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This forward-looking exploration of contemporary American film across the last 40 years identifies and examines the specific movies that changed the film industry and shaped its present and future. Since the mid-1970s, American cinema has gone through enormous changes, such as the birth of the modern summer blockbuster, the rise of the independent film industry, ongoing technological advancements in special effects, and the ever-evolving models for film distribution. Written by a professional film critic and film buff, this book tells the story of contemporary American cinema in a unique and engaging way: by examining 25 key movies that demonstrated a significant creative, technological, or business innovation that impacted the industry at large. Each chapter in this chronological survey of contemporary film is divided into two sections: "The Film," which offers a critical overview of the film in question; and "The First," which describes the specific innovation achieved by that film and places that achievement in the larger historical context. Two additional appendices in each chapter explore other significant aspects of both the film and its groundbreaking nature. The broad coverage—ranging from action movies to horror films to science fiction favorites—ensures the work's appeal to all film fans.
Nobody forgets their first time--and film directors are no exception. In these vivid and revealing interviews, a collection of filmmakers as diverse as the Coen brothers and Ken Loach, Ang Lee and Kevin Smith, Anthony Minghella and Gary Oldman, Neil Jordan and Mira Nair talk in extraordinary detail and with amazing candor about making their first films. Each chapter focuses on a director's celebrated debut--be it "Angel or "Blood Simple, "Clerks or "Diner, "Muriel's Wedding or "Truly, Madly, Deeply--and tells the inside story: from writing the script to raising the money, from casting the actors to assembling the crew, from shooting to editing, from selling the movie to screening it. Along the way, every aspect of the movie industry is explored: from dealing with agents and moguls for the first time to pitching your movie as a debutante director, from languishing in development hell to confronting test audiences from hell. The questions have been posed by Stephen Lowenstein, a young director with two acclaimed short films to his credit. Remembering the struggle to launch their careers, the directors have opened up about their first films and themselves to an unprecedented degree. Each chapter is not only a memoir of a particular movie, but also an emotional journey in which the director relives the pain and elation, the comedy and tragedy, of making a first feature. For anyone who wants to direct movies, these tales of triumph and disaster, of sleepless nights and nail-biting days, will be enthralling and terrifying in equal measure. For all other film fans, the interviews provide fascinating and entertaining insights into filmmakers who have become household names.
This forward-looking exploration of contemporary American film across the last 40 years identifies and examines the specific movies that changed the film industry and shaped its present and future. Since the mid-1970s, American cinema has gone through enormous changes, such as the birth of the modern summer blockbuster, the rise of the independent film industry, ongoing technological advancements in special effects, and the ever-evolving models for film distribution. Written by a professional film critic and film buff, this book tells the story of contemporary American cinema in a unique and engaging way: by examining 25 key movies that demonstrated a significant creative, technological, or business innovation that impacted the industry at large. Each chapter in this chronological survey of contemporary film is divided into two sections: "The Film," which offers a critical overview of the film in question; and "The First," which describes the specific innovation achieved by that film and places that achievement in the larger historical context. Two additional appendices in each chapter explore other significant aspects of both the film and its groundbreaking nature. The broad coverage—ranging from action movies to horror films to science fiction favorites—ensures the work's appeal to all film fans.
From the beginning, the movie industry has looked to literature for source material. Many of the Twentieth century's finest writers were brought to the movie-making centers -- especially Hollywood -- to adapt their own books into screenplays. More often, another writer or writers would be given the assignment of turning a book into a workable film script. Sometimes the result was a creative leap that expanded and illuminated the original work. Frequently, it wasn't. In the 60-plus essays collected in Books into Film, Robin H. Smiley explores the creative process that puts words together into a book, then translates those words into speech and image and action on film. Drawing upon his experience as a writer and screenwriter and a lifelong student and fan of the movies, the author thoughtfully considers a wide range of books -- from high comedy to darkest noir, from science fiction to melodrama -- and the films made from them. Book jacket.
This provocative three-volume encyclopedia is a valuable resource for readers seeking an understanding of how movies have both reflected and helped engender America's political, economic, and social history. Movies in American History: An Encyclopedia is a reference text focused on the relationship between American society and movies and filmmaking in the United States from the late 19th century through the present. Beyond discussing many important American films ranging from Birth of a Nation to Star Wars to the Harry Potter film series, the essays included in the volumes explore sensitive issues in cinema related to race, class, and gender, authored by international scholars who provide unique perspectives on American cinema and history. Written by a diverse group of distinguished scholars with backgrounds in history, film studies, culture studies, science, religion, and politics, this reference guide will appeal to readers new to cinema studies as well as film experts. Each encyclopedic entry provides data about the film, an explanation of the film's cultural significance and influence, information about significant individuals involved with that work, and resources for further study.
When a filmmaker makes a film with herself as a subject, she is already divided as both the subject matter of the film and the subject making the film. The two senses of the word are immediately in play – the matter and the maker—thus the two ways of being subjectified as both subject and object. Subjectivity finds its filmic expression, not surprisingly, in very personal ways, yet it is nonetheless shaped by and in relation to collective expressions of identity that can transform the cinema of 'me' into the cinema of 'we'. Leading scholars and practitioners of first-person film are brought together in this groundbreaking collection to consider the theoretical, ideological, and aesthetic challenges wrought by this form of filmmaking in its diverse cultural, geographical, and political contexts.
Take pride in who you are! This inspiring history of the LGBTQ+ community enlightens young readers on the true timeline of LGBTQ+ history around the world, the lives of important figures like Harvey Milk, and iconic events like Stonewall. The LGBTQ+ community is so much more than rainbow flags and the month of June. In this beautifully designed dynamic book, young readers will learn about groundbreaking events, including historic pushes for equality and the legalization of same-sex marriages across the world. They will dive into the phenomenal history of queer icons from ancient times to the present and read about Harvey Milk, Marsha P. Johnson, Audre Lorde, and more. Including several personal current essays from inspiring young, LGBTQ+ people, this book encourages readers to take pride in their identity and the identities of those around them. Don’t just learn about LGBTQ+ history – take pride in it! The lively four-color interior, including photographs and bold illustrations, enhances the text and makes this a beautiful and dynamic addition to any collection.
Though many archival digital objects were not "born digital," film archives are now becoming important resources for digital scholarship as a consequence of digitization. Moreover, with advancements in digital research methods involving video annotation, visual analysis, and GIS affecting the way we look at archival films' material, stylistic histories and circulation, new research practices are more important than ever. Visualizing Film History is an accessible introduction to archive-based digital scholarship in film and media studies and beyond. With a combined focus on the history of film historiography, archiving, and recent digital scholarship—covering a period from the "first wave" of film archiving in the early 1900s to recent data art—this book proposes ways to work critically with digitized archives and research methods. Christian Olesen encourages a shift towards new critical practices in the field with an in-depth assessment of and critical approach to doing film historiography with the latest digital tools and digitized archives. Olesen argues that if students, scholars and archivists are to fully realize the potential of emerging digital tools and methodologies, they must critically consider the roles that data analysis, visualization, interfaces and procedural human-machinery interactions play in producing knowledge in current film historical research. If we fail to do so, we risk losing our ability to critically navigate and renew contemporary research practices and evaluate the results of digital scholarship.
Traditional historical documentaries strive to project a sense of objectivity, producing a top-down view of history that focuses on public events and personalities. In recent decades, in line with historiographical trends advocating “history from below,” a different type of historical documentary has emerged, focusing on tightly circumscribed subjects, personal archives, and first-person perspectives. Efrén Cuevas categorizes these films as “microhistorical documentaries” and examines how they push cinema’s capacity as a producer of historical knowledge in new directions. Cuevas pinpoints the key features of these documentaries, identifying their parallels with written microhistory: a reduced scale of observation, a central role given to human agency, a conjectural approach to the use of archival sources, and a reliance on narrative structures. Microhistorical documentaries also use tools specific to film to underscore the affective dimension of historical narratives, often incorporating autobiographical and essayistic perspectives, and highlighting the role of the protagonists’ personal memories in the reconstruction of the past. These films generally draw from family archives, with an emphasis on snapshots and home movies. Filming History from Below examines works including Péter Forgács’s films dealing with the Holocaust such as The Maelstrom and Free Fall; documentaries about the Israeli-Palestinian conflict; Rithy Panh’s work on the Cambodian genocide; films about the internment of Japanese Americans during the Second World War such as A Family Gathering and History and Memory; and Jonas Mekas’s chronicle of migration in his diary film Lost, Lost, Lost.