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DeMille’s sudden mid-career shift away from spectator perversity to corporate propagandist permanently tarnished the director’s historical standing among scholars, yet should not overshadow the profound links between his success and the rise and fall of mid-century mass culture.
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This book is an interdisciplinary study of the human drama of replacement. On Replacement consists of 24 essays divided into seven sections: What is replacement?, Law & society, Wayward women, Lost children, Replacement films, The Holocaust and Psychoanalysis.
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This volume engages new films and modes of scholarly research in Arab cinema, and older, often neglected films and critical topics, while theorizing their structural relationship to contemporary developments in the Arab world.
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This volume examines contemporary reformulations of the ‘Final Girl’ in film, TV, literature and comic, expanding the discussion of the trope beyond the slasher... Læs mere
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This volume examines contemporary reformulations of the ‘Final Girl’ in film, TV, literature and comic, expanding the discussion of the trope beyond the slasher... Læs mere
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This book offers a new way of thinking about film endings. Whereas existing works on the subject concentrate on narrative resolution, this book... Læs mere
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The volume explores Hollywood’s grip on movie magazines, gender in film journalism, typologies of unknown trade press and movie magazine markets, and subversive Tijuana bibles.
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Ray offers closereadings that call attention to what we have missed in such classic films as La Règle du Jeu, It Happened One Night, It’s a Wonderful Life, Vertigo, Holiday, The Philadelphia Story, Casablanca, Breathless, and Tickets.
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This book examines a set of theoretical perspectives that critically engage with the notion of postmodernism, investigating whether this concept is still useful to approach contemporary cinema.
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This book examines a set of theoretical perspectives that critically engage with the notion of postmodernism, investigating whether this concept is still useful to approach contemporary cinema.
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This book argues that the sustained interpretation of individual movies has, contrary to conventional wisdom, never been a major preoccupation of film studies—that, indeed, the field is marked by a dearth of effective, engaging, and enlightening critical analyses of single films.