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Updated collections of recent interviews with filmmakers whose works represent trends in the film industries of Central Asia and the Middle East, these two new geospecific editions expand upon the earlier volume Cinemas of the Other: A Personal Journey with Film-Makers from the Middle East and Central Asia. Following an introduction delineating the histories of the film industries of the countries that make up the Middle East and Central Asia - including Iran, Turkey, and the Central Asian republics of Kazakhstan, Kyrgyzstan, Tajikstan, Turkmenistan and Uzbekistan - both books contain interviews stretching over a decade, which position the filmmakers and their creative concerns within the social or political context of their respective countries. The striking variety of approaches toward each interview creates a rich diversity of tone and opens the door to a better understanding of images of 'otherness' in film. In addition to transcripts of the interviews, each chapter also includes stills from important films discussed, biographical information about the filmmakers and filmographies of their works. Gönül Dönmez-Colin offers in these expanded editions a carefully researched and richly detailed firsthand account of the developments and trends in these regional film industries that is sure to be appreciated by film scholars and researchers of the Middle East and Central Asia.
Transnational cinemas are eclipsing national cinemas in the contemporary world, and Sino-French films exemplify this phenomenon through the cinematic coupling of the Sinophone and the Francophone, linking France not just with the Chinese mainland but also with the rest of the Chinese-speaking world. Sinophone directors most often reach out to French cinema by referencing and adapting it. They set their films in Paris and metropolitan France, cast French actors, and sometimes use French dialogue, even when the directors themselves don't understand it. They tend to view France as mysterious, sexy, and sophisticated, just as the French see China and Taiwan as exotic. As Michelle E. Bloom makes clear, many films move past a simplistic opposition between East and West and beyond Orientalist and Occidentalist cross-cultural interplay. Bloom focuses on films that have appeared since 2000 such as Tsai Ming-liang's What Time Is It There? , Hou Hsiao-hsien's Flight of the Red Balloon, and Dai Sijie's Balzac and the Little Chinese Seamstress. She views the work of these well-known directors through a Sino-French optic, applying the tropes of métissage (or biraciality), intertextuality, adaptation and remake, translation, and imitation to shed new light on their work. She also calls attention to important, lesser studied films: Taiwanese director Cheng Yu-chieh's Yang Yang, which depicts the up-and-coming Taiwanese star Sandrine Pinna as a mixed race beauty; and Emily Tang Xiaobai's debut film Conjugation, which contrasts Paris and post-Tiananmen Square Beijing, the one an incarnation of liberty, the other a place of entrapment. Bloom's insightful analysis also probes what such films reveal about their Taiwanese and Chinese creators. Scholars have long studied Sino-French literature, but this inaugural full-length work on Sino-French cinema maps uncharted territory, offering a paradigm for understanding other cross-cultural interminglings and tools to study transnational cinema and world cinema. The Sino-French, rich and multifaceted, linguistically, culturally, and ethnically, constitutes an important part of film studies, Francophone studies, Sinophone studies and myriad other fields. This is a must-read for students, scholars, and lovers of film.
Cinema of the Other Europe: The Industry and Artistry of East Central European Film is a comprehensive study of the cinematic traditions of Poland, Hungary, the Czech Republic and Slovakia from 1945 to the present day, exploring the major schools of filmmaking and the main stages of development across the region during the period of state socialism up until the end of the Cold War, as well as more recent transformations post-1989. In encouraging a more inclusive and comprehensive understanding of European cinema, much needed for the new unified Europe `enlarged' towards its Eastern periphery, this book maps out the interactions, key concerns, thematic spheres and stylistic particularities that make the cinema of East Central Europe a vital part of European film tradition. Cinema of the Other Europe is thus a timely appraisal of Film Studies debates ranging from the representation of history and memory, the reassessment of political content, ethics and society, the rehabilitation of popular cinema, and the rethinking of national and regional cinemas in the context of globalisation.
Cinema's Doppelgängers is a counterfactual history of the cinema - or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it's a history of the movies written from an alternative unfolding of historical time - a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn't become filmmakers, and in which Hitchcock never came to Hollywood. The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism. Doug Dibbern's first book, Hollywood Riots: Violent Crowds and Progressive Politics in American Film, won the 2016 Peter Rollins Prize. He has published scholarly essays on classical Hollywood filmmakers, film criticism for The Notebook at Mubi.com, and literary essays for journals like Chicago Quarterly Review and Hotel Amerika. He has a Ph.D. in Cinema Studies from New York University, where he teaches now in the Expository Writing Program.
The cinema has been the pre-eminent popular art form of the 20th century. In Cinemas of the World, James Chapman examines the relationship between film and society in the modern world: film as entertainment medium, film as a reflection of national cultures and preoccupations, film as an instrument of propaganda. He also explores two interrelated issues that have recurred throughout the history of cinema: the economic and cultural hegemony of Hollywood on the one hand, and, on the other, the attempts of film-makers elsewhere to establish indigenous national cinemas drawing on their own cultures and societies. Chapman examines the rise to dominance of Hollywood cinema in the silent and early sound periods. He discusses the characteristic themes of American movies from the Depression to the end of the Cold War especially those found in the western and film noir – genres that are often used as vehicles for exploring issues central to us society and politics. He looks at national cinemas in various European countries in the period between the end of the First World War and the end of the Second, which all exhibit the formal and aesthetic properties of modernism. The emergence of the so-called "new cinemas" of Europe and the wider world since 1960 are also explored. "Chapman is a tough-thinking, original writer . . . an engaging, excellent piece of work."—David Lancaster, Film and History
This important anthology addresses established notions about Third Cinema theory, and the cinema practice of developing and postcolonial nations. The 'Third Cinema' movement called for a politicised film-making practice in Africa, Asia and Latin America, one which would take on board issues of race, class, religion, and national integrity. The films which resulted from the movement, from directors such as Ousmane Sembene, Satyajit Ray and Nelson Pereira dos Santos, are among the most culturally signficant, politically sophisticated and frequently studied films of the 1960s and 1970s. However, despite the contemporary popularity and critical attention enjoyed by films from Asia and Latin America in particular, Third Cinema and Third Cinema theory appears to have lost its momentum. Rethinking Third Cinema seeks to bring Third Cinema and Third Cinema theory back into the critical spotlight. The contributors address the most difficult and challenging questions Third Cinema poses, suggesting new methodologies and redirections of existing ones. Crucially, they also re-examine the entire phenomenon of film-making in a fast-vanishing 'Third World', with case studies of the cinemas of India, Iran and Hong Kong, among others.
More than 100 years after the first movie delighted audiences, movie theaters remain the last great community centers and one of the few amusements any family can afford. While countless books have been devoted to films and their stars, none have attempted a truly definitive history of those magical venues that have transported moviegoers since the beginning of the last century. In this stunningly illustrated book, film industry insiders Ross Melnick and Andreas Fuchs take readers from the nickelodeon to the megaplex and show how changes in moviemaking and political, social, and technological forces (e.g., war, depression, the baby boom, the VCR) have influenced the way we see movies.Archival photographs from archives like the Academy of Motion Picture Arts and Sciences and movie theater ephemera (postcards, period ads, matchbooks, and even a "barf bag") sourced from private collections complement Melnick's informative and engaging history. Also included throughout the book are Fuchs' profiles detailing 25 classic movie theaters that have been restored and renovated and which continue to operate today. Each of these two-page spreads is illustrated with marvelous modern photographs, many taken by top architectural photographers. The result is a fabulous look at one way in which Americans continue to come together as a nation. A timeline throughout places the developments described in a broader historical context."We've had a number of beautiful books about the great movie palaces, and even some individual volumes that pay tribute to surviving theaters around the country. This is the first book I can recall that focuses on the survivors, from coast to coast, and puts them into historical context. Sumptuously produced in an oversized format, on heavy coated paper stock, this beautiful book offers a lively history of movie theaters in America , an impressive array of photos and memorabilia, and a heartening survey of the landmarks in our midst, from the majestic Fox Tucson Theatre in Tucson, Arizona to the charming jewel-box that is the Avon in Stamford, Connecticut. I don't know why, but I never tire of gazing at black & white photos of marquees from the past; they evoke the era of moviemaking (and moviegoing) I care about the most, and this book is packed with them. Cinema Treasures is indeed a treasure, and a perfect gift item for the holiday season. - Leonard Maltin"Humble or grandiose, stand-alone or strung together, movie theaters are places where dreams are born. Once upon a time, they were treated with the respect they deserve. In their heyday, historian Ross Melnick and exhibitor Andreas Fuchs write in Cinema Treasures, openings of new motion-picture pleasure palaces that would have dazzled Kubla Khan 'received enormous attention in newspapers around the country. On top of the publicity they generated, their debuts were treated like the gala openings of new operas or exhibits, with critics weighing in on everything from the interior and exterior design to the orchestra.' Handsomely produced and extensively illustrated, Cinema Treasures is detailed without being dull and thoroughly at home with this often neglected subject matter. Its title would have you believe it is a celebration of the golden age of movie theaters. But this book is something completely different: an examination of the history of movie exhibition, which the authors accurately call 'a vastly under-researched topic.'" - Los Angeles Times
"In this irresistible memoir, Toby Talbot, co-owner and proud "matron" of the New Yorker Theater, reveals the story behind Manhattan's wild and wonderful affair with art-house film. With her husband Dan, Talbot showcased a range of eclectic films, introducing French New Wave and New German cinema, along with other groundbreaking genres and styles. As Vietnam protests and the struggle for civil rights raged outside, the Talbots also took the lead in distributing political films, such as Bernard Bertolucci's Before the Revolution, and documentaries, such as Shoah and Point of Order.".
"Twenty-four essays on individual selected films, many by scholars and writers based in the region. It explores established film cultures such as those of Turkey and Iran, and also nascent cinemas such as those of Israel, Palestine and Syria. ... Selected films include Cairo Station (Egypt, 1958), Umat (Turkey, 1970), The Runner (Iran, 1989) ... Once upon a time, Beriut (Lebanon, 1994), Chronicle of a disappearance (Palestine, 1996), Circle of dreams (Israel, 2000), Ten (Iran, 2002) and Uzak (Turkey, 2003)."--Page 4 of cover.
An original collection of recent interviews with filmmakers whose works represent the trends in the film industries of their respective countries. Preceding the interviews, the author provides an introduction delineating historical information regarding the film industries of the countries included in the book.