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This book argues theoretically for, and exemplify through critical and historical analysis, the interrelatedness of discourses on scale, distance, identification and doubling in the cinema. It contains analyses of a wide variety of films, including Citizen Kane, The Double Life of Véronique, The Great Gatsby, Gilda, Vertigo and Wings of Desire.
A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.
Can cinema reveal its audience's most subversive thinking? Do films have the potential to project their viewers' innermost thoughts making them apparent on the screen? This book argues that cinema has precisely this power, to unveil to the spectator their own hidden thoughts. It examines case studies from various cultures in conversation with Spain, a country whose enduring masterpieces in self-reflexive or meta-art provide insight into the special dynamic between viewer and screen. Framed around critical readings of Miguel de Cervantes' Don Quixote, Diego Velázquez' Las meninas and Luis Buñuel's Un chien andalou, this book examines contemporary films by Víctor Erice, Carlos Saura, Bigas Luna, Alejandro Amenábar, Lucrecia Martel, Krzysztof Kieslowski, David Lynch, Pedro Almodóvar, Spike Jonze, Andrzej Zulawski, Fernando Pérez, Alfred Hitchcock, Wes Craven and David Cronenberg to illustrate how self-reflexivity in film unbridles the mental repression of film spectators. It proposes cinema as an uncanny duplication of the workings of the brain – a doppelgänger to human thought.
The continued interest in the social and cultural life of the former Warsaw pact countries – looking at but also beyond their socialist pasts – encompasses a desire to know more about their national cinemas. Yet, despite the increasing consumption of films from these countries – via DVD, VOD platforms and other alternative channels – there is a lack of comprehensive information on this key aspect of visual culture. This important book rectifies the glaring gap and provides both a history and a contemporary account of East Central European cinema in the pre-WW2, socialist, and post-socialist periods. Demonstrating how at different historical moments popular cinema fulfilled various roles, for example in the capacity of nation-building, and adapted to the changing markets of a morphing political landscape, chapters bring together experts in the field for the definitive analysis of mainstream cinema in the region. Celebrating the unique contribution of films from Hungary, the Czech Republic/Czechoslovakia and Poland, from the award-winning Cosy Dens to cult favourite Lemonade Joe, and from 1960s Polish Westerns to Hollywood-influenced Hungarian movies, the book addresses the major themes of popular cinema. By looking closely at genre, stardom, cinema exhibition, production strategies and the relationship between the popular and the national, it charts the remarkable evolution and transformation of popular cinema over time. The continued interest in the social and cultural life of the former Warsaw pact countries – looking at but also beyond their socialist pasts – encompasses a desire to know more about their national cinemas. Yet, despite the increasing consumption of films from these countries – via DVD, VOD platforms and other alternative channels – there is a lack of comprehensive information on this key aspect of visual culture. This important book rectifies the glaring gap and provides both a history and a contemporary account of East Central European cinema in the pre-WW2, socialist, and post-socialist periods. Demonstrating how at different historical moments popular cinema fulfilled various roles, for example in the capacity of nation-building, and adapted to the changing markets of a morphing political landscape, chapters bring together experts in the field for the definitive analysis of mainstream cinema in the region. Celebrating the unique contribution of films from Hungary, the Czech Republic/Czechoslovakia and Poland, from the award-winning Cosy Dens to cult favourite Lemonade Joe, and from 1960s Polish Westerns to Hollywood-influenced Hungarian movies, the book addresses the major themes of popular cinema. By looking closely at genre, stardom, cinema exhibition, production strategies and the relationship between the popular and the national, it charts the remarkable evolution and transformation of popular cinema over time.
Frederic Jameson and Film Theory is the first collection of its kind, it assesses and critically responds to Fredric Jameson’s remarkable contribution to film theory. The essays assembled explore key Jamesonian concepts—such as totality, national allegory, geopolitics, globalization, representation, and pastiche—and his historical schema of realism, modernism, and postmodernism, considering, in both cases, how these can be applied, revised, expanded and challenged within film studies. Featuring essays by leading and emerging voices in the field, the volume probes the contours and complexities of neoliberal capitalism across the globe and explores world cinema's situation within these forces by deploying and adapting Jamesonian concepts, and placing them in dialogue with other theoretical paradigms. The result is an innovative and rigorously analytical effort that offers a range of Marxist-inspired approaches towards cinemas from Asia, Latin America, Europe, and North America in the spirit of Jameson's famous rallying cry: 'always historicize!'.
The Multilingual Screen is the first edited volume to offer a wide-ranging exploration of the place of multilingualism in cinema, investigating the ways in which linguistic difference and exchange have shaped, and continue to shape, the medium's history. Moving across a vast array of geographical, historical, and theoretical contexts-from Japanese colonial filmmaking to the French New Wave to contemporary artists' moving image-the essays collected here address the aesthetic, political, and industrial significance of multilingualism in film production and reception. In grouping these works together, The Multilingual Screen discerns and emphasizes the areas of study most crucial to forging a renewed understanding of the relationship between cinema and language diversity. In particular, it reassesses the methodologies and frameworks that have influenced the study of filmic multilingualism to propose that its force is also, and perhaps counterintuitively, a silent one. While most studies of the subject have explored linguistic difference as a largely audible phenomenon-manifested through polyglot dialogues, or through the translation of monolingual dialogues for international audiences-The Multilingual Screen traces some of its unheard histories, contributing to a new field of inquiry based on an attentiveness to multilingualism's work beyond the soundtrack.
In the course of its long and tumultuous history the sublime has alternated between spatial and temporal definitions, from its conceptualization in terms of the grandeur and infinity of Nature (spatial), to its postmodern redefinition as an "event" (temporal), from its conceptualization in terms of our failure to "cognitively map" the decentered global network of capital or the rhizomatic structure of the postmetropolis (spatial), to its neurophenomenological redefinition in terms of the new temporality of presence produced by network/real time (temporal). This volume explores the place of the sublime in contemporary culture and the aesthetic, cultural, and political values coded in it. It offers a map of the contemporary sublime in terms of the limits—cinematic, cognitive, neurophysiological, technological, or environmental—of representation.
This book identifies the converging socio- cultural, economic, and technological conditions that have shaped, informed, and realised the identity of the contemporary virtual influencer, situating them at the intersection of social media, consumer culture, Artificial Intelligence (AI), and digital technologies. Through a critical analysis of virtual influencers and related media practices and discourses in an international context, each chapter investigates different themes relating to digitality and identity: virtual place and nationhood; virtual emotions and intimacy; im/ materialities of virtual everyday life; the biopolitics of virtual human-production; the necropolitics of pandemic virtuality; transmedial and mimetic virtualities; and the political economy of virtual influencers. The book argues that the virtual influencer represents the various ways in which contemporary identities have increasingly become naturalised with questions of virtuality, mediated by digital technologies across multiple realities. From practices relating to AI- driven, invasive data profiling needed for virtual influencer production to problematic online practices such as buying digital skin colour, the author examines how the virtual influencer’s aesthetic, social, and economic value obfuscates some of the darker aspects of their role as an extractivist technology of virtuality: one which regulates, oppresses, and/ or classifies bodies and datafied bodies that serve the visual, (bio)political, and digital economies of virtual capitalism. In the process, the book simultaneously offers a critique of the virtual influencer as a representational figure existing across multiple digital platforms, spaces, and times, and of how they may challenge, complicate, and reinforce normative ideologies surrounding gender, race, class, sexuality, age, and ableism. As such, the book sheds light on some of the more troubling realities of the virtual influencer’s existence, inasmuch as it celebrates their transformational potential, exploring the implications of both within an increasingly AI- driven, digital culture, society, and economy. Drawing from a wide range of disciplines, this book will appeal to scholars, researchers, and students working in the area(s) of: Popular Culture and Media; Internet, Digital and Social Media Studies; Data justice and Governance; Japanese Media Studies; Celebrity Studies; Fan Studies; Marketing and Consumer Studies; Sociology; Human– Computer Studies; and AI and Technology Studies.
The works of popular Spanish film directors Julio Medem, Juan José Bigas Luna, and José Luis Guerín are newly appraised in relation to their engagement with alternative national and cinematic subjectivities. Their films examine the limitations of the cinematic gaze, as the author shows, highlighting the ways in which these directors make recourse to hybridity, contact, and interface to overcome the binary power dynamic previously thought to be a feature of cinema. This book explores their status as solely “Spanish” filmmakers while focusing on their diverse and immensely creative output, offering new readings that engage with current debates in visual culture surrounding psychoanalytic theory, phenomenology, and theories of documentary practice.
Film and Cinema Spectatorship provides a clear and wide-ranging introduction to different debates and traditions of viewing cinema. In this new book, Jan Campbell offers a comprehensive account of the different theoretical perspectives on film and cinema spectatorship, situating these in their cultural and historical contexts. Among the perspectives covered are those of feminism, modernism and cultural studies, with chapters dedicated to important topics such as early film, stars and film aesthetics. Campbell also provides accessible explorations of the importance of key themes to film and cinema spectatorship, such as mimesis, melodrama, performance and time. The timely and comprehensive text will be essential reading for anyone interested in debates on film theory, psychoanalysis and film, and the history of cinema. This book will be of special interest to students of film studies, media studies and cultural studies.