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The ultimate anthology of cinematic showpieces, in extra-handy format. This careful selection of movie masterworks sets noir alongside new wave, slapstick alongside tragedy in a far-reaching, infinitely inspiring guide to the jewels of 20th-century filmmaking.
Under modernity, time is regarded as linear and measurable by clocks and calendars. Despite the historicity of clock-time itself, the modern concept of time is considered universal and culturally neutral. What Walter Benjamin called “homogeneous, empty time” founds the modern notions of progress and a uniform global present in which the past and other forms of time consciousness are seen as superseded. In Translating Time, Bliss Cua Lim argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple “immiscible temporalities” that strain against the modern concept of homogeneous time. In this wide-ranging study—encompassing Asian American video (On Cannibalism), ghost films from the New Cinema movements of Hong Kong and the Philippines (Rouge, Itim, Haplos), Hollywood remakes of Asian horror films (Ju-on, The Grudge, A Tale of Two Sisters) and a Filipino horror film cycle on monstrous viscera suckers (Aswang)—Lim conceptualizes the fantastic as a form of temporal translation. The fantastic translates supernatural agency in secular terms while also exposing an untranslatable remainder, thereby undermining the fantasy of a singular national time and emphasizing shifting temporalities of transnational reception. Lim interweaves scholarship on visuality with postcolonial historiography. She draws on Henri Bergson’s understanding of cinema as both implicated in homogeneous time and central to its critique, as well as on postcolonial thought linking the ideology of progress to imperialist expansion. At stake in this project are more ethical forms of understanding time that refuse to domesticate difference as anachronism. While supernaturalism is often disparaged as a vestige of primitive or superstitious thought, Lim suggests an alternative interpretation of the fantastic as a mode of resistance to the ascendancy of homogeneous time and a starting-point for more ethical temporal imaginings.
Italian director Michelangelo Antonioni claimed, three decades ago, that different conceptions of time helped define the split in film between European humanism and American science fiction. And as Garrett Stewart argues here, this transatlantic division has persisted since cinema’s 1995 centenary, made more complex by the digital technology that has detached movies from their dependence on the sequential frames of the celluloid strip. Brilliantly interpreting dozens of recent films—from Being John Malkovich, Donnie Darko, and The Sixth Sense to La mala educación and Caché —Stewart investigates how their treatments of time reflect the change in media from film’s original rolling reel to today’s digital pixel. He goes on to show—with 140 stills—how American and European narratives confront this shift differently: while Hollywood movies tend to revolve around ghostly afterlives, psychotic doubles, or violent time travel, their European counterparts more often feature second sight, erotic telepathy, or spectral memory. Stewart questions why these recent plots, in exploring temporality, gravitate toward either supernatural or uncanny apparitions rather than themes of digital simulation. In doing so, he provocatively continues the project he began with Between Film and Screen, breaking new ground in visual studies, cinema history, and media theory.
Are you an art-movie buff or a blockbuster enthusiast? Can you reel off a list of New Wave masterpieces, or are you more interested in classic Westerns? Most of us love the movies in one form or another, but very few of us have the all-round knowledge we'd like. 30-Second Cinema offers an immersion course, served up in neat, entertaining shorts. These 50 topics deal with cinema's beginnings, with its growth as an industry, with key stars and producers, with global movements--from German Expressionism to New Hollywood--and with the movies as a business. By the time you've worked your way through, you'll be able to identify the work of George Melies, define auteur theory or mumblecore in a couple of pithy phrases, and you'll have broadened your knowledge of global cinema to embrace not only Bollywood but Nollywood, too. All in the time it takes to watch a couple of trailers.
Discusses the theoretical implications of the cinematographic image based on Henri Bergson's theories
The Negro Motorist Green Book was a groundbreaking guide that provided African American travelers with crucial information on safe places to stay, eat, and visit during the era of segregation in the United States. This essential resource, originally published from 1936 to 1966, offered a lifeline to black motorists navigating a deeply divided nation, helping them avoid the dangers and indignities of racism on the road. More than just a travel guide, The Negro Motorist Green Book stands as a powerful symbol of resilience and resistance in the face of oppression, offering a poignant glimpse into the challenges and triumphs of the African American experience in the 20th century.
Kristi McKim offers close-analyses of films in which attachment and detachment, intimacy and distance, ephemera and endurance become more visible and meaningful. Films discussed include Wim Wenders' Wings of Desire , Agnès Varda's Jacquot de Nantes , Doris Dörrie's Cherry Blossoms and Olivier Assayas' Summer Hours.
A collection of reviews for the 1,000 most important, popular, and influential movies of all time. While critiques of beloved Hollywood milestones from Stanley Kubrick, Steven Spielberg, Alfred Hitchcock, and Orson Welles are all included, this book is notably a resource for the modern cinema buff and student. Nowhere else can one find this curated collection of reviews with such special features as lists of best films by category and year, as well as unique recommendations and sidebars for the modern viewer--including what to watch and how: from DVD and Blu-Ray to streaming platforms. In an era when most students and fans of film simply rely on the Internet for information, this category killer will prove its worth as a relevant and indispensable gift and reference.