In this volume, contributors explore recent popular movies through the lens of film theory, beginning with industrial-economic analysis before moving into a predominately aesthetic and interpretive framework. The Hollywood films discussed cover a wide range from 300 to Fifty First Dates, from Brokeback Mountain to Lord of the Rings, from Spider-Man 3 to Fahrenheit 9/11, from Saw to Raiders of the Lost Ark, and much more. Individual essays consider such topics as the rules that govern new blockbuster franchises, the ‘posthumanist realism’ of digital cinema, video game adaptations, increasingly restricted stylistic norms, the spatial stories of social networks like YouTube, the mainstreaming of queer culture, and the cognitive paradox behind enjoyable viewing of traumatic events onscreen.
With its cast of international film scholars, Film Theory and Contemporary Hollywood Movies demonstrates the remarkable contributions theory can offer to film studies and moviegoers alike.
Warren Buckland is Senior Lecturer in Film Studies at Oxford Brookes University. His authored and edited books include Puzzle Films, Directed by Steven Spielberg, Studying Contemporary American Film (with Thomas Elsaesser), and The Cognitive Semiotics of Film. He also edits the New Review of Film and Television Studies.
Organised into eight sections - Approaches to Film and Politics; Film, Activism and Opposition; Film, Propaganda, Ideology and the State; The Politics of Mobility; Political Hollywood; Alternative and Independent Film and Politics; The Politics of Cine-geographies and The Politics of Documentary - this collection covers a broad range of topics, including: third cinema, cinema after 9/11, eco-activism, human rights, independent Chinese documentary, film festivals, manifestoes, film policies, film as a response to the post-2008 financial crisis, Soviet propaganda, the impact of neoliberalism on cinema, and many others.
It foregrounds the key debates, concepts, approaches and case studies that critique and explain the complex relationship between politics and cinema, discussing films from around the world and including examples from film history as well as contemporary cinema. It also explores the wider relationship between politics and entertainment, examines cinema’s response to political and social transformations and questions the extent to which filmmaking, itself, is a political act.
This collection of new critical essays tackles this old problem in a new way, by examining some of the hundreds of US films that announce themselves as titularly 'American'. From early travelogues to contemporary comedies, national nomination has been an abiding characteristic of American motion pictures, heading the work of Porter, Guy-Blaché, DeMille, Capra, Sternberg, Vidor, Minnelli and Mankiewicz. More recently, George Lucas, Paul Schrader, John Landis and Edward James Olmos have made their own contributions to Hollywood’s Americana.
What does this national branding signify? Which versions of Americanism are valorized, and which marginalized or excluded? Out of which social and historical contexts do they emerge, and for and by whom are they constructed?
Edited by Mandy Merck, the collection contains detailed analyses of such films as The Vanishing American, American Madness, An American in Paris, American Graffiti, American Gigolo, American Pie and many more.
Analysing the Screenplay highlights the screenplay as an important form in itself, as opposed to merely being the first stage of the production process. It explores a number of possible approaches to studying the screenplay, considering the depth and breadth of the subject area, including:
the history and early development of the screenplay in the United States, France and Britain
the process of screenplay writing and its peculiar relationship to film production
the assumption that the screenplay is standardised in form and certain stories or styles are universal
the range of writing outside the mainstream, from independent film to story ideas in Bhutanese film production to animation
possible critical approaches to analysing the screenplay.
Analysing the Screenplay is a comprehensive anthology, offering a global selection of contributions from internationally renowned, specialist authors. Together they provide readers with an insight into this fascinating yet complex written form.
This anthology will be of interest to undergraduate and postgraduate students on a range of Film Studies courses, particularly those on scriptwriting.
In this detailed account of Jane Campion's career as a filmmaker, Deb Verhoeven examines specifically how contemporary film directors 'fashion' themselves as auteurs – through their personal interactions with the media, in their choice of projects, in their emphasis on particular filmmaking techniques and finally in the promotion of their films.
Through analysis of key approaches to Campion's films, such as The Piano; In the Cut; Sweetie; An Angel at My Table; and Holy Smoke Deb Verhoeven introduces students to the passionate debates surrounding this controversial and often experimental director
Featuring a career overview, a filmography, scene by scene analysis and an extended interview with Campion on her approach to creativity, this is a great introduction to one of the most important directors of contemporary cinema.
Understand Film Studies includes:
Chapter 1: Film aesthetics: formalism and realism
Chapter 2: Film structure: narrative and narration
Chapter 3: Film authorship: the director as auteur
Chapter 4: Film genres: defining the typical film
Chapter 5: The non-fiction film: five types of documentary
Chapter 6: The reception of film: the art and profession of film viewing
The New York Times Bestseller
A deeply personal and revealing Hollywood-survival story.
Lovable child star by age ten, international teen idol by fifteen, and to this day a perennial pop-culture staple, Corey Feldman has not only spent the entirety of his life in the spotlight, he's become just as famous for his off-screen exploits as for his roles in such classic films as Gremlins, The Goonies, and Stand by Me. He's been linked to a slew of Hollywood starlets (including Drew Barrymore, Vanessa Marcil, and adult entertainer Ginger Lynn), shared a highly publicized friendship with Michael Jackson, and with his frequent costar Corey Haim enjoyed immeasurable success as one half of the wildly popular duo "The Two Coreys," spawning seven films, a 1-900 number, and "Coreymania" in the process. What child of the eighties didn't have a Corey Feldman poster hanging in her bedroom, or a pile of Tiger Beats stashed in his closet?
Now, in this brave and moving memoir, Corey is revealing the truth about what his life was like behind the scenes: His is a past that included physical, drug, and sexual abuse, a dysfunctional family from which he was emancipated at age fifteen, three high-profile arrests for drug possession, a nine-month stint in rehab, and a long, slow crawl back to the top of the box office.
While Corey has managed to overcome the traps that ensnared so many other entertainers of his generation—he's still acting, is a touring musician, and is a proud father to his son, Zen—many of those closest to him haven't been so lucky. In the span of one year, he mourned the passing of seven friends and family members, including Corey Haim and Michael Jackson. In the wake of those tragedies, he's spoken publicly about the dark side of fame, lobbied for legislation affording greater protections for children in the entertainment industry, and lifted the lid off of what he calls Hollywood's biggest secret.
Coreyography is his surprising account of survival and redemption.