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| a century of cinema 1994: A Century of Cinema Jane Warren, Colin W. Nettelbeck, 1996 |
| a century of cinema 1994: The Second Century of Cinema Wheeler Winston Dixon, 2000-02-28 In a unique and perceptive look at the future of cinema, Wheeler Winston Dixon explores the possible effects of the digital age on the production and exhibition of films. Although Hollywood will seek to retain its dominance over the global presentation of entertainment, Dixon argues, a new vision of international access—a democracy of images—will finally inform the future structure of cinema in the twenty-first century. |
| a century of cinema 1994: The Bob Hope Films James L. Neibaur, 2005-01-10 Bob Hope got his start in show business when he was in his twenties, remained active past the age of 90, and lived to be 100. His longevity was remarkable, especially when one considers that he was active in vaudeville, radio, motion pictures and television. He excelled in each of these popular forms of entertainment, but his films are the most genuine testaments to his timeless comedy. His smart quips, fast pace, and breezy manner were perfect ingredients for the brand of comedy that was popular during World War II and the years immediately following the war. This book begins with a discussion of Bob Hope's early career and the short films that he starred in, and then covers each of the Hope films beginning with The Big Broadcast of 1938. The Hope films, the author says, do not have deep subtexts or clever cinematic innovations, but provide clever, uplifting entertainment that continues to inspire laughter and offer solid examples of the humor that made Americans smile during and after World War II. Cast and credit information is provided for each film. |
| a century of cinema 1994: A Century of Canadian Cinema Gerald Pratley, 2003 Indulge your love of Canadian films with 'A Century of Canadian Cinema'. Each entertaining review contains the film's director, writer, actors, plot, length and year of production. The guide contains films from the industry's earliest beginnings in Canada right up to the latest releases -- from 1920s silent films to David Cronenberg and Denys Arcand -- and it offers insight from a long-time industry observer into how and why these films have made an impact on the Canadian film industry and Canadian society. From plaid jacket and toque-wearing films shot in the Arctic to co-productions filmed in tropical climes, and from films shot in six weeks on a shoestring to ten-year ordeals that nearly meant the end of everyone involved our directors and actors have done it all. Using the guide's convenient cross-indexing, follow the first big breaks, the roller-coaster rides, and the latest endeavours of your favourite Canadian talent. Through his distinguished career, Gerald Pratley has made an extraordinary impact on Canadian cinema. In 1948, he became CBC's first film critic and commentator, broadcasting every week until 1976. industry ever since. Numerous honours have been awarded to Pratley in appreciation of his years of commitment. Among them are the Queen's Jubilee Medal, the Order of Canada, an Honourary Doctor of Letters, and a Special Genie Award for his exceptional support and encouragement of achievement and excellence in Canadian cinema. |
| a century of cinema 1994: Reel Canadians Angela Baldassarre, 2003 Angela Baldassarre interviews a number of major film people from Canada. The interviews are with Dan Aykroyd, Louis Bélanger, James Cameron, David Cronenberg, Jerry Cicoritti, Holly Dale, Atom Egoyan, Angela Featherstone, Annie Galipeau, Peter Gentile, François Girard, Mary Jane Gomes, Laura Harris, Bruce McDonald, Mike Meyers, Tony Nardi, Vincenzo Natali, Catharine O'Hara, Jeremy Podeswa, Sarah Polley, Keanu Reeves, Bruno Rubeo, Steve Sanguedolce, Stefan Scaini, Scott Thompson, Clement Virgo, Stephen Williams and Michael Zelniker. |
| a century of cinema 1994: A Century of Brazilian Documentary Film Darlene J. Sadlier, 2022-08-16 Since the late nineteenth century, Brazilians have turned to documentaries to explain their country to themselves and to the world. In a magisterial history covering one hundred years of cinema, Darlene J. Sadlier identifies Brazilians’ unique contributions to a diverse genre while exploring how that genre has, in turn, contributed to the making and remaking of Brazil. A Century of Brazilian Documentary Film is a comprehensive tour of feature and short films that have charted the social and political story of modern Brazil. The Amazon appears repeatedly and vividly. Sometimes—as in a prize-winning 1922 feature—the rainforest is a galvanizing site of national pride; at other times, the Amazon has been a focus for land-reform and Indigenous-rights activists. Other key documentary themes include Brazil’s swings from democracy to dictatorship, tensions between cosmopolitanism and rurality, and shifting attitudes toward race and gender. Sadlier also provides critical perspectives on aesthetics and media technology, exploring how documentaries inspired dramatic depictions of poverty and migration in the country’s Northeast and examining Brazilians’ participation in streaming platforms that have suddenly democratized filmmaking. |
| a century of cinema 1994: Letters to the Dead: Things I Wish I'd Said Ann Palmer, 2014-06-20 With loving respect and a desire to pay homage to many who have passed on and to help keep their personalities and talents alive in the public's mind, I wrote letters to the following celebrities and special people in my life: Orson Welles, Gary Cooper, Grace Kelly, Frank Sinatra, Dean Martin, Bill Bryant, Howard Hawks, Robert Mitchum, David Janssen, Audrey Hepburn, George Peppard, Steve McQueen, Natalie Wood, Milton Krasner, Walter Matthau, Ray Walston, Rock Hudson, Cornel Wilde, Gardner McKay, Fred Holliday, John Carroll, Rex Harrison, Jessica Tandy & Hume Cronin, Richard Burton, Desmond Llewelyn, Joseph L. Mankiewicz, Leon Shamroy, Stuart Lyons, Joan Jones, Arthur Shields, Harry Guardino, Nick Colasanto, Vince Edwards, Red Skelton, Bob Hope, Jayne Mansfield, Joan Crawford, Charles Bronson, Leon Mirell, Rick Jason, Richard E. Lyons, John Bernardino, Norma Connolly, Emily McLaughlin, David Lewis. And my family and friends: Richard Castle, Helen Coffey, Mary, Jack Kogel, my father, my mother, Dr. Richard E. Goodrich, and my daughter Debbie. This is my last tribute to many of those wonderful souls that passed through my life that I honor in this way. |
| a century of cinema 1994: Running the Race Brian Steel Wills, 2022-09-27 “From Moses and Michelangelo to Andrew Jackson and Thomas Jefferson . . . Wills provides a compelling treatment of Heston’s long and successful career.” —Gary W. Gallagher, author of The Confederate War Brian Steel Wills captures for the first time a comprehensive view of Charlton Heston’s climb to fame, his search for the perfect performance, and the meaningful roles he played in support of the causes he embraced in Running the Race: The “Public Face” of Charlton Heston. The actor was born and raised in the Michigan woodlands and suburbs of Chicago, where he found his love of acting in the books he read and the movies he saw. After the Second World War interrupted his journey when he served his country, the lights of New York City and Broadway beckoned. Live television offered an important platform, but Hollywood and feature films were his destiny. His roles were as varied as they were powerful, and included stints as Moses, Ben-Hur, El Cid, Michelangelo, Mike Vargas, and Charles “Chinese” Gordon under legendary directors like Cecil B. DeMille, William Wyler, Franklin Schaffner, and Orson Welles. He shifted to science fiction in Planet of the Apes and Soylent Green, a wide range of action and disaster films, and more nuanced roles such as Will Penny. Over his decades of performance Heston defined and redefined his “public face” in a constant quest for an audience for his work. He undertook wide-ranging public service roles for the government, the arts, and other causes. In Running the Race, award-winning historian Brian Steel Wills digs deep to paint a rich portrait of Heston’s extraordinary life—a mix of complications and complexities that touched film, television, theater, politics, and society. |
| a century of cinema 1994: The Life and Times of Mickey Rooney William J. Birnes, Richard A. Lertzman, 2015-10-20 A definitive biography of the iconic actor and Hollywood legend Mickey Rooney (1920-2014) and his extravagant, sometimes tawdry life, drawing on never-before-seen excerpts from Rooney's diary and exclusive interviews with Mickey, and with those who knew him best, including his heretofore unknown mistress of sixty years-- |
| a century of cinema 1994: Film and the City George Melnyk, 2014-05-01 Most Canadians are city dwellers, a fact often unacknowledged by twentieth-century Canadian films, with their preference for themes of wilderness survival or rural life. Modernist Canadian films tend to support what film scholar Jim Leach calls “the nationalist-realist project,” a documentary style that emphasizes the exoticism and mythos of the land. Over the past several decades, however, the hegemony of Anglo-centrism has been challenged by francophone and First Nations perspectives and the character of cities altered by a continued influx of immigrants and the development of cities as economic and technological centers. No longer primarily defined through the lens of rural nostalgia, Canadian urban identity is instead polyphonic, diverse, constructed through multiple discourses and mediums, an exchange rather than a strict orientation. Taking on the urban as setting and subject, filmmakers are ideally poised to create and reflect multiple versions of a single city. Examining fourteen Canadian films produced from 1989 to 2007, including Denys Arcand’s Jésus de Montréal (1989), Jean-Claude Lauzon’s Léolo (1992), Mina Shum’s Double Happiness (1994), Clément Virgo’s Rude (1995), and Guy Maddin’s My Winnipeg (2007), Film and the City is the first comprehensive study of Canadian film and “urbanity”—the totality of urban culture and life. Drawing on film and urban studies and building upon issues of identity formation in Canadian studies, Melnyk considers how filmmakers, films, and urban audiences experience, represent, and interpret urban spatiality, visuality, and orality. In this way, Film and the City argues that Canadian narrative film of the postmodern period has aided in articulating a new national identity. |
| a century of cinema 1994: Demi Moore - The Most Powerful Woman in Hollywood Nigel Goodall, 2012-08-30 From her Hollywood debut at the age of 19 to her latest venture, this biography traces the events and circumstances that have shaped Demi Moore's extraordinary character and propelled her from aspiring model to movie superstar. The book describes Demi's troubled childhood and her crusade to quit high school to find a career in modelling, as well as the trauma of her stepfather's suicide two years later. It reveals the truth behind her relationship with actor Emilio Estevez and why she broke off their engagement, her up-and-down relationship with husband Bruce Willis and her alleged affair with Leornardo DiCaprio. It also: relates how Demi's drug and alcohol addiction almost led to her departure from the set of St Elmo's Fire; looks at the history behind her nude appearances both on and off screen; and details behind-the-scenes information from the sets of her movies past and present, including her roles in Indecent Proposal, Striptease and Woody Allen's Deconstructing Harry. |
| a century of cinema 1994: E(n)stranged: Rethinking Defamiliarization in Literature and Visual Culture Nilgun Bayraktar, Alberto Godioli, 2024-10-24 Variously translated as “estrangement,” “enstrangement” or “defamiliarization,” Viktor Shklovsky’s concept of ostranenie is more relevant than ever. This collection offers new insights into the theories and practices of ostranenie across various languages and cultures, with a particular focus on the 20th and 21st centuries. Our current era is marked by a dramatic redefinition of the normal and the strange, the familiar and the weird. The rise of far-right populism has increasingly normalized xenophobic and nativist stances previously confined to the fringes of the political spectrum. Additionally, the climate crisis has led to the ongoing renegotiation of the concepts of normalcy and emergency amid widespread efforts to adapt to the “new (ab)normal.” Exploring defamiliarization provides a unique perspective to comprehend and question these processes and their profound cultural implications. Focusing on ostranenie also offers valuable insights into how aesthetic forms serve a political function. Defamiliarization can take on various forms, including retro-futuristic dystopias, stylized films, and darkly humorous cartoons and memes. It can be an effective tool for political activation that relies on formal innovation rather than superficial emotional engagement. This collection brings together the work of a group of scholars examining defamiliarization across different media. It explores questions such as: How can we differentiate between various forms of defamiliarization and analyze their effects on the reader/viewer? How is defamiliarization connected to the weird, the eerie, or the uncanny? As a result, the collection offers an updated theoretical framework for understanding the wide range of emergent artistic and literary practices of e(n)strangement in the current era and their significant political affordances. Chapter 6 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com |
| a century of cinema 1994: A Century of Australian Cinema James Sabine, 1995 Donated by Bridget Allen, 1993-1995.; Beginnings of cinema - Film exhibition to the 1920's - Australian silent cinema - Cinemas and their architecture from the 1900s to the 1940's - Non-mainstream film venues - Government in Australian film - Australian cinema, 1970-1995. |
| a century of cinema 1994: Hardcore Horror Cinema in the 21st Century James Aston, 2018-09-04 The first of its kind, this study examines the exemplars of hardcore horror--Fred Vogel's August Underground trilogy, Shane Ryan's Amateur Porn Star Killer series and Lucifer Valentine's vomit gore films. The author begins with a definition and critical overview of this marginalized subgenre before exploring its key aesthetic convention, the pursuit of realist horror. Production practices, exhibition and marketing strategies are discussed in an in-depth interview with filmmaker Shane Ryan. Audience reception is covered with a focus on fan interaction via the Internet. |
| a century of cinema 1994: The Cinema of Australia and New Zealand Geoff Mayer, Keith Beattie, 2007 From The Story of the Kelly Gang in 1906 to the Lord of the Rings trilogy, Australia and New Zealand have made a unique impact on international cinema. This book celebrates the commercially successful narrative feature films produced by these cultures as well as key documentaries, shorts, and independent films. It also invokes issues involving national identity, race, history, and the ability of two small film cultures to survive the economic and cultural threat of Hollywood. Chapters on well known films and directors, such as The Year of Living Dangerously (Peter Weir, 1982), The Piano (Jane Campion, 1993), Fellowship of the Ring (Peter Jackson, 2001), and Rabbit Proof Fence (Philip Noyce, 2002), are included with less popular but equally important films and filmmakers, such as Jedda (Charles Chauvel, 1955), They're a Weird Mob (Michael Powell, 1966), Vigil (Vincent Ward, 1984), and The Goddess of 1967 (Clara Law, 2000). |
| a century of cinema 1994: Twentieth Century-Fox Aubrey Solomon, 1988-01-01 Unlike any previous volume on a film studio, this in-depth history is told from a corporate viewpoint, covering the trends that influenced film-making, profit-making incentives, and the creative policies resulting in films like The Grapes of Wrath, The Snake Pit, The Robe, Cleopatra, The Towering Inferno, and Star Wars. The book spans the birth of the movies; the rise of the studio system; the coming of sound; the Consent Decrees; the development of CinemaScope; the growth of independent production; and the video revolution. |
| a century of cinema 1994: Cinema of Simulation: Hyperreal Hollywood in the Long 1990s Randy Laist, 2015-03-26 Hyperreality is an Alice-in-Wonderland dimension where copies have no originals, simulation is more real than reality, and living dreams undermine the barriers between imagination and objective experience. The most prominent philosopher of the hyperreal, Jean Baudrillard, formulated his concept of hyperreality throughout the 1980s, but it was not until the 1990s that the end of the Cold War, along with the proliferation of new reality-bending technologies, made hyperreality seem to come true. In the “lost decade” between the fall of the Berlin Wall and 9/11, the nature of reality itself became a source of uncertainty, a psychic condition that has been recognizably recorded by that seismograph of American consciousness, Hollywood cinema. The auteur cinema of the 1970s aimed for gritty realism, and the most prominent feature of Reagan-era cinema was its fantastic unrealism. Clinton-era cinema, however, is characterized by a prevailing mood of hyperrealism, communicated in various ways by such benchmark films as JFK, Pulp Fiction, and The Matrix. The hyperreal cinema of the 1990s conceives of the movie screen as neither a window on a preexisting social reality (realism), nor as a wormhole into a fantastic dream-dimension (escapism), but as an arena in which images and reality exchange masks, blend into one another, and challenge the philosophical premises which differentiate them from one another. Cinema of Simulation: Hyperreal Hollywood in the Long 1990s provides a guided tour through the anxieties and fantasies, reciprocally social and cinematic, which characterize the surreal territory of the hyperreal. |
| a century of cinema 1994: The United States and Germany During the Twentieth Century Christof Mauch, Kiran Klaus Patel, 2010-08-30 The United States and Germany during the Twentieth Century presents a wide ranging comparison of American and German societies during the late 19th and 20th centuries. The two countries - the world's leading rising powers of the time - were both more similar and more different than is widely understood. Above all, their dual encounter with modernity brings out the richness of both societies as they faced unprecedented internal and external challenges, sometimes in isolation, but more often in combination or in parallel with one another. |
| a century of cinema 1994: A Companion to Nordic Cinema Mette Hjort, Ursula Lindqvist, 2016-03-31 A Companion to Nordic Cinema presents a collection of original essays that explore one of the world’s oldest regional cinemas from its origins to the present day. Offers a comprehensive, transnational and regional account of Nordic cinema from its origins to the present day Features original contributions from more than two dozen international film scholars based in the Nordic countries, the United States, Canada, Scotland, and Hong Kong Covers a wide range of topics on the distinctive evolution of Nordic cinema including the silent Golden Age, Nordic film policy models and their influence, audiences and cinephilia, Nordic film training, and indigenous Sámi cinema. Considers Nordic cinema’s engagement with global audiences through coverage of such topics as Dogme 95, the avant-garde filmmaking movement begun by Danish directors Lars von Trier and Thomas Vinterberg, and the global marketing and distribution of Nordic horror and Nordic noir Offers fresh investigations of the work of global auteurs such as Carl Th. Dreyer, Ingmar Bergman, Lars von Trier, Aki Kaurismäki, and Roy Andersson. Includes essays on Danish and Swedish television dramas, Finland’s eco-documentary film production, the emerging tradition of Icelandic cinema, the changing dynamics of Scandinavian porn, and many more |
| a century of cinema 1994: Chinese Film in the Twenty-First Century Corey Schultz, Cecília Mello, 2023-10-13 This book examines Chinese film in the twenty-first century. Organized around the themes movements, genres, and intermedia, it reflects on how Chinese cinema has changed, adapted, and evolved over past decades and prognosticates as to its future trajectories. It considers how established film genres in China have adapted and transformed themselves, and discusses current shifts in documentary filmmaking, the ethos and practices of grassroots intellectual independent filmmakers, and the adaption of foreign film genres to serve the ideological and political needs of the present. It also explores how film is drawing on the socio-historical and political contexts of the past to create new cinematic discourses and the ways film is providing a voice to previously marginalised ethnic groups. In addition, the book analyses the influences of past aesthetic traditions on the creative and artistic expressions of twenty-first-century films and cinema’s relation to other media forms, including folktales, moving image installations, architecture, and painting. Throughout, the book assesses how Chinese films have been conceptualized, examined, and communicated domestically and abroad and emphasizes the importance of new directions in Chinese film, thus highlighting the plurality, vitality, and hybridity of Chinese cinema in the twenty-first century. Chapter 10 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license. |
| a century of cinema 1994: Writing War in the Twentieth Century Margot Norris, 2000 The twentieth century will be remembered for great innovation in two particular areas: art and culture, and technological advancement. Much of its prodigious technical inventiveness, however, was pressed into service in the conduct of warfare. Why, asks Margot Norris, did violence and suffering on such an immense scale fail to arouse artistic and cultural expressions powerful enough to prevent the recurrence of these horrors? Why was art not more successful--through its use of dramatic, emotionally charged material, its ability to stir imagination and arouse empathy and outrage--in producing an alternative to the military logic that legitimates war? Military argument in the twentieth century has been fortified by the authority of the rationalism that we attribute to science, Norris argues. Warfare is therefore legitimized by powerful discourses that art's own arsenal of styles and genres has limited power to counter. Art's difficulty in representing the violent death of entire generations or populations has been particularly acute. Choosing works that have become representative of their historically violent moment, Norris explores not only their aesthetic strategies and perspectives but also the nature of the power they wield and the ethical engagements they enable or impede. She begins by mapping the altered ethical terrain of modern technological warfare, with its increasing targeting of civilian populations for destruction. She then proceeds historically with chapters on the trench poetry and modernist poetry of World War I, Hemingway's A Farewell to Arms and Erich Maria Remarque's All Quiet on the Western Front, both the book and the film of Schindler's List, the conflicting historical stories of the Manhattan Project, a comparison of American and Japanese accounts of Hiroshima, Francis Ford Coppola's film Apocalypse Now, and the effects of press censorship in the Persian Gulf War. By looking at the whole span of the century's writing on war, Norris provides a fascinating critique of art's ethical power and limitations, along with its participation in--as well as protest against--the suffering that human beings have brought upon themselves. |
| a century of cinema 1994: Holocaust Cinema in the Twenty-First Century Gerd Bayer, Oleksandr Kobrynskyy, 2015-12-01 In the first fifteen years of the twenty-first century, a large number of films were produced in Europe, Israel, the United States, and elsewhere addressing the historical reality and the legacy of the Holocaust. Contemporary Holocaust cinema exists at the intersection of national cultural traditions, aesthetic conventions, and the inner logic of popular forms of entertainment. It also reacts to developments in both fiction and documentary films following the innovations of a postmodern aesthetic. With the number of witnesses to the atrocities of Nazi Germany dwindling, medialized representations of the Holocaust take on greater cultural significance. At the same time, visual responses to the task of keeping memories alive have to readjust their value systems and reconsider their artistic choices. Both established directors and a new generation of filmmakers have tackled the ethically difficult task of finding a visual language to represent the past that is also relatable to viewers. Both geographical and spatial principles of Holocaust memory are frequently addressed in original ways. Another development concentrates on perpetrator figures, adding questions related to guilt and memory. Covering such diverse topics, this volume brings together scholars from cultural studies, literary studies, and film studies. Their analyses of twenty-first-century Holocaust films venture across national and linguistic boundaries and make visible various formal and intertextual relationships within the substantial body of Holocaust cinema. |
| a century of cinema 1994: Film and Attraction André Gaudreault, 2011 An important reexamination of early film history, translated from the French for the first time. |
| a century of cinema 1994: The French Cinema Book Michael Temple, Michael Witt, 2018-01-18 This thoroughly revised and expanded edition of a key textbook offers an innovative and accessible account of the richness and diversity of French film history and culture from the 1890s to the present day. The contributors, who include leading historians and film scholars, provide an indispensable introduction to key topics and debates in French film history. Each chronological section addresses seven key themes – people, business, technology, forms, representations, spectators and debates, providing an essential overview of the cinema industry, the people who worked in it, including technicians and actors as well as directors, and the culture of cinema going in France from the beginnings of cinema to the contemporary period. |
| a century of cinema 1994: Eye of the Century Francesco Casetti, 2008 Acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of 20th century modernity. He suggests that film defined a unique gaze not only because it recorded many of the centuries most important events, but also because it determined the manner in which they were received. |
| a century of cinema 1994: Rapper, Writer, Pop-Cultural Player Josephine Metcalf, Will Turner, 2016-04-08 This collection of essays critically engages with factors relating to black urban life and cultural representation in the post-civil rights era, using Ice-T and his myriad roles as musician, actor, writer, celebrity, and industrialist as a vehicle through which to interpret and understand the African American experience. Over the past three decades, African Americans have faced a number of new challenges brought about by changes in the political, economic and social structure of America. Furthermore, this vastly changed social landscape has produced a number of resonant pop-cultural trends that have proved to be both innovative and admired on the one hand, and contentious and divisive on the other. Ice-T’s iconic and multifarious career maps these shifts. This is the first book that, taken as a whole, looks at a black cultural icon's manipulation of (or manipulation by?) so many different forms simultaneously. The result is a fascinating series of tensions arising from Ice-T’s ability to inhabit conflicting pop-cultural roles including: ’hardcore’ gangsta rapper and dedicated philanthropist; author of controversial song Cop Killer and network television cop; self-proclaimed ’pimp’ and reality television house husband. As the essays in this collection detail, Ice-T’s chameleonic public image consistently tests the accepted parameters of black cultural production, and in doing so illuminates the contradictions of a society erroneously dubbed ’post-racial’. |
| a century of cinema 1994: Twentieth Century-Fox Peter Lev, 2013-03-15 When the Fox Film Corporation merged with Twentieth Century Pictures in 1935, the company posed little threat to industry juggernauts such as Paramount and MGM. In the years that followed however, guided by executives Darryl F. Zanuck and Spyros Skouras, it soon emerged as one of the most important studios. Though working from separate offices in New York and Los Angeles and often of two different minds, the two men navigated Twentieth Century-Fox through the trials of the World War II boom, the birth of television, the Hollywood Blacklist, and more to an era of exceptional success, which included what was then the highest grossing movie of all time, The Sound of Music. Twentieth Century-Fox is a comprehensive examination of the studio’s transformation during the Zanuck-Skouras era. Instead of limiting his scope to the Hollywood production studio, Lev also delves into the corporate strategies, distribution models, government relations, and technological innovations that were the responsibilities of the New York headquarters. Moving chronologically, he examines the corporate history before analyzing individual films produced by Twentieth Century-Fox during that period. Drawn largely from original archival research, Twentieth Century-Fox offers not only enlightening analyses and new insights into the films and the history of the company, but also affords the reader a unique perspective from which to view the evolution of the entire film industry. |
| a century of cinema 1994: Hitchcock and Twentieth-century Cinema John Orr, 2005 John Orr looks at the work, influences, legacy and style of perhaps cinema's most famous director, Alfred Hitchcock. |
| a century of cinema 1994: Media and Society into the 21st Century Lyn Gorman, David McLean, 2009-02-17 Media and Society into the 21st Century captures the breathtaking revolutionary sweep of mass media from the late 19th century to the present day. Updated and expanded new edition including coverage of recent media developments and the continued impact of technological change Newly reworked chapters on media, war, international relations, and new media A new Web 2.0 section explores the role of blogging, social networking, user-generated content, and search media in media landscape |
| a century of cinema 1994: The Queer Encyclopedia of Film & Television Claude J. Summers, 2005 How did Liberace's costumes kill him? Which lesbian comedian spent her high school years as 'the best white cheerleader in Detroit'? For these answers and many more, fans can dip into this book. Drawn from the fascinating online encyclopaedia of queer arts and culture - www.glbtq.com - this is the only reference book in which RuPaul and Jean Cocteau jostle for space. From the porn industry to the Sisters of Perpetual Indulgence, from body building to Dorothy Arzner, this is an indispensable guide: readable, authoritative and concise. |
| a century of cinema 1994: Deities and Devotees Uma Maheswari Bhrugubanda, 2018-09-18 How have cinema and popular religion shaped each other? Is the display of devotion in a cinema hall the same as devotion in a temple? How do we understand cinema’s compelling power to mesmerize people? Unlike Hindi cinema, mythological and devotional films remained popular genres in Telugu (and Tamil too) until quite recently. The political success of film star N.T. Rama Rao, well-known for his portrayal of gods and kings, posed afresh the problem of cinema’s power to enthral. To what extent viewers were persuaded of his divinity became a matter of debate. In later decades, the figure of another kind of viewer haunted the discourses around cinema, that of the female viewer who got possessed during screenings of goddess films. Using questions around viewership as the focal point, this book studies the intersections between popular cinema, religion, and politics in South India. The first full-length study of Telugu mythological and devotional films, it combines an account of the history and politics of these genres with an anthropology of film-making and viewership practices. It argues that cinema and other audio-visual technologies lead to the re-orientation of sensibilities and the cultivation of new sensory modes. |
| a century of cinema 1994: Spanishness in the Spanish Novel and Cinema of the 20th – 21st Century Cristina Sánchez-Conejero, 2009-10-02 Spanishness in the Spanish Novel and Cinema of the 20th-21st Century is an exploration of the general concept of “Spanishness” as all things related to Spain, specifically as the multiple meanings of “Spanishness” and the different ways of being Spanish are depicted in 20th-21st century literary and cinematic fiction of Spain. This book also represents a call for a re-evaluation of what being Spanish means not just in post-Franco Spain but also in the Spain of the new millennium. The reader will find treatments of some of the crucial themes in Spanish culture such as immigration, nationalisms, and affiliation with the European Union as well as many others of contemporary relevance such as time, memory, and women studies that defy exclusivist and clear-cut single notions of Spanishness. These explorations will help contextualize what it means to be Spanish in present day Spain and in the light of globalization while also dissipating stereotypical notions of Spain and Spanishness. |
| a century of cinema 1994: Black Lenses, Black Voices Mark A. Reid, 2005-03-25 Black Lenses, Black Voices is a provocative look at films directed and written—and sometimes produced—by African Americans, as well as black-oriented films whose directors and or screenwriters are not black. Taking us through the development of African American independent filmmaking before and after World War II, Mark A. Reid then illustrates the unique nature of African American family, action, horror, female-centered, and independent films, such as Eve's Bayou, Jungle Fever, Shaft, Souls of Sin, Bones, Waiting to Exhale, Monster's Ball, Sankofa, and many more. |
| a century of cinema 1994: Silent Film Richard Abel, 1996 Essays on the era of silent film |
| a century of cinema 1994: Eyewitness Companions: Film Anita Ganeri, Ronald Bergan, 2006-10-16 Not just another film guide–this is a visual road map to the best cinema has to offer. A comprehensive, fun to browse, and easy-to-use source for everything you need to know about movies and the people behind them. From Hollywood to Bollywood, the unique approach will explore every aspect of film and provide pointers on how to watch and understand films of different types, styles, and periods.Covers the history of film, from celluloid to the virtual world of digital FXProfiles the most important historical and contemporary directors, actors, producers, studios, and moreHighlights the top 100 “cornerstone movies” and contains an extensive trivia sectionDetails the principles behind film making styles, from sci-fi to romantic comedy |
| a century of cinema 1994: Cities and Cinema Barbara Mennel, 2019-05-13 The second edition of Cities and Cinema provides an updated survey of films about cities, from their significance for modernity at the beginning of the twentieth century to the contemporary relationship between virtual reality and urban space. The book demonstrates the importance of the filmic depiction of capitals for national cinemas in the twentieth century and analyzes the transnational transfer of cinematic images surrounding global cities in the twenty-first century. Cities and Cinema covers the different facets of the cinematic depiction of cities. It rehearses distinct methodologies and offers a survey of the history of the cinematic city. The book also deepens our understanding of tropes and narrative conventions that shape films about urban settings and that reflect the transformation of cities throughout the twentieth and twenty-first centuries. Beginning with a discussion of the Weimar “street film,” it analyzes how the city film defined modernity. The book outlines the sociological context and the aesthetic features of so-called film noir, made in 1940s Hollywood and depicting Los Angeles. Paris became the site for the development of auteur cinema, which repeatedly depicts characters moving through the city. Tokyo took up noir to signal modern crime. The volume delineates how filmic genres, such as science fiction, comment on the present by imagining future forms of urban living. After analyzing how cinema captures the relationship between sexual identity and urban anonymity, migration and urban space, and marginalized ethnic and sexual identity in ghetto films, the book emphasizes transnational dynamics and global cities in the twenty-first century. Its conclusion points to the increasing virtual mediation of cities with new media. Cities and Cinema offers a historical overview of the development of films about cities and a theoretical approach to the intersection of urban studies and film studies. This title is designed as a textbook primarily for second-year undergraduate students in Film/Media studies, Urban studies, as well as Geography and Planning. |
| a century of cinema 1994: A Century in Uniform Stacy Fowler, Deborah A. Deacon, 2020-01-17 From silents of the early American motion picture era through 21st century films, this book offers a decade-by-decade examination of portrayals of women in the military. The full range of genres is explored, along with films created by today's military women about their experiences. Laws regarding women in the service are analyzed, along with discussion of the challenges they have faced in the push for full participation and of the changing societal attitudes through the years. |
| a century of cinema 1994: Women Artists in the 20th and 21st Century Ilka Becker, 2001 Taschen's inventive layout is effective in presenting the provocative works, words, and biographies of the nearly 100 women artists gathered here. Grosenick, a freelance art historian in Germany, has selected women artists working in Germany, the US, South Africa, Japan, Poland, France, Scandinavia, and Spain, among other countries. The entry for each artist is six pages, with much of the space devoted to good- quality color photos of her work. c. Book News Inc. |
| a century of cinema 1994: Encyclopedia of Nineteenth-Century Photography John Hannavy, 2013-12-16 The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide. |
| a century of cinema 1994: Film – An International Bibliography Malte Hagener, Michael Töteberg, 2016-12-16 Kommentierte Bibliografie. Sie gibt Wissenschaftlern, Studierenden und Journalisten zuverlässig Auskunft über rund 6000 internationale Veröffentlichungen zum Thema Film und Medien. Die vorgestellten Rubriken reichen von Nachschlagewerk über Filmgeschichte bis hin zu Fernsehen, Video, Multimedia. |
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