Filminstruktører og filmskabere

A collection of original essays and previously untranslated critical writings on the renowned Brazilian documentary filmmaker, Eduardo Coutinho.

Filmen er det mest substantielt tvetydige, man kan forestille sig. Af denne grund: Film er en uendelig sekvens, der udtrykker virkeligheden med virkeligheden. Der er altid foran enhver af os et muligt og virtuelt filmkamera, med uudtømmeligt chassis, som “filmer” vores liv, fra vi fødes, til vi dør. For hele vores FØRSTE OG RENE sprog er vores væren, virkelighed i virkeligheden.

Understanding the Importance of KnowledgeIn this fast-paced, ever-changing world, knowledge is undoubtedly the key to success and empowerment. It is often said that knowledge is power, and indeed, it holds immense significance in every aspect of our lives. Whether you are an individual striving for personal growth or a professional aiming to excel in your career, understanding the importance of knowledge is crucial.Knowledge empowers us and enables us to make informed decisions. It equips us with the necessary tools to navigate through life's challenges and opportunities. When we possess knowledge, we gain confidence in our abilities and have a clearer understanding of the world around us. This self-assurance allows us to take calculated risks and make choices that align with our goals and aspirations.Furthermore, knowledge opens doors to endless possibilities. It broadens our horizons and exposes us to new ideas, perspectives, and cultures. By continuously seeking knowledge, we expand our minds and foster a sense of curiosity and lifelong learning. This curiosity fuels our personal growth and allows us to adapt to the ever-evolving landscape of the world.In the professional sphere, knowledge is the foundation of success. In today's competitive job market, having expertise in a particular field or industry is a significant advantage. Employers value individuals who possess relevant knowledge and skills, as they can contribute effectively to the growth and development of the organization. Furthermore, knowledge empowers professionals to stay ahead of the curve, adapt to changing trends, and remain competitive in their careers.Beyond personal and professional growth, knowledge is also instrumental in societal progress. A knowledgeable society is a progressive society. It fosters innovation, critical thinking, and problem-solving. When individuals have access to knowledge and information, they can actively participate in shaping their communities and influencing positive change. Knowledge empowers individuals to challenge existing norms, question authority, and create a more inclusive and equitable society.

On Elizabeth Taylor: An Opinionated Guide is a comprehensive overview of the film, television, and theatrical career of Elizabeth Taylor (1932-2011). Including an introduction, biographical chronology, and guide to her entire career, Matthew Kennedy gives a critical assessment of each film and performance. This Opinionated Guide gives direction to anyone unfamiliar with Miss Taylor's work as an actress and elegantly guides readers who desire to explore her career and her impact on twentieth century popular culture.

Squatters and fare dodgers, super jams and Chinese in Bavaria, crime thrillers without dead bodies and, time and again, whimsical comedies: the film oeuvre of Manfred Stelzer (1944-2020) is as extensive as it is varied and shows how a politically committed documentary filmmaker of the turbulent seventies managed to remain true to himself and his aspirations even as a busy feature film director in television - whether »Balko«, »Tatort« from Münster or »Polizeiruf 110« from Mecklenburg-Vorpommern. This first comprehensive book about the director and screenwriter and his one hundred films from more than four decades brings together images and texts from his large film family as well as from a film studies perspective. All texts are included in German and English. With contributions by: Susanne Beyeler, Kurt Böwe, Jennifer Borrmann, Gerd Conradt, Matthias Dell, Andreas Döhler, Doris Dörrie, Harun Farocki, Robert Fischer, Jan Gympel, Doja Hacker, Gabriele Heberling, Irm Hermann, Lutz Kerschowski, Horst Königstein, Gert C. Möbius, Jakobine Motz, Ludger Pistor, Axel Prahl, Hans Helmut Prinzler, Monika Schmid, Elke Sommer, Beatrice E. Stammer, Gesine Strempel, Sigi Zimmerschied and many others. With greetings from Claudia Roth and Dr. Klaus Lederer.

"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"--

«This fascinating study of gesture makes an original contribution to film studies through the persuasive insights it offers into the significance of gesture in its different manifestations in post-New Wave cinema. Meticulous analysis of an eclectic choice of examples and compelling meditations on wider questions of social conditioning, human memory and gender make this book essential reading.»(Dr Albertine Fox, Senior Lecturer in French Film, University of Bristol)Since the invention of cinema in the late nineteenth century, gesture has been a central preoccupation and source of innovation for early film pioneers and avant-garde filmmakers. A non-verbal form of expression and communication characterised by movement, gesture is a key theoretical concept in film analysis that raises crucial questions about the medium specificity of cinema. This book uses an interdisciplinary and intermedial approach to read gesture in terms of its interplay with film technology and its relations with the visual and performing arts.The author examines the aesthetics of gesture in a selection of films made during a complex historical and cultural period marked by the disintegration of the French New Wave, the uprisings of May 1968 and the decline of postwar economic prosperity. The book offers an in-depth study of the works of major and often under-explored French and Francophone filmmakers, artists, writers and intellectuals, including Chantal Akerman, Fernand Deligny, Jean-Luc Godard, Pierre Klossowski, Anne-Marie Miéville, Georges Perec, Bernard Queysanne, Jacques Rivette, Renaud Victor and Pierre Zucca. While revitalising the expression of gesture in modern sound cinema, their films developed radical ways of representing and revealing the impact of sociocultural conditioning on the body.

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.

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).

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.

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.

I øjesyn er et gensyn med nogle af Bonfils' mest centrale film. Hun ser dokumentarfilm som både en politisk og kunstnerisk praksis, der tager del i den offentlige debat, mens den tilbyder nuance og eftertanke. I bogen ser hun tilbage på sig selv og de svære spørgsmål, der altid vender tilbage, om billedets sandhedsværdi, anfægtelse og engagement og om de moderne medieformers indflydelse.Med til at sætte filmene i perspektiv til nutiden er dialoger med bl.a. psykolog Ida Koch, filmklipper Niels Pagh Andersen, billedkunstner Kerstin Bergendal, forfatter og politiker Pelle Dragsted og teoretisk biolog Claus Emmeche.

Gennem mere end 90 år har Disney indfanget de mest fantastiske fantasier og skabt banebrydende underholdning for hele familien.Fra Snehvide til Frost, fra Mary Poppins til Pirates of the Caribbean og fra Disneyland til Tokyo DisneySea – tag på en uforglemmelig rejse gennem hele Disneys eventyrlige univers i denne omfattende bog, som er fyldt med interessante historier, flotte billeder og sjove facts. Få indblik i sjældne øjeblikke fra Disneys historie gennem en mageløs række af kunstværker og artefakter fra Disneys arkiver, og oplev magien folde sig ud!

By the time of his death in 1973, John Ford was probably the most celebrated director of Hollywood's golden age. The winner of four best director Oscars, he was the first filmmaker to be awarded his country's highest civilian honour, the Medal of Freedom, and the man chosen by the American Film Institute to receive its first life achievement award.In his work, Ford returned regularly to the same themes, employed the same actors and had a visual style that was personal and distinctive. This volume explores his preoccupations throughout his long, garlanded career, showing how he attempted to come to terms with American history, with how America kept changing its relationship with history and with how many of the myths of the 'West' were just that - myths.

Eine cineastische Autobiografie in Stills Ein Leben in Bildern. Bilder, die dem Leben entnommen sind. Für jeden seiner Filme stellt der international renommierte Regisseur Karim Ai¿nouz (geb. 1966 in Fortaleza, lebt und arbeitet in Berlin) eine Sammlung von Fotografien zusammen, die das fiktionale oder dokumentarische Universum der Filme bereichern: Schnappschüsse von Freund*innen und Fremden, Landschaften und Orte, die zu Schauplätzen werden können, und sehr persönliche Einblicke in Details, Texturen und Materialien, die seine Geschichten inspirieren. Nach drei Jahrzehnten des Filmemachens lädt Ai¿nouz uns ein, sein fotografisches Werk zu entdecken, das zweifellos in einem inspirierenden und lebendigen Dialog mit seinem Kino steht. Der preisgekrönte Regisseur Karim Ai¿nouz zeigt seine Filme auf Festivals wie der Berlinale ( Nardjes A., 2020; Futuro Beach, 2014) und den Filmfestspielen von Cannes ( Firebrand, 2023; The Silver Cliff, 2011; Madame Sata~ , 2002). Neben Dramen umfasst sein filmisches Werk Dokumentationen wie Mariner of the Mountains (2023) und Zentralflughafen THF (2018). Mit der HBO-Serie Alice (2008) feierte Ai¿nouz in Lateinamerika Erfolge. Die Künstlerbuch-Box bestehend aus fünf Einzelheften in einem Schuber gibt erstmals einen Einblick in Ai¿nouz' fotografisches OEuvre.   A Cinephile Autobiography in Stills A life in images. Images taken from life. For each of his films, the internationally acclaimed director Karim Ai¿nouz (b. Fortaleza, 1966; lives and works in Berlin) creates a collection of photographs that will enrich the film's fictional or documentary universe: snapshots of friends and strangers, landscapes and places that might serve as locations, and very personal glimpses of details, textures, and materials that inspire his stories. After three decades of filmmaking, Ai¿nouz invites us to discover his photographic oeuvre, which is indubitably engaged in an inspiring and vibrant dialogue with his cinema. The award-winning director Karim Ai¿nouz has shown his films at festivals including the Berlin International Film Festival ( Nardjes A., 2020; Futuro Beach, 2014) and the Cannes Film Festival ( Firebrand, 2023; The Silver Cliff, 2011; Madame Sata~, 2002). In addition to dramas, his cinematographic work encompasses documentaries such as Mariner of the Mountains (2023) and Central Airport THF (2018). Ai¿nouz enjoyed success in Latin America with the HBO series Alice (2008). The artist book compilation presents for the very first time the photographic oeuvre of Ai¿nouz in a slipcase with five volumes.

"George Lucas is an innovative and talented director, producer, screenwriter, and filmmaker whose prolific career spans decades. While he is best known as the creative mind behind the Star Wars franchise, Lucas first gained notoriety with his 1973 film American Graffiti, which received five Academy Award nominations, including Best Director and Best Picture. When Star Wars (1977) was released, the groundbreaking motion picture won six Academy Awards, became the highest grossing film at the time, and started a cultural revolution that continues to inspire generations of fans. Three decades and countless successes later, Lucas announced semiretirement in 2012 and sold his highly successful production company, Lucasfilm, to Disney. His achievements have earned him the Academy's Irving G. Thalberg Award, the American Film Institute's Life Achievement Award, induction into the Science Fiction Hall of Fame and the California Hall of Fame, and a National Medal of Arts presented by President Barack Obama. Lucas: His Hollywood Legacy is the first collection to bring a sustained scholarly perspective to the iconic filmmaker and his legacy beyond the Star Wars films. Edited by Richard Ravalli, this volume analyzes Lucas's overall contribution and importance to the film industry, diving deep into his use and development of modern special effects technologies, the history of his Skywalker Ranch production facilities, and more. With clearly written and enlightening critiques by experts consulting rare collections and archival materials, this book is an original and robust project that sets the standard for historical and cultural studies of Lucas"--

Den größten Teil seines filmischen Werkes schuf FRITZ LANG in den USA. In 20 Jahren, von 1936 bis 1956, drehte er, der bis heute einflussreichste Filmemacher aus dem deutschsprachigen Raum, 22 Filme in Hollywood, unterwarf sich dabei jedoch nie den geschriebenen und ungeschriebenen Regeln der Traumfabrik. Es ist ein zu zwei Kontinenten und Kulturen querstehendes Werk; zu persönlich, um es in gängigen Genrekategorien erfassen, zu intensiv, um seine Kraft nicht selbst heute noch wahrnehmen, zu abgründig, um seine Bedeutung für das Kino insgesamt und darüber hinaus noch länger ignorieren zu können.Erstmals im deutschsprachigen Raum schlüsselt ROBERT ZION diese 22 Filme im Zusammenhang auf - "The Secret Beyond the Door" Fritz Langs in Amerika.Stimmen zum Buch:"(Fritz Lang) gilt international als einer der großen Regisseure der Weimarer Republik, verließ Deutschland nach der Machtübernahme der Nationalsozialisten, emigrierte zunächst nach Paris und dann nach Los Angeles. Dort drehte er zwischen 1935 und 1956 insgesamt 22 Filme. Sie werden im Textband von Robert Zion präzise beschrieben und analysiert ... Sein Analyseschema ist überzeugend und führt zu wichtigen Erkenntnissen ... Wie schon bei seinem Buch über Rhonda Fleming (mein Filmbuch des Monats September 2020) beeindrucken mich die Präzision und die spürbare Empathie des Autors Robert Zion" - Hans Helmut Prinzler (Filmbuch des Monats Mai 2023)."Robert Zion zeichnet in Text- und Bildband dicht und spannend die Karriere Fritz Langs in Amerika, dessen Kämpfe mit den Produzenten, wiederkehrende Themen und den Inhalt seiner 22 Filme nach: Ein Buch, das große Lust auf Wiederentdeckung eines wenig beachteten Werks weckt ... Bestechend fügen sich bei den jeweils sechs- bis achtseitigen Filmbeschreibungen Inhaltsangaben und Blick auf die Produktionsgeschichte mit Langs häufigen Kämpfen mit den Produzenten sowie die Schilderung formaler und inhaltlicher Besonderheiten zu einem runden Ganzen" - Walter Gasperi (film-netz.com, Juni 2023).

«This erudite and informative book on French film directors is a comprehensive deep dive into the multi-faceted and interconnected landscape of Francophone cinema. From Akerman to Zidi, via Godard and Gondry, the volume marshals an impressive range of scholars who demonstrate how the French ¿art of directing¿ ¿ whether from established legends or emerging voices ¿ is a blend of the perceptive, the provocative and the populist.»(Ben McCann, Associate Professor of French Studies, University of Adelaide)«This impressive book is full of passion and fun facts. A wonderful work of scholarship, comprehensive and yet personable.»(Dr Christophe Gagne, Associate Professor in French, University of Cambridge)«The Art of Directing is a fabulous new resource for everyone interested in French cinema. Scholars and film-lovers alike will find much to be informed and inspired by in its concise but rich entries on 121 different directors. This will be the starting point for anyone wanting to know more about the directors who have shaped French cinema from the silent era to the present day.»(Mairi McLaughlin, Professor of French, University of California, Berkeley)«From Chantal Akerman to Claude Zidi, from auteur cinema to mainstream filmmaking, this wide-ranging book explores the world of French film directors, many ignored by critics until now. It includes entries by specialists from around the world and will be essential reading for students and lovers of the French-speaking world and film buffs alike.»(Professor Nina Parish, Professor of French and Francophone Studies, University of Sterling)«The Art of Directing is an indispensable tool for anyone interested in French cinema since its beginning. This volume takes us on a fascinating journey where we will meet not only leading figures of the seventh art but also littleknown filmmakers. Comprehensive, thorough, and impressively researched.»(Pierre-Philippe Fraiture, Professor of French, University of Warwick)It is not by chance that films by Renoir, Bresson, Varda, Godard, or Truffaut ¿ to name just a few ¿ have become widely studied around the world, with their directors becoming household names. Yet there are so many others who have made their mark on French and international cinema. The aim of this dictionary is to shed light on the directing process and to help people discover forgotten directors and rediscover prominent ones who have made Francophone cinema what it is today. This book is intended as a reference resource for students, scholars, and academics as well as film lovers, who will find both biographical and filmographic references, allowing them to gain an understanding in a nutshell of a particular director¿s career and its influences as well as its impact upon and legacy for the world of French cinema ¿ and beyond. When one considers all the directors who have impacted French cinema ¿ from the silent era to our current digital and streaming age ¿ this work is as exhaustive and inclusive as possible.

A decade of installation works from the filmmaker famed for An Oversimplification of Her Beauty and Random Acts of FlynessThis is the first publication on the genre-defying practice of American filmmaker Terence Nance (born 1982). Tracing his work in film, video, television, sound and performance from 2012 to 2022, the volume pays tribute to the community Nance cultivated in the heady days of early to mid 2000s Brooklyn. The role of community figures centrally in Nance's work, as evinced through his frequent collaborations with friends and family. Discarding the conventions of cinema, Nance opts for narrative forms that stretch the bounds of temporality and embrace Black spiritual and ancestral practices; he regards his work as part of an ongoing lineage of artists who labor to make visible these influences. Swarm highlights the interdisciplinary nature of Nance's practice by focusing on his immersive environments-both old and new-many of which have been reconstructed from earlier films.

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

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).

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.