Film og biografer

180-page special. inside this issue.Beyond Martial Arts:An In-Depth Academic Analysis of 'Enter the Dragon'and Its Impact on Hollywood FilmmakingRobert Clouse:The Genius Behind the "Enter the Dragon"Enter the Dragon the PlayersThe King of VillainsManShih KienThomas GrossRare, Enter the DragonMemorabiliaThe Bruce Lee Center in Philadelphiaby Chris PoggialiMike NesbittBruce Lee ColumnHan Vs Brucethe outside battlePhoto GallerySPECIAL BONUS SECTION - 50 PAGES OF "ENTER THE DRAGON" MEMORABILIA SHOWCASED BY ONE OF THE WORLDS BIGGEST COLLECTORS JOHN NEGRON.

Digital Filmmaking: The Ultimate Guide to Web Video Production for Beginners and Non-Professionals, Learn Useful Tips and Advice on How You Can Create, Film and Edit Your Videos Have you found yourself watching some videos online and then stopping halfway because they were poorly made? You have probably encountered hundreds of videos online and you can easily determine which videos have great quality because they are the ones that grab your attention and make you watch until the end. Being able to create beautiful videos has many benefits, either for personal or professional use. An example is video marketing which is very in demand nowadays. Marketing videos that look high quality are able to draw viewers in and make them believe in the product simply because the videos looked that good.This book will teach you all about the process of creating great videos that you can use either for personal or business needs. It would teach you the tricks and secrets of the trade so you can produce great quality videos for the web without spending a lot of money. This book will discuss the following:What You Can Use Video Production ForHardware and Software You Will NeedPlanning and Pre-ProductionFilming and ProductionEditingAnyone can create great videos as long as they know the basics and a few tricks of the trade. Don't be discouraged if at first, you would not be able to produce the quality you were hoping for. As with everything else, practice makes perfect and you just have to continue practicing and stick it out and in no time at all, you will be able to create great videos. If you're interested in creating professional looking videos that you can upload on the internet, scroll up and click "add to cart" now.

The revolutionary world leader’s extraordinary life, published for the centenary of Lenin’s death

In this issue; Boris Karloff, Monster on the Campus, Hunchback of Notre Dame, Putrid Party-A-Go-Go, and all the exciting terror-vision thrills and chills the terrible tube can turn out! Don't miss a axeciting single page! It'll slice right through your bulging eyesockets, and be back with more of the gore in store! 70 BIG PAGES!

Drawing on cultural policy, queer and feminist theory, materialist media studies, and postcolonial historiography, Bliss Cua Lim analyzes the crisis-ridden history of Philippine film archiving—a history of lost films, limited access, and collapsed archives.

As the spread of knowledge and even theory becomes an increasingly audiovisual affair, how can philosophy adapt in ways that develop - rather than dilute - philosophical rigour and specificity? How can philosophy harness the potential of audiovisual media - being more formally multidimensional than text-only - to conceptualise with greater precision and depth? Nilsson presents a theory of formal development of philosophy in this regard: a theory of cinecepts. While spanning film, media, art and critical theories, as well as philosophy, this study proceeds mainly through a close reimagination of Gilles Deleuze's work, which allows for a merging of what he kept separated: filmic thinking and philosophical conceptualisation. Jean-Luc Godard and Anne-Marie Miéville's underexplored 1970s Sonimage works are also extensively examined, along with critical considerations of a contemporary era of academic video essays and phenomena like philosophy channels on YouTube. Jakob A. Nilsson is Assistant Professor of Film Studies at Örebro University.

While few can deny its incalculable influence on popular filmmaking during and after World War II, film noir has been and remains one of the most contentious categories of cinema, providing more debate than consensus about what constitutes a noir. Liminal Noir in Classical World Cinema explores the amorphous parameters of this dark cinematic phenomenon by utilising an expanded, nuanced definition of film noir which reaches beyond traditional conceptions of genre, style and cycle to examine its complex international origins and issues of liminality. Through illuminating case studies of single films from Argentina, the former Czechoslovakia, France, Great Britain, Poland, Spain and the US, this collection consider elements of genre hybridity, border crossing, boundary breaching and other signifiers of liminality to reassess classical-era films that defy conventional generic and stylistic categorisation. Elyce Rae Helford is Professor of English at Middle Tennessee State University Christopher Weedman is Assistant Professor of English at Middle Tennessee State University

In Hammer Goes to Hell, Foster utilises never seen before materials held in the Hammer Script Archive to present a new perspective on one of Britain's most famous production studios. While Hammer Films has been extensively researched, the significant amount of creative and economic labour that went into over 100 unmade projects at the company have yet to be recognised accordingly. Using primary materials such as screenplays and correspondence, Hammer Goes to Hell examines the production contexts of an eclectic range of Hammer's unmade films, ranging from Nessie to Kali Devil Bride of Dracula. Using Hammer as a case study, this book represents a significant academic intervention by being the first sustained industry study to primarily use unmade projects. Offering a fresh perspective on this legendary film studio, Foster argues for the importance and sustained study of unmade films. Kieran Foster is a Teaching Associate in Film and Media Studies at the University of Nottingham.

Contemporary Thai Horror Film focuses on the most significant and dominant characteristic of Thai cinema throughout its history: the Thai incarnation of the horror genre and its central role in Thailand's film industry. Tracing the development of Thai cinema throughout wider contextual changes, Ainslie explores the influence of audiences and viewing scenarios from previous decades upon this industry today. Most evident in the popular horror genre, close analysis of films demonstrates a specific style of Thai cinema as well as the wider social forces that have shaped Thai cinema as a national industry. By examining these films with a framework built from horror theory, this book questions our understanding of 'horror' as a generic category when we move outside of its traditional Euro-American origins and the voyeuristic viewing scenario often associated with the genre. Mary Jane Ainslie is Associate Professor in Film and Media at the University of Nottingham Ningbo China Campus.

Transgressive Art Films offers a holistic approach to the way we consider controversial and extreme cinema - not just as individual or grouped texts for analysis - but as artefacts that ought to be considered within a complex network of social factors. Kenny provides a rigorous framework for understanding some of the most controversial films from the late 1990s onwards. The term 'transgressive art film' refers to a handful of controversial films recuperated each year by the cinematic world as an expansion of film art. Rather than seeing controversial films as aberrations, this book suggests that transgressive art films should be understood as a socio-cultural phenomenon and a driver of cinema's need for newness, innovation, and renewal. By paying attention to all scales of cinema, from close analysis of individual frames and the discourse constructed around them, up to global distribution and film-festival networks, Transgressive Art Films details how certain kinds of cinematic transgression gain wide-ranging institutional support rather than being overlooked. Oliver Kenny is Lecturer in Film and Media at the Institute of Communication Studies (ISTC), Université Catholique de Lille.

Annemarie Jacir is a Palestinian filmmaker whose work is recognised globally as innovative, politically challenging, and genre-crossing. Most scholarship on the politics of film and its role in political conflicts is usually marked by historical overviews of geopolitical events and developments. In contrast, ReFocus: The Films of Annemarie Jacir offers an auteur-focused study of Jacir's transnational cinematic oeuvre, which is informed by the Palestinian experiences as well as the geopolitics and the political discourse around the Occupied Palestinian Territories. Shagufta Cheema and Van de Peer offer an in-depth study of Jacir's oeuvre by locating it in a geospatial and sociopolitical framework to critically analyse her development as an influential contemporary artist, filmmaker, and curator of film. Iqra Shagufta Cheema is an Assistant Professor in Humanities at Graceland University, Iowa. Stefanie Van de Peer is Reader in Film & Media at Queen Margaret University.

Exotic Cinema is the first systematic analysis of decentred exoticism in contemporary transnational and world cinema. By critically examining regimes of visuality such as the imperial, the ethnographic and the exotic gaze, which have colonised our minds and ways of looking, Daniela Berghahn makes an important contribution to the urgent agenda of decolonising film studies. Berghahn demonstrates that decentred exoticism's aesthetic versatility and alluring alterity are uniquely relevant for understanding the transnational appeal of world cinema. She addresses prevalent controversies surrounding exoticism and illustrates that, in contemporary world cinema, it is utilised to draw attention to new ethical and socio-political goals. Global in scope and transnational in perspective, Exotic Cinema invites students and researchers to reassess this prominent mode of cultural representation. Daniela Berghahn is Professor of Film Studies at Royal Holloway, University of London. Her books include Head On (2015), Far-Flung Families in Film: The Diasporic Family in Contemporary European Cinema (2013), European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe (2010) and Hollywood Behind the Wall: The Cinema of East Germany (2005).

Short animated documentaries dealing with the Holocaust began appearing in the late 1990s. Holocaust Representations in Animated Documentaries provides the first comprehensive analysis of movies produced in the USA, Canada, Australia, Europe and Israel. The selected Holocaust animated documentaries analysed in this book epitomise the aesthetic and thematic features of Holocaust animated documentaries in the Western World. Applying theories developed in the fields of animated documentary, Holocaust studies, trauma studies, film studies and memory studies, Steir-Livny analyses how animated Holocaust documentaries create a new layer of Holocaust commemoration. It clarifies the ways in which animated documentaries can broaden and deepen the range of representations by visualising subject matter that previously eluded live-action documentaries, but also points to the dangers inherent to filmmakers' deliberate choices to marginalise the horrors. This extensive analysis of animated Holocaust documentaries constitutes an in-depth outlook on this new layer of contemporary Holocaust memory. Liat Steir-Livny is an Associate Professor at Sapir Academic College and the Open University of Israel.

Hong Kong Crime Films details the post-war history of the Hong Kong crime film prior to the release of John Woo's A Better Tomorrow (1986), the film that turned it into perhaps the signature genre from Hong Kong. Focusing on what it calls the mode of 'criminal realism' in the crime film, this book shows how depictions of Hong Kong's social reality were for decades anxiously policed by colonial censors, and how crime films tended to confound and transgress critical definitions of realism. Drawing on extensive archival research, Hong Kong Crime Films covers several neglected topics in the study of Hong Kong cinema, such as the evolving generic landscape of the crime film prior to the 1980s, the influence of colonial film censorship on the genre, and the prominence and contestation of 'realism' in the local history of the crime film. Kristof Van den Troost is Assistant Professor at the Centre for China Studies at the Chinese University of Hong Kong (CUHK).

Explores over 30 feature films from the formative years of Egyptian cinema (1919-52) to contest the contradiction between Islam and innovation.

The Intensive-Image in Deleuze's Film-Philosophy takes an important category from Deleuze's philosophy--the notion of intensity--and explores its background in the context of philosophical ideas about cinematic intensity, the philosophy of difference, and thermodynamics. Escobar argues that the notion of intensity has the potential to change the way in which we think about Deleuze¿s classification of films as signifying two separate periods, the classical period of the movement-image and the modern period of the time-image, by bringing them together and overcoming the separation that Deleuze's film taxonomy creates. This book also discusses ways in which the intensive-image varies and differentiates itself from other images and the role it plays in contemporary cinema. Cristóbal Escobar is a Lecturer in Screen Studies at the University of Melbourne, Film Programmer at FIDOCS and Co-Founder of the Screening Ideas program.

The Late and Post-Dictatorship Cinephilia Boom and Art Houses in South Korea examines the growth of art film exhibition, consumption, and cinephilia during 1985-1997. This moment of heightened interest in art film altered how many Koreans conceptualised cinema and helped pave the way for the critical success of South Korean film. In this historical study, Jackson analyses the cultural, political, social, and economic developments of the post-1985 period that generated an increased interest in European art film. He considers the interactions of art house exhibitors with cinephile audiences, the media and the state-level administrators responsible for governing the industry. The aim of young cinephiles was nothing less than a bottom-up cultural transformation of a society emerging from three decades of dictatorship. Based on the previously unheard voices of audiences who participated in the cinephilia, Jackson's work is a history of Korean cinema and an investigation of the impact of this cultural renewal period on the industry. Andrew David Jackson is an Associate Professor, Convenor of Korean Studies and Director of the Monash University Korean Studies Research Hub at Monash University, Melbourne.

Women in East Asian Cinema brings together new and emerging work to highlight and explore the understudied contributions of women to the films and creative industries of East Asia. It foregrounds the importance of re-historicising women's creative labour in film, not just as actors on screen, but as voices who have steered the production, circulation and consumption of these films across global contexts. Over three sections, it provides perspectives on gender representation in East and South-East Asian cinema; new explorations of women's labour contributions as directors, screenwriters, and editors; and considerations of the contemporary circulation processes through which such work reaches global audiences. By re-centring women's film histories within the broader history of cinema and interrogating the geo-political boundaries of what might constitute 'East Asia' in the process, this volume makes a robust intervention into studies of East Asian cinema and women in film. Felicia Chan is Senior Lecturer in Screen Studies at the University of Manchester Fraser Elliott is Lecturer of Film, Exhibition and Curation at the University of Edinburgh Andy Willis is Professor of Film Studies at the University of Salford

Susan Seidelman's career is one of firsts, yet little is written about her. This collection begins filling that gap while opening the door for additional scholarship, making this a valuable text for years to come. As the first volume dedicated entirely to her work, ReFocus: The Films of Susan Seidelman includes never before published archival material and an interview with insights into her process and thoughts on #timesup and the future of the industry. Seidelman's first feature film, Smithereens, was the first American independent film to compete for the Palme d'Or at the Cannes Film Festival in 1982. Her talent for casting became an asset to her films since she first insisted on Madonna for Desperately Seeking Susan early in her fame. Seidelman directed Meryl Streep and John Malkovich in their first comedy features, Roseanne Barr in her first feature film and Laverne Cox in one of her earliest features. Susan Santha Kerns is Associate Professor of Cinema and Television Arts at Columbia College Chicago.

This is a reference book on the 1977 TV series Raffles, starring Anthony Valentine. All episodes are included, as well as the 1975 pilot film. They are presented in order of original transmission dates, along with complete cast listings, numerous photographs, directorial credits, and a story synopsis for each episode. Also include are four cinema-released film: the 1930 Raffles starring Ronald Colman, the 1932 Return of Raffles starring George Barraud, the 1939 Raffles starring David Niven, and a 1958 Mexican-made film.

The stories of migrants crossing the Mediterranean Sea to reach Europe have made the headlines in the news over the last twenty years. How have these human itineraries been represented in contemporary culture? This book considers the migrant¿s story as portrayed in literature, cinema, museums and festivals in Italy and France, in order to explore the widespread ethical complexities related to agency and advocacy. While typically produced in support of migrant communities, these narratives often confine the experience of displaced individuals within a Eurocentric, humanitarian discourse that is difficult to overcome. Through an interdisciplinary and postcolonial approach, the book analyses, among others, recent works by Laurent Gaudé and Emanuele Crialese, the Musée National de l¿Histoire de l¿Immigration in Paris and a community festival in Lampedusa, to highlight the complexity of advocating for migrants from a European perspective.

Japanese Cult Cinema: Films from the Second Golden Age is a collection of film reviews and in-depth essays exploring some of the best from the mid-1990s to the early 2000s. During the period between the early 1990s and early 2000s the Japanese film industry enjoyed its biggest boom since the post-war era. Cult monster and horror films like Godzilla 2000, and Audition enjoyed successful releases overseas and Hollywood remakes. In her first book, Upton explores some of her favorite Japanese films and directors in the crime, kaiju and J-horror genres. In the essays, she digs deeper, using semiotic and feminist interpretations to explore notions of authorship, gender, and the adaptation process for some of the most interesting films to come out of this era including Ringu, Cure and Kikujiro.

"Timed for the film's 30th anniversary, the oral history of Disney's Hocus Pocus by entertainment journalist Shannon Carlin. In July 1993, Disney's Hocus Pocus, starring Bette Midler, Sarah Jessica Parker, and Kathy Najimy, did not immediately find success, with box office numbers falling far below the now largely forgotten Dennis the Menace. Yet somehow the Halloween movie released in the middle of the summer to little fanfare has become an enduring and widely loved classic. Nearly three decades after the film's initial release, it's a yearly holiday viewing tradition in households around the world. Beyond the movie itself, the Sanderson sisters have inspired Halloween costumes, Carvel ice cream shakes, scented candles, a makeup collection, drinks on Starbucks' secret menu, a Walt Disney World holiday show, and numerous drag brunches across the United States. Hocus Pocus has become a not-so-scary rite of passage for kids and their parents, many of whom grew up watching the film about the resurrected witchy trio with their own parents. It's a movie that has few if any comparisons; it manages to span a generational divide, uniting Boomers and Zoomers in their nostalgic love for the boundary-pushing supernatural comedy that in some ways seemed a little too risque for the kids it was originally intended for. So how did a movie that didn't catch an initial spark end up casting such a spell on mainstream culture? Witches Run Amok: The Oral History of Disney's Hocus Pocus will answer that question and more using interviews from the cast and creative team behind the heartwarming Halloween staple. The book is a love letter to Hocus Pocus' millions of devoted fans and a fascinating read for anyone who wants to understand how the Disney movie became a pop culture phenomenon"--

Through the figure of Josephine Baker, Second Skin tells the story of an unexpected yet enduring intimacy between the invention of a modernist style and the theatricalization of black skin at the turn of the twentieth century.