SCREEN-L Archives

November 2014, Week 3


Options: Use Monospaced Font
Show Text Part by Default
Condense Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
text/plain; charset="iso-8859-1"
Thu, 20 Nov 2014 16:04:58 +0000
Film and TV Studies Discussion List <[log in to unmask]>
Film and TV Studies Discussion List <[log in to unmask]>
Charles Woodhead <[log in to unmask]>
text/plain (163 lines)
Dear SCREEN-L subscribers,

We hope the following titles will be of interest to you.


Twelve Years on Film
Photographed by Matt Lankes
Text by Richard Linklater, Ethan Hawke, Patricia Arquette, Ellar Coltrane, Lorelei Linklater & Cathleen Sutherland
   In 2002, director Richard Linklater and a crew began filming the "Untitled 12-Year Project." He cast four actors (Patricia Arquette, Ethan Hawke, Ellar Coltrane, and Lorelei Linklater) in the role of a family and filmed them each year over the next dozen years. Supported by IFC Productions, Linklater, cast, and crew began the commitment of a lifetime that became the film Boyhood. Seen through the eyes of a young boy in Texas, Boyhood unfolds as the characters-and actors-age and evolve, the boy growing from a soft-faced child into a young man on the brink of his adult life, finding himself as an artist.
   Photographer Matt Lankes captured the progression of the film and the actors through the lens of a 4 x 5 camera, creating a series of arresting portraits and behind-the-scenes photographs. His work documents Linklater's unprecedented narrative that used the real-life passage of years as a key element in the storytelling.
Just as Boyhood the film calls forth memories of childhood and lures one to a place of self-reflection, Boyhood: Twelve Years on Film presents an honest collection of faces, placed side-by-side, that chronicles the passage of time as the camera connects with the cast and crew on an intimate level. Revealing, personal recollections by the actors and filmmakers accompany the photographs.

Boyhood, Inc. and IFC Productions, University of Texas

November 2014 200pp 214 color and b&w photos 9781477305416 Hardback 29.95 now only 22.46 when you quote CS1114FILM when you order.

Richard Linklater
David T. Johnson
   "In addition to Johnson's critical insights, a lengthy interview with the director is included. . . . This book is ideal for scholars of American independent cinema."-Library Journal
   "The most exhaustive, densest study of Linklater's work yet published. . . . A terrific resource on an oddly underdiscussed director."-Austin American-Statesman
   "Readers will find that reading this highly engaging and accessible book engenders a desire to delve further into the world of an important director."-Screening The Past

   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 kid-friendly 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; time and memory, and the ways that characters negotiate memory in the present; the moments of adolescence and early adulthood as crucial moments in time; the relationship between time and narrative in film; and how cinema, itself, may be becoming antiquated. While Linklater's focus on temporality often involves a celebration of the present that is not divorced from the past and future, Johnson argues that this attendance to the present also includes an ongoing critique of modern American culture. Crucially filling a gap in critical studies of this American director, the volume concludes with an interview with Linklater discussing his career.

University of Illinois Press

March 2012 200pp 16 black and white photographs, filmography 9780252078507 Paperback 14.99 now only 11.24 when you quote CS1114FILM when you order.

The Fictional Christopher Nolan
Todd McGowan
   From Memento and Insomnia to the Batman films, The Prestige, and Inception, lies play a central role in every Christopher Nolan film. Characters in the films constantly find themselves deceived by others and are often caught up in a vast web of deceit that transcends any individual lies. The formal structure of a typical Nolan film deceives spectators about the events that occur and the motivations of the characters. While Nolan's films do not abandon the idea of truth altogether, they show us how truth must emerge out of the lie if it is not to lead us entirely astray.
   The Fictional Christopher Nolan discovers in Nolan's films an exploration of the role that fiction plays in leading to truth. Through close readings of all the films through Inception, Todd McGowan demonstrates that the fiction or the lie comes before the truth, and this priority forces us to reassess our ways of thinking about the nature of truth. Indeed, McGowan argues that Nolan's films reveal the ethical and political importance of creating fictions and even of lying. While other filmmakers have tried to discover truth through the cinema, Nolan is the first filmmaker to devote himself entirely to the fictionality of the medium, and McGowan discloses how Nolan uses its tendency to deceive as the basis for a new kind of philosophical filmmaking. He shows how Nolan's insistence on the priority of the fiction aligns his films with Hegel's philosophy and understands Nolan as a thoroughly Hegelian filmmaker.

University of Texas Press

December 2013 232pp 9780292756786 Paperback 16.99 now only 12.74 when you quote CS1114FILM when you order.

Inside the Historical Film
Bruno Ramirez
   ""An outstanding book, Inside the Historical Film is a highly original exploration and will be eagerly read by a younger generation of scholars interested in reaching wider audiences in new ways." -Steven High, Department of History, Concordia University
   From cinema's beginnings filmmakers have turned to the past for their stories, so much so that in many ways our historical culture is shaped more in the movie theatre than in the classroom. Inside the Historical Film argues how and why film can enrich our understanding of the past.  Bruno Ramirez discusses a wide range of films, from various historical and national contexts, pointing to the role that film-crafts play in translating historical events into cinematic language. He takes the reader through the process of conception, research, design, and production of several films that he researched and co-wrote, explaining the decisions that were made to best convey historical knowledge. The practice-based quality at the core of Ramirez's analysis is further enhanced by conversations with world-renowned film directors, including Denys Arcand, Constantin Costa-Gavras, Deepa Mehta, Renzo Rossellini, Paolo and Vittorio Taviani, and Margarethe von Trotta.  Grounded in an appreciation for the interpretative value of making films and cinema's ability to reach large public audiences at personal and emotional levels, Inside the Historical Film seeks to understand historical films as both creative works and multi-layered representations of the past.

McGill-Queen's University Press

September 2014 248pp 16 b&w photos 9780773544215 Paperback 19.99 now only 14.99 when you quote CS1114FILM when you order.

Theorizing Art Cinemas

Foreign, Cult, Avant-Garde, and Beyond
David Andrews
   Andrews remains acutely attuned to both potential criticisms in his logic by addressing them head-on, while never sliding into overtly academic-speak or rhetoric that could obscure his points, which makes Theorizing Art Cinemas a thrilling revelation from front to back....Andrews provides readers not just with an intricate explanation for various art cinemas, but how such scholarship can best be performed going forward....Andrews clears up complicated, much-debated issues with relative ease.
   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.

University of Texas Press

November 2013 310pp 39 photos 9780292747746 Hardback 40.00 now only 30.00 when you quote CS1114FILM when you order.

Silent Cinema and the Politics of Space
Edited by Jennifer M. Bean, Laura Horak & Anupama Kapse
   "Silent Cinema and the Politics of Space makes a very important contribution to scholarship on not only silent cinema but also cross-cultural media studies more generally. Indeed, it is equally useful to scholars working on the contemporary circulation of media across borders, establishing either a precedent for or a counterpoint to later transnational media flows, from television to new media forms." -Richard Abel, University of Michigan
   "A rich source of new theoretical horizons derived from studies of silent era cinema. In the collection Silent Cinema and the Politics of Space, we begin to see the great global mix-up produced by motion picture import and export-mixed-up geographies and genders, languages and meanings-all the cultural disjuncture and displacement as well as dispersals of film versions that traditional world film histories completely overlooked." -Jane M. Gaines, Columbia University
   "This volume brings together much new and exciting scholarship on silent cinema. It is a timely and important scholarly intervention that foregrounds several promising new methodologies for examining space, place, and their relative displacements." -Matthew Solomon, University of Michigan
   In this cross-cultural history of narrative cinema and media from the 1910s to the 1930s, leading and emergent scholars explore the transnational crossings and exchanges that occurred in early cinema between the two world wars. Drawing on film archives from around the world, this volume advances the premise that silent cinema freely crossed national borders and linguistic thresholds in ways that became far less possible after the emergence of sound. These essays address important questions about the uneven forces-geographic, economic, political, psychological, textual, and experiential-that underscore a non-linear approach to film history. The "messiness" of film history, as demonstrated here, opens a new realm of inquiry into unexpected political, social, and aesthetic crossings of silent cinema.

Indiana University Press

April 2014 360pp 55 b&w illus., 1 table 9780253012302 Paperback 23.99 now only 17.99 when you quote CS1114FILM when you order.

The Europeanization of Cinema

Interzones and Imaginative Communities
Randall Halle
   "An original and ground-breaking view of the post-Wende central European landscape, drawn from a remarkable abundance of sources. Halle's writing is intelligent and even amusing-I couldn't put the book down until I had read it to the last page." -Janina Falkowska, author of Andrzej Wajda: History, Politics, and Nostalgia in Polish Cinema
   In this innovative study, German and film studies scholar Randall Halle advances the concept of "interzones"-geographical and ideational spaces of transit, interaction, transformation, and contested diversity-as a mechanism for analyzing European cinema.
   He focuses especially on films about borders, borderlands, and cultural zones as he traces the development of interzones from the inception of central European cinema to the avant-garde films of today. Throughout, he shows how cinema both reflects and engenders interzones that explore the important questions of Europe's social order: imperialism and nation-building in the late nineteenth and early twentieth centuries; "first contact" between former adversaries (such as East and West Germany) following World War II and the Cold War; and migration, neo-colonialism, and cultural imperialism in the twenty-first century.
   Ultimately, Halle argues that today's cinema both produces and reflects imaginative communities. He demonstrates how, rather than simply erasing boundaries, the European Union instead fosters a network of cultural interzones that encourage cinematic exploration of the new Europe's processes and limits of connectivity, tolerance, and cooperation.
University of Illinois Press
June 2014 240pp 6 black and white photographs, 1 table 9780252079955 Paperback 18.99 now only 14.24 when you quote CS1114FILM when you order.

UK Postage and Packing 2.95, Europe 4.50
To order a copy please contact Marston on +44(0)1235 465500 or email [log in to unmask]<mailto:[log in to unmask]>
or visit our website:
where you can also receive your discount
 *Offer excludes the USA, South America and Australasia.

Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: