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[cid:[log in to unmask]]<>New Queer Cinema<>
The Director's Cut<>

B.  Ruby Rich

   "Ruby Rich's New Queer Cinema is funny and deeply insightful-I loved going back to the good, bad old days of the '90s and seeing how those times (and their intense sense of urgency) exploded into an auteur-driven cinema today."-Christine Vachon, producer of the films Poison, Far from Heaven, and Boys Don't Cry

   "At last, an anthology of B. Ruby Rich's groundbreaking work on New Queer Cinema-a valuable historical archive with the added bonus of her current reflections on it. Smart, passionate, and engaging, her writing keeps alive the fine art of criticism that is so crucial to sustaining filmmakers and their audiences."-Ann Cvetkovich, author of Depression: A Public Feeling

   "Rich's book is both a portal into previous time of queer imagination and a history lesson on how the politics of an era resulted in the cinematic portrayal of the LGBT world as we see it now. New Queer Cinema is a living history...."-Chase Dimock, Lambda Literary Review

   "[D]aring and insightful. . . . Recommended for film or queer-studies scholars, and for those strongly interested in post-1980s LGBTQ cinema."-Robin Chin Roemer, Library Journal

   B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her ground-breaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS.  As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC.

Duke University Press
23 Illustrations
March 2013 360pp 9780822354284 PB 17.99 now only 12.59 when you quote CS1013CINE when you order<>

[cid:[log in to unmask]]<>Not Hollywood<>
Independent Film at the Twilight of the American Dream<>

Sherry  B. Ortner

   "Not Hollywood does what compelling ethnographies do: it helps us better understand the human complexities of something we simplistically thought we already knew. As a result, the Sundance 'scene' documented here sometimes feels like 'The Emperor's New Clothes' and, at other times, like truly engaged progressive politics and effective cultural critique. Required reading in film and media studies, but relevant far beyond those fields."-John Thornton Caldwell, author of Production Culture: Industrial Reflexivity and Critical Practice in Film and Television

   "Once again, Sherry B. Ortner takes us on an exploratory trip to an unexpected place: this time it's the 'media world' of American independent filmmakers. She reveals the cultural and emotional logics of passion, independence, and creativity that drive Gen X cineastes to max out their credit cards and push their friendships to the limit to create their own compelling visions of American life in films that are definitively 'not Hollywood.' Ortner never compromises her theoretical arguments, yet her clear and entertaining writing style makes this highly original book accessible to readers in anthropology, media and film studies, and American studies, as well as the interested public."-Faye Ginsburg, Director, Center for Media, Culture, and History, New York University

   "Turning a sharp anthropologist's eye on a surprising subject, Sherry B. Ortner does for American independent film what Clifford Geertz did for Bali. Her outsider perspective allows her to raise and answer questions that most filmmakers, film historians, and audiences don't know exist."-Peter Biskind, author of Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Filment Film

Duke University Press
3 tables
March 2013 352pp 9780822354260 PB 16.99 now only 11.89 when you quote CS1013CINE when you order<>

[cid:[log in to unmask]]<>Global Nollywood<>
The Transnational Dimensions of an African Video Film Industry<>

Edited by Matthias Krings & Onookome Okome

   "Reveals in fascinating detail the wild popularity, controversies, and complaints provoked by this film form as it has come to shape the media landscape of Africa." -Brian Larkin, Barnard College

   "Offers original material with respect to the transnational presence of Nollywood." -Moradewun Adejunmobi, University of California, Davis

   Global Nollywood considers this first truly African cinema beyond its Nigerian origins. In 15 lively essays, this volume traces the engagement of the Nigerian video film industry with the African continent and the rest of the world. Topics such as Nollywood as a theoretical construct, the development of a new, critical film language, and Nollywood's transformation outside of Nigeria reveal the broader implications of this film form as it travels and develops. Highlighting controversies surrounding commodification, globalization, and the development of the film industry on a wider scale, this volume gives sustained attention to Nollywood as a uniquely African cultural production.

Indiana University Press
10 b&w illustrations
July 2013 382pp 9780253009357 PB 19.99 now only 13.99 when you quote CS1013CINE when you order <>

[cid:[log in to unmask]]<>The Migrant Image<>
The Art and Politics of Documentary during Global Crisis<>

T. J. Demos

   "The Migrant Image provides an in-depth study of contemporary art in a global context, read through the specific lens of migration.  T. J. Demos offers a seamless bridge between a critical and informed art history and an authoritative presentation of the socio-political interests that are essential to contextualizing each artist's practice. The achievement of The Migrant Image is to provide a full and rich justification for our paying attention to these works as multi-layered and probing artistic gestures that also have the capacity to renew a political imagination."-Claire Bishop, author of Artificial Hells: Participatory Art and the Politics of Spectatorship

   In The Migrant Image T. J. Demos examines the ways contemporary artists have reinvented documentary practices in their representations of mobile lives: refugees, migrants, the stateless, and the politically dispossessed. He presents a sophisticated analysis of how artists from the United States, Europe, North Africa, and the Middle East depict the often ignored effects of globalization. Demos investigates the cinematic approaches Steve McQueen, the Otolith Group, and Hito Steyerl employ to blur the real and imaginary in their films confronting geopolitical conflicts between North and South. He analyses how Emily Jacir and Ahlam Shibli use blurs, lacuna, and blind spots in their photographs, performances, and conceptual strategies to directly address the dire circumstances of dislocated Palestinian people. He discusses the disparate interventions of Walid Raad in Lebanon, Ursula Biemann in North Africa, and Ayreen Anastas and Rene Gabri in the United States, and traces how their works offer images of conflict as much as a conflict of images.

Duke University Press
93 illustrations, including 17 in colour
April 2013 368pp 9780822353409 PB 18.99 now only 13.29 when you quote CS1013CINE when you order<>

[cid:[log in to unmask]]<>Reservation Reelism<>
Redfacing, Visual Sovereignty, and Representations of Native Americans in Film<>

Michelle H. Raheja

Winner of the 2011 Emory Elliott Book Award

   "A fascinating resource for those interested in the history of Native Americans in film, the contradictions of racial visual representations, and the emergence of a Native filmmaking aesthetic."-J. Ruppert, Choice

   "Deeply researched and beautifully conceptualized and written, this volume will be of great interest to scholars of history, film, and indigenous cultural production."-Beth H. Piatote, Western Historical Quarterly

   "An exceptional addition to the growing scholarship on American Indian representation in film, this book complicates the dichotomy of powerful Hollywood and Native victims."-Michael W. Simpson, Tribal College Journal of American Indian Higher Education

   In this engaging account, Michelle H. Raheja offers the first book-length study of the Indigenous actors, directors, and spectators who not only helped shape Hollywood's representation of Indigenous peoples but also, through their very participation, complicated the dominant, and usually negative, messages about Native peoples in film. Since the era of silent films, Hollywood movies and visual culture generally have provided the primary representational field on which Indigenous images have been displayed to non-Native audiences. As such, these films have been highly influential in shaping perceptions of Indigenous peoples as, for example, a dying race or inherently unable or unwilling to adapt to change. Films with genuinely Indigenous plots and subplots, however, clearly attest a different aspect of Native presence in a culture that largely defines Native peoples as invisible or separate.

University of Nebraska Press
29 photographs, 1 illustration
July 2013 358pp 9780803245976 PB 20.99 now only 14.69 when you quote CS1013CINE when you order <>

[cid:[log in to unmask]]<>Twentieth Century-Fox<>
The Zanuck-Skouras Years, 1935-1965<>

Peter Lev

   "Lev's consistently illuminating book joins the first rank of Hollywood studio histories"-Choice

   When the Fox Film Corporation merged with Twentieth Century Pictures in 1935, the company posed little threat to industry juggernauts such as Paramount and MGM. In the years that followed however, guided by executives Darryl F. Zanuck and Spyros Skouras, it soon emerged as one of the most important studios. Though working from separate offices in New York and Los Angeles and often of two different minds, the two men navigated Twentieth Century-Fox through the trials of the World War II boom, the birth of television, the Hollywood Blacklist, and more to an era of exceptional success, which included what was then the highest grossing movie of all time, The Sound of Music. Twentieth Century-Fox is a comprehensive examination of the studio's transformation during the Zanuck-Skouras era. Instead of limiting his scope to the Hollywood production studio, Lev also delves into the corporate strategies, distribution models, government relations, and technological innovations that were the responsibilities of the New York headquarters. Moving chronologically, he examines the corporate history before analysing individual films produced by Twentieth Century-Fox during that period.

University of Texas Press
29 b&w photographs
July 2013 326pp 9780292744479 HB 38 now only 26.60 when you quote CS1013CINE when you order<>

[cid:[log in to unmask]]<>Education in the School of Dreams<>
Travelogues and Early Nonfiction Film<>

Jennifer Lynn Peterson

   "Education in the School of Dreams is an outstanding book written by one of early cinema's smartest scholars. Jennifer Peterson brings the aesthetic beauty and ideological complexity of the film travelogue to life on every page.  She asks the right questions of these films and their viewing contexts and offers theoretically sophisticated answers that will have an impact on historians of travel writing, geography, visual education, and the social sciences."-Alison Griffiths, author of Shivers Down Your Spine: Cinema, Museums, and the Immersive View

   In the earliest years of cinema, travelogues were a staple of variety film programs in commercial motion picture theaters. These short films, also known as "scenics," depicted tourist destinations and exotic landscapes otherwise inaccessible to most viewers. Scenics were so popular that they were briefly touted as the future of film. But despite their pervasiveness during the early twentieth century, travelogues have been overlooked by film historians and critics. In Education in the School of Dreams, Jennifer Lynn Peterson recovers this lost archive. Through innovative readings of travelogues and other nonfiction films exhibited in the United States between 1907 and 1915, she offers fresh insights into the aesthetic and commercial history of early cinema and provides a new perspective on the intersection of American culture, imperialism, and modernity in the nickelodeon era.

Duke University Press
91 photographs (including 10 in colour)
June 2013 400pp 9780822354536 PB 18.99 now only 13.29 when you quote CS1013CINE when you order <>

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