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Movies love affair with an industry.
A madcap romp of friendship, movie-making, insanity and salvation. Humorous and heartrending, brilliantly executed.
A collection of five short stories that have been made into movies includes "The Mangler," in which a skeptical writer investigates a supposedly haunted hotel room that has apparently caused at least forty-two deaths.
"Went to the movies. Wept. Matchless entertainment." So wrote Franz Kafka in one of his diaries, giving us but one hint of his little-known passion for the cinema. Until now, Kafka aficionados have been left to speculate about which films moved Kafka so powerfully and how those films might have influenced his writing. With Kafka Goes to the Movies, German actor and film director Hanns Zischler draws on years of detective work to provide the first account of Kafka's moviegoing life. Since many of Kafka's visits to the cinema occurred during bachelor trips with Max Brod, Zischler's research took him not only to Kafka's native Prague but to film archives in Munich, Milan, and Paris. Matching Kafka's cinematic references to reviews and stills from daily papers, Zischler hunted down rare films in collections all across Europe. A labor of love, then, by a true man of the cinema, Kafka Goes to the Movies brims with discoveries about the pioneering years of European film. With a wealth of illustrations, including reproductions of movie posters and other rare materials, Zischler opens a fascinating window onto movies that have been long forgotten or assumed lost. But the real highlights of the book are those about Kafka himself. Long considered one of the most enigmatic figures in literature, the Kafka that emerges in this work is strikingly human. Kafka Goes to the Movies offers an absorbing look at a witty, passionate, and indulgently curious writer, one who discovered and used the cinema as a place of enjoyment and escape, as a medium for the ambivalent encounter with modern life, and as a filter for the changing world around him.
"An earlier edition of this work was published in Great Britain in 2015."--Title page verso.
In a series of photographs the stars, films, studios, and personnel behind the cameras are pictured.
From a look at classics like Psycho and Double Indemnity to recent films like Traffic and Thelma & Louise, Nicole Rafter and Michelle Brown show that criminological theory is produced not only in the academy, through scholarly research, but also in popular culture, through film. Criminology Goes to the Movies connects with ways in which students are already thinking criminologically through engagements with popular culture, encouraging them to use the everyday world as a vehicle for theorizing and understanding both crime and perceptions of criminality. The first work to bring a systematic and sophisticated criminological perspective to bear on crime films, Rafter and Brown's book provides a fresh way of looking at cinema, using the concepts and analytical tools of criminology to uncover previously unnoticed meanings in film, ultimately making the study of criminological theory more engaging and effective for students while simultaneously demonstrating how theories of crime circulate in our mass-mediated worlds. The result is an illuminating new way of seeing movies and a delightful way of learning about criminology.
Between 1942 and 1958, J. Edgar Hoover's Federal Bureau of Investigation conducted a sweeping and sustained investigation of the motion picture industry to expose Hollywood's alleged subversion of "the American Way" through its depiction of social problems, class differences, and alternative political ideologies. FBI informants (their names still redacted today) reported to Hoover's G-men on screenplays and screenings of such films as Frank Capra's It's a Wonderful Life (1946), noting that "this picture deliberately maligned the upper class attempting to show that people who had money were mean and despicable characters." The FBI's anxiety over this film was not unique; it extended to a wide range of popular and critical successes, including The Grapes of Wrath (1940), The Best Years of Our Lives (1946), Crossfire (1947) and On the Waterfront (1954). In J. Edgar Hoover Goes to the Movies, John Sbardellati provides a new consideration of Hollywood's history and the post-World War II Red Scare. In addition to governmental intrusion into the creative process, he details the efforts of left-wing filmmakers to use the medium to bring social problems to light and the campaigns of their colleagues on the political right, through such organizations as the Motion Picture Alliance for the Preservation of American Ideals, to prevent dissemination of "un-American" ideas and beliefs. Sbardellati argues that the attack on Hollywood drew its motivation from a sincerely held fear that film content endangered national security by fostering a culture that would be at best apathetic to the Cold War struggle at best, or, at its worst, conducive to communism at home. Those who took part in Hollywood's Cold War struggle, whether on the left or right, shared one common trait: a belief that the movies could serve as engines for social change. This strongly held assumption explains why the stakes were so high and, ultimately, why Hollywood became one of the most important ideological battlegrounds of the Cold War.
This highly accessible introduction to translation theory, written by a leading author in the field, uses the genre of film to bring the main themes in translation to life. Through analyzing films as diverse as the Marx Brothers’ A Night at the Opera, The Star Wars Trilogies and Lost in Translation, the reader is encouraged to think about both issues and problems of translation as they are played out on the screen and issues of filmic representation through examining the translation dimension of specific films. In highlighting how translation has featured in both mainstream commercial and arthouse films over the years, Cronin shows how translation has been a concern of filmmakers dealing with questions of culture, identity, conflict and representation. This book is a lively and accessible text for translation theory courses and offers a new and largely unexplored approach to topics of identity and representation on screen. Translation Goes to the Movies will be of interest to those on translation studies and film studies courses.
Maisy and her friends enjoy an adventure-filled movie as they go to the cinema for the first time.