Author: Christophe Wall-Romana
Publisher: Oxford University Press
This is the first comprehensive study of Jean Epstein's fiction and documentary films, film theory, and writings on poetry and homosexuality. Until now no general introduction to this very influential filmmaker, thinker and writer was available in English. The book unfolds the intellectual trajectory of Epstein, describes and comments on his most famous films and little-known documentaries, both silent and sound works, and defines the key terms and concepts of his philosophy of cinema. Wall-Romana argues that Epstein is among the most transformational thinkers of modernity in that he brought together, before Walter Benjamin, moving images, technology, embodiment and affect, philosophy and literature. After an introduction retracing Epstein's life and place in cinema history, the first chapter shows the links between his early career in medicine, his early writings (on poetry, cinema and 'lyrosophy'), and his conceptions of photogénie as embodied viewing. The next two chapters examine his best-known film work situated at the intersection of avant-garde and melodrama, and bring a new focus on the interplay of technics, failed romance, and queer themes and figures. The following three chapters take up his metaphysical Brittany cycle of the 1920s, his documentary committed to the Front Populaire, and his overall philosophy of the cinema. The conclusion explores the surprisingly Epsteinian dimension of some recent cinema, such as films by Soderbergh and Ang Lee, or the wuxia genre. Jean Epstein: Corporeal cinema and film philosophy is aimed at students, lecturers, and scholars of silent cinema, film theory, French studies, queer studies, poetry studies, and media and digital studies in their turn towards embodiment and affect.
Author: Lúcia Nagib, Anne Jerslev
André Bazin’s famous article, ‘Pour un cinéma impur: défense de l’adaptation’, was first translated into English simply as ‘In Defence of Mixed Cinema’, probably to avoid any uncomfortable sexual or racial resonances the word ‘impure’ might have. Impure Cinema goes back to Bazin’s original title precisely for its defence of impurity, applying it on the one hand to cinema’s interbreeding with other arts and on the other to its ability to convey and promote cultural diversity. In contemporary progressive film criticism, ideas of purity, essence and origin have been superseded by favourable approaches to ‘hybridization’, ‘transnationalism’, ‘multiculturalism’ and cross-fertilizations of all sorts. Impure Cinema builds on this idea in novel and exciting ways, as it draws on cinema’s combination of intermedial and intercultural aspects as a means to bridge the divide between studies of aesthetics and culture. Film is revealed here as the location par excellence of media encounters, mutual questioning and self-dissolution into post-medium experiments. Most importantly, the book argues, film’s intermedial relations can only be properly understood if their cultural determinants are taken into account. Scholars and students of film, cinéfiles and students of the arts will discover here unexpected connections across many artistic practices.
Author: Isabelle Vanderschelden
Publisher: Columbia University Press
Adopting a textual approach, with an emphasis on recent popular films, Studying French Cinema is geared toward nonspecialists studying French and film studies, as well as the general reader who might be interested in postwar French cinema. Each chapter focuses on one or more key films, from the groundbreaking output of the Nouvelle Vague ( Les 400 coups, 1959) to contemporary documentaries ( Etre et avoir, 2002) and situates these works within explorations of childhood, adolescence, and coming of age; auteur ideology and individual style; the representation of recent French history; aesthetic approaches; transnational production practices; and popular cinema, comedy, and gender issues. Taken together, this history provides a fresh perspective on postwar French history and points readers toward further study of related films.
Author: Achilleas Hadjikyriacou
Publisher: Bloomsbury Publishing USA
Between the end of the Civil War (1949) and the colonels' military coup (1967) Greece underwent tremendous political, economic, and social transformations which influenced gender identities and relations. During the same period, Greece also witnessed an unparalleled bloom in cinema productions. Based on the recently established paradigm that cinema and popular culture viewed as social institutions can inform a historical study, Masculinity and Gender in Greek Cinema explores the relationship between Greek cinema and the society within which it was created and viewed. The book's double analytical perspective on cinema and masculinity advances both the study of cinema and popular culture as historical sources, and of masculinity and gender relations as valid categories of historical analysis. Cinema as a medium of representation, not only managed to reflect on these issues, it also provided a whole new field for their interpretation. This is the first study to explore the dramatic transformation of masculinity and gender roles, as represented in Greek cinema during the turbulent 1950s and 1960s.
Author: James Quandt, Cinematheque Ontario
Publisher: Indiana University Press
French filmmaker Robert Bresson is perhaps the most revered living film director. Awed, inspired and sometimes mystified by the beauty and austere perfectionism of Bresson's style, critics and directors have been moved to passionate debate about his unique ideas on the use of sound, actors, editing and music. "Robert Bresson" is the first collection of essays in English on the director in three decades. A thorough examination of his vision and style, it draws together over twenty important articles by leading critics and scholars; three essential interviews; and the commentaries of over thirty directors on Bresson's importance and influence. Publised by Cinematheque Ontario. Distributed in Canada by Wilfrid Laurier University Press. Distributed outside Canada by Indiana University Press.
Author: Martin Halliwell
First published in 1999, this engaging interdisciplinary study of romantic science focuses on the work of five influential figures in twentieth-century transatlantic intellectual history. In this book, Martin Halliwell constructs an innovative tradition of romantic science by indicating points of theoretical and historical intersection in the thought of William James (American philosopher); Otto Rank (Austrian psychoanalyst); Ludwig Binswanger (Swiss psychiatrist); Erik Erikson (Danish/German psychologist); and Oliver Sacks (British neurologist). Beginning with the ferment of intellectual activity in late eighteenth-century German Romanticism, Halliwell argues that only with William James’ theory of pragmatism early in the twentieth century did romantic science become a viable counter-tradition to strictly empirical science. Stimulated by debates over rival models of consciousness and renewed interest in theories of the self, Halliwell reveals that in their challenge to Freud’s adoption of ideas from nineteenth-century natural science, these thinkers have enlarged the possibilities of romantic science for bridging the perceived gulf between the arts and sciences.
Author: Patricia MacCormack
Cinesexuality explores the queerness of cinema spectatorship, arguing that cinema spectatorship represents a unique encounter of desire, pleasure and perversion beyond dialectics of subject/object and image/meaning; an extraordinary 'cinesexual' relationship, that encompasses each event of cinema spectatorship in excess of gender, hetero- or homosexuality, encouraging all spectators to challenge traditional notions of what elicits pleasure and constitutes desiring subjectivity. Through a variety of cinematic examples, including abstract film, extreme films and films which present perverse sexuality and corporeal reconfiguration, Cinesexuality encourages a radical shift to spectatorship as itself inherently queer beyond what is watched and who watches. Film as its own form of philosophy invokes spectatorship thought as an ethics of desire. Original, exciting and theoretically sophisticated - focusing on continental philosophy, particularly Guattari, Deleuze, Blanchot, Foucault, Lyotard, Irigaray and Serres - the book will be of interest to scholars and students of queer, gender and feminist studies, film and aesthetics theory, cultural studies, media and communication, post-structural theory and contemporary philosophical thought.
Author: Larry E. Sullivan
This three-volume Encyclopedia of Law Enforcement provides a comprehensive, critical, and descriptive examination of all facets of law enforcement on the state and local, federal and national, and international stages. This work is a unique reference source that provides readers with informed discussions on the practice and theory of policing in an historical and contemporary framework. The volumes treat subjects that are particular to the area of state and local, federal and national, and international policing. Many of the themes and issues of policing cut across disciplinary borders, however, and several entries provide comparative information that places the subject in context.
Author: Jean Epstein
Publisher: Univocal Pub Llc
The advent of the cinema radically altered our comprehension of time, space, and reality. With his experience as a pioneering avant-garde filmmaker, Jean Epstein uses the universes created by the cinematograph to deconstruct our understanding of how time and space, reality and unreality, continuity and discontinuity, determinism and randomness function both inside and outside the cinema. Time, he says, should be regarded as the first, not the fourth, dimension--and the cinematograph allows us, for the first time, to manipulate it in directions and speeds of our choosing. The theoretical work of Jean Epstein greatly influenced later generations of cinema philosophers, notably Gilles Deleuze and Jacques Rancière, but the bulk of his work remains unpublished. The Intelligence of a Machine, his first major title published in English, is one of the earliest philosophies of cinema.
Author: Bernard M. Timberg, Robert J. Erler
Publisher: University of Texas Press
Flip through the channels at any hour of the day or night, and a television talk show is almost certainly on. Whether it offers late-night entertainment with David Letterman, share-your-pain empathy with Oprah Winfrey, trash talk with Jerry Springer, or intellectual give-and-take with Bill Moyers, the talk show is one of television's most popular and enduring formats, with a history as old as the medium itself. Bernard Timberg here offers a comprehensive history of the first fifty years of television talk, replete with memorable moments from a wide range of classic talk shows, as well as many of today's most popular programs. Dividing the history into five eras, he shows how the evolution of the television talk show is connected to both broad patterns in American culture and the economic, regulatory, technological, and social history of the broadcasting industry. Robert Erler's "A Guide to Television Talk" complements the text with an extensive "who's who" listing of important people and programs in the history of television talk.
Author: Sarah Keller, Jason N. Paul
"Filmmaker and theoretician Jean Epstein profoundly influenced film practice, criticism and reception in France during the 1920s and well beyond. His work not only forms the crux of the debates of his time, but also remains key to understanding later developments in film practice and theory. Epstein's film criticism is among the most wide-ranging, provocative and poetic writing about cinema and his often breathtaking films offer insights into cinema and the experience of modernity. This collection - the first comprehensive study in English of Epstein's far-reaching influence - arrives as several of the concerns most central to Epstein's work are being reexamined, including theories of perception, realism, and the relationship between cinema and other arts. The volume also includes new translations from every major theoretical work Epstein published, presenting the widest possible historical and contextual range of Epstein's work, from his beginnings as a biology student and literary critic to his late film projects and posthumously published writings"--P.  of cover.
Author: Donald Venes
Publisher: F.A. Davis
Taber’s brings meanings to life. Put the language of nursing, medicine and the healthcare professions at your fingertips. In hand, online, or on your mobile device—anywhere and everywhere, Taber’s 23 is the all-in-one, go-to source in the classroom, clinical, and beyond. Under the editorial direction of Donald Venes, MD, MSJ, a team of expert consulting editors and consultants representing nearly every health care profession ensures that the content reflects the most current healthcare information.
Author: Christine Reeh, José Manuel Martins
Publisher: Cambridge Scholars Publishing
Over the last few decades, film has increasingly become an issue of philosophical reflection from an ontological and epistemological perspective, and the claim “doing philosophy through film” has raised extensive discussion about its meaning. The mechanical reproduction of reality is one of the most prominent philosophical questions raised by the emergence of film at the end of the nineteenth century, inquiring into the ontological nature of both reality and film. Yet the nature of this audio-photographic and moving reproduction of reality constitutes an ontological puzzle, which has widely been disregarded as a main line of enquiry with direct consequences for philosophy. Regarding this background, this volume brings together the best papers from the Lisbon Conference on Philosophy and Film: Thinking Reality and Time through Film, held in 2014. What they all have in common is the discussion of new aspects and approaches of how philosophy relates to film. Whether by philosophizing through concrete examples of films or whether looking at film’s ontological reliance on time and image, or its intra-active entanglement with reality or truth, this book explores grasp film’s nature philosophically, and provides new insights for the film philosopher and the filmmaker, as well as for the freshman fascinated by film for philosophical reasons.
Author: D. Wallace, A. Smith
This rich and varied collection of essays makes a timely contribution to critical debates about the Female Gothic, a popular but contested area of literary studies. The contributors revisit key Gothic themes - gender, race, the body, monstrosity, metaphor, motherhood and nationality - to open up new critical directions.
Author: Tom O'Regan
Tom O'Regan's book is the first of its kind on Australian post-war cinema. It takes as its starting point Bazin's question 'What is cinema?'and asks what the construct of a 'national' cinema means. It looks at the broader concept from a different angle, taking film beyond the confines of 'art' into the broader cultural world. O'Regan's analysis situates Australian cinema in its historical and cultural perspective producing a valuable insight into the issues that have been raised by film policy, the cinema market place and public discourse on film production strategies. Since 1970 Australian film has enjoyed a revival. This book contains detailed critiques of the key films of this period and uses them to illustrate the recent theories on the international and Australian cinema industries. Its conclusions on the nature of the nation's cinema and the discourses within it are relevant within a far wider context; film as a global phenomenon.