Bøker i New Perspectives on World Cinema-serien

"e;Unhomely Cinema"e; explores how the unhomely nature of contemporary film narrative provides an insight into what it means to dwell in today's global societies. Drawing from Freud's concept of the uncanny - that frightful and inexplicable experience of the home as foreign and strange - the unhomely speaks to the spatial dislocation, transience, homelessness and disempowerment symptomatic of contemporary global societies.While uncanny homes are traditionally associated with the science fiction and horror genres, "e;Unhomely Cinema"e; shows how an array of film genres - from Michel Gondry's comedy "e;Be Kind Rewind"e; to Laurent Cantet's eerie suspense thriller "e;Time Out"e; - use the figure of the precarious home to engage with some of the most pertinent social and cultural issues involved in the question of "e;making home."e;Encounters with the unhomely often result in the painful loss of home, but the unhomely can also offer an ethics of dwelling, whereby the impossibility of narrative closure represents new and more hopeful ways of dwelling in the world.

Featuring a dynamic combination of landmark essays by leading critics and theorists, "The 'Slumdog' Phenomenon: A Critical Anthology" addresses multiple issues relating to "Slumdog Millionaire," providing new ways of looking at this controversial film.

Adoor Gopalakrishnan, India's most distinguished contemporary filmmaker, has made eleven award-winning films and over forty documentaries, most of which are set in his native state of Kerala, in southern India. A 1965 graduate of the Film and Television Institute of Pune, his first film, "e;Swayamvaram"e; (1972), heralded the New Wave in Kerala. The region's displacement from a princely feudal state into twentieth-century modernity forms the backdrop to most of his complex narratives about identity, selfhood and otherness, in which innocence is often at stake and characters grapple with their consciences. The films deal with eviction and dislocation, with the precarious nature of space, and the search for home. They are also about power and its abuse within a destructive patriarchy and the abject conditions of servility it breeds. At the same time, these narratives are usually placed within the larger frameworks of guilt and redemption where hope of emancipation-moral, spiritual, and creative-is a real one. This first comprehensive study of Gopalakrishnan's feature films offers a compelling analysis of these issues within their socio-historical contexts.

Horror films can be profound fables of human nature and important works of art, yet many people dismiss them out of hand. Horror and the Horror Film conveys a mature appreciation of horror films along with a comprehensive view of their narrative strategies, their relations to reality and fantasy, and their cinematic power. The volume covers the entire genre, considering every kind of monster in it including the human.After defining horror and thoroughly introducing the genre, the text offers a rich survey of all of the horror films subgenres, before concluding with a look at the related genres of horror comedy and horror documentary. International in scope, its survey extends from the first horror films (1896) to the present, discussing more than 350 movies. Through its comprehensive and detailed investigation of the genre, Horror and the Horror Film offers a compelling, insightful look at how the horror film frightens and revolts the viewer, its reasons for doing so, and the art of portraying and evoking fear, and will be a great asset to film scholars, horror enthusiasts and readers yet to be convinced of the importance of the genre.

This engaging collection of Bruce F. Kawin's most important film essays (1977-2011) is accompanied by his interviews with Lillian Gish (1978) and Howard Hawks (1976). The Hawks interview is particularly concerned with his work with William Faulkner and their friendship. The Gish interview emphasizes her role as a producer in the 1920s. The essays focus on such topics as violence and sexual politics in film, the relations between horror and science fiction, the growth of video and digital cinema and their effects on both film and film scholarship, the politics of film theory, narration in film, and the relations between film and literature. Among the most significant articles reprinted here are "e;Me Tarzan, You Junk,"e; "e;The Montage Element in Faulkner's Fiction,"e; "e;The Mummy's Pool,"e; "e;The Whole World Is Watching,"e; and "e;Late Show on the Telescreen: Film Studies and the Bottom Line."e; The book includes close readings of films from "e;La Jetee"e; to "e;The Wizard of Oz."e;

'Action!' draws on the very best published and unpublished interviews of the 'Bright Lights Film Journal', and contains many gems, including the last ever interview given by Francois Truffaut, four months before he died.

Featuring a dynamic combination of landmark essays by leading critics and theorists, ¿The ¿Slumdog¿ Phenomenon: A Critical Anthology¿ addresses multiple issues relating to ¿Slumdog Millionaire,¿ providing new ways of looking at this controversial film.

This book is a collection of incisive articles on the interactions between Indian Popular Cinema and the political and cultural ideologies of a new post-Global India.

From Happy Homemaker to Desperate Housewives: Motherhood and Popular Television is a comprehensive and accessible introduction to key debates concerning the representations of motherhood, motherwork and the maternal role in contemporary television programming. The volume looks at the construction of motherhood in the ostensibly female genre of soap opera; the mother as housewife in the domestic situation comedy; deviant, desiring and delinquent motherwork in the teen drama; the single working mother in the contemporary dramedy; the fragile and failing mother of reality parenting television; the serene and selfless celebrity motherhood profile; and the new mother in reality pregnancy and childbirth television. Motherhood and Popular Television examines the depiction of motherhood in this wide range of popular television genres in order to illustrate how the maternal role is being constructed, circulated and interrogated in contemporary factual and fictional programming, paying particular attention to the ways in which such images can be seen to challenge or conform to the ideal image of the good mother that dominates the contemporary cultural landscape.

Commercial cinema has always been one of the biggest indigenous industries in India, and remains so in the post-globalization era, when Indian economy has entered a new phase of global participation, liberalization and expansion. Issues of community, gender, society, social and economic justice, bourgeois-liberal individualism, secular nationhood and ethnic identity are nowhere more explored in the Indian cultural mainstream than in commercial cinema. As Indian economy and policy have gone through a sea-change after the end of the Cold War and the commencement of the Global Capital, the largest cultural industry has followed suit. For example, the global Indian community (known in Indian official terms as the Non-Resident Indian or the NRI) has become an integral part of the cultural representation of India.The politics and ideology of Indian commercial cinema have become extremely complex, offering a fascinating case-study to scholars of Global Culture. Of particular interest is the re-positioning of individual identity vis-à-vis nation, religion, class, and gender. On one hand, the definition of ''nationhood'' and/or community has become much more fluid, keeping in tune with the sweeping universal claims of globalization; the films have consequently revised the scope of their narratives to match India''s emerging global business ambitions. On the other hand, the political realities of India''s long-standig enmity with Pakistan and the international rise of ''Hindutva'' has also contributed to a new strain of jingoism in Indian cinema. ''Bollywood and Globalization'' is a significant scholarly contribution to the current debate on Indian cinema, nationhood and Global Culture. The articles represent a variety of theoretical and pedagogical approaches, and the collection will be appreciated by students and scholars alike.

'World Cinema and the Visual Arts' combines new analyses of two subjects of ongoing research in the field of humanities: cinema and the visual arts. The films analysed encompass a wide geographical base, and have been drawn from a diverse array of cultural traditions.

'Screen Writings: Genres, Classics, and Aesthetics' offers close readings of genre films and acknowledged film classics in an attempt to explore both the aesthetics of genre and the definition of 'classic' - as well as the changing perception of so-called classic movies over time. Implicitly theoretical as much as it is unashamedly practical, this book is a model not only of text analysis, but also of the enlightened deployment of cultural studies in the service of film study. The book includes re-considerations of such classic films as I vitelloni, Grand Illusion, Winter Light, and Tokyo Story; it features genre examinations of the war film (Flags of Our Fathers and Letters from Iwo Jima), farce (Some Like It Hot), the road film (The Rain People), the New York-centered movie (Manhattan), and avant-garde pictures that privilege narrative (3-Iron and Eternal Sunshine of the Classic Mind); and 'Screen Writings: Genres, Classics, and Aesthetics' concludes with a searching investigation of the rise of the New American Cinema during a tumultuous decade of social change - from the late 1960s to the early 1970s.

'Action!' draws on the very best published and unpublished interviews of the 'Bright Lights Film Journal', and contains many gems, including the last ever interview given by Francois Truffaut, four months before he died.

'World Cinema and the Visual Arts' combines new analyses of two subjects of ongoing research in the field of humanities: cinema and the visual arts. The films analysed encompass a wide geographical base, and have been drawn from a diverse array of cultural traditions.

Australian photographer and film maker Frank Hurley became an international celebrity through his reporting of the Mawson and Shackleton Antarctic Expeditions, the First and Second World Wars, the England-Australia air race of 1919, and his own expeditions to Papua in the 1920s. This book is an account of his stage and screen practice in the context of early twentieth-century mass media.'Photography, Early Cinema and Colonial Modernity' is not a biography of Frank Hurley the man; it is instead an examination of the social life of the many marvellous and meaningful things he made as a professional photographer and film maker in the early twentieth century: the negatives, photographic prints, lantern slides, stereographs, films, diaries and newspaper articles. His stage and screen practices offer an insight into Australia's engagement with the romance and wonder of international modernity in the early years of the twentieth century. The level of description at which this volume works is not that of personality or the originary events of Hurley's life - the Mawson and Shackleton Antarctic Expeditions, and the First and Second World Wars - but the media events he worked so hard and so professionally to create. He called them his 'synchronized lecture entertainments'.These media events were at once national and international; they involved Hurley in an entire culture industry comprising many kinds of personnel, practices and texts that were constantly in movement along global lines of travel and communication, and in a variety of institutional locations around the world. This raises complex questions both about the authorship of Hurley's photographic and filmic texts - which were often produced and presented by other people - and about their ontology, since they were in a more or less constant state of re-assemblage in response to changing market opportunities. This unique study re-imagines, from inside the quiet and stillness of the archive, the prior social life of Hurley's creations as they were once accelerated through the complicated topography of the early twentieth century's rapidly internationalizing mass media landscape. As a way to conceive of that space and the social life of the people and things within it, this study uses the concept of 'colonial modernity'.