, 1970), The Runner (Iran, 1989) ... Once upon a time, Beriut (Lebanon, 1994), Chronicle of a disappearance (Palestine, 1996), Circle of dreams (Israel, 2000), Ten (Iran, 2002) and Uzak (Turkey, 2003)."--Page 4 of cover.
Fifty Hollywood Directors introduces the most important, iconic and influential filmmakers who worked in Hollywood between the end of the silent period and the birth of the blockbuster. By exploring the historical, cultural and technological contexts in which each director was working, this book traces the formative period in commercial cinema when directors went from pioneers to industry heavyweights. Each entry discusses a director’s practices and body of work and features a brief biography and suggestions for further reading. Entries include: Frank Capra Cecil B DeMille John Ford Alfred Hitchcock Fritz Lang Orson Welles DW Griffith King Vidor This is an indispensible guide for anyone interested in film history, Hollywood and the development of the role of the director.
This textbook is the ideal introduction to exploring how film can enrich our study of theology, opening up debates surrounding contemporary culture and theological inquiry. It uses film to challenge the sacred/secular divide, spanning a broad range of themes from religion and violence, eschatology, war, and peace to justice, feminism, and the environment. The accessible structure lays out both the methods and theological perspectives required for understanding theology through film. Examples of films discussed range from Unforgiven, Jarhead, and The Passion of the Christ, to An Inconvenient Truth, Something's Gotta Give, and Vanilla Sky. The book is also accompanied by website resources available at www.blackwellpublishing.com/theologyandfilm.
In Search of Cinema chronicles the vitality of international film art in the last two decades. At a time when the movie review has degenerated into mere publicity for Hollywood pictures and film scholarship has become entangled in its own pseudo-scientific discourse, Bert Cardullo reclaims the territory of a certain type of film critic, somewhere between a reviewer-journalist and a scholar-theorist. With elegance, clarity, and rigour, he offers close readings of individual films to show how moviemakers use the resources of the medium to pursue complex, significant human goals. The essays collected here reflect the spectacular rise of Iranian cinema in recent years as well as the strong contributions of contemporary filmmakers from countries such as Belgium, Canada, China, Israel, Lebanon, Scotland, and Spain. But In Search of Cinema does not neglect the best recent films from major film-producing nations like the United States, France, and Italy and includes retrospective pieces on the careers of Ingmar Bergman and Woody Allen as well as several essays on the interrelationship between film form, or film genres, and drama and the novel, the two forms from which the cinema continues to draw a wealth of its material.
Home to approximately one-fifth of the world’s Muslim population, Indonesia and Malaysia are often overlooked or misrepresented in media discourses about Islam. Islam is a religion but there is also a popular culture, or popular cultures of Islam that are mass mediated, commercialized, pleasure-filled, humorous, and representative of large segments of society. During the last forty years, popular forms of Islam, targeted largely towards urbanized youth, have played a key role in the Islamisation of Indonesia and Malaysia. This book focuses on these forms and the accompanying practices of production, circulation, marketing, and consumption of Islam. Dispelling the notion that Islam is monolithic, militaristic, and primarily Middle Eastern, the book emphasizes its dynamic, contested, and performative nature in contemporary South East Asia. Written by leading scholars alongside media figures, such as Rhoma Irama and Ishadi SK, the case studies although not focused on theology per se, illuminate how Muslims (and non-Muslims) in Indonesia and Malaysia make sense of their lives within an increasingly pervasive culture of Islamic images, texts, film, songs, and narratives.
In spite of the overwhelming interest in the study of memory and trauma, no single volume has yet explored the centrality of memory to films of this era in a global context; this volume is the first anthology devoted exclusively to the study of memory in twenty-first-century cinema. Combining individual readings and interdisciplinary methodologies, this book offers new analyses of memory and trauma in some of the most discussed and debated films of the new millennium: Pan's Labyrinth (2006), The Namesake (2006), Hidden (2005), Eternal Sunshine of the Spotless Mind (2004), Oldboy (2003), City of God (2002), Irréversible (2002), Mulholland Drive (2001), Memento (2000), and In the Mood for Love (2000).
In World Directors and Their Films, Bert Cardullo offers readable analyses of some of the most important films and the artists who produced them. Beyond simple biographical capsules and plot summaries, these readings demonstrate with clarity and elegance how international moviemakers use the resources of the medium to pursue complex, significant human goals. Including essays on filmmakers from China, Japan, India, Argentina, Brazil, Mexico, Iran, Senegal, and Chad, this book is an engaging collection of enlightening and helpful essays that will appeal as much to the general reader as it will to scholars of international cinema.
Arab women filmmakers: Who are they? What drives them? What are their experiences in a male-dominated profession? How do they function within the contexts--and constraints--of patriarchal societies? The answers are complex and sometimes surprising, as complex and surprising as the vastly different films these women direct. In this unprecedented book, Rebecca Hillauer assembles a comprehensive and penetrating look into the history of Arab women's filmmaking, as well as the political and social background of the countries--Egypt, Iraq, Lebanon, Syria, Algeria, among others--from which these artists emerged. In addition to the biographies, filmographies, and discussions of their most important works, lively, in-depth interviews allow us to hear from the filmmakers themselves. Collectively, these women, who hail from a wide range of professional, religious, and social backgrounds, provide a varied and vivid picture of what it means to work in creative and journalistic fields in the modern Arab world. For Hillauer, the subject of a film, its genesis, and the personal story of the artist who created it reveal far more than a particular approach to cinematography. Arab women filmmakers and their main characters (who are often semi-autobiographical) not only afford us a look at seldom-seen facets of Arab societies, they personify an alternative women's 'model, ' one that is far removed from western clichés. Broad in scope, and rich in insight, Arab Women Filmmakers is a must read for cineastes as well as students of film, feminism, and the Middle East.