Download Free From The Arthouse To The Grindhouse Book in PDF and EPUB Free Download. You can read online From The Arthouse To The Grindhouse and write the review.

This collection of essays represents key contributions to 'transgression cinema:' overlooked, forgotten, or under-analyzed movies that walk the fine line between 'arthouse' and 'grindhouse' film.
This collection of essays represents key contributions to 'transgression cinema: ' overlooked, forgotten, or under-analyzed movies that walk the fine line between 'arthouse' and 'grindhouse' film
"Representations of Antiquity in Film offers an introduction to how the ancient world is represented in film and especially Hollywood cinema. By considering cinematic narrative as well as various elements of film design, McGeough presents a comprehensive overview of the topic designed for students and scholars with varying backgrounds in media studies, archaeology, religious studies, and ancient history"--
World War II irrevocably shaped culture--and much of cinema--in the 20th century, thanks to its devastating, global impact that changed the way we think about and portray war. This book focuses on European war films made about the war between 1945 and 1985 in countries that were occupied or invaded by the Nazis, such as Poland, France, Italy, the Soviet Union, and Germany itself. Many of these films were banned, censored, or sharply criticized at the time of their release for the radical ways they reframed the war and rejected the mythologizing of war experience as a heroic battle between the forces of good and evil. The particular films examined, made by arthouse directors like Pier Paolo Pasolini, Rainer Werner Fassbinder, and Larisa Shepitko, among many more, deviate from mainstream cinematic depictions of the war and instead present viewpoints and experiences of WWII which are often controversial or transgressive. They explore the often-complicated ways that participation in war and genocide shapes national identity and the ways that we think about bodies and sexuality, trauma, violence, power, justice, and personal responsibility--themes that continue to resonate throughout culture and global politics.
As the horror subgenre du jour, found footage horror's amateur filmmaking look has made it available to a range of budgets. Surviving by adapting to technological and cultural shifts and popular trends, found footage horror is a successful and surprisingly complex experiment in blurring the lines between quotidian reality and horror's dark and tantalizing fantasies. Found Footage Horror Films explores the subgenre's stylistic, historical and thematic development. It examines the diverse prehistory beyond Man Bites Dog (1992) and Cannibal Holocaust (1980), paying attention to the safety films of the 1960s, the snuff-fictions of the 1970s, and to television reality horror hoaxes and mockumentaries during the 1980s and 1990s in particular. It underscores the importance of The Blair Witch Project (1999) and Paranormal Activity (2007), and considers YouTube's popular rise in sparking the subgenre's recent renaissance.
Examines, with historically informed nuance, the myriad routes of cultural influence that converged in the American ‘grindhouse’ phenomenon and its aftermath.
A social and cultural history of exploitation films, which were produced on the fringes of Hollywood and often dealt with subjects forbidden by the Production Code.
A brilliant line-up of international contributors examine the implications of the portrayals of Nazis in low-brow culture and that culture's re-emergence today
Between the 1920s and the 1960s, American mainstream cinematic architecture underwent a seismic shift. From the massive movie palace to the intimate streamlined theater, movie theaters became neutralized spaces for calibrated, immersive watching. Leading this charge was New York architect Benjamin Schlanger, a fiery polemicist whose designs and essays reshaped how movies were watched. In its close examination of Schlanger's work and of changing patterns of spectatorship, this book reveals that the essence of film viewing lies not only in the text, but in the spaces where movies are shown. The Optical Vacuum demonstrates that our changing models of cinephilia are always determined by physical structure: from the decorations of the palace to the black box of the contemporary auditorium, variations in movie theater design are icons for how viewing has similarly transformed.
The "new" realism of Italian cinema after World War II represented and in many ways attempted to contain the turmoil of a society struggling to rid itself of Fascism while fighting off the threat of radical egalitarianism at the same time. In this boldly revisionist book, Vincent F. Rocchio combines Lacanian psychoanalysis with narratology and Marxist critical theory to examine the previously neglected relationship between Neorealist films and the historical spectators they address. Rocchio builds his analysis around case studies of the films Rome: Open City, Bicycle Thieves, La Terra Trema, Bitter Rice, and Senso. Through the lens of psychoanalysis, he challenges the traditional understanding of Neorealism as a progressive cinema and instead reveals the anxieties it encodes: a society in political turmoil, an economic system in collapse, and a national cinema in ruins; while war, occupation, collaboration, and retaliation remain a part of everyday life. These case studies demonstrate how Lacanian psychoanalysis can play a key role in analyzing the structure of cinematic discourse and its strategies of containment. As one of the first books outside of feminist film theory to bring the ideas of Lacan to theories of cinema, this book offers innovative methods that reinvigorate film analysis. Clear and detailed insights into both Italian culture and the films under investigation will make this engaging reading for anyone interested in film and cultural studies.