Filmhistorie, filmteori og filmkritik

Documentary films about individuals with a terminal illness, in hospice care, or desiring assisted death, redefine cultural expectations of what dying is and feels like. These films invite their viewers to witness the intimate and emotional moments of dying people, including moments on their deathbed. Filming Death explores these documentaries as ethical spaces, asking the viewers to learn how to engage with end-of-life through the experiences of others and to find ways to alleviate potential death anxiety. It argues that the diversity of documentary films resists simplified moral divisions between good and bad death, and instead, embellishes diverse realities where dying takes many forms, ranging from acceptance to rage. Outi Hakola is a Lecturer in the Department of Health and Social Management at the University of Eastern Finland.

Argues that contemporary slasher films embody a turn towards the metamodern sensibility

"The definitive work on Robert Beavers by the only scholar with full access to his archive; a lavishly illustrated, beautifully written insider account of one of today's great avantgarde filmmakers"--

The third volume in the Docalogue series, this book explores the significance of the documentary series Tiger King: Murder, Mayhem and Madness (2020), which became 'must-see-TV' for a newly captive audience during the global Covid-19 pandemic.The series - a true-crime, tabloid spectacle about a murder-for-hire plot within the big cat trade - prompts interesting questions about which documentaries become popular in particular moments and why. However, it also raises important questions related to the medium specificity of documentary in the streaming era, as well as the ethics of both human and animal representation. By combining five distinct perspectives on the Netflix documentary series, this book offers a complex and cumulative discourse about Tiger King's significance in multiple areas including, but not limited to, animal studies, queer theory, genre studies, labor relations, and digital culture.Students and scholars of film, media, television, and cultural studies will find this book extremely valuable in understanding the significance of this larger-than-life true-crime documentary series.

This edited volume focuses on South and East Asian cinema, exploring transnational connections between these film industries from the point of view of narratives, topics and themes, as well as in terms of co-productions.

Hybrid Documentary and Beyond focusses on the theories, production techniques, ethical implications and impact of hybrid documentaries.

Contemporary American Science Fiction Film explores and interrogates a diverse variety of popular and culturally relevant American science fiction films made in the first two decades of the new millennium, offering a ground-breaking investigation of the impactful role of genre cinema in the modern era.Placing one of the most popular and culturally resonant American film genres broadly within its rich social, historical, industrial, and political context, the book interrogates some of the defining critical debates of the era via an in-depth analysis of a range of important films. An international team of authors draw on case studies from across the science fiction genre to examine what these films can tell us about the time period, how the films themselves connect to the social and political context, how the fears and anxieties they portray resonate beyond the screen, and how the genre responds to the shifting coordinates of the Hollywood film industry.Offering new insights and perspectives on the cinematic science fiction genre, this volume will appeal primarily to scholars and students of film, television, cultural and media studies, as well as anyone interested in science fiction and speculative film.

Breaking Down Joker offers a compelling, multi-disciplinary examination of a landmark film and media event that was simultaneously both celebrated and derided, and which arrived at a time of unprecedented social malaise. The collection breaks down Joker to explore its aesthetic and ideological representations within the social and cultural context in which it was released.An international team of authors explore Joker's sightlines and subtexts, the affective relationships, corrosive ideologies, and damning, if ambivalent, messages of this film. The chapters address such themes as white masculinity, identity and perversion, social class and mobility, urban loneliness, movement and music, and questions of reception and activism.With contributions from scholars from screen studies, theatre and performance studies, psychology and psychoanalysis, geography, cultural studies, and sociology, this fully interdisciplinary collection offers a uniquely multiple operational cross-examination of this pivotal film text and will be of great importance to scholars, students, and researchers in these areas.

The book is the first study to investigate the ways in which the creative use of anachronism in historical fictions can allow us to rethink the relationship between past and present.

Rethinking the history of African enslavement in the western Indian Ocean through the lens of Iranian cinema   From the East African and Red Sea coasts to the Persian Gulf ports of Bushihr, Kish, and Hurmuz, sailing and caravan networks supplied Iran and the surrounding regions with African slave labor from antiquity to the nineteenth century. This book reveals how Iranian cinema preserves the legacy of this vast and yet long-overlooked history that has come to be known as Indian Ocean slavery.   How does a focus on blackness complicate traditional understandings of history and culture? Parisa Vaziri addresses this question by looking at residues of the Indian Ocean slave trade in Iranian films from the second half of the twentieth century. Revealing the politicized clash between commercial cinema (fi¿lmfärsi¿) and alternative filmmaking (the Iranian New Wave), she pays particular attention to the healing ritual z¿r, which is both an African slave descendent practice and a constitutive element of Iranian culture, as well as to cinematic s¿y¿h b¿z¿ (Persian black play). Moving beyond other studies on Indian Ocean and trans-Saharan slavery, Vaziri highlights the crystallization of a singular mode of historicity within these cinematic examples—one of “absence” that reflects the relative dearth of archival information on the facts surrounding Indian Ocean slavery.   Bringing together cinema studies, Middle East studies, Black studies, and postcolonial theory, Racial Blackness and Indian Ocean Slavery explores African enslavement in the Indian Ocean through the revelatory and little-known history of Iranian cinema. It shows that Iranian film reveals a resistance to facticity representative of the history of African enslavement in the Indian Ocean and preserves the legacy of African slavery’s longue durée in ways that resist its overpowering erasure in the popular and historical imagination.     Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

MARVELOUS NAMESIN LITERATURE AND CINEMABy P. Adams SitneyA new collection of essays from P. Adams Sitney, author of Visionary Film, an important and influential early study of American experimental cinema. P. Adams Sitney explores topics such as Herman Melville and the novel Moby-Dick, Charlie Chaplin, the early cinema of Géorges Méliès, Vertigo (Alfred Hitchcock, 1958), Wavelength (Michael Snow, 1967), the avant-garde cinema of Stan Brakhage, Andy Warhol and Harry Smith, modern poetry (Stéphane Mallarmé, Hart Crane) ,and the sonnet. Sitney also looks back over his contributions to the world of structural/ avant-garde film and his encounters with some of its leading lights in the last essay. P. Adams Sitney is Professor of Visual Arts at Princeton University. He previously taught at the Cooper Union, Chicago's Art Institute, and New York University. He co-founded the Anthology Film Archives in New York in 1970. Sitney was an important teacher of cinema studies at Princeton and elsewhere. David James (University of Southern California) dubs Sitney 'the dean of American film historiography'. In 2008, P. Adams Sitney received the Logos-Siegfried Kracauer Award from Anthology Film Archives. He was awarded the President's Award for Distinguished Teaching in 2010. In 2011 he was awarded the Anna-Maria Kellen Berlin Prize from the American Academy in Berlin. He was admitted to the American Academy of Arts and Sciences in 2011. P. Adams Sitney's books include: Visionary Film: The American Avant-Garde, 1943-2000, Vital Crises In Italian Cinema, Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson, The Cinema of Poetry, and Modernist Montage: The Obscurity of Vision In Cinema and Literature. Illustrated. Hardcover, with a full colour laminate cover.www.crmoon.com

As featured in Fangoria, Movieweb, ComingSoon, Queerty, Rue Morgue, Yahoo News, Bloody Disgusting, and more!In 1983, Robert Hiltzik's Sleepaway Camp was quickly disregarded by film reviewers. Variety called it a "tired version of teen oriented horror film formulas," The Philadelphia Enquirer "had more thrills untangling paper clips," and The Cincinnati Post branded it "more horrible than horrifying."But fans saw something different. Very different. 40 years since its release, the film's unique blend of horror, tongue-in-cheek comedy, sexuality, and gender roles-along with an ending to end all endings, was seemingly ahead of its time. Sleepaway Camp is now discussed and debated more than when it was initially released. Longtime official Sleepaway Camp webmaster, writer, and filmmaker Jeff Hayes goes behind the scenes like never before, revealing the development and making of the film, its immediate aftermath, and the more than four decades of fandom since its release. This definitive Sleepaway Camp compendium includes interviews with much of the cast and crew (with many new exclusives), more than 75 production and memorabilia images (including previously unreleased on-set stills), and takes you backstage to the reunions, retro screenings, and convention events that have united fans and reignited interest in this beloved horror tale. Two sequels later, plus Hiltzik's retcon film Return to Sleepaway Camp, Sleepaway Camp continues to resonate in a big way with '80s film buffs, global horror fans, and the LGBT community, all of whom enjoy their horror films...with a twist. Welcome to Sleepaway Camp. Meet you at the waterfront, after the social.

Uncensored Hollywood offers an eclectic mix of strange goings on in Tinseltown through the decades. Scandal, murder, racism, feuds, unsolved mysteries, plastic surgery, bizarre deaths, gossip, and weird facts about Hollywood in all eras. Get ready for an uncensored trawl through the history of Hollywood!

This book is the first collection of essays to offer detailed examinations of the role that close attention to individual films plays in the philosopher Gilles Deleuze¿s work on cinema. In the last two decades, Deleuze's two books on film have had an enormous influence on Film Studies, profoundly affecting thinking about movement, time, history, and other topics. Theoretically ambitious and philosophically rich but clearly written by a broad range of established and emerging international film scholars, the chapters in this volume will both contribute to, and in places challenge, the vibrant field of Deleuzian film studies. Topics covered range from the relationship of Deleuze to film criticism; the role of theories of movement; and studies of works by major filmmakers including Federico Fellini, Werner Herzog, Vincente Minnelli, and Orson Welles. This book will be of interest not only to specialists in Deleuze but to anybody engaged with the close study of film and its philosophical ramifications.

Dieses Buch umfasst eine filmanalytische Betrachtung filmischer Interpretationen des Androgyniemotivs. Rückbezogen auf dessen mythische Ursprünge in Ovids Metamorphosen und Platons Kugelmenschenmythos wird nachvollzogen, inwieweit diese Darstellungen auf mythische Ursprungsgeschichten verweisen. Dazu wird auf Mythenforschung, körper- und blicktheoretische Thesen, Gender- und Queer Theorie sowie filmästhetische Ansätze zurückgegriffen. Es erfolgt eine Analyse ausgewählter Filmsequenzen aus internationalen Spiel- und Animationsfilmen, um theoretische Aspekte und Thesen nachvollziehbar darzulegen. Es wird vermutet, dass filminhärente Rekurse auf einzelne Mytheme helfen, die Thematik um Mehrgeschlechtlichkeit, nicht normative Sexualitäten und alternative sexuelle Identitäten medial verhandelbar zu machen. So können geschlechtliche Oppositionen dekonstruiert, Macht- und Hierarchiebeziehungen zwischen ihnen offengelegt und kritisch hinterfragt werden. Ziel der Studie ist demzufolge, das Motiv der Androgynie und seine filmischen Darstellungsweisen durch einen dichten theoretischen Rahmen möglichst präzise zu fassen, um herauszustellen, welche Rolle der Mythos als Ursprung des Motivs innerhalb der filmischen Darstellungen spielt.

Amateur film and amateur media practices have attracted increasing interest in recent decades in the context of the "visual turn". Questions of agency, participatory and political/militant film practices, and of representations of "self" and "other" are of interest as well as the institutions and networks of amateur productions. This special issue of "zeitgeschichte" contributes to this field of research by examining international and transnational developments of amateur films in the period after the Second World War. The collected contributions analyze national specifics and regional shapings of practices as well as cultural constructions in amateur film and video, they trace transnational entanglements of amateur media and tackle cross-border amateur filmmaking and internationally and globally shared discursive references and uses of metaphors in video activism. The authors elaborate parallels to organizational structures in amateur film practices in specific sociopolitical and cultural contexts and discuss aspects of memory and the appropriation of hegemonic visual cultures in individual film practices.