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The second edition of this innovative textbook brings together leading scholars to provide detailed analyses of twenty-two key films within the canon of French cinema, from the 1920s to the 1990s. Films discussed include: * masterpieces such as Renoir's La Bete Humaine and Carne's Les Enfants du Paradis * popular classics such as Les Vacances de Monsieur Hulot and Ma Nuit chez Maud * landmarks of the New Wave such as Les 400 Coups and A bout de souffle * important films of the 1990s such as Nikita and La Haine The films are considered in relation to such issues as the history of French cinema, the social and cultural contexts of their production and reception, the relationship with Hollywood cinema, gender politics, authorship and genre. Each article is accompanied with a guide to further reading and a filmography of the director, and the new edition also includes a fully revised introduction and a bibliography on French cinema.
A provocative re-reading of Stanley Kubrick’s work and its focus on masculine desire The work of Stanley Kubrick amounts to a sustained reflection on the male condition: past, present, and future. The persistent theme of his filmmaking is less violence or sex than it is the pressurized exertion of masculinity in unusual or extreme circumstances, where it may be taxed or exaggerated to various effects, tragic and comic—or metamorphosed, distorted, and even undone. The stories that Kubrick’s movies tell range from global nuclear politics to the unpredictable sexual dynamics of a marriage; from a day in the life of a New York City prizefighter preparing for a nighttime bout to the evolution of humankind. These male melodramas center on sociality and asociality. They feature male doubles, pairs, and rivals. They explore the romance of men and their machines, and men as machines. They figure intensely conflicted forms of male sexual desire. And they are also very much about male manners, style, taste, and art. Examining the formal, thematic, and theoretical affiliations between Kubrick’s three bodies of work—his photographs, his documentaries, and his feature films—Kubrick’s Men offers new vantages on to the question of gender and sexuality, including the first extended treatment of homosexuality in Kubrick’s male-oriented work.
Holocaust movies have become an important segment of world cinema and the de-facto Holocaust education for many. One quarter of all American-produced Holocaust-related feature films have won or been nominated for at least one Oscar. In fact, from 1945 through 1991, half of all American Holocaust features were nominated. Yet most Holocaust movies have fallen through the cracks and few have been commercially successful. This book explores these trends--and many others--with a comprehensive guide to hundreds of films and made-for-television movies. From Anne Frank to Schindler's List to Jojo Rabbit, more than 400 films are examined from a range of perspectives--historical, chronological, thematic, sociological, geographical and individual. The filmmakers are contextualized, including Charlie Chaplin, Sidney Lumet, Steven Spielberg, Quentin Tarantino and Roman Polanski. Recommendations and reviews of the 50 best Holocaust films are included, along with an educational guide, a detailed listing of all films covered and a four-part index-glossary.
Over the past several decades, mainstream films have gradually featured queer content and characters. Depicted covertly at first, these characterizations have become much more prominent in recent years, most notably in such films as Philadelphia, Boys Don't Cry, and Brokeback Mountain. In Queer Males in Contemporary Cinema: Becoming Visible, Kylo-Patrick R. Hart explores both latent and manifest representations of queer males in noteworthy cinema from the mid-20th to the early 21st century. Hart examines films pertaining to bisexual, gay, and transgender men, as well as transsexuals, transvestites, queer people with HIV/AIDS, queer teens, and others. Throughout, this book continually reminds readers that both mainstream and independent films communicate, reinforce, and perpetuate culturally pervasive notions of "normalcy," "deviance," and "social otherness," in ways that frequently have real--and sometimes detrimental--effects on actual people. Covering a range of films, including From Here to Eternity, The Boys in the Band, Saturday Night Fever, Cruising, Point Break, The Doom Generation, Boys Don't Cry, Hedwig and the Angry Inch, Kinsey, Brokeback Mountain, Transamerica, and Shortbus, this book shows not only how much has changed since the mid-20th century, but also how much has remained the same. Queer Males in Contemporary Cinema provides perceptive insights for students and academics interested in film history, cultural studies, gender studies, media studies, popular culture, and LGBTQ studies.
A comprehensive treatment of the Classical World in film and television, A Companion to Ancient Greece and Rome on Screen closely examines the films and TV shows centered on Greek and Roman cultures and explores the tension between pagan and Christian worlds. Written by a team of experts in their fields, this work considers productions that discuss social settings as reflections of their times and as indicative of the technical advances in production and the economics of film and television. Productions included are a mix of Hollywood and European spanning from the silent film era though modern day television series, and topics discussed include Hollywood politics in film, soundtrack and sound design, high art and low art, European art cinemas, and the ancient world as comedy. Written for students of film and television as well as those interested in studies of ancient Rome and Greece, A Companion to Ancient Greece and Rome on Screen provides comprehensive, current thinking on how the depiction of Ancient Greece and Rome on screen has developed over the past century. It reviews how films of the ancient world mirrored shifting attitudes towards Christianity, the impact of changing techniques in film production, and fascinating explorations of science fiction and technical fantasy in the ancient world on popular TV shows like Star Trek, Babylon 5, Battlestar Galactica, and Dr. Who.
In recent decades, male bisexuality has become a recurring topic in international cinema, as filmmakers and their works challenge our ideas about sexual freedom and identity. In all of these films, more than a dozen of which are covered here, bisexuality is treated both as an actual practice and a complex metaphor for a number of things, including the need to adapt to changing environments, the questioning of rigidly traditional male roles and identities, the breakdown and regeneration of the structures of families, the limitations of monogamy, and the stubborn affirmation of romantic love.
The most popular film genre during the golden years of Italian cinema, the Comedy Italian Style emerged after the fall of the Facist regime, narrating the identity crisis of many Italian men. Exploring the birth, growth, and decline of this genre, Bini shows this notable style was the search for a new role in the shattered postwar middle class.
Screening the male re-examines the problematic status of masculinity both in Hollywood cinema and feminist film theory. Classical Hollywood cinema has been theoretically established as a vast pleasure machine, manufacturing an idealized viewer through its phallocentric ideological apparatus. Feminist criticism has shown how difficult it is for the female viewer to resist becoming implicated in this representational system. But the theroies have overlooked the significance of the problem itself - of the masuline motivation at the core of the system. The essays here explore those male characters, spectators, and performers who occupy positions conventionally encoded as "feminine" in Hollywood narrative and questions just how secure that orthodox male position is. Screening the Male brings together an impressive group of both established and emerging scholars from Britain, the United States and Australia unified by a concern with issues that film theorists have exclusively inked to the femninie and not the masculne: spectacle, masochism, passivity, masquerade and, most of all, the body as it signifies gendered, racial, class and generatonal differences.
Few people would argue with the films selected for detailed notices and reviews in this book. Many of the movies are award-winners, and most chalked up impressive figures at the box-office. Who would dispute the inclusion of Citizen Kane or Rebecca or The Best Years of Our Lives? However, along with The Yearling and Reap the Wild Wind and Hello, Frisco, Hello, I've also included a few surprises. A magnificent publication. -- Rodney Bourke in International Movie Making (April 2006).