Filmhistorie, filmteori og filmkritik

"What makes something funny? Some take this question to be effectively unanswerable, while others turn to comic theory. Funny How? offers a new approach, showing how humor can be analyzed without killing the joke. Alex Clayon writes that the brevity of a sketch or skit and its typical rejection of narrative development make it comedy concentrate, providing a rich field for exploring how humor works. Focusing on a dozen or so skits and scenes, Clayton shows precisely how sketch comedy appeals to the funny bone and engages our philosophical imagination. He posits that since humor is about persuading an audience to laugh, it can be understood as a form of rhetoric. Through vivid, highly readable analyses of individual sketches, Clayton argues that Aristotle's three forms of appeal-logos, the appeal to reason; ethos, the appeal to communality; and pathos, the appeal to emotion-can form the basis for illuminating the inner workings of humor. He draws on both popular and lesser-known examples from the United States, United Kingdom, and elsewhere, across film and television, from Monty Python's Flying Circus to Key and Peele, via Saturday Night Live, Airplane!, and Smack the Pony"--

Slapstick film comedy may be grounded in idiocy and failure, but the genre is far more sophisticated than it initially appears. In this book, Burke Hilsabeck suggests that slapstick is often animated by a philosophical impulse to understand the cinema. He looks closely at movies and gags that represent the conditions and conventions of cinema production and demonstrates that film comedians display a canny and sometimes profound understanding of their medium--from Buster Keaton's encounter with the film screen in Sherlock Jr. (1924) to Harpo Marx's lip-sync turn with a phonograph in Monkey Business (1931) to Jerry Lewis's film-on-film performance in The Errand Boy (1961). The Slapstick Camera follows the observation of philosopher Stanley Cavell that self-reference is one way in which "film exists in a state of philosophy." By moving historically across the studio era, the book looks at a series of comedies that play with the changing technologies and economic practices behind film production and describes how comedians offered their own understanding of the nature of film and filmmaking. Hilsabeck locates the hidden intricacies of Hollywood cinema in a place where one might least expect them--the clowns, idiots, and scoundrels of slapstick comedy.

The book tells the stories and explains the legends behind the some of the greatest movie monsters in history. Charting their history from myths and fables told over the centuries, the author guides the reader from the past to the present day, as the Universal Monsters prepare to return to the silver screen for their biggest adventures yet. The classic Universal Monsters have been scaring and delighting audiences for decades. But did you know that these maniacal creeps have been frightening people throughout history? Find out about all the old world folk stories, legends and myths before discovering what lies in store for the future of Universal's Monsters. Universal Monsters: Origins is written by Christopher Ripley author of the Survivor's Guide to Universal Orlando's Halloween Horror Nights.

This first ever study of "Beggars of Life" looks at the film Oscar-winning director William Wellman thought his finest silent movie. Based on Jim Tully's bestselling book of hobo life-and filmed by Wellman the year after he made "Wings" (the first film to win the Best Picture Oscar), "Beggars of Life" is a riveting drama about an orphan girl (screen legend Louise Brooks) who kills her abusive stepfather and flees the law. She meets a boy tramp (leading man Richard Arlen), and together they ride the rails through a dangerous hobo underground ruled over by Oklahoma Red (future Oscar winner Wallace Beery). "Beggars of Life" showcases Brooks in her best American silent-a film the "Cleveland Plain Dealer" once described as "a raw, sometimes bleeding slice of life." With more than 50 little seen images, and a foreword by William Wellman, Jr.

This book tells the story of German-language literature on film, beginning with pioneering motion picture adaptations of Faust in 1897 and early debates focused on high art as mass culture. It explores, analyzes and contextualizes the so-called 'golden age' of silent cinema in the 1920s, the impact of sound on adaptation practices, the abuse of literary heritage by Nazi filmmakers, and traces the role of German-language literature in exile and postwar films, across ideological boundaries in divided Germany, in New German Cinema, and in remakes and movies for cinema as well as television and streaming services in the 21st century. Having provided the narrative core to thousands of films since the late 19th century, many of German cinema's most influential masterpieces were inspired by canonical texts, popular plays, and even children's literature. Not being restricted to German adaptations, however, this book also traces the role of literature originally written in German in international film productions, which sheds light on the interrelation between cinema and key historical events. It outlines how processes of adaptation are shaped by global catastrophes and the emergence of nations, by materialist conditions, liberal economies and capitalist imperatives, political agendas, the mobility of individuals, and sometimes by the desire to create reflective surfaces and, perhaps, even art. Commercial cinema's adaptation practices have foregrounded economic interest, but numerous filmmakers throughout cinema history have turned to German-language literature not simply to entertain, but as a creative contribution to the public sphere, marking adaptation practice, at least potentially, as a form of active citizenship.

Analyzes how location-shot crime films of the 1970s reflected and influenced understandings of urban crisis.

Assesses how cinematic biographies of key figures reflect and shape what it means to be British.

Comprehensive examination of how Indigenous peoples have been represented in Argentine film.

Examines how recent Argentine horror films engage with the legacies of dictatorship and neoliberalism.

Investigates how Argentine cinema has represented rural spaces and urban margins from the 1910s to the present.

An intimate, thought-provoking exploration of the mysteries of "star presence" in cinema"'One does not go to see them act,' wrote James Baldwin about the great iconic movie stars Wayne and Davis and Bogart, 'one goes to watch them be' . . . Of course. It seems obvious . . . Where else besides the movies do you get to see other persons so intimately, so pressingly, so largely even? Where else such intense and close, such sustained and searching looks as you have of these strangers on the screen, whoever they really are? In life you try not to stare; but at the movies that's exactly what you get to do, two hours or more-safely, raptly, even blissfully."It's this sort of amplified, heightened, sometimes transcendent "seeing" that James Harvey explores in Watching Them Be. Marvelously vivid and perceptive, and impressively erudite, this is his take on how aura is communicated in movies. Beginning where Roland Barthes left off with the face of Greta Garbo and ending with Robert Bresson's Au hasard Balthazar, Harvey moves nimbly and expertly through film history, celebrating actors and directors who have particularly conveyed a feeling of transcendence. From Marlene Dietrich to John Wayne to Robert De Niro, from Nashville to Jackie Brown to Masculine Feminine and the implicitly or explicitly religious films of Roberto Rossellini and Carl Theodor Dreyer, this is one man's personal, deeply felt account of the films that have changed his life. They will also, Harvey suggests, change yours.

James Wolcott's career as a critic has been unmatched, from his early Seventies dispatches for The Village Voice to the literary coverage made him equally feared and famous to his must-read reports on the cultural weather for Vanity Fair. Bringing together his best work from across the decades, this collection shows Wolcott as connoisseur, intrepid reporter, memoirist, and necessary naysayer. We begin with "O.K. Corral Revisited," Wolcott's career-launching account of the famed Norman Mailer-Gore Vidal dust-off on the original Dick Cavett Show. He goes on to consider (or reconsider) the towering figures of our culture, among them Lena Dunham Patti Smith, Johnny Carson, Woody Allen, and John Cheever. And we witness his legendary takedowns, which have entered into the literary lore of our time. In an age where a great deal of back scratching and softball pitching pass for criticism, Critical Mass offers a bracing taste of the real thing.

With the advent of digital filmmaking and critical recognition of the relevance of self expression, first-person narratives, and personal practices of memorialization, interest in the amateur moving image has never been stronger. Bringing together key scholars in the field, and revealing the rich variety of amateur filmmaking-from home movies of Imperial India and film diaries of life in contemporary China, to the work of leading auteurs such as Joseph Morder and Péter Forgács-Amateur Filmmaking highlights the importance of amateur cinema as a core object of critical interest across an array of disciplines. With contributions on the role of the archive, on YouTube, and on the impact of new technologies on amateur filmmaking, these essays offer the first comprehensive examination of this growing field.