Filmhistorie, filmteori og filmkritik

Hollywood Remembrance and American War addresses the synergy between Hollywood war films and American forms of war remembrance. Subjecting the notion that war films ought to be considered ¿the war memorials of today' to critical scrutiny, the book develops a theoretical understanding of how Hollywood war films, as rhetorical sites of remembering and memory, reflect, replicate and resist American modes of remembrance.The authors first develop the framework for, and elaborate on, the co-evolution of Hollywood war cinema and American war memorialization in the historical, political and ideological terms of remembrance, and the parallel synergic relationship between the aesthetic and industrial status of Hollywood war cinema and the remembering of American war on film. The chapters then move to analysis of Hollywood war films - covering The Great War, World War II, The Korean War, The Vietnam War, The Cold War, and the wars in Afghanistan and Iraq - and critically scrutinize the terms upon which a film could be considered a memorial to the war it represents.Bringing together the fields of film studies and memory studies, this book will be of interest to scholars and students in not just these areas but those in the fields of history, media and cultural studies more broadly, too.

This book explores ways in which screen-based storyworlds transfix, transform, and transport us imaginatively, physically, and virtually to the places they depict or film. Topics include fantasy quests in computer games, celebrity walking tours, dark tourism sites, Hobbiton as theme park, surf movies, and social gangs of Disneyland.How physical, virtual, and imagined locations create a sense of place through their immediate experience or visitation is undergoing a revolution in technology, travel modes, and tourism behaviour. This edited collection explores the rapidly evolving field of screen tourism and the affective impact of landscape, with provocative questions and investigations of social groups, fan culture, new technology, and the wider changing trends in screen tourism. We provide critical examples of affective landscapes across a wide range of mediums (from the big screen to the small screen) and locations.This book will appeal to students and scholars in film and tourism, as well as geography, design, media and communication studies, game studies, and digital humanities.

Examines portrayals of plants and landscapes in recent German novels and films, addressing the contemporary forms of racism, nationalism, and social and ecological injustice that they expose.

Although Michelangelo Antonioni became one of the icons of "modernist" cinema in the 1960s, his position in the pantheon of great directors has never been quite secure. Unlike his famous contemporaries, such asIngmar Bergman and Luchino Visconti, whose essential contribution to the art of cinema is hardly ever questioned, Antonioni's work has been repeatedly denigrated from many angles for both aesthetic and political reasons. Though the historical importance of some of Antonioni's films as an incarnation of certain attitudes and problems characteristic of the 1960s and 70s is not denied, they are often considered passé, artificial and boring. Contesting prevalent readings, which focus on existential and psychological motifs involving anxiety and the malady of sentiments, this book offers a re-evaluation of Antonioni's most important films interpreted as political cinema engaged with issues which are still crucial in the 21st century. Far from being politically neutral, Antonioni's oblique and "abstract" approach makes possible the prising open and devaluation of the morally and politically constrictive "organic" narrative structures. HIs approach overthrows the primacy of character and plot, on the one hand, by showing them to be emanations of the spectral materiality of capital, and, on the other hand, by allowing for an opening into the utopian dimension, implying engagement in the rethinking of our attachments to the world.

The Science Fiction Film in Contemporary Hollywood focuses on the American science fiction (SF) film during the period 2001-2020, in order to provide a theoretical mapping of the genre in the context of Conglomerate Hollywood. Using a social semiotics approach in a systematic corpus of films, the book argues that the SF film can be delineated by two semiotic squares -the first one centering on the genre's more-than-human ontologies (SF bodies), and the second one focusing on its imaginative worlds (SF worlds). Based on this theoretical framework, the book examines the genre in six cycles, which are placed in their historical context, and are analyzed in relation to cultural discourses, such as technological embodiment, race, animal-human relations, environmentalism, global capitalism, and the techno-scientific Empire. By considering these cycles -which include superhero films, creature films, space operas, among others-as expressions of the genre's basic oppositions, the book facilitates the comparison and juxtaposition of films that have rarely been discussed in tandem, offering a new perspective on the multiple articulations of the SF film in the new millennium.

A new critical perspective on the female auteur that considers her place in the avant-garde tradition of provocation

In the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience. With the exception of Alain Resnais's Van Gogh (1948), Henri-Georges Clouzot's Le Mystère Picasso (1956) and a few others, most of them have received only scant scholarly attention. This book aims to rectify this situation by discussing the most lyrical, experimental and influential post-war art documentaries, connecting them to contemporaneous museological developments and Euro-American cultural and political relationships. With contributors with expertise across art history and film studies, Art in the Cinema draws attention to film projects by André Bazin, Ilya Bolotowsky, Paul Haesaerts, Carlo Ragghianti, John Read, Dudley Shaw Aston, Henri Storck and Willard Van Dyke among others.

This book is a thorough analysis of Alfred Hitchcock's Rope (1948) and of its multiple connections with the Leopold and Loeb murder case and the adaptation of Patrick Hamilton¿s eponymous play. As an all-encompassing portrait of the movie, the book discusses its aesthetics, style, role within cinema history, challenges in production, innovations introduced and of course Hitchcock¿s signature features. However, as the analysis unfolds, the film reveals itself as an actual journey through the nightmares and the hopes that characterized the 20th century. Nazism and anti-Nazism, antisemitism, homophobia, democracy and totalitarianism, capital punishment and second chances, human rights, World War II, misogyny, tolerance and discrimination, Supermanism and humanism, artistic freedom and censorship. Subtly, often between the lines, and with Hitchcock's usual dark humor, Rope is nevertheless a much stronger social and political statementthan it was ever given credit for. The Intertextual Knot is aimed at a varied readership, including film scholars, historians, philosophers and film enthusiasts.

Considers three centuries of writers and creatives of mostly Scots-Irish and post-Famine Irish descent whose work examines moments of entwined racial, social, and political transformation for those of that identity in America.