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The first English translation of a foundational work in cinema studies and the philosophy of film. When it was first published in French in 1980, The Ordinary Man of Cinema signaled a shift from the French film criticism of the 1960s to a new breed of film philosophy that disregarded the semiotics and post-structuralism of the preceding decades. Schefer describes the schizophrenic subjectivity the cinema offers us: the film as a work projected without memory, viewed by (and thereby lived by) a subject scarred and shaped by memory. The Ordinary Man of Cinema delineates the phenomenology of movie-going and the fleeting, impalpable zone in which an individual's personal memory confronts the cinema's ideological images to create a new way of thinking. It is also a book replete with mummies and vampires, tyrants and prostitutes, murderers and freaks—figures that are fundamental to Schefer's conception of the cinema, because the worlds that cinema traverses (our worlds, interior and exterior) are worlds of pain, unconscious desire, decay, repressed violence, and the endless mystery of the body. Fear and pleasure breed monsters, and such are what Schefer's emblematic “ordinary man” seeks and encounters when engaging in the disordering of the ordinary that the movie theater offers him. Among other things, Schefer considers “The Gods” in 31 brief essays on film stills and “The Criminal Life” with reflections on spectatorship and autobiography. While Schefer's book has long been standard reading in French film scholarship, until now it has been something of a missing link to the field (and more broadly, French theory) in English. It is one of the building blocks of more widely known and read translations of Gilles Deleuze (who cited this book as an influence on his own cinema books) and Jacques Rancière.
Extra-Ordinary Men analyzes popular cinematic representations of white heterosexual masculinity as the 'ordinary' form of male identity, one that enjoys considerable economic, social, political, and representational strength. Nicola Rehling argues that while this normative position affords white heterosexual masculinity ideological and political dominance, such 'ordinariness' also engenders the anxiety that it is a depthless, vacuous, and unstable identity. At a time when the neutrality of white heterosexual masculinity has been challenged by identity politics, this insightful volume offers lucid accounts of contemporary theoretical debates on masculinity in popular cinema, and explores the strategies deployed in popular films to reassert white heterosexual male hegemony through detailed readings of films as diverse as Fight Club, Boys Don't Cry, and The Matrix. Accessible to undergraduates, but also of interest to film scholars, the book makes a distinctive contribution to our understanding of the ways in which popular film helps construct and maintain many unexamined assumptions about masculinity, gender, race, and sexuality.
This volume explores the lower reaches of cinema and its paradoxical appeal. It looks at films from the B-movies of the 1930s to the mockbusters of today, and from the New York underground to the genre variations of Turkey's Yesilçam studios (and their YouTube afterlife). Critically examining the reasons for studying, denigrating, or celebrating the detritus of film history, it also considers the place of a trash aesthetic within and beyond 1960s American avant-garde and looks at the cult of trash in the fanzines of the 1980s. It draws on debates about cult, paracinema, and camp, arguing that trash cinema exists in relation to these but brings with it a particular history that includes the ordinary as well as the strange. Trash Cinema places these debates, and the strand of self-proclaimed low culture that emerged in the second half of the twentieth century, within a historical and international perspective. It focuses on American cinema history but addresses Eurotrash reception as well as the related field of garbology, examining trash cinema as a distinct but fluid category.
INSTANT #1 NEW YORK TIMES BESTSELLER WALL STREET JOURNAL BESTSELLER BARNES & NOBLE BESTSELLER AMAZON BESTSELLER "Paging through Serrano's Movies (and Other Things) is like taking a long drive at night with a friend; there's that warmth and familiarity where the chat is more important than the fastest route from Point A to Point B...It's like a textbook gone right; your attention couldn't wander if it tried." -- Elisabeth Egan, New York Times Book Review Shea Serrano is back, and his new book, Movies (And Other Things),combines the fury of a John Wick shootout, the sly brilliance of Regina George holding court at a cafeteria table, and the sheer power of a Denzel monologue, all into one. Movies (And Other Things) is a book about, quite frankly, movies (and other things). One of the chapters, for example, answers which race Kevin Costner was able to white savior the best, because did you know that he white saviors Mexicans in McFarland, USA, and white saviors Native Americans in Dances with Wolves, and white saviors Black people in Black or White, and white saviors the Cleveland Browns in Draft Day? Another of the chapters, for a second example, answers what other high school movie characters would be in Regina George's circle of friends if we opened up the Mean Girls universe to include other movies (Johnny Lawrence is temporarily in, Claire from The Breakfast Club is in, Ferris Bueller is out, Isis from Bring It On is out...). Another of the chapters, for a third example, creates a special version of the Academy Awards specifically for rom-coms, the most underrated movie genre of all. And another of the chapters, for a final example, is actually a triple chapter that serves as an NBA-style draft of the very best and most memorable moments in gangster movies. Many, many things happen in Movies (And Other Things), some of which funny, others of which are sad, a few of which are insightful, and all of which are handled with the type of care and dedication to the smallest details and pockets of pop culture that only a book by Shea Serrano can provide.
A translation of essays by French critic and theorist Jean-Louis Schefer.
The Road Movie Book is the first comprehensive study of an enduring but ever-changing Hollywood genre, its place in American culture, and its legacy to world cinema. The road and the cinema both flourished in the twentieth century, as technological advances brought motion pictures to a mass audience and the mass produced automobile opened up the road to the ordinary American. When Jean Baudrillard equated modern American culture with 'space, speed, cinema, technology' he could just as easily have added that the road movie is its supreme emblem. The contributors explore how the road movie has confronted and represented issues of nationhood, sexuality, gender, class and race. They map the generic terrain of the road movie, trace its evolution on American television as well as on the big screen from the 1930s through the 1980s, and, finally, consider road movies that go off the road, departing from the US landscape or travelling on the margins of contemporary American culture. Movies discussed include: * Road classics such as It Happened One Night, The Grapes of Wrath, The Wizard of Oz and the Bob Hope-Bing Crosby Road to films * 1960's reworkings of the road movie in Easy Rider and Bonnie and Clyde * Russ Meyer's road movies: from Motorpsycho! to Faster Pussycat! Kill! Kill! * Contemporary hits such as Paris Texas, Rain Man, Natural Born Killers and Thelma and Louise * The road movie, Australian style, from Mad Max to the Adventures of Priscilla, Queen of the Desert.
Béla Balázs was a Hungarian Jewish film theorist, author, screenwriter and film director who was at the forefront of Hungarian literary life before being forced into exile for Communist activity after 1919. His German-language theoretical essays on film date from the mid-1920s to the mid-1930s, the period of his early exile in Vienna and Berlin."--Pub. desc.
The thirty-eight tales of Cinema Stories combine fact and fiction, and they all revolve around movie-making. The book compresses a lifetime of feeling, thought, and practice: Kluge -- considered the father of New German Cinema -- is an inventive wellspring of narrative notions. "The power of his prose," as Small Press noted, "exudes the sort of pregnant richness one might find in the brief scenarios of unknown films." Cinema Stories is a treasure box of cinematic lore and movie magic by "Alexander Kluge, that most enlightened of writers" (W. G. Sebald). Alexander Kluge, born in Germany in 1932, is a world-famous author and filmmaker (his 23 films include Yesterday Girl, The Female Patriot, The Candidate), a lawyer, and a media magnate. He has won Germany\'s highest literary award, the Georg Büchner Prize.
On Nazi cinema
Examines the personal life and the professional work and success of the director of "Pulp Fiction"