Kategoria BISAC: Performing Arts >> Film - History & Criticism

Noted for his charisma, talent, and striking good looks, director Rex Ingram (1893 1950) is ranked alongside D. W. Griffith, Marshall Neilan, and Erich von Stroheim as one of the greatest artists of the silent cinema. Ingram briefly studied sculpture at the Yale University School of Art after emigrating from Ireland to the United States in 1911; but he was soon seduced by the new medium of moving pictures and abandoned his studies for a series of jobs in the film industry. Over the next decade, he became one of the most popular directors in Hollywood, directing smash hits such as The...

From the trolley scene in Meet Me in St. Louis (1944) to Fred Astaire and Ginger Rogers's last dance on the silver screen ( The Barkleys of Broadway, 1949) to Judy Garland's timeless, tuxedo-clad performance of "Get Happy" ( Summer Stock, 1950), Charles Walters staged the iconic musical sequences of Hollywood's golden age. During his career, this Academy Award--nominated director and choreographer showcased the talents of stars such as Gene Kelly, Doris Day, Debbie Reynolds, and Frank Sinatra. However, despite his many critical and commercial triumphs, Walters's name...

Ranging from the playful, to the fact-filled, and to the thoughtful, this collection tracks the fortunes of Walt Disney's flagship character. From the first full-fledged review of his screen debut in November 1928 to the present day, Mickey Mouse has won millions of fans and charmed even the harshest of critics. Almost half of the eighty-one texts in A Mickey Mouse Reader document the Mouse's rise to glory from that first cartoon, Steamboat Willie, through his seventh year when his first color animation, The Band Concert, was released. They include two important early...

In this book, Seung-hoon Jeong introduces the cinematic interface as a contact surface that mediates between image and subject, proposing that this mediation be understood not simply as transparent and efficient but rather as asymmetrical, ambivalent, immanent, and multidirectional. Jeong enlists the new media term "interface" to bring to film theory a synthetic notion of interfaciality as underlying the multifaceted nature of both the image and subjectivity. Drawing on a range of films, Jeong examines cinematic interfaces seen on screen and the spectator s experience of them,...