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| Author | : John Cline |
| Publisher | : Scarecrow Press |
| Total Pages | : 364 |
| Release | : 2010-07-17 |
| Genre | : Performing Arts |
| ISBN | : 0810876558 |
This collection of essays represents key contributions to 'transgression cinema:' overlooked, forgotten, or under-analyzed movies that walk the fine line between 'arthouse' and 'grindhouse' film.
| Author | : John Cline |
| Publisher | : |
| Total Pages | : 374 |
| Release | : 2010 |
| Genre | : Performing Arts |
| ISBN | : |
This collection of essays represents key contributions to 'transgression cinema: ' overlooked, forgotten, or under-analyzed movies that walk the fine line between 'arthouse' and 'grindhouse' film
| Author | : Austin Fisher |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 281 |
| Release | : 2016-09-22 |
| Genre | : Performing Arts |
| ISBN | : 1628927461 |
The pervasive image of New York's 42nd Street as a hub of sensational thrills, vice and excess, is from where “grindhouse cinema,” the focus of this volume, stemmed. It is, arguably, an image that has remained unchanged in the mind's eye of many exploitation film fans and academics alike. Whether in the pages of fanzines or scholarly works, it is often recounted how, should one have walked down this street between the 1960s and the 1980s, one would have undergone a kaleidoscopic encounter with an array of disparate “exploitation” films from all over the world that were being offered cheaply to urbanites by a swathe of vibrant movie theatres. The contributors to Grindhouse: Cultural Exchange on 42nd Street, and Beyond consider “grindhouse cinema” from a variety of cultural and methodological positions. Some seek to deconstruct the etymology of “grindhouse” itself, add flesh to the bones of its cadaverous history, or examine the term's contemporary relevance in the context of both media production and consumerism. Others offer new inroads into hitherto unexamined examples of exploitation film history, presenting snapshots of cultural moments that many of us thought we already knew.
| Author | : Kevin M. McGeough |
| Publisher | : |
| Total Pages | : |
| Release | : 2022 |
| Genre | : Civilization, Ancient, in motion pictures |
| ISBN | : 9781800501843 |
"Representations of Antiquity in Film offers an introduction to how the ancient world is represented in film and especially Hollywood cinema. By considering cinematic narrative as well as various elements of film design, McGeough presents a comprehensive overview of the topic designed for students and scholars with varying backgrounds in media studies, archaeology, religious studies, and ancient history"--
| Author | : Geoff King |
| Publisher | : Routledge |
| Total Pages | : 274 |
| Release | : 2013 |
| Genre | : Performing Arts |
| ISBN | : 0415684285 |
Edited and written by leading authors in the field, this book offers an examination of American independent cinema through four sections that range in focus from broad definitions to close focus on particular manifestations of independence.
| Author | : David Church |
| Publisher | : Edinburgh University Press |
| Total Pages | : 296 |
| Release | : 2015-01-13 |
| Genre | : Performing Arts |
| ISBN | : 0748699112 |
Too often dismissed as nothing more than 'trash cinema', exploitation films have become both earnestly appreciated cult objects and home video items that are more accessible than ever. In this wide-ranging new study, David Church explores how the history of drive-in theatres and urban grind houses has descended to the home video formats that keep these lurid movies fondly alive today. Arguing for the importance of cultural memory in contemporary fan practices, Church focuses on both the re-release of archival exploitation films on DVD and the recent cycle of 'retrosploitation' films like Grindhouse, Machete, Viva, The Devil's Rejects, and Black Dynamite. At a time when older ideas of subcultural belonging have become increasingly subject to nostalgia, Grindhouse Nostalgia presents an indispensable study of exploitation cinema's continuing allure, and is a bold contribution to our understanding of fandom, taste politics, film distribution, and home video.
| Author | : Christopher Sieving |
| Publisher | : Wesleyan University Press |
| Total Pages | : 280 |
| Release | : 2011-05-02 |
| Genre | : Performing Arts |
| ISBN | : 0819571334 |
An engrossing look at black-themed films in pre-blaxploitation Hollywood
| Author | : Samm Deighan |
| Publisher | : McFarland |
| Total Pages | : 237 |
| Release | : 2021-06-08 |
| Genre | : Performing Arts |
| ISBN | : 1476643393 |
World War II irrevocably shaped culture--and much of cinema--in the 20th century, thanks to its devastating, global impact that changed the way we think about and portray war. This book focuses on European war films made about the war between 1945 and 1985 in countries that were occupied or invaded by the Nazis, such as Poland, France, Italy, the Soviet Union, and Germany itself. Many of these films were banned, censored, or sharply criticized at the time of their release for the radical ways they reframed the war and rejected the mythologizing of war experience as a heroic battle between the forces of good and evil. The particular films examined, made by arthouse directors like Pier Paolo Pasolini, Rainer Werner Fassbinder, and Larisa Shepitko, among many more, deviate from mainstream cinematic depictions of the war and instead present viewpoints and experiences of WWII which are often controversial or transgressive. They explore the often-complicated ways that participation in war and genocide shapes national identity and the ways that we think about bodies and sexuality, trauma, violence, power, justice, and personal responsibility--themes that continue to resonate throughout culture and global politics.
| Author | : David Andrews |
| Publisher | : University of Texas Press |
| Total Pages | : 310 |
| Release | : 2013-11-15 |
| Genre | : Performing Arts |
| ISBN | : 0292747748 |
The term “art cinema” has been applied to many cinematic projects, including the film d’art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what “art cinema” is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as “art” movies—an activity that has occurred across film history and across film subcultures—rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement. David Andrews opens with a history of the art cinema “super-genre” from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie.
| Author | : Jeffrey Sconce |
| Publisher | : Duke University Press |
| Total Pages | : 351 |
| Release | : 2007-10-24 |
| Genre | : Performing Arts |
| ISBN | : 0822390191 |
Bad Girls Go to Hell. Cannibal Holocaust. Eve and the Handyman. Examining film culture’s ongoing fascination with the low, bad, and sleazy faces of cinema, Sleaze Artists brings together film scholars with a shared interest in the questions posed by disreputable movies and suspect cinema. They explore the ineffable quality of “sleaze” in relation to a range of issues, including the production realities of low-budget exploitation pictures and the ever-shifting terrain of reception and taste. Writing about horror, exploitation, and sexploitation films, the contributors delve into topics ranging from the place of the “Aztec horror film” in debates about Mexican national identity to a cycle of 1960s films exploring homosexual desire in the military. One contributor charts the distribution saga of Mario Bava’s 1972 film Lisa and the Devil through the highs and lows of art cinema, fringe television, grindhouse circuits, and connoisseur DVD markets. Another offers a new perspective on the work of Doris Wishman, the New York housewife turned sexploitation director of the 1960s who has become a cult figure in bad-cinema circles over the past decade. Other contributors analyze the relation between image and sound in sexploitation films and Italian horror movies, the advertising strategies adopted by sexploitation producers during the early 1960s, the relationship between art and trash in Todd Haynes’s oeuvre, and the ways that the Friday the 13th series complicates the distinction between “trash” and “legitimate” cinema. The volume closes with an essay on why cinephiles love to hate the movies. Contributors. Harry M. Benshoff, Kay Dickinson, Chris Fujiwara, Colin Gunckel, Joan Hawkins, Kevin Heffernan, Matt Hills, Chuck Kleinhans, Tania Modleski, Eric Schaefer, Jeffrey Sconce, Greg Taylor
