Filmhistorie, filmteori og filmkritik

Fifty years since its opening, Super Fly remains a powerful influence in American pop culture.

Care to match wits with Hercule Poirot? Take tea and gossip with Miss Marple? Chase spies with Tommy and Tuppence? Agatha Christie, She Watched will introduce you to must-see movies (and must-avoid dogs) that depict the hopeful and dark sides of human nature. These movies will tantalize you, mystify you, and make you laugh at the folly of humanity. For more than a century, Agatha Christie has been thrilling readers with her classic mystery stories as well as dark thrillers that explore the heart of evil such as And Then There Were None and Endless Night. Christie has also been a huge part of the world's movie and television culture with more than 200 adaptations made from her stories. Teresa Peschel watched and reviewed 201 adaptations, from the German silent movie Adventures, Inc. (1929) to See How They Run and Why Didn't They Ask Evans? (2022). Each one was rated for fidelity to the original material and its overall quality. Each review takes up two pages and is accompanied by a banner image, six cast photos, a list of the major actors, the locations where they were filmed. Foreign movies with English subtitles from India, France, Russia, China, Japan, and Germany are also represented. Finally, there are eight movies in which the fictional Agatha Christie appears. Watch her debate Hercule Poirot about killing him in Curtain, battle a space wasp with Doctor Who, and plot to kill her husband's mistress. Agatha Christie, She Watched is the only comprehensive collection of reviews about Agatha Christie adaptations. Use it to find the movies made from the novels and stories you love, fill in your movie collection, or hold an Agatha Christie festival of your own. Learn why Christie's stories of passion and pain still grip the imaginations of her readers.

"Networked Bollywood provides the first interdisciplinary analysis of the role of stars in the transformation of Hindi cinema into a global entertainment industry. The first Indian film was made in 1913. However, filmmaking was recognized as an industry almost a hundred years later though Indian films have been circulating globally since their inception. This book unearths this oft-elided history of Bollywood's globalization through multilingual, transnational research and discursive cultural analysis. It illustrates how, over the decades, a handful of primarily male megastars, as the heads of the industry's most prominent productions and corporations, combined overwhelming charismatic affect with unparalleled business influence. Through their 'star switching power', theorized here as a deeply gendered phenomenon and manifesting broader social inequalities, India's most prominent stars instigated new flows of cinema and industrial collaborations, structured distinctive business models, and influenced state policy and diplomatic exchange, thereby defining the future of Bollywood's globalization"--

It was on Friday, May 6, 1988 that Bette Davis walked off the set of her last film Wicked Stepmother. Her exit for reported health reasons created a media stir when writer and director Larry Cohen decided to finish the film without her, using the footage he captured during her time on the set and rewriting the film to explain her absence. Davis blasted the film and its director, but when she died months after the film's release, Wicked Stepmother would become forever connected with the legendary star, marking her final big screen appearance. Wicked Becomes Her revisits the later years of Bette Davis' illustrious film career, including the collection of horror films that kept her in the public eye, but through the lens of her final film - Wicked Stepmother. Though Davis abandoned the film shortly after production began, the story behind the making of the film gives readers a new look at the person behind the star. By looking at her work on features like What Ever Happened to Baby Jane?; Hush, Hush ... Sweet Charlotte; Dead Ringer; The Nanny, Burnt Offerings and more, readers will discover the drive of a movie star, whose desire to remain active in her later years was so strong that she would justify a film for no other reason than the fact that her name was on the marquee as its star. Filled with photos and new details behind the production of some of her most beloved films, Wicked Becomes Her offers a new glimpse into the final years of one of the most iconic and successful actresses of the 20th Century.

'Great fun - Loretta is glorious!' Lucy Diamond'Sparkles with fun and wit' Libby Page'A fun, gossipy glimpse into Golden Era Hollywood' Julie Cohen-----You're Loretta Darling now, welcome to your brand-new flipping life.Dreams don't come true for girls like Loretta but she won't let that stop her. With her sights set on becoming a make-up artist to the stars, Loretta wangles her way from Lancashire to the bright lights of Golden Age Hollywood.Only it turns out that Sunset Boulevard is less about dashing fellas and chilled martinis - more sticky floors and misbehaving men. The gift of the gab can only get her so far but she refuses to go quietly.Hollywood has its secrets ... and so does Loretta.For a start, that's not her real name, and much more than lipstick lurks inside her beauty case.After all, revenge is a dish best served with a perfectly painted smile.-----'What a delicious dark delight of a book!' JENNA BLUM, bestselling author of Those Who Save Us'So sassy and delicious. Loretta is one cool character' JOSIE SILVER, Sunday Times bestselling author of One Day in December'Sharply observed, full of scene-stealing characters, this book is a wildly enjoyable ride. Loretta is a force of nature, truly unforgettable!' LAURA WOOD, author of Under Your Spell'Absolutely loved this romp of a book. So feisty and fun' TANIA TAY, author of The Other Woman

Gaia-Ästhetiken entwerfen Figurationen der Erde und ihrer Lebensformen, welche die Menschen dezentrieren und den Fokus auf die Verbindungen zwischen Lebewesen untereinander und dem Unbelebten richten. Diese Ästhetiken sind der Gaia-Theorie entlehnt. In den 1970er Jahren bei der NASA entwickelt, wird sie von Bruno Latour und Isabelle Stengers in den Kontext des Anthropozäns gesetzt. Die Erde als Gaia ist eine mehr-als-menschliche Assemblage, in der die Menschen Knotenpunkte der Verantwortlichkeit darstellen. Filmische Ästhetiken können diese Knotenpunkte wahrnehmbar werden lassen, wie die Spielfilme I Am Legend (2007) und Planet of the Apes (2011-2017) zeigen. Die Filme präsentieren ihren Zuschauer_innen eine Welt in der Post/Apokalypse, in der die Filmfiguren mit dem Eindringen Gaias konfrontiert sind. Sie werden in der Post/Apokalypse kompostiert: Viren dringen in ihre Körper ein, zersetzen ihre Menschlichkeit und lassen sie zum Teil des mehr-als-menschlichen Gaia-Komposts werden.

The Time of My Life weaves together the sharp, incisive, wryly funny story of the making of a young feminist who found inspiration in an unexpected place, and the former teenage mambo queen who turned her love of dance, music, and social justice into an unlikely blockbuster hit about an illegal abortion: Dirty Dancing.

Vi bærer historien i os hele livet, ikke bare vores individuelle historie og erindring, vores familie- og slægtshistorie, men også den størrehistorie, vores liv er en del af. Erindringen er en vigtig del af vores liv og identitet. Den handler ikke bare om fortiden, men også om nutiden og fremtiden. Samfundet i dag er gennemsyret af film og andre medier, herunder også af erindringsbilleder og historiske fortællinger. De historiske fortællinger og erindringsbilleder, vi oplever og fascineres af, er i høj grad med til at påvirke os individuelt. De etablerer også en forbindelse til en større, kollektiv historie. Denne bog analyserer de centrale historiske genrer inden for både fiktive og dokumentariske filmfortællinger. Den påviser, hvordan film formår at gøre historien levende, og dermed være et væsentligt alternativ og supplement til historievidenskaben. Den filmiske historiefortælling skaber ikke bare en oplevelse af en historisk virkelighed. Den igangsætter også refleksioner over fortid og nutid. Bogens analyser fokuserer både på film, der bruger instruktørens egne barndoms- og familieerindringer som materiale for erindrings- og tidsbilleder, på film, der graver dybt i den historiske hverdagshistorie, og på film som skildrer kendte historiske personer. Den beskæftiger sig også med historiske film, hvor 2. verdenskrig er i centrum, og dermed med fortolkningskampen om store, centrale, historiske begivenheder.

A freewheeling, nonlinear exploration of the performing duo and their decade-long collaboration from 1946 to 1956.

NEW YORK TIMES BESTSELLER • LOS ANGELES TIMES BESTSELLERIn this spectacular, newsmaking exposé that has the entertainment industry abuzz and on its heels, Vanity Fair's Maureen Ryan blows the lid on patterns of harassment and bias in Hollywood, the grassroots reforms under way, and the labor and activist revolutions that recent scandals have ignited.It is never just One Bad Man.Abuse and exploitation of workers is baked into the very foundations of the entertainment industry. To break the cycle and make change that sticks, it's important to stop looking at headline-making stories as individual events. Instead, one must look closely at the bigger picture, to see how abusers are created, fed, rewarded, allowed to persist, and, with the right tools, how they can be excised.In Burn It Down, veteran reporter Maureen Ryan does just that. She draws on decades of experience to connect the dots and illuminate the deeper forces sustaining Hollywood's corrosive culture. Fresh reporting sheds light on problematic situations at companies like Lucasfilm and shows like Lost, Saturday Night Live, The Goldbergs, Sleepy Hollow, Curb Your Enthusiasm and more.Interviews with actors and famous creatives like Evan Rachel Wood, Harold Perrineau, Damon Lindelof, and Orlando Jones abound. Ryan dismantles, one by one, the myths that the entertainment industry promotes about itself, which have allowed abusers to thrive and the industry to avoid accountability?myths about Hollywood as a meritocracy, what it takes to be creative, the value of human dignity, and more.Weaving together insights from industry insiders, historical context, and pop-culture analysis, Burn It Down paints a groundbreaking and urgently necessary portrait of what's gone wrong in the entertainment world?and how we can fix it.

A look at 14 horror and sci-fi movies that are considered box-office failures and cover a span of 35 years, from 1943 to 1978. The films representthe wide range of themes and ideas that science fiction and horror movies may encompass.

Posits a new, aesthetically and politically radical, transnational German cinema - "transnational" also in the sense of concerns with migration, the movement of capital across borders, and globalization.

The cases that follow are once again eclectic and darkly fascinating. Drug overdoses, murders, suicides, unsolved deaths, autoerotic asphyxiation, car crashes, plane crashes, freak accidents, doomed child stars, and so on. Shocking Celebrity Deaths and Murders Volume 3 includes, among others, Anna Nicole Smith, Dustin Diamond, Patrick Swayze, John Ritter, Sarah Harding, Bobby Driscoll, Samantha Smith, and Mya-Lecia Naylor.

Hotbeds of Licentiousness is the first substantial critical engagement with British pornography on film across the 1970s, including the "e;Summer of Love,"e; the rise and fall of the Permissive Society, the arrival of Margaret Thatcher, and beyond. By focusing on a series of colorful filmmakers whose work, while omnipresent during the 1970s, now remains critically ignored, author Benjamin Halligan discusses pornography in terms of lifestyle aspirations and opportunities which point to radical changes in British society. In this way, pornography is approached as a crucial optic with which to consider recent cultural and social history.

Many films and novels defy our ability to make sense of the plot. While puzzling storytelling, strange incongruities, inviting enigmas and persistent ambiguities have been central to the effects of many literary and cinematic traditions, a great deal of contemporary films and television series bring such qualities to the mainstream--but wherein lies the attractiveness of perplexing works of fiction? This collected volume offers the first comprehensive, multidisciplinary, and trans-medial approach to the question of cognitive challenge in narrative art, bringing together psychological, philosophical, formal-historical, and empirical perspectives from leading scholars across these fields.

How should we understand film authorship in an era when the idea of the solitary and sovereign auteur has come under attack, with critics proclaiming the death of the author and the end of cinema? The Bressonians provides an answer in the form of a strikingly original study of Bresson and his influence on the work of filmmakers Jean Eustache and Maurice Pialat. Extending the discourse of authorship beyond the idea of a singular visionary, it explores how the imperatives of excellence function within cinema's pluralistic community. Bresson's example offered both an artistic legacy and a creative burden within which filmmakers reckoned in different, often arduous, and altogether compelling ways.

Whether we consider the digitally created and manipulated faces of Hollywood cinema or the social media filters, face apps, and surveillance software of everyday life, reading face language has become the seemingly endless task of humans and machines alike. Recent facial controversies - from politicians in blackface to "deep fakes," casting debates, and facial data collection-- have made clear the need for a broader understanding of the face on screen and its varied techniques and effects. Faces on Screen: New Approaches will consider the screen face from a variety of perspectives, across time periods and media, bringing together essays on topics ranging from early cinema to contemporary digital media - from photogénie to facial recognition, celebrity culture to digital creatures. It explores how screen culture builds on and complicates our urge to search the face for answers to our most intractable questions. Edited by Dr Alice Maurice is Associate Professor of English and Cinema Studies at University of Toronto. She is the author of The Cinema and Its Shadow: Race and Technology in Early Cinema (2013). Her work has appeared in journals including Camera Obscura, JCMS, and The New Review of Film and Television Studies, among others, as well as in a number of anthologies. She was the Associate Producer for both A Healthy Baby Girl (1996) which won the Peabody Award, and Defending Our Lives (1993) which won the 1994 Academy Award for Best Documentary Short Subject.

Main melody films are propaganda works that pay tribute to the Chinese nation, the party and the army. Since the turn of the century, they have gradually developed into the main genre of Chinese cinema, and its "blockbusterization" is arguably the most phenomenal aspect of the 2010s Chinese film industry. As an increasing number of Hong Kong directors are commissioned to direct main melody blockbusters, Chu examines their contributions to this genre, shedding light on the development of cross-border cooperation between the mainland and Hong Kong film industries. Professor Yiu-Wai Chu is Director and Professor of Hong Kong Studies Programme at the University of Hong Kong. He has authored and edited over twenty books, including Lost in Transition: Hong Kong Culture in the Age of China (2013), Hong Kong Cantopop: A Concise History (2017), Hong Kong Culture and Society in the New Millennium: Hong Kong as Method (2017) and Found in Transition: Hong Kong Studies in the Age of China (2018).

Lucrecia Martel has made only four feature films to date, but has nonetheless become one of the world's most admired directors. Her work is extraordinarily sensitive to the limits of sensory perception, the limits imposed by gender roles, and the limits of empathy and affect across social divisions. This edited collection broadens the critical conversation around Martel's work by integrating analyses of her features with the less frequently studied short films and her other artistic projects. This volume's fresh, holistic approach to Martel's career includes contributions from scholars in Latin America, Europe and the United States, and ends with a new interview with Martel herself. Edited by Natalia Christofoletti Barrenha is an independent film researcher and programmer specialising in Latin American cinema. She is the author of Espaços em conflito. Ensaios sobre a cidade no cinema argentino contemporâneo (2019) and A experiência do cinema de Lucrecia Martel: Resíduos do tempo e sons à beira da piscina (2014. Translation into Spanish: 2020). Julia Kratje is a researcher at Argentina's National Council of Scientific and Technical Research (CONICET), and teaches at the Universidad de Buenos Aires. She is the author of Al margen del tiempo. Deseos, ritmos y atmósferas en el cine argentino (2019) and editor of El asombro y la audacia. El cine de María Luisa Bemberg (2020), among others. Paul R. Merchant is Senior Lecturer in Latin American Film and Visual Culture at the University of Bristol. He is the author of Remaking Home: Domestic Spaces in Argentine and Chilean Film, 2005-2015 (2022) and the co-editor of Latin American Culture and the Limits of the Human (2020).

What is the relationship between filmmaking and mapping? Accounting for the unique characteristics of Taiwan's cinema from 2008 to 2020, this book examines how filmmakers have depicted and imagined the island's diverse environments. Drawing on cinema, cartography, and cultural studies, Christopher Brown argues that by refocusing attention on how films are shaped through a process of construction, the tradition of film poetics enables us to think about Taiwanese cinema differently: as a form of mapping. Wide-ranging in scope and drawing on original interviews with contemporary filmmakers, the analysis appraises case studies including works of popular entertainment, genre cinema such as comedies and horror, films about indigenous communities, LGBTQ+ cinema, and arthouse work. By asking what it means to map an environment onscreen, Brown offers new insights into a critically neglected, yet creatively dynamic, period in Taiwan's film history. Christopher Brown is Senior Lecturer in Filmmaking at the University of Sussex. A practitioner as well as a researcher, Chris has published work on contemporary Taiwanese film, practice-as-research, and American cinema.

João Pedro Rodrigues and João Rui Guerra da Mata are one of the most cosmopolitan duos in contemporary world cinema. Their films tell us stories of love and human desire, receiving a highly favourable reception among critics and at international festivals. Despite their high profile, Rodrigues and da Mata's work remains relatively understudied. ReFocus: The Films of João Pedro Rodrigues and João Rui Guerra da Mata, paves the way for the study of the directors' work, critically analysing the various cinematic perspectives of their short and full-length feature films. In the first collection solely dedicated to their work, this book addresses the historical, political, stylistic, industry, and cultural dimensions of Rodrigues and da Mata's films, providing critical recognition for their contribution to world cinema. José Duarte teaches Cinema at the School of Arts and Humanities (UL) and he is a researcher at ULICES (University Lisbon Centre for English Studies). He co-edited the book The Global Road Movie: Alternative Journeys around the World (2018). Filipa Rosário is a Research Fellow at the Centre for Comparative Studies, University of Lisbon (CEC-UL). She co-edited the book New Approaches to Cinematic Space (2019), and is the author of O Trabalho do Actor no Cinema de John Cassavetes (2017).

Lawrence Kasdan has created some of the most influential films in Hollywood history. He is the screenwriter of beloved blockbusters such as The Empire Strikes Back (1980), Raiders of the Lost Ark (1981), The Bodyguard (1992) and The Force Awakens (2015). Simultaneously, he has gained critical acclaim as the director of pictures that dissect contemporary American society: Body Heat (1981), The Big Chill (1983), The Accidental Tourist (1988) and Grand Canyon (1991). Frequently experimenting in different genres, Kasdan's filmography defies easy classification. Taking an inclusive, interdisciplinary approach to examine all aspects of his eclectic canon, ReFocus: The Films of Lawrence Kasdan reveals a filmmaker who has helped shape modern American cinema, both through his screenplays for popular classics, and as the writer-director of films synonymous with the largest demographic in US history. Brett Davies is Associate Professor of English at Meiji University, Tokyo.