Kategoria BISAC: Performing Arts >> Film - Reference

Eisenstein, Pudovkin, Dovzhenko, Vertov: these Soviet film directors are acknowledged to be among the greatest in the history of cinematography. To Eisenstein we owe such films as Battleship Potemkin and October; to Pudovkin Mother and The End of St Petersburg; to Dovzhenko Earth and Zvenigora; and to Vertov The Man With a Movie Camera and The Three Songs of Lenin.

Herbert Marshall knew each of them personally, both as artists and as friends, and shared their cinema world when he was a student at the GIK (The Moscow State...

This charming classic of film literature was originally published in 1914 and hence represents an early attempt to catalogue the allure of cinema and how the motion picture industry began. This tale of life in the early days of cinema will be of interest to film historians and anyone interested in that period of history. The book outlines the actors, the producers, the studios and the audiences as well as the advertising and regulation at the time with often amusing stories and facts along with the author's own drawings. Overall this serves as a fascinating introduction to the making of...

As Charlton Heston put it: There s a temptingly simple definition of the epic film: it s the easiest kind of picture to make badly. This book goes beyond that definition to show how the film epic has taken up one of the most ancient art-forms and propelled it into the modern world, covered in twentieth-century ambitions, anxieties, hopes and fantasies. This survey of historical epic films dealing with periods up to the end of the Dark Ages looks at epic form and discusses the films by historical period, showing how the cinema reworks history for the changing needs of its audience, much as...

British Horror Cinema investigates a wealth of horror filmmaking in Britain, from early chillers like The Ghoul and Dark Eyes of London to acknowledged classics such as Peeping Tom and The Wicker Man.

Contributors explore the contexts in which British horror films have been censored and classified, judged by their critics and consumed by their fans. Uncovering neglected modern classics like Deathline, and addressing issues such as the representation of family and women, they consider the Britishness of British horror and examine...

Written specifically with the student in mind and focusing on a number of well-known texts, including Les Liaisons Dangereuses, Nicholas Nickleby, Nice Work and The Color Purple, the contributions in this book demonstrate how we can look critically at literary adaptations and learn to distinguish between mythical images and the reality of the process that constructed them. They argue that adaptations should not be seen as secondary or marginal, because through them we can enter into an exciting debate with the literary text itself. Originally published in 1993.

During the interwar period cinema and literature seemed to be at odds with each other, part of the continuing struggle between mass and elite culture which so worried writers such as Aldous Huxley, T.S. Eliot and the Leavises. And this cultural divide appeared to be sharp evidence of a deeper struggle for control of the nation's consciousness, not only between dominant and oppositional elements within Britain, but between British and American vales as well.

On the one hand, films like Sing As We Go, Proud Valley, and The Stars Look Down consolidated the...

This book examines the development of cinematic form and culture in Russia, from its late nineteenth-century beginnings as a fairground attraction to the early post-Revolutionary years.

The author traces the changing perceptions of cinema and its social transition from a modernist invention to a national art form. He explores reactions to the earliest films from actors, novelists, poets, writers and journalists. His richly detailed study of the physical elements of cinematic performance includes the architecture and illumination of the cinema foyer, the speed of projection and film...

This text outlines what sociologists need to know of the nature of communication and of mass culture, while also looking in some empirical detail at the workings of the Hollywood community and the psychology of the star system. It explores trends such as attempts to adapt semiology and psycholinguistics to our understanding of film 'language', using them to develop a paradigm for film analysis. The book goes on to offer a guide to comprehension of the relation between cinema and society through detailed analysis of the relation between the German silent cinema and its social context and...

This feminist anthology from Italy offers an enriching perspective on cinema studies. Focusing on women's engagement with political theory and film-making, the book never loses sight of the female experience of cinema. It examines how women have chosen to represent themselves and how they have been represented, and how they deal with the cinematic apparatus, as subjects of production, objects of representation, and spectators. A variety of approaches are offered, ranging from psychoanalysis and semiology to history. With an exhaustive filmography, this anthology of chapters by eminent...

Given Herzog's own pronouncement that 'film is not the art of scholars, but of illiterates, ' it is not surprising that his work has aroused ambivalent and contradictory responses. Visually and philosophically ambitious and at the same time provocatively eccentric, Herzog's films have been greeted equally by extreme adulation and extreme condemnation.

Even as Herzog's rebellious images have gained him a reputation as a master of the German New Wave, he has been attacked for indulging in a romantic naivete and wilful self-absorption. To his hardest critics, Herzog's films appear as...