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The 50 monologues collected in this book represent the scope of its potential: from the dramatic, political, feminist to the comical, emotional and fantastical. There's a diverse wealth of spoken-word art in this anthology. Each monologue is introduced as the historical context, set-up and character to give an indication of how each monologue is framed. The monologues are arranged alphabetically by film title and survey some 60 years of sound film.
The Golden Age of American Cinema Up Close and Personal. The famous director who roughed up a death row inmate during a prison interview to get the emotional reaction he wanted | the Disney movie into which was inserted an image from Playboy magazine forcing a VHS recall | the model for a company whose logo was “99 & 44/100% Pure” who made a fortune as a porn star. These and dozens of other choice movie-making anecdotes comprise American Film Tales, a genre by genre tour through the secret history of Hollywood back-story folklore. Famous directors, actors, movies and critics feature in this compendium of movie stories, making American Film Tales the ideal book companion for home theatre buffs in the digital age and faced with an array of viewing choices. Comprehensively researched and organized into easy to access genre-themed chapters, Hollywood history has never been as accessible and as infotaining as it is here and now.
This collection of essays focuses on current theories of sensation and synaesthesia in films and audiovisual works from a variety of methodological perspectives. It offers an insightful exploration of recent film theories about the cinematic experience. Film spectatorship and its extension in new media as a similar form of audience enjoyment stimulates both our senses and mind by creating immersive environments that involve different levels of emotion and consciousness. The collection addresses these topics through its five sections. The first, “Perception,” focuses on the synaesthetic mechanism underpinning film perception and its connection with affect, cognition, and emotions. The second part, “Movement,” calls into question the role of gesture and movement within the synaesthetic properties of film. The third section, “Senses,” examines how movies stimulate all senses, such as olfaction and haptics, and how senses flow into each other according to a-modal perception. The fourth, “Abstractions,” addresses how avant-garde and abstract cinema trigger synaesthetic reactions in the viewers. The fifth part, “New Media and Media Art,” explores the deep involvement of the human body through the experience of new media and a variety of synaesthetic implications theorized in different perspectives.
Following a previous international conference at the Sapientia Hungarian University of Transylvania in Cluj-Napoca, Romania, and the subsequent publication of a volume of studies with the title Film in the Post-Media Age (Cambridge Scholars Publishing, 2012), which insisted, citing the words of Jacques Rancière, that the ecosystem of contemporary moving images should be understood not as a unified digital environment, but as a highly diversified, “multisensory milieu,” another conference was organised, focusing this time directly on the “multisensory” nature of moving images. Pairing the keywords “cinema” and “sensation”, an invitation was extended for presentations offering a closer examination of the sensual aspects of moving images in order to identify and map out at least some of the possible new directions perceived as taking shape as “sensuous” film studies. The questions contributors addressed included: What kind of paradigms, authors, and styles can be identified in the practice of a cinema exploring the palpable presence of bodies in film history? How can sensory, audiovisual perception and cognitive knowledge be connected when watching moving images? What does the experience of so-called haptic images entail in film and video art? How does an emphasis on sensations and the body relate to representations of social issues and cultural difference? How are representations of other arts in films, or the filmic image appearing as a painterly tableau perceived? How can new images incorporate a sensation of “old” images? What is the difference between haptic images and “hyper” cinema in the form of 3D movies? How can the new naturalistic trends in contemporary cinema be interpreted? What kind of sensual forms are devised for what is unrepresentable or impalpable? The conference took place between the 25th and 27th of May 2012, with the title The Cinema of Sensations, and attracted researchers from all over the world for what turned out to be three days of presentations on extremely varied subjects and lively discussions conducted in a memorably cheerful atmosphere. The present volume is the palpable outcome of these debates, and publishes a selection of articles that have been written for, or after, this conference.
A collection of short dialogues for teenagers written in the style of today's TV shows. Some are in the style of half-hour situation comedies, and some are in the style of hour-long dramas.
People love Hollywood. Not just the sensational films that come from Los Angeles, but the actors, actresses, writers, producers, and directors who bring them to life. The silver screen illustrates and borrows from American culture; sometimes its a challenge to remember which came first: the movie or the meme. Movie quotes influence our language and transport us to a different time and place, but what about the people behind the famous phrases? The stars of Hollywood share the best insight into the creative process and celebrity culture.