February New Film and Media Arts books
Independent Filmmaking Across Borders
Independent Filmmaking Across Borders: PN1993.5.A75 M3 2020
Author(s): Ran Ma
Amsterdam : Amsterdam University Press 
Independent Filmmaking across Borders in Contemporary Asia examines an array of auteur-driven fiction and documentary independent film projects that have emerged since the turn of the millennium from East and Southeast Asia, a strand of transnational filmmaking that converges with Asia's vibrant yet unevenly developed independent film movements amidst global neoliberalism. These projects bear witness to and are shaped by the ongoing historical processes of inter-Asia interaction characterized by geopolitical realignment, migration, and population displacement. This study threads together case studies of internationally acclaimed filmmakers, artists, and collectives such as Zhang Lu, Kuzoku, Li Ying, Takamine Go, Yamashiro Chikako, and Midi Z, all of whose transborder journeys and cinematic imaginations disrupt static identity affiliations built upon national, ethnic, or cultural differences. This border-crossing filmmaking can be viewed as both an aesthetic practice and a political act, reframing how people, places, and their interconnections can be perceived -- thereby opening up possibilities to reimagine Asia and its connections to globalization.
Transnational Korean Cinema: Cultural Politics, Film Genres, and Digital Technologies
Transnational Korean Cinema: Cultural Politics, Film Genres, and Digital Technologies: PN1993.5.K6 J55 2020
Author(s): Dal Yong Jin
New Brunswick : Rutgers University Press 
In Transnational Korean Cinema author Dal Yong Jin explores the interactions of local and global politics, economics, and culture to contextualize the development of Korean cinema and its current place in an era of neoliberal globalization and convergent digital technologies. The book emphasizes the economic and industrial aspects of the story, looking at questions on the interaction of politics and economics, including censorship and public funding, and provides a better view of the big picture by laying bare the relationship between film industries, the global market, and government. Jin also sheds light on the operations and globalization strategies of Korean film industries alongside changing cultural policies in tandem with Hollywood's continuing influences in order to comprehend the power relations within cultural politics, nationally and globally. This is the first book to offer a full overview of the nascent development of Korean cinema.
Rediscovering Korean Cinema
Rediscovering Korean Cinema: PN1993.5.K6 R43 2019
Author(s): Sangjoon Lee
Ann Arbor : University of Michigan Press 
South Korean cinema is a striking example of non-Western contemporary cinematic success. Thanks to the increasing numbers of moviegoers and domestic films produced, South Korea has become one of the world’s major film markets. In 2001, the South Korean film industry became the first in recent history to reclaim its domestic market from Hollywood and continues to maintain around a 50 percent market share today. High-quality South Korean films are increasingly entering global film markets and connecting with international audiences in commercial cinemas and art theatres, and at major international film festivals. Despite this growing recognition of the films themselves, Korean cinema’s rich heritage has not heretofore received significant scholarly attention in English-language publications. This groundbreaking collection of thirty-five essays by a wide range of academic specialists situates current scholarship on Korean cinema within the ongoing theoretical debates in contemporary global film studies. Chapters explore key films of Korean cinema, from Sweet Dream, Madame Freedom, The Housemaid, and The March of Fools to Oldboy, The Host, and Train to Busan, as well as major directors such as Shin Sang-ok, Kim Ki-young, Im Kwon-taek, Bong Joon-ho, Hong Sang-soo, Park Chan-wook, and Lee Chang-dong. While the chapters provide in-depth analyses of particular films, together they cohere into a detailed and multidimensional presentation of Korean cinema’s cumulative history and broader significance. With its historical and critical scope, abundance of new research, and detailed discussion of important individual films, Rediscovering Korean Cinema is at once an accessible classroom text and a deeply informative compendium for scholars of Korean and East Asian studies, cinema and media studies, and communications. It will also be an essential resource for film industry professionals and anyone interested in international cinema.
The Filmmaker's Philosopher: Merab Mamardashvili and Russian Cinema
The Filmmaker's Philosopher: Merab Mamardashvili and Russian Cinema: PN1993.5.R9 D43 2019
Author(s): Alyssa DeBlasio
Edinburgh : b Edinburgh University Press, 
Known as the 'Georgian Socrates' of Soviet philosophy, Merab Mamardashvili was a defining personality of the late-Soviet intelligentsia. In the 1970s and 1980s, he taught required courses in philosophy at Russia's two leading film schools, helping to educate a generation of internationally prolific directors. Exploring Mamardashvili's extensive philosophical output, as well as a range of recent Russian films, Alyssa DeBlasio reveals the intellectual affinities amongst directors of the Mamardashvili generation - including Alexander Sokurov, Andrey Zvyagintsev and Alexei Balabanov. This multidisciplinary study offers an innovative way to think about film, philosophy and the philosophical potential of the moving image.
Filmed Thought: Cinema as Reflective Form
Filmed Thought: Cinema as Reflective Form: PN1993.5.U6 P53 2020
Author(s): Robert B. Pippin
Chicago : The University of Chicago Press 2020.
With the rise of review sites and social media, films today, as soon as they are shown, immediately become the topic of debates on their merits not only as entertainment, but also as serious forms of artistic expression. Philosopher Robert B. Pippin, however, wants us to consider a more radical proposition: film as thought, as a reflective form. Pippin explores this idea through a series of perceptive analyses of cinematic masterpieces, revealing how films can illuminate, in a concrete manner, core features and problems of shared human life. Filmed Thought examines questions of morality in Almodóvar’s Talk to Her, goodness and naïveté in Hitchcock’s Shadow of a Doubt, love and fantasy in Sirk’s All That Heaven Allows, politics and society in Polanski’s Chinatown and Malick’s The Thin Red Line, and self-understanding and understanding others in Nicholas Ray’s In a Lonely Place and in the Dardennes brothers' oeuvre. In each reading, Pippin pays close attention to what makes these films exceptional as technical works of art (paying special attention to the role of cinematic irony) and as intellectual and philosophical achievements. Throughout, he shows how films offer a view of basic problems of human agency from the inside and allow viewers to think with and through them. Captivating and insightful, Filmed Thought shows us what it means to take cinema seriously not just as art, but as thought, and how this medium provides a singular form of reflection on what it is to be human.
Tuitions and Intuitions: Essays at the Intersection of Film Criticism and Philosophy
Tuitions and Intuitions: Essays at the Intersection of Film Criticism and Philosophy: PN1995 .R6853 2019
Author(s): William Rothman
Albany : State University of New York Press 
Makes the case that philosophy has an essential role to play in the serious study of film.
Screen Acting Skills: A Practical Handbook for Students and Tutors
Screen Acting Skills: A Practical Handbook for Students and Tutors: PN1995.9.A26 W66 2020
Author(s): Roger Wooster, Paul Conway
London ; Bloomsbury Methuen Drama an imprint of Bloomsbury Publishing Plc 2020.
Whether you are a young actor seeking to land your first screen role or a workshop leader looking for relevant exercises that won't involve vast technical support, this book belongs on your shelf. Many screen actors begin their careers lacking the appropriate pre-shoot preparation and knowledge of studio protocols. This book helps actors new to screen performance to be fully prepared artistically - and technically. Screen Acting Skills augments existing theoretical and academic studies by offering practical, focused exercises that can be explored in low-tech workshop situations. Written in an accessible, jargon-free and often humorous style, Screen Acting Skills enables creativity on the workshop floor, allowing young - and older! - actors to access their own talent, and to hone their skills. This book offers students and tutors a straightforward approach to acting for the screen and how to prepare for studio work. The book is published alongside online videos of workshops with screen acting students.
The Peripatetic Frame: Images of Walking in Film
The Peripatetic Frame: Images of Walking in Film: PN1995.9.B62 T83 2020
Author(s): Thomas Deane Tucker
Edinburgh : Edinburgh University Press 2020.
From the very start of cinema, walking and filmmaking have been intrinsically linked, both technologically, culturally and aesthetically. The pioneers of cinema were not only interested in using the camera to scientifically study ambulatory motion, but were also keen to capture the speed and mobile culture of late nineteenth-century modern urban life. Thomas Dean Tucker breaks new ground in motion studies as it relates to film, covering star walks, walking in genre films, urban walking, walking in nature and the idea of the camera as a pedestrian.
The Slapstick Camera: Hollywood and the Comedy of Self-Reference
The Slapstick Camera: Hollywood and the Comedy of Self-Reference: PN1995.9.C55 H55 2020
Author(s): Burke Hilsabeck
Albany : SUNY/State University of New York Press 
Demonstrates that slapstick film comedies display a canny and sometimes profound understanding of their medium. Slapstick film comedy may be grounded in idiocy and failure, but the genre is far more sophisticated than it initially appears. In this book, Burke Hilsabeck suggests that slapstick is often animated by a philosophical impulse to understand the cinema. He looks closely at movies and gags that represent the conditions and conventions of cinema production and demonstrates that film comedians display a canny and sometimes profound understanding of their medium—from Buster Keaton’s encounter with the film screen in Sherlock Jr. (1924) to Harpo Marx’s lip-sync turn with a phonograph in Monkey Business (1931) to Jerry Lewis’s film-on-film performance in The Errand Boy (1961). The Slapstick Camera follows the observation of philosopher Stanley Cavell that self-reference is one way in which “film exists in a state of philosophy.” By moving historically across the studio era, the book looks at a series of comedies that play with the changing technologies and economic practices behind film production and describes how comedians offered their own understanding of the nature of film and filmmaking. Hilsabeck locates the hidden intricacies of Hollywood cinema in a place where one might least expect them—the clowns, idiots, and scoundrels of slapstick comedy. “From its analysis of the vaudevillian Victorian origins to early Hollywood expressions, and from defining classical performances by the likes of Keaton to recent postmodern recapitulations, Hilsabeck’s theoretically rigorous and wide-ranging study masterfully weaves a path through the historical, technical, and philosophical art of slapstick comedy. A must for scholars working in this field.” — Daniel Varndell, author ofHollywood Remakes, Deleuze and the Grandfather Paradox
Show Us As We Are: Place, Nation and Identity in Jamaican Film
Show Us As We Are: Place, Nation and Identity in Jamaican Film: PN1995.9.J28 M67 2019
Author(s): Rachel Moseley-Wood
Kingston, Jamaica : The University of the West Indies Press 2019.
Faced with the challenges that inevitably occur in small markets, feature film production in Jamaica has been sporadic and uneven, yet local filmmakers have succeeded in creating a small but exciting body of work that is receiving increasing attention. Organized as a series of discussions on a selection of the more well-known Jamaican films, this study employs close readings of these texts to reveal their complexity, sophistication and artistry. The focus on the politics of identity and representation, examined through the lens of place and nation, opens up a conversation on how these films have contributed to, and participate in, the discourse on Jamaican identity. Place is understood as both constituting and reflecting identity, and is explored within the context of the films' representation of the postcolonial city, the dancehall, the north coast hotel and the great house. The concern with nation is revealed as a persistent and underlying focus that more often than not, directs our attention to the grievous gap between rich and poor in Jamaican society. These films' often-criticized attention to marginalized communities plagued by problems of crime and violence can be understood, Moseley-Wood argues, as an expression of the postcolonial struggle to redefine place in ways that contest hegemonic discourses that define Jamaica as hedonistic paradise as well as challenge the unifying and homogenizing myths and narratives of nation.
The Mummy on Screen: Orientalism and Monstrosity in Horror Cinema
The Mummy on Screen: Orientalism and Monstrosity in Horror Cinema: PN1995.9.M83 G59 2020
Author(s): Basil Glynn
London ; Bloomsbury Academic 2020.
The Mummy is one of the most recognizable figures in horror and is as established in the popular imagination as virtually any other monster, yet the Mummy on screen has until now remained a largely overlooked figure in critical analysis of the cinema. In this compelling new study, Basil Glynn explores the history of the Mummy film, uncovering lost and half-forgotten movies along the way, revealing the cinematic Mummy to be an astonishingly diverse and protean figure with a myriad of on-screen incarnations. In the course of investigating the enduring appeal of this most 'Oriental' of monsters, Glynn traces the Mummy's development on screen from its roots in popular culture and silent cinema, through Universal Studios' Mummy movies of the 1930s and 40s, to Hammer Horror's re-imagining of the figure in the 1950s, and beyond.
A Piece of the Action: Race and Labor in Post–Civil Rights Hollywood
A Piece of the Action: Race and Labor in Post–Civil Rights Hollywood: PN1995.9.N4 Q54 2020
Author(s): Eithne Quinn
New York : Columbia University Press 
Hollywood is often thought of—and certainly by Hollywood itself—as a progressive haven. However, in the decade after the passage of the Civil Rights Act, the film industry grew deeply conservative when it came to conflicts over racial justice. Amid black self-assertion and white backlash, many of the most heated struggles in film were fought over employment. In A Piece of the Action, Eithne Quinn reveals how Hollywood catalyzed wider racial politics, through representation on screen as well as in battles over jobs and resources behind the scenes. Based on extensive archival research and detailed discussions of films like In the Heat of the Night, Sweet Sweetback’s Baadasssss Song, Super Fly, Claudine, and Blue Collar, this volume considers how issues of race and labor played out on the screen during the tumultuous early years of affirmative action. Quinn charts how black actors leveraged their performance capital to force meaningful changes to employment and film content. She examines the emergence of Sidney Poitier and other African Americans as A-list stars; the careers of black filmmakers such as Melvin Van Peebles and Ossie Davis; and attempts by the federal government and black advocacy groups to integrate cinema. Quinn also highlights the limits of Hollywood’s liberalism, showing how predominantly white filmmakers, executives, and unions hid the persistence of racism behind feel-good stories and public-relations avowals of tolerance. A rigorous analysis of the deeply rooted patterns of racial exclusion in American cinema, A Piece of the Action sheds light on why conservative and corporate responses to antiracist and labor activism remain pervasive in today’s Hollywood.
Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics
Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics: PN1995.9.P7 T73 2020
Author(s): Carol Vernallis, Holly Rogers, Lisa Perrott
New York : Bloomsbury Academic 2020.
Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today's digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building. Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.
So You Want to be a Producer
So You Want to be a Producer: PN1995.9.P7 T87 2005
Author(s): Lawrence Turman
New York : Three Rivers Press ©2005.
A Hollywood producer draws on insider information to present a detailed primer on how to become a film or television producer, explaining how to take a project from idea to screen with practical advice on everything from raising money and securing permissions to dealing with the creative, marketing, and entrepreneurial aspects of the job. Original. 15,000 first printing.
The Big Goodbye: Chinatown and the Last Years of Hollywood
The Big Goodbye: Chinatown and the Last Years of Hollywood: PN1997.C46447 W37 2020
Author(s): Sam Wasson
New York : Flatiron Books 2020.
From the New York Times bestselling author of Fifth Avenue, Five A.M. and Fosse comes the revelatory account of the making of a modern American masterpiece Chinatown is the Holy Grail of 1970s cinema. Its twist ending is the most notorious in American film and its closing line of dialogue the most haunting. Here for the first time is the incredible true story of its making. In Sam Wasson's telling, it becomes the defining story of the most colorful characters in the most colorful period of Hollywood history. Here is Jack Nicholson at the height of his powers, as compelling a movie star as there has ever been, embarking on his great, doomed love affair with Anjelica Huston. Here is director Roman Polanski, both predator and prey, haunted by the savage death of his wife, returning to Los Angeles, the scene of the crime, where the seeds of his own self-destruction are quickly planted. Here is the fevered dealmaking of "The Kid" Robert Evans, the most consummate of producers. Here too is Robert Towne's fabled script, widely considered the greatest original screenplay ever written. Wasson for the first time peels off layers of myth to provide the true account of its creation. Looming over the story of this classic movie is the imminent eclipse of the '70s filmmaker-friendly studios as they gave way to the corporate Hollywood we know today. In telling that larger story, The Big Goodbye will take its place alongside classics like Easy Riders, Raging Bulls and The Devil's Candy as one of the great movie-world books ever written. Praise for Sam Wasson: "Wasson is a canny chronicler of old Hollywood and its outsize personalities...More than that, he understands that style matters, and, like his subjects, he has a flair for it." - The New Yorker "Sam Wasson is a fabulous social historian because he finds meaning in situations and stories that would otherwise be forgotten if he didn't sleuth them out, lovingly." - Hilton Als
The Thought of Stanley Cavell and Cinema: Turning Anew to the Ontology of Film a Half-Century after The World Viewed
The Thought of Stanley Cavell and Cinema: Turning Anew to the Ontology of Film a Half-Century after The World Viewed: PN1998.3.C416 T48 2020
Author(s): David LaRocca
London ; Bloomsbury Academic an imprint of Bloomsbury Publishing Plc 2020.
Stanley Cavell was, by many accounts, America's greatest philosophical thinker of film. Like Bazin in France and Perkins in England, Cavell did not just transform the American capacity to take film as a subject for philosophical criticism; he had to first invent that legitimacy. Part of that effort involved the creation of several key now-canonical texts in film studies, among them the seminal The World Viewed along with Pursuits of Happiness and Contesting Tears. The present collection offers, for the first time anywhere, a concerted effort mounted by some of today's most compelling writers on film to take careful account of Cavell's legacy. The contributors think anew about what precisely Cavell contributed, what holds up, what is in need to revision or updating, and how his writing continues to be of vital significance and relevance for any contemporary approach to the philosophy of film.
Phantom Lady: Hollywood Producer Joan Harrison, the Forgotten Woman Behind Hitchcock
Phantom Lady: Hollywood Producer Joan Harrison, the Forgotten Woman Behind Hitchcock: PN1998.3.H3688 L36 2020
Author(s): Christina Lane
Chicago : Chicago Review Press 2020.
Phantom Lady chronicles the untold story of Hollywood's most powerful female writer-producer of the 1940s. In 1933, Joan Harrison was a twenty-six-year-old former salesgirl with a dream of escaping her stodgy London suburb and the dreadful prospect of settling down with one of the local boys. A few short years later, she was Alfred Hitchcock's confidante and the Oscar-nominated screenwriter of his first American film, Rebecca. Harrison had quickly grown from being the worst secretary Alfred Hitchcock ever had to one of his closest collaborators, critically shaping his brand as the "master of suspense." Forging an image as "the female Hitchcock," Harrison went on to produce numerous Hollywood features before becoming a television pioneer as the producer of Alfred Hitchcock Presents. A respected powerhouse, she acquired a singular reputation for running amazingly smooth productions--and defying anyone who posed an obstacle. Author Christina Lane shows how this stylish, stunning woman, with an adventurous romantic life, became an unconventional but impressive auteur, one whom history has overlooked.
Lament of an Audience on the Death of an Artist: -1985
Lament of an Audience on the Death of an Artist: -1985: PN1998.3.P43 S77 2019
Author(s): Cordell Strug
Eugene, Oregon : Wipf & Stock 2019
This is the record of the pilgrimage of one great artist, reflected in the experience of one small audience. When Sam Peckinpah died in 1984, I spent some time working out my responses to his work as a whole and, more generally, puzzling over the experience of following contemporary artists as their work takes shape. I ended up lamenting Peckinpah’s death, pondering those wonderful movies, and reflecting on what all our watching, reading, and listening amounts to in our living.
On Animation: The Director's Perspective
On Animation: The Director's Perspective: TR897.5 .O5 2020
Author(s): Ron Diamond
Boca Raton, FL : CRC Press Taylor & Francis Group 
On Animation: The Director's Perspective is a collection of interviews with 23 animated feature-film directors. These extensive interviews were conducted over the past several years by filmmakers and educators (and peers to the directors interviews) Tom Sito and Bill Kroyer. Interviews cover in-depth discussion of each director's career -- focusing on their creative development, their films, lesson learned and advice. The interviews were edited and produced by Ron Diamond. Key Features Interviews with the greatest living legends in animation Offers profound insight into the creative process of these giants Grants advice and lessons for inspiring animators
Other new Film and Media Arts books
- ¿Por qué filmamos lo que filmamos? : diálogos en torno al cine chileno (2006-2016) : Padre Nuestro, La Nana, Gatos Viejos, La vida de los peces, Música campesina, El año del tigre, Violeta se fue a los cielos, De Jueves a Domingo, El vals de los inútiles, La Once, Surire, Habeas Corpus, El Club / : PN1993.5.C3 P673 2017
- The art of film projection : a beginner's guide / : TR890 .A78 2019