Filmboeken

This book traces the development of popular cinema from its inception to the present day to understand why humankind has expanded its viewing of popular movies over the last century. Drawing from his extensive work as a psychologist studying artistic canons, James E. Cutting presents hundreds of films across a wide range of genres and eras, considers the structure of frame content, shots, scenes, and larger narrational elements defined by color, brightness, motion, clutter, and range of other variables. He examines the effects of camera lenses, image layout, transitions, and historical functions to classify different kinds of shots. He explains the arcs of scenes, the larger structure of sequences, and the scene- and sequence-like units that have become increasingly prevalent in recent years.

The book then breaks movies into larger, roughly half-hour parts and espouses the psychological evidence behind each device's intended effect, ultimately exploring the rhythms of whole movies, the flow of physical changes, and the cinematic polyrhythms that have come to match aspects those in the human body. Along the way, the book considers cultural and technological evolutions that have contributed to shifts in viewers' engagement by sustaining attention, promoting understanding of the narrative, heightening emotional commitment, and fostering felt presence in the story.

Movies on Our Minds asks critical questions about how our emotional processes and the way our experiences of movies have changed over the course of cinematic history, for a cutting-edge look at what makes popular movies enjoyable.

robertinho schreef:

Hebben jullie aanraders voor boeken die over sci-fi films gaan? En dan bedoel ik niet 'het boek van de film', maar meer een overzicht van het genre of ontwikkelingen door de jaren heen?

With thirty-four original chapters from three dozen top scholars, The Oxford Handbook of Silent Cinema provides a thoughtful and provocative re-examination of a medium that would become the dominant form of mass entertainment by the second decade of the twentieth century. The volume is arranged around a series of broad topics: the "invention" of cinema as both technology and medium; the intermedial development of film aesthetics and genres; nontheatrical and non-commercial uses of cinema; the political economy of Hollywood mass culture; film and global modernities; and silent cinema's publics and counter-publics.

The historiographical essays in this collection engage with the question of how we might rethink silent film history, especially in the context of the developed media ecosystem that defined the early 1900s. Influenced by methodologies as diverse as media archaeology and industrial studies, and sensitive to both the textual contours of silent films and the cultural, economic, and ideological currents that helped shape them, the Oxford Handbook of Silent Cinema invites its reader to envision its object in expansive terms that incorporate the propulsive energy of the first decades of the 1900s and deploy the analytical frameworks of the current day.

Contents

1: Rob King and Charlie Keil - "Introduction: The History of the History of Silent Film"

Part One: Origins - From Invention To Medium

2: Tom Gunning, "The Invention of Cinema"

3: Doron Galili, "Early Cinema and the Emergence of Television: An Archaeology of Intertwined Media"

4: Stefan Andriopoulos, "The Right to One's Own Image: Animism, The Student of Prague, and Legal Doctrine"

5: Jane Gaines, "Copying Technologies: Two Pirates, Two Centuries" II: Intermediality: Genre and Aesthetics in Silent Film

Part Two: Intermediality: Genre And Aesthetics In Silent Film

6: Andre Gaudreault and Philippe Marion, "The Unfinished Business of History: Defense and Illustration of the Concept 'Cultural Series'"

7: Daisuke Miyao, "Reviewing Maple Viewing (Momijigari, 1899)"

8: Allyson Nadia Field, "African-American Film History Beyond Cinema: William Foster and the Legacy of Black Theatrical Comedy"

9: Weihong Bao, "Picture, Shadow, Play: Ontology, Archaeology, Ecology"

10: Rob King, "Biograph 1904: The Invention of Chase Comedy"

11: Miriam Siegel, "Storied Spaces: Staging and Editing in Early American Feature Films"

12: Tom Paulus, "Salon Tango: Hollywood Pictorialism and the Beaux-Arts Tradition"

13: Tami Williams, "Symbolist Impressions: Modern Theater, Germaine Dulac, and the Making of an Art Cinema in Belle epoque France (or, the False Ideal of the Cinema against Theater)" III: Pedagogical Formations: Nontheatrical Cinema and the Uses of Film

Part Three: Pedagogical Formations: Non-Theatrical Cinema And The Uses Of Film

14: Greg Waller, "Popular Science Monthly and the Uses of Moving Pictures"

15: Scott Curtis and Oliver Gaycken, "Cinema and Science in the Silent Era"

16: Alison Griffiths, "Cinema on the Move: Museum-Sponsored Expedition Film in the Silent Era"

17: Jennifer Horne, "Babies and Brochures: Public Service Pamphlet Films of the US Children's Bureau (1919-1926)"

18: Shelley Stamp, "Curiosity Seekers, Morbid Minds, and Embarrassed Young Ladies: Female Audiences and Reproductive Politics Onscreen" IV: Hollywood, Inc:: The Institutions of Mass Culture

Part Four: Hollywood, Inc.: The Institutions Of Mass Culture

19: Charlie Keil and Denise McKenna, "Unlikely Allies: Crafting Hollywood as Institution and Invention"

20: Luci Marzola, "A System of Thorough Co-Operation: Technology, Service, and the Film Labs of Hollywood"

21: Ross Melnick, "A Prologue to Hollywood: Sid Graumann, Film Premieres, and the (Real Estate) Development of Hollywood" 22: Derek Long, "Franchising as a Strategy of National Feature Distribution in the 1910s: The Case of the Triangle Film Corporation"

23: Paul S: Moore, "Paramount Pictures, National Advertising Agencies, and the Conspicuous Distribution of First-Run Feature Films in the United States" V: Nation, Empire, World: The Spaces and Times of Modernity

Part Five: Nation, Empire, World: The Spaces And Times Of Modernity

24: Giorgio Bertellini, "Going Silent on Modernity: Periodization, Geopolitics, and Public Opinion"

25: Lee Grieveson, "Empire/State/Media"

26: Kaveh Askari, "Dandyism, Circulation, and Emergent Cinema in Iran: The Powers of Asynchrony"

27: Jennifer Peterson,

"The Covered Wagon: Location Shooting and Settler Melodrama" 28: Anne Bachmann, "Scandinavian Cinema, Location, and the Discourse of Quality in 1920"

29: Ruth Mayer, "Running Late: The Silent Serial, the Cliffhanger, and the Exigencies of Time, 1914-1920" VI: Cinematic Publics: Critics, Fans, Communities

Part Six: Cinematic Publics: Critics, Fans, Communities

30: Johannes von Moltke, "The Silent Film Criticism of Siegfried Kracauer"

31: Sumiko Higashi, "The Decline of Middlebrow Taste in Celebrity Culture: The First Fan Magazines"

32: Laura Horak, "The Many Genders and Sexualities of American and European Silent Cinema"

33: Breixo Viejo, "Art, Anti-Art, and Poetic Cinema: Revisiting Un Chien andalou (Luis Bunuel, 1929)"

34: Donna Kornhaber, "Coda: Silent Film after Sound"

Slumber Party Massacre. Pet Sematary. Near Dark. American Psycho These horror movies have heavily contributed to pop culture and are loved by horror fans everywhere. But so many others have been forgotten by history. From the first silent reels to modern independent films, in this book you’ll discover the creepy, horrible, grotesque, beautiful, wrong, good, and fantastic - and the one thing they share in common.

This is the true history of women directing horror movies.

Having conducted hundreds of interviews and watched thousands of horror films, Heidi Honeycutt defines the political and cultural forces that shape the way modern horror movies are made by women. The women’s rights and civil rights movements, new distribution technology, digital cameras, the destruction of the classic studio system, and the abandonment of the Hays code have significantly impacted women directors and their movies. So, too, social media, modern ideas of gender and racial equality, LGBTQ acceptance, and a new generation of provocative, daring films that take shocking risks in the genre.

Includes short films, anthologies, documentaries, animated horror, horror pornography, pink films, and experimental horror.

Spit on Your Celluloid is a first-of-its-kind celebration, study, and "a book that needed to be written" (says cult filmmaker Stephanie Rothman). You will never look at horror movies the same way again.

Zombies want brains. Vampires want blood. Cannibals want human flesh. All monsters need feeding.

Horror has been embraced by mainstream pop culture more than ever before, with horror characters and aesthetics infecting TV, music videos and even TikTok trends. Yet even with the commercial and critical success of The Babadook, Hereditary, Get Out, The Haunting of Hill House, Yellowjackets and countless other horror films and TV series over the last few years, loving the genre still prompts the question: what's wrong with you? Implying, of course, that there is something not quite right about the people who make and consume it. In Feeding the Monster, Anna Bogutskaya dispels this notion once and for all by examining how horror responds to and fuels our feelings of fear, anxiety, pain, hunger and power.

This richly informed study analyzes how various cinematic tools and techniques have been used to create horror on screen—the aesthetic elements, sometimes not consciously noticed, that help to unnerve, frighten, shock or entertain an audience.

The first two chapters define the genre and describe the use of pragmatic aesthetics (when filmmakers put technical and budgetary compromises to artistic effect). Subsequent chapters cover mise-en-scène, framing, photography, lighting, editing and sound, and a final chapter is devoted to the aesthetic appeals of horror cinema.

Published by McFarland in 2010

ISBN: 9780786458349

English, 288 pages

Retail epub

"This useful overview of British horror films condenses 100 years of celluloid fright into 100 key works and 180 photos...This book will likely prove popular with a wide readership...British film historian Rigby's fine prose is lively and assured. His evaluative comments are worthwhile, and his recounting of historical developments is both accessible and informative. Fans will appreciate his attention to detail, while casual readers will benefit from his skilled survey." - Library Journal

Winner of the Dark Fest Film Festival Award for Best Genre Author 2024

David Pirie's acclaimed history of British gothic film and television has long been regarded as a foundational study of the roots of British horror, identifying it as 'the only staple cinematic myth which Britain can properly claim as its own.'

This edition has been revised and updated to include discussion of films and TV dramas that have been newly discovered, restored or released since publication of the previous edition in 2007, as well as addressing newly-emergent screenwriters, directors and genres.

Drawing on insider accounts and archival sources, David Pirie investigates the notion of horror versus realism in popular fiction, and analyses the horror boom that developed around films including The Others and 28 Days Later. He chronicles British horror cinema from its origins in Gothic literature traces the rise of Hammer Films, its key directors and films as well as its battles with the censors, explores major horror sub genres including comedy horror and sci-fi, and brings the story up to the present day, where horror is flourishing in new ways, with films such as Shaun of the Dead, Under the Skin and Censor; the rise of genres such as folk horror and films that tackle questions of race and gender, and the emergence of a new generation of writers and directors including Prano Bailey-Bond, Ben Wheatley and Edgar Wright.

For readers of Sam Wasson and Glenn Frankel, a cultural history about the making and lasting significance of Sunset Boulevard, whose piercing - and in many ways, prophetic - critiques of fame continue to resonate today.

Great films are born of great collaborations, and Sunset Boulevard represents one of the most extraordinary confluences of cinematic talent in film history - but its production was surprisingly fraught, filled with unexpected twists.

Why was William Holden, who had never caught fire as a leading man, hired to play Joe Gillis after the fastest-rising star in the business dropped out at the last minute? After Mae West and Mary Pickford turned down the now iconic role of Norma Desmond, how did Billy Wilder convince Gloria Swanson, who had long been absent from Hollywood at this point, to leave her low-paying job as a TV talk show host to join the cast? From the writers' room during Billy Wilder and Charles Brackett's final collaboration to the moment when the film won three Academy Awards, scholar and former Rolling Stone staffer David M. Lubin takes readers on a fascinating journey through film history that proves, once and for all, why Sunset Boulevard is one of the most iconic films in cinematic history.

Just in time for the film's 75th anniversary, Ready for My Closeup breathes life into a beloved masterpiece of American cinema.

Contents

Prologue: The Early Hours

1: The Man in the Pool

2: Glorious Gloria

3: Writers in Wonderland

4: “The Happiest Couple in Hollywood”

5: Adultery, Addiction, and Mass Murder

6: “The Foolishness of This Foolish Town”

7: Finding Norma

8: The Man You Love to Hate

9: “Hello, Young Fellow”

10: “Do You Know Bill Holden?”

11: Locations: Real and Imagined

12: A New Monkey for Norma

13: Out with the Old, In with the New

14: Getting Ready for Her Close-Up

15: Reactions to Sunset

16: What Became of…?

Epilogue: The Legacy Of Sunset Boulevard