Kategoria BISAC: Performing Arts >> Film - General

Some of the works considered in this volume include the films Hotel Rwanda (2004), Good Night and Good...

Some of the works considered in this volume include the films Hotel Rwanda (2004), Good Night and Good...

This book applies the discourse of the so-called 'spatial turn' to popular contemporary cinema, in particular the action sequences of twenty-first century Hollywood productions. Tackling a variety of spatial imaginations (contemporary iconic architecture; globalisation and non-places; phenomenological knowledge of place; consumerist spaces of commodity purchase; cyberspace), the diverse case studies not only detail the range of ways in which action sequences represent the challenge of surviving and acting in contemporary space, but also reveal the consistent qualities of spatial...

Blessed with one of the great tenor voices of all time, Mario Lanza (1921-1959) rose to spectacular heights in a film, recording, and concert career that spanned little more than a decade. Groomed at the outset for a career on the opera stage, Lanza instead flourished in Hollywood where his films, most notably The Great Caruso, broke box-office records the world over and influenced the careers of countless musicians. To this day, the Three Tenors cite him as an inspiration for their own careers on the classical stage. Lanza's recordings for RCA sold in the millions, and he...

Transmedia Marketing: From Film and TV to Games and Digital Media skillfully guides media makers and media marketers through the rapidly changing world of entertainment and media marketing. Its groundbreaking transmedia approach integrates storytelling and marketing content creation across multiple media platforms harnessing the power of audience to shape and promote your story.

Through success stories, full color examples of effective marketing techniques in action, and insight from top entertainment professionals, Transmedia Marketing covers the fundamentals of a sound 21st century...

What was cinema in modern China? It was, this book tells us, a dynamic entity, not strictly tied to one media technology, one mode of operation, or one system of aesthetic code. It was, in Weihong Bao s term, an affective medium, a distinct notion of the medium as mediating environment with the power to stir passions, frame perception, and mold experience. In Fiery Cinema, Bao traces the permutations of this affective medium from the early through the mid-twentieth century, exploring its role in aesthetics, politics, and social institutions.

Mapping the changing identity of...

While scholars recognize both museums and films as sites where historical knowledge and cultural memory are created, the convergence between their methods of constructing the past has only recently been acknowledged. The essays in Exhibiting the German Past examine a range of films, museums, and experiences which blend the two, considering how authentic objects and cinematic techniques are increasingly used in similar ways by both visual media and museums.

This is the first collection to focus on the museum-film connection in German-language culture and the first to approach...

The romantic comedy has long been regarded as an inferior film genre by critics and scholars alike, accused of maintaining a strict narrative formula which is considered superficial and highly predictable. However, the genre has resisted the negative scholarly and critical comments and for the last three decades the steady increase in the numbers of romantic comedies position the genre among the most popular ones in the globally dominant Hollywood film industry. The enduring power of the new millennium romantic comedy, proves that therein lies something deeper and worth investigating....

In den elektronischen Bildmedien tritt uns Joseph Beuys als veritabler Medienkunstler entgegen. Kaum uberschaubar sind die Fotografien, Filme und Videos, die bei seinen Aktionen und Auftritten entstanden sind. Doch welche dieser Filme sind genuine Werke von Beuys, der die Kamera als kunstlerisches Mittel nachweislich gemieden hat?
Das Buch verfolgt diese Frage zuruck bis in die 1950er Jahre, als Beuys sich mit dem Film als kunstlerischem Mittel auseinandersetzte und, so die These, sein Verstandnis der Plastik entwickelte: als Gegenbild zum technischen Bildmedium. Nur konkrete Formen,...