2012
Film Studies
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Directors
Ingmar Bergman
Robin Wood, York University
Edited by Barry Keith Grant,
Brock University
At a time when few reviewers and critics were
taking the study of film seriously, Robin Wood
released a careful and thoroughly cinematic commentary on Ingmar Bergman’s films that demonstrated the potential of film analysis in a nascent
scholarly field. The original Ingmar Bergman
influenced a generation of film scholars and cineastes after its publication in 1969 and remains one
of the most important volumes on the director. This new edition of Ingmar Bergman, edited by film scholar Barry Keith Grant, contains all of
Wood’s original text plus four later pieces on the director by Wood that
were intended for a new volume that was not completed before Wood’s
death in 2010. In analyzing a selection of Bergman’s films, Wood makes
a compelling case for the logic of the filmmaker’s development while
still respecting and indicating the distinctiveness of his individual films.
Wayne State University Press, September 2012
9780814333600, paper, $33.75
The Films of Joseph H. Lewis
Edited by Gary D. Rhodes
Joseph H. Lewis enjoyed a monumental career in
many genres, including film noir and B-movies (with
the East Side Kids) as well as an extensive and often
overlooked TV career. In The Films of Joseph H.
Lewis, editor Gary D. Rhodes, PhD. gathers notable
scholars from around the globe to examine the full
range of Lewis’s career. While some studies analyze
Lewis’s work in different areas, others focus on particular films, ranging from poverty row fare to westerns and “television films.” Overall, this collection offers fresh perspectives on Lewis as an auteur, a director responsible for individually unique
works as well as a sustained and coherent style. Essays in part 1 investigate the texts and contexts that were important to Lewis’s film and television career, as contributors explore his innovative visual style and themes
in both mediums.
Wayne State University Press, September 2012
9780814334621, paper, $39.95
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Volker Schlondorff's Cinema
Adaptation, Politics, and the "MovieAppropriate"
Hans-Bernhard Moeller and George Lellis
Volker Schlöndorff’s Cinema: Adaptation,
Politics, and the “Movie-Appropriate” is the first
comprehensive treatment in English of a major
postwar German filmmaker. The volume gains
authority from the expansive knowledge it
introduces about Schlöndorff’s works and from the
secondary literature it draws on to evaluate them.
It also succeeds in framing the individual films in
historical contexts and (inter)national cinematic
traditions.
Southern Illinois Press, October 2012
9780809332007, paper, $37.50
Kim Ki-duk
Hye Seung Chung
This study investigates the controversial
motion pictures written and directed by the
independent filmmaker Kim Ki-duk, one of the
most acclaimed Korean auteurs in the Englishspeaking world. Propelled by underdog
protagonists who can only communicate
through shared corporeal pain and extreme
violence, Kim's graphic films have been
classified by Western audiences as belonging
to sensationalist East Asian "extreme" cinema,
and Kim has been labeled a "psychopath" and
"misogynist" in South Korea. Drawing upon
both Korean-language and English-language sources, Hye Seung Chung
challenges these misunderstandings, recuperating Kim's oeuvre as a
therapeutic, yet brutal cinema of Nietzschean ressentiment (political
anger and resentment deriving from subordination and oppression).
Chung argues that the power of Kim's cinema lies precisely in its ability
to capture, channel, and convey the raw emotions of protagonists who
live on the bottom rungs of Korean society.
University of Illinois Press, January 2012
9780252078415, paper, $27.50
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Philip Kaufman
Annette Insdorf
American director Philip Kaufman is hard to pin
down: a visual stylist who is truly literate, a San
Franciscan who often makes European films, he
is an accessible storyteller with a sophisticated
touch. Celebrated for his vigorous, sexy, and
reflective cinema, Kaufman is best known for
his masterpiece The Unbearable Lightness of
Being and the astronaut saga The Right Stuff. His
latest film, Hemingway & Gellhorn (premiering
May 2012 on HBO), stars Nicole Kidman and
Clive Owen. In this study, Annette Insdorf argues that the stylistic and philosophical richness of Kaufman's cinema
makes him a versatile auteur. She demonstrates Kaufman's skill at adaptation, how he finds the precise cinematic device for a story drawn from
seemingly unadaptable sources, and how his eye translates the authorial
voice from books that serve as inspiration for his films.
University of Illinois Press, March 2012
9780252078460, paper, $ 27.50
Richard Linklater
David T. Johnson
Richard Linklater's filmmaking choices seem to
defy basic patterns of authorship. From his debut
with the inventive independent narrative Slacker,
the Austin-based director's divergent films have
included the sci-fi noir A Scanner Darkly, the
socially conscious Fast Food Nation, the kidfriendly The School of Rock, the teen ensemble
Dazed and Confused, and the twin romances Before Sunrise and Before Sunset. Yet throughout
his varied career spanning two decades, Linklater
has maintained a sense of integrity while working
within a broad range of budgets, genres, and subject matters. Identifying
a critical commonality among so much variation, David T. Johnson analyzes Linklater's preoccupation with the concept of time in many of his
films, focusing on its many forms and aspects: the subjective experience
of time and the often explicit, self-aware ways that characters discuss that
experience.
University of Illinois Press, March 2012
9780252078507, paper, $27.50
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John Sayles
David R. Shumway
John Sayles is the very paradigm of the contemporary independent filmmaker. By raising much of
the funding for his films himself, Sayles functions
more independently than most directors, and he has
used his freedom to write and produce films with a
distinctive personal style and often clearly expressed political positions. From The Return of the
Secaucus Seven to Sunshine State, his films have
consistently expressed progressive political positions on issues including race, gender, sexuality,
class, and disability. In this study, David R. Shumway examines the defining characteristic of Sayles's cinema: its realism. Positing the filmmaker as a critical realist, Shumway explores Sayles's attention to narrative in critically acclaimed and popular films such as Matewan, Eight
Men Out, Passion Fish, and Lone Star.
University of Illinois Press, February 2012
9780252078569, paper, $27.50
Jacques Rivette
Mary M. Wiles
As a pioneer of the French New Wave, Jacques
Rivette was one of a group of directors who permanently altered the world's perception of cinema by taking the camera out of the studios and
into the streets. His films, including Paris nous
appartient, Out 1: Noli me tangere, Céline et
Julie vont en bateau--Phantom Ladies Over
Paris, La belle noiseuse, Secret défense, and Va
savoir are extraordinary combinations of intellectual depth, playfulness, and sensuous beauty. In
this study of Rivette, Mary M. Wiles provides a
thorough account of the director's career from the burgeoning French
New Wave to the present day, focusing on the theatricality of Rivette's
films and his explorations of the relationship between cinema and fine
arts such as painting, literature, music, and dance. Wiles also explores the
intellectual interests that shaped Rivette's approach to film, including
Sartre's existentialism, Barthes's structuralism, and the radical theater of
the 1960s.
University of Illinois Press, January 2012
9780252078347, paper, $27.50
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Dario Argento
Contemporary Film Directors
L. Andrew Cooper
Commanding a cult following among horror fans,
Italian film director Dario Argento is best known
for his work in two closely related genres, the
crime thriller and supernatural horror, as well as
his influence on modern horror and slasher movies. In his four decades of filmmaking, Argento
has displayed a commitment to innovation, from
his directorial debut with 1970's suspense thriller
The Bird with the Crystal Plumage to 2009's Giallo. His films, like the lurid yellow-covered murder-mystery novels they are inspired by, follow the suspense tradition of
hard-boiled American detective fiction while incorporating baroque
scenes of violence and excess.
University of Illinois Press, November 2012
9780252078743, paper, $28.00
Modern Horror Film Directors
Dark Directions
Romero, Craven, Carpenter, and the Modern
Horror Film
Kendall R. Phillips
A Nightmare on Elm Street. Halloween. Night of the
Living Dead. These films have been indelibly
stamped on moviegoers’ psyches and are now considered seminal works of horror. Guiding readers
along the twisted paths between audience, auteur,
and cultural history, author Kendall R. Phillips reveals the macabre visions of these films’ directors in Dark Directions:
Romero, Craven, Carpenter, and the Modern Horror Film. Phillips begins by analyzing the works of George Romero, focusing on how the
body is used cinematically to reflect the duality between society and
chaos, concluding that the unconstrained bodies of the Living Dead films
act as a critical intervention into social norms. Phillips then explores the
shadowy worlds of director Wes Craven. In his study of the films The
Serpent and the Rainbow, Deadly Friend, Swamp Thing, Red Eye, and
Shocker, Phillips reveals Craven’s vision of technology as inherently
dangerous in its ability to cross the gossamer thresholds of the gothic.
Southern Illinois University Press, February 2012
9780809330959, paper, $37.50
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Authorship and Filmmaking
Body Double
The Author Incarnate in the Cinema
Lucy Fischer
Body Double explores the myriad ways that film
artists have represented the creative process. In this
highly innovative work, Lucy Fischer draws on a
neglected element of auteur studies to show that
filmmakers frequently raise questions about the
paradoxes of authorship by portraying the onscreen
writer. Dealing with such varied topics as the icon
of the typewriter, the case of the writer/director, the
authoress, and the omnipresent infirm author, she probes the ways in
which films can tell a plausible story while contemplating the conditions
and theories of their making.
Rutgers University Press, January 2013
9780813554488, paper, $32.50
Stars
Mary Pickford
Queen of the Movies
Edited by Christel Schmidt
In the early days of cinema, when actors were
unbilled and unmentioned in credits, audiences
immediately noticed Mary Pickford. Moviegoers
everywhere were riveted by her magnetic talent
and appeal as she rose to become cinema’s first
great star. In this engaging collection, copublished
with the Library of Congress, an eminent group of
film historians sheds new light on this icon’s incredible life and legacy. Pickford emerges from the pages in vivid detail.
She is revealed as a gifted actress, a philanthropist, and a savvy industry
leader who fought for creative control of her films and ultimately became
her own producer. This beautifully designed volume features more than
two hundred color and black and white illustrations, including photographs and stills from the collections of the Library of Congress and the
Academy of Motion Picture Arts and Sciences.
University Press of Kentucky, November 2012
9780813136479, cloth, $56.25
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Pretty People
Edited by Anna Everett and Murray Pomerance
Ryerson University
In the 1990s, American civil society got upended
and reordered as many social, cultural, political,
and economic institutions were changed forever.
Pretty People examines a wide range of Hollywood
icons who reflect how stardom in that decade was
transformed as the nation itself was signaling significant changes to familiar ideas about gender,
race, ethnicity, age, class, sexuality, and nationality.
Such actors as Denzel Washington, Andy Garcia,
Halle Berry, Angela Bassett, Will Smith, Jennifer Lopez, and Antonio
Banderas became bona fide movie stars who carried major films to amazing box-office success. Five of the decade's top ten films were opened by
three women—Julia Roberts, Jodie Foster, and Whoopi Goldberg.
"Chick flick" entered the lexicon as Leonardo DiCaprio became the
"King of the World," ushering in the cult of the mega celebrity.
Rutgers University Press, March 2012
9780813552453, paper, $33.75
Star Decades Complete 10-Volume Set
Movie Stars from the 1910s to the 2000s
Series Editors Adrienne L. McLean and Murray Pomerance,
Ryerson University
The Star Decades: American Culture/American Cinema series is now
available as a ten-volume set: Movie Stars from the 1910s to the 2000s.
Each volume presents original essays analyzing the movie star against
the background of American cultural history. As icon, as mediated personality, and as object of audience fascination and desire, the Hollywood
star remains the model for celebrity in modern culture and represents a
paradoxical combination of achievement, talent, ability, luck,
authenticity, superficiality, and even ordinariness.
Rutgers University Press, September 2012
9780813554433, paper, $281.25
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Mae Murray
The Girl with the Bee-Stung Lips
Michael G. Ankerich
Mae Murray (1885–1965), popularly known as “the
girl with the bee-stung lips,” was a fiery presence in
silent-era Hollywood. Renowned for her classic
beauty and charismatic presence, she rocketed to
stardom as a dancer in the Ziegfeld Follies, moving
across the country to star in her first film, To Have
and to Hold, in 1916. An instant hit with audiences,
Murray soon became one of the most famous names
in Tinseltown. However, Murray’s moment in the spotlight was fleeting.
The introduction of talkies, a string of failed marriages, a serious career
blunder, and a number of bitter legal battles left the former star in a state
of poverty and mental instability that she would never overcome. n this
intriguing biography, Michael G. Ankerich traces Murray’s career from
the footlights of Broadway to the klieg lights of Hollywood, recounting
her impressive body of work on the stage and screen and charting her
rapid ascent to fame and decline into obscurity.
University Press of Kentucky, November 2012
9780813136905, cloth, $51.00
Hollywood Cinema
Screen Decades Complete 11-Volume Set
American Cinema from the 1890s to the 2000s
Series Editors Lester D. Friedman and Murray Pomerance,
Ryerson University
Each volume presents a group of original essays analyzing the impact of
cultural issues on the cinema and the impact of the cinema on society.
Because every chapter explores a spectrum of particularly significant
motion pictures and the broad range of historical events in one year, readers will gain a continuing sense of the decade as it came to be depicted on
movie screens across the nation.
Rutgers University Press, September 2012
9780813554457, paper, $312.50
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American Cinema of the 2000s
Themes and Variations
Edited by Timothy Corrigan
The decade from 2000 to 2009 is framed, at one
end, by the traumatic catastrophe of the 9/11 attacks on the World Trade Center and, at the other,
by the election of the first African American president of the United States. In between, the United
States and the world witnessed the rapid expansion
of new media and the Internet, such natural disasters as Hurricane Katrina, political uprisings
around the world, and a massive meltdown of
world economies. Amid these crises and revolutions, American films
responded in multiple ways, sometimes directly reflecting these turbulent
times, and sometimes indirectly couching history in traditional genres
and stories. In American Cinema of the 2000s, essays from ten top film
scholars examine such popular series as the groundbreaking Matrix films
and the gripping adventures of former CIA covert operative Jason
Bourne; new, offbeat films like Juno; and the resurgence of documentaries like Michael Moore's Fahrenheit 9/11.
Rutgers University Press, April 2012
9780813552828, paper, $34.95
The Battle for the Bs
1950s Hollywood and the Rebirth of
Low-Budget Cinema
Blair Davis
The emergence of the double-bill in the 1930s created a divide between A-pictures and B-pictures as
theaters typically screened packages featuring one of
each. With the former considered more prestigious
because of their larger budgets and more popular
actors, the lower-budgeted Bs served largely as a
support mechanism to A-films of the major studios—most of which also owned the theater chains in which movies were
shown. When a 1948 U.S. Supreme Court antitrust ruling severed ownership of theaters from the studios, the B-movie soon became a different
entity. In The Battle for the Bs, Blair Davis analyzes how B-films were
produced, distributed, and exhibited in the 1950s and demonstrates the
possibilities that existed for low-budget filmmaking.
Rutgers University Press, April 2012
9780813552538, paper, $32.50
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Hollywood Unknowns
A History of Extras, Bit Players, and Stand-Ins
Anthony Slide
Extras, bit players, and stand-ins have been a part
of the film industry almost from its conception. On
a personal and a professional level, their stories are
told in Hollywood Unknowns, the first history devoted to extras from the silent era through the present. Hollywood Unknowns discusses the relationship of the extra to the star, the lowly position in
which extras were held, the poor working conditions and wages, and the sexual exploitation of
many of the hardworking women striving for a place in Hollywood society. Though mainly anonymous, many are identified by name and, for
perhaps the first time, receive equal billing with the stars.
University Press of Mississippi, October 2012
9781617034749, cloth, $50
Millennial Masculinity
Men in Contemporary American Cinema
Edited by Timothy Shary
In virtually every aspect of culture—health, marriage, family, morals, politics, sex, race, economics—American men of the past two decades have
faced changing social conditions and confronted
radical questions about themselves. Chapters are
arranged in four sections: “Performing Masculinity” includes a discussion of Adam Sandler and
movies such as Milk; “Patriarchal Problems”
looks at issues of fathers from directors such as
Martin Scorsese, Wes Anderson, and David
Fincher; “Exceptional Sexualities” examines
male love and sex through movies like Brokeback Mountain and Wedding Crashers; and “Facing Race” explores masculinity through race in
film. Sean Penn, Jackie Chan, Brad Pitt, Will Smith, and Philip Seymour
Hoffman are some of the actors included in these analyses, while themes
considered include police thrillers, psychotic killers, gay tensions, fashion sense, and the burgeoning “bromance” genre.
Wayne State University Press, December 2012
9780814334355, paper, $37.50
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Page 12
Specters of War
Hollywood's Engagement with Military Conflict
Elisabeth Bronfen
Specters of War looks at the way war has been
brought to the screen in various genres and at different historical moments throughout the twentieth century. Elisabeth Bronfen asserts that Hollywood has
emerged as a place where national narratives are created and circulated so that audiences can engage with
fantasies, ideologies, and anxieties that take hold at a
given time, only to change with the political climate.
Such cultural reflection is particuarly poignant when it deals with America's traumatic history of war. The nation has no direct access to war as a
horrific experience of carnage and human destruction and understand our
relation to it through images and narratives that transmit and interpret it
for us.
Rutgers University Press, November 2012
9780813553979, paper, $34.95
Jewish Cinema
Hollywood’s Chosen People
The Jewish Experience in American Cinema
Edited by Murray Pomerance,
Ryerson University
As studio bosses, directors, and actors, Jews have been
heavily involved in film history and vitally involved in
all aspects of film production. Yet Jewish characters
have been represented onscreen in stereotypical and
disturbing ways, while Jews have also helped to produce some of the most troubling stereotypes of people
of color in Hollywood film history. In Hollywood’s Chosen People: The
Jewish Experience in American Cinema, leading scholars consider the
complex relationship between Jews and the film industry, as Jews have
helped to construct Hollywood’s vision of the American dream and
American collective identity and have in turn been shaped by those representations. The Jewish experience in American cinema reveals much
about the degree to which Jews have been integrated into and contribute
to the making of American popular film culture.
Wayne State University Press, September 2012
9780814334829, paper, $39.95
Scholarly Book Services Inc.
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The New Jew in Film
Exploring Jewishness and Judaism in
Contemporary Cinema
Nathan Abrams
Jewish film characters have existed almost as long as
the medium itself. But around 1990, films about Jews
and their representation in cinema multiplied and
took on new forms, marking a significant departure
from the past. With a fresh generation of Jewish
filmmakers, writers, and actors at work, contemporary cinemas have been depicting a multiplicity of
new variants, including tough Jews; brutish Jews; gay and lesbian Jews;
Jewish cowboys, skinheads, and superheroes; and even Jews in space.
The New Jew in Film is grounded in the study of over three hundred
films from Hollywood and beyond. Nathan Abrams explores these new
and changing depictions of Jews, Jewishness, and Judaism, providing a
wider, more representative picture of this transformation.
Rutgers University Press, March 2012
9780813553412, paper, $32.50
First Films of the Holocaust
Soviet Cinema and the Genocide of the Jews,
1938–46
Jeremy Hicks
Most early Western perceptions of the Holocaust
were based on newsreels filmed during the allied
liberation of Germany in 1945. Little, however,
was reported of the initial wave of material from
Soviet filmmakers who were in fact the first to
document these horrors. In First Films of the Holocaust, Jeremy Hicks presents a pioneering study of
Soviet contributions to the growing public awareness of the horrors of Nazi rule. Even before the
war, the Soviet film Professor Mamlock, which premiered in the United
States in 1938 and coincided with the Kristallnacht pogrom, helped reinforce anti-Nazi sentiment. Yet, Soviet films were often dismissed or even
banned in the West as Communist propaganda. Ironically, in the brief
1939–1941 period of Nazi and Soviet alliance, such films were also
banned in the Soviet Union, only to be reclaimed after the Nazi attack on
the Soviet Union in 1941, and suppressed yet again during the Cold War.
University of Pittsburgh Press, November 2012
9780822962243, paper, $36.25
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Page 14
Japanese Cinema
Japanese Cinema in the Digital Age
Mitsuyo Wada-Marciano
Digital technology has transformed cinema’s production,
distribution, and consumption patterns and pushed contemporary cinema toward increasingly global markets. In
the case of Japanese cinema, a once moribund industry
has been revitalized as regional genres such as anime and
Japanese horror now challenge Hollywood’s preeminence in global cinema. In her rigorous investigations of
J-horror, personal documentary, anime, and ethnic cinema, Mitsuyo
Wada-Marciano deliberates on the role of the transnational in bringing to
the mainstream what were formerly marginal B-movie genres. She argues persuasively that convergence culture, which these films represent,
constitutes Japan’s response to the variegated flows of global economics
and culture.
University of Hawaii Press, May 2012
9780824835941, cloth, $58.75
Spanish Cinema
The Rise of Spanish-Language
Filmmaking
Out from Hollywood's Shadow, 1929-1939
Lisa Jarvinen
Silent film was universally understood and could be
exported anywhere. But when "talkies" arrived, the
industry began experimenting with dubbing, subtitling, and dual track productions in more than one
language. Where language fractured the European
film market, for Spanish-speaking countries and communities, it created new opportunities. In The Rise of Spanish-Language
Filmmaking, Lisa Jarvinen focuses specifically on how Hollywood lost a
lucrative international Spanish-speaking audience between 1929 and
1939. Hollywood studios initially trained cadres of Spanish-speaking
film professionals, created networks among them, and demonstrated the
viability of a broadly conceived, transnational, Spanish-speaking film
market. By the late 1930s, these efforts led to unintended consequences
and helped to foster the growth of remarkably robust film industries in
Mexico, Spain, and Argentina.
Rutgers University Press, June 2012
9780813552866, paper, $33.75
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Chinese Cinema
Remaking Chinese Cinema
Through the Prism of Shanghai, Hong Kong, and Hollywood
Yiman Wang
From melodrama to Cantonese opera, from silents to 3D animated film,
Remaking Chinese Cinema traces cross-Pacific film remaking over the
last eight decades. Through the refractive prism of Hollywood, Shanghai,
and Hong Kong, Yiman Wang revolutionizes our understanding of Chinese cinema as national cinema. Against the diffusion model of national
cinema spreading from a central point—Shanghai in the Chinese case—
she argues for a multi-local process of co-constitution and reconstitution.
In this spirit, Wang analyzes how southern Chinese cinema (huanan
dianying) morphed into Hong Kong cinema through trans-regional and
trans-national interactions that also produced a vision of Chinese cinema.
University of Hawaii Press, March 2013
9780824836078, cloth, $61.25
Native American Cinema
Native Americans on Film
Conversations, Teaching, and Theory
Edited by M. Elise Marubbio
The film industry and mainstream popular culture
are notorious for promoting stereotypical images of
Native Americans: the noble and ignoble savage, the
pronoun-challenged sidekick, the ruthless warrior,
the female drudge, the princess, the sexualized
maiden, the drunk, and others. Over the years, Indigenous filmmakers have both challenged these
representations and moved past them, offering their
own distinct forms of cinematic expression. Native Americans on Film
draws inspiration from the Indigenous film movement, bringing filmmakers into an intertextual conversation with academics from a variety of
disciplines. The resulting dialogue opens a myriad of possibilities for
engaging students with ongoing debates: What is Indigenous film? Who
is an Indigenous filmmaker? What are Native filmmakers saying about
Indigenous film and their own work?
University Press of Kentucky, November 2012
9780813136653, cloth, $63.00
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Page 16
German Cinema
Post-Wall German Cinema and
National History
Utopianism and Dissent
Mary-Elizabeth O'Brien
Since unification, a radical shift has taken place in
Germans' view of their country's immediate past, with
1989 replacing 1945 as the primary caesura. The
cold-war division, the failed socialist state, the '68
student movement, and the Red Army Faction - historical flashpoints involving political oppression, civil
disobedience, and the longing for utopian solutions to social injustice have come to be seen as decisive moments in a collective history that
unites East and West even as it divides them. Telling stories about a
shared past, establishing foundational myths, and finding commonalities
of experience are pivotal steps in the construction of national identity.
Boydell & Brewer Inc., May 2012
9781571135223, cloth, $106.25
Cinema and Modernity
Moving Color
Early Film, Mass Culture, Modernism
Joshua Yumibe
Color was used in film well before The Wizard of Oz.
Thomas Edison, for example, projected two-colored
films at his first public screening in New York City
on April 23, 1896. These first colors of early cinema
were not photographic; they were applied manually
through a variety of laborious processes—most commonly by the hand-coloring and stenciling of prints
frame by frame, and the tinting and toning of films in
vats of chemical dyes. The results were remarkably beautiful. Moving
Color is the first book-length study of the beginnings of color cinema.
Looking backward, Joshua Yumibe traces the legacy of color history
from the beginning of the nineteenth century to the cinema of the early
twentieth century.
Rutgers University Press, July 2012
9780813552972, paper, $37.50
Scholarly Book Services Inc.
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Film and Risk
Edited by Mette Hjort
The phenomenon of risk has been seriously neglected in connection with the study of film, yet
many of those who write about film seem to have
intuitions about how various forms of risk-taking
shape aspects of the filmmaking or film-viewing
process. Film and Risk fills this gap as editor Mette
Hjort and interdisciplinary contributors discuss
film’s relation to all types of risk. Bringing together
scholars from philosophy, anthropology, film studies, economics, and cultural studies, as well as experts from the fields of law, filmmaking, and photojournalism, this volume discusses risk from multiple intriguing angles. Through the contributors’ clear and thorough discussions, this cohesive but diverse collection shows that risk arises in many different areas that tend to be
thought of as central to film studies.
Wayne State University State, 2011
9780814334638, paper, $37.50
The Past Is a Moving Picture
Preserving the Twentieth Century on Film
Janna Jones
Almost all remnants of culture--past and present-degrade over time, whether sculpture or scrolls,
painting or papyrus, books or clay tablets. Perhaps
no major cultural record dissolves more rapidly
than film, arguably the predominant medium of the
twentieth century. Given the fragility of early nitrate film, much has already been lost. The fragments that remain--whether complete prints of theatrical releases or scraps of everyday life captured
by Thomas Edison--only hint at what has disappeared. More recently,
archives have been flooded with so much material that they lack the
funds to properly preserve it all. Both situations raise questions about
how film archives shape our understanding of history and culture. Janna
Jones provides a stunning, tour-de-force analysis of the major assumptions and paradigmatic shifts about history, cinema, and the moving image archive, one that we ignore at our peril in the midst of the overwhelming rush toward digitization.
University Press of Florida, July 2012
9780813041926, cloth, $87.50
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Page 18
Death of the Moguls
The End of Classical Hollywood
Wheeler Winston Dixon
Death of the Moguls is a detailed assessment of the
last days of the "rulers of film." Wheeler Winston
Dixon examines the careers of such moguls as Harry
Cohn at Columbia, Louis B. Mayer at MGM, Jack L.
Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying
days of their once-mighty empires. He asserts that
the sheer force of personality and business acumen
displayed by these moguls made the studios successful; their deaths or
departures hastened the studios' collapse. Almost none had a plan for
leadership succession; they simply couldn't imagine a world in which
they didn't reign supreme. Covering 20th Century-Fox, Selznick International Pictures, Metro-Goldwyn-Mayer, Paramount Pictures, RKO Radio
Pictures, Warner Brothers, Universal Pictures, Republic Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly introduces the studios and their respective bosses in the late 1940s.
Rutgers University Press, September 2012
9780813553771, paper, $34.50
Marketing Movies
Marketing to Moviegoers
A Handbook of Strategies and Tactics,
Third Edition
Robert Marich
While Hollywood executives spend millions of dollars making movies, even more money is poured into
selling those films to the public. In the third edition of
his comprehensive guidebook, Marketing to Moviegoers: A Handbook of Strategies and Tactics, veteran
film and TV journalist Robert Marich plumbs the
depths of the methods used by studios to market their films to consumers.
Updates to the third edition include a chapter on marketing movies using
digital media; an insightful discussion of the use of music in film trailers;
new and expanded materials on marketing targeted toward affinity
groups and awards; fresh analysis of booking contracts between theaters
and distributors.
Southern Illinois University Press, February 2013
9780809331963, paper, $43.75