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January 2014, Week 5

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From:
Rachel Shand <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Wed, 29 Jan 2014 13:49:21 +0000
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Apologies for cross posting

30 % off for all SCREEN-L subscribers!*
when you quote CS0114CINE when you order

Theorizing Art Cinemas
Foreign, Cult, Avant-Garde, and Beyond

David Andrews

   "[H]is ambitious and heavily researched work addresses issues of auteur theory, the historical relationship between avant-garde and art films, and the role that technology has played in redefining these terms [...] Given the potentially overwhelming web of theoretical traps Andrews could easily find himself in, his deft ability to explain positives and negatives from nearly every perceptible vantage point goes to considerable lengths in establishing not only his own credibility on the matter, but legitimating his suggestions for future scholarship [...] his breadth of reference to numerous kinds of cinema should delight just about any conceivable reader with more than a passing interest in cinema history."-Slant

   The term "art cinema" has been applied to many cinematic projects, including the film d'art m ovement, t he p ostwar a vantgardes, 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 "supergenre" 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.

David Andrews is an independent scholar who has published widely on issues related to art cinema and cult cinema. He is the author of Soft in the Middle: The Contemporary Softcore Feature in its Contexts

University of Texas Press
39 photographs
December 2013 310pp 9780292747746 HB 40.00 now only 28.00 when you quote CS0114CINE when you order

http://www.combinedacademic.co.uk/36459-theorizing-art-cinemas.html

 Richard E. Norman and Race Filmmaking<http://www.combinedacademic.co.uk/37987-richard-e-norman-and-race-filmmaking.html>

Barbara T. Lupack, Foreword by Michael T. Martin

   "Grounded in impressive archival research, Barbara Lupack's book offers a long overdue history of Richard E. Norman and the filmmaking company he established early in the twentieth century. Lupack's ability to describe Norman's films-and the work that went into their production-reanimates them for readers and stresses their role in shaping early African American cinematic representation." -Paula Massood, author of Making a Promised Land: Harlem in 20th-Century Photography and Film

   In the early 1900s, so-called race filmmakers set out to produce black-oriented pictures to counteract the racist caricatures that had dominated cinema from its inception. Richard E. Norman, a southern-born white filmmaker, was one such pioneer. From humble beginnings as a roving "home talent" filmmaker, recreating photoplays that starred local citizens, Norman would go on to produce high-quality feature-length race pictures. Together with his better-known contemporaries Oscar Micheaux and Noble and George Johnson, Richard E. Norman helped to define early race filmmaking. Making use of unique archival resources, including Norman's personal and professional correspondence, detailed distribution records, and newly discovered original shooting scripts, this book offers a vibrant portrait of race in early cinema.

Barbara Tepa Lupack has written extensively on American literature, film, and culture. She has authored or edited more than 20 books and taught at universities within the United States and abroad.

Indiana University Press
40 b&w illustrations
November 2013 400pp 9780253010643 PB 19.99 now only 13.99 when you quote CS0114CINE when you order

http://www.combinedacademic.co.uk/37987-richard-e-norman-and-race-filmmaking.html

UK Postage and Packing 2.95, Europe 4.50
(PLEASE QUOTE REF NUMBER: CS0114CINE for discount)
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