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In a work that captures and reconfigures the passing moments of art, history, and philosophy, Mary Ann Doane shows how the cinema, representing the singular instant of chance and ephemerality in the face of the increasing rationalization and standardization of the day, participated in the structuring of time and contingency in capitalist modernity.
As almost every aspect of making and viewing movies is replaced by digital technologies, even the notion of "watching a film" is fast becoming an anachronism. With the likely disappearance of celluloid film stock as a medium, and the emergence of new media, what will happen to cinema--and to cinema studies? In the first of two books exploring this question, Rodowick considers the fate of film and its role in the aesthetics and culture of the twenty-first century.
In the first two volumes of Technics and Time, Bernard Stiegler worked carefully through Heidegger's and Husserl's relationship to technics and technology. Here, in volume three, he turns his attention to the prolematic relationship to technics he finds in Kant's Critique of Pure Reason, particularly in the two versions of the Transcendental Deduction. Stiegler relates this problematic to the "cinematic nature" of time, which precedes cinema itself but reaches an apotheosis in it as the exteriorization process of schema, through tertiary retentions and their mechanisms. The book focuses on the relationship between these themes and the "culture industry"— as defined by Adorno and Horkheimer—that has supplanted the educational institutions on which genuine cultural participation depends. This displacement, Stiegler says, has produced a malaise from which current global culture suffers. The result is potentially catastrophic.
"Best moving pictures I ever saw." Thus did one Vaudeville theater manager describe Georges Méliès's A Trip to the Moon [Le Voyage dans la lune], after it was screened for enthusiastic audiences in October 1902. Cinema's first true blockbuster, A Trip to the Moon still inspires such superlatives and continues to be widely viewed on DVD, on the Internet, and in countless film courses. In Fantastic Voyages of the Cinematic Imagination, leading film scholars examine Méliès's landmark film in detail, demonstrating its many crucial connecions to literature, popular culture, and visual culture of the time, as well as its long "afterlife" in more recent films, television, and music videos. Together, these essays make clear that Méliès was not only a major filmmaker but also a key figure in the emergence of modern spectacle and the birth of the modern cinematic imagination, and by bringing interdisciplinary methodologies of early cinema studies to bear on A Trip to the Moon, the contributors also open up much larger questions about aesthetics, media, and modernity. In his introduction, Matthew Solomon traces the convoluted provenance of the film's multiple versions and its key place in the historiography of cinema, and an appendix contains a useful dossier of primary-source documents that contextualize the film's production, along with translations of two major articles written by Méliès himself.
A director reveals the original inspirations for his films, their history, his methods of work, and the problems of visual creativity
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.
Written by experts in the field, this dictionary covers all aspects of film studies, including terms, concepts, debates, and movements in film theory and criticism, national, international and transnational cinemas, film history, film movements and genres, film industry organizations and practices, and key technical terms and concepts in 500 detailed entries. Most entries also feature recommendations for further reading and a large number also have web links. The web links are listed and regularly updated on a companion website that complements the printed book. The dictionary is international in its approach, covering national cinemas, genres, and film movements from around the world such as the Nouvelle Vague, Latin American cinema, the Latsploitation film, Bollywood, Yiddish cinema, the spaghetti western, and World cinema. The most up-to-date dictionary of its kind available, this is a must-have for all students of film studies and ancillary subjects, as well as an informative read for cinephiles and for anyone with an interest in films and film criticism.
Overview of Nazi cinema
Over one hundred years since it premiered on cinema screens, D. W. Griffith's controversial photoplay The Birth of a Nation continues to influence American film production and to have relevance for race relations in the United States. This work challenges the idea the United States has moved beyond racial problems and highlights the role of film and representation in the continued struggle for equality.
The rise of cinema as the predominant American entertainment around the turn of the last century coincided with the migration of hundreds of thousands of African Americans from the South to the urban "land of hope" in the North. This richly illustrated book, discussing many early films and illuminating black urban life in this period, is the first detailed look at the numerous early relationships between African Americans and cinema. It investigates African American migrations onto the screen, into the audience, and behind the camera, showing that African American urban populations and cinema shaped each other in powerful ways. Focusing on Black film culture in Chicago during the silent era, Migrating to the Movies begins with the earliest cinematic representations of African Americans and concludes with the silent films of Oscar Micheaux and other early "race films" made for Black audiences, discussing some of the extraordinary ways in which African Americans staked their claim in cinema's development as an art and a cultural institution.