Bøger i AFI Film Readers serien

Ecocinema Theory and Practice is the first collection of its kind¿an anthology that offers a comprehensive introduction to the rapidly growing field of eco-film criticism, a branch of critical scholarship that investigates cinemäs intersections with environmental understandings. It references seminal readings through cutting edge research and is designed as an introduction to the field as well as a sourcebook. It defines ecocinema studies, sketches its development over the past twenty years, provides theoretical frameworks for moving forward, and presents eloquent examples of the practice of eco-film criticism through essays written by the field¿s leading and emerging scholars. From explicitly environmental films such as Werner Herzong's Grizzly Man and Roland Emmerich's The Day After Tomorrow to less obvious examples like Errol Morris's Fast, Cheap & Out of Control and Christopher Nolan's Inception, the pieces in this collection comprehensively interrogate the breadth of ecocinema. Ecocinema Theory and Practice also directs readers to further study through lists of recommended readings, professional organizations, and relevant periodicals.

Explores the many ways that prime-time television played a central role in the social conflicts of the 1960's in America.

This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with colorΓÇösuch as Hitchcock, Jarman and SirkΓÇöas well as others whose use of color has not yet been explored in such detailΓÇöincluding Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large.

This new AFI Film Reader is the first comprehensive collection of original essays on the use of color in film. Contributors from diverse film studies backgrounds consider the importance of color throughout the history of the medium, assessing not only the theoretical implications of color on the screen, but also the ways in which developments in cinematographic technologies transformed the aesthetics of color and the nature of film archiving and restoration. Color and the Moving Image includes new writing on key directors whose work is already associated with colorΓÇösuch as Hitchcock, Jarman and SirkΓÇöas well as others whose use of color has not yet been explored in such detailΓÇöincluding Eric Rohmer and the Coen Brothers. This volume is an excellent resource for a variety of film studies courses and the global film archiving community at large.

This new addition to the AFI Film Readers series brings together original scholarship on animation in contemporary moving image culture, from classic experimental and independent shorts to digital animation and installation. The collection - that is also a philosophy of animation - foregrounds new critical perspectives on animation, connects them to historical and contemporary philosophical and theoretical contexts and production practice, and expands the existing canon. Throughout, contributors offer an interdisciplinary roadmap of new directions in film and animation studies, discussing animation in relationship to aesthetics, ideology, philosophy, historiography, visualization, genealogies, spectatorship, representation, technologies, and material culture.

The biographical film or biopic is a staple of film production in all major film industries and yet, within film studies, its generic, aesthetic, and cultural significance has remained underexplored. The Biopic in Contemporary Film Culture fills this gap, conceptualizing the biopic with a particular eye toward the "life" of the genre internationally. New theoretical approaches combine with specially commissioned chapters on contemporary biographical film production in India, Italy, South Korea, France, Russia, Great Britain, and the US, in order to present a selective but well-rounded portrait of the biopic¿s place in film culture. From Marie Antoinette to The Social Network, the pieces in this volume critically examine the place of the biopic within ongoing debates about how cinema can and should represent history and "real lives." Contributors discuss the biopic¿s grounding in the conventions of the historical film, and explore the genre¿s defining traits as well as its potential for innovation. The Biopic in Contemporary Film Culture expands the critical boundaries of this evolving, versatile genre.

This new addition to the AFI Film Readers series brings together original scholarship on animation in contemporary moving image culture, from classic experimental and independent shorts to digital animation and installation. The collection - that is also a philosophy of animation - foregrounds new critical perspectives on animation, connects them to historical and contemporary philosophical and theoretical contexts and production practice, and expands the existing canon. Throughout, contributors offer an interdisciplinary roadmap of new directions in film and animation studies, discussing animation in relationship to aesthetics, ideology, philosophy, historiography, visualization, genealogies, spectatorship, representation, technologies, and material culture.

This collection of essays offers a pioneering analysis of the political and conceptual complexities of teaching transnational cinema in university classrooms around the world. In their exploration of a wide range of films from different national and regional contexts, contributors reflect on the practical and pedagogical challenges of teaching about immigrant identities, transnational encounters, foreignness, cosmopolitanism and citizenship, terrorism, border politics, legality and race. Probing the value of cinema in interdisciplinary academic study and the changing strategies and philosophies of teaching in the university, this volume positions itself at the cutting edge of transnational film studies.

Revisits Rudolf Arnheim's legacy for film and media studies. This title brings Arnheim's later work on the visual arts to bear on film and media, while also reassessing the implications of his film theory to help refine our grasp of his landmark work Film as Art, among his other texts.

The rapid growth of new media technologies is radically changing film production and consumption. New Media responds to these revolutionary developments, addressing topics such as computer games, media convergence, and internet audiences.

With the recent release of spectacular blockbuster films from Gladiator to The Lord of the Rings trilogy, the epic has once again become a major form in contemporary cinema. The orginal essays in this volume explore the tension between the evolving global context of film production and reception and the particular provenance of the epic as an expression of national mythology and aspirations, challenging our understanding of epics produced in the present as well as our perception of epic films from the past. Contributors explore new critical approaches to contemporary as well as older epic films, drawing on ideas from cultural studies, historiography, classics, and film studies.

A transnational array of distinguished critics, including David Morley and Ella Shohat, discuss the ways in which film, television, music, computer and electronic media are shaping identities and cultures in a globalized world.

Explores the many ways that prime time television played a central role in the social conflicts of the 1960's in America.

Examines documentary films. This title features the essays that analyze questions regarding the usefulness and legitimacy of documentary testimony: What is the value of the historical archive the televised public hearings or activist online videos constitute? And is it made part of the official record, or dismissed as renegade or ephemeral?

From Chaplin's tramp to the Bathing Beauties, from madcap chases to skyscraper perils, slapstick comedy supplied many of the most enduring icons of American cinema in the silent era. This title offers a collection of fourteen essays that presents conceptual frameworks for thinking about silent comedy's place in film history and American culture.

From Chaplin's tramp to the Bathing Beauties slapstick comedy supplied many of the most enduring icons of American cinema in the silent era. This collection of fourteen essays by film scholars challenges longstanding critical dogma and offers new conceptual frameworks for thinking about silent comedy's place in film history and American culture.

Revisits Rudolf Arnheim's legacy for film and media studies. This title brings Arnheim's later work on the visual arts to bear on film and media, while also reassessing the implications of his film theory to help refine our grasp of his landmark work Film as Art, among his other texts.

Black American Cinema demonstrates the wealth of Black contribution to American film and the complex course that contribution has taken.

What is the value of the historical archive the televised public hearings or activist online videos constitute? How do the documentary testimonies compensate for or account for the frailty of memory? The title features essays that analyze questions regarding the usefulness and legitimacy of documentary testimony.

Film theory no longer gets top billing or plays a starring role in film studies, as critics proclaim that theory is dead and we are living in a post-theory moment. This volume explores popular movies through the lens of film theory, beginning with industrial-economic analysis before moving into a predominately aesthetic and interpretive framework.

Explores popular movies through the lens of film theory, beginning with industrial-economic analysis before moving into a predominately aesthetic and interpretive framework.

The standard analytical category of "national cinema" has been called into question by the category of the "transnational." This work examines the premises and consequences of the coexistence of these two categories and the parameters of historiographical approaches that cross the borders of nation states.

The standard analytical category of "national cinema" has been called into question by the category of the "transnational." This work examines the premises and consequences of the coexistence of these two categories and the parameters of historiographical approaches that cross the borders of nation states.

Bringing together articles by scholars from the disciplines of Film Studies, Philosophy, Critical and Visual Studies, Romance Languages and Literatures, and Aesthetics, this title inquires into the 'Europeanness' of European film theory. It also explores the philosophical origins of European film theory.

The Western is the first book to consider seriously the historical meanings and functions of the Western film genre.

Applies the recent 'return to history' in film studies to the genre of classical Hollywood comedy as well as broadening the definition of those works considered central in this field.

Presents a reassessment of East European cinemas from theoretical, psychoanalytic and gender perspectives. Charting the changes and the continuities that have characterized the cinemas of Eastern Europe, this collection of essays questions and re-evaluates such notions as the 'European', 'post communism' and 'national cinema.

Gathered here are noted scholars and critics, as well as the film/video makers themselves who offer insight into the work of underexplored artists.

Landscape is everywhere in film, but it has been largely overlooked in theory and criticism. This book addresses questions, such as: What kind of landscape is cinematic landscape? How is cinematic landscape different from landscape painting? And, how is cinematic landscape related to the idea of a national cinema and questions of identity.

his volume of new writings revitalises the question of authorship by connecting it to wider issues of identity - in film, in the marketplace, in society and culture.