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Books on the topic 'AlN thin films'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Baer, Hester. German Cinema in the Age of Neoliberalism. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463727334.

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This book presents a new history of German film from 1980-2010, a period that witnessed rapid transformations, including intensified globalization, a restructured world economy, geopolitical realignment, and technological change, all of which have affected cinema in fundamental ways. Rethinking the conventional periodization of German film history, Baer posits 1980-rather than 1989-as a crucial turning point for German cinema's embrace of a new market orientation and move away from the state-sponsored film culture that characterized both DEFA and the New German Cinema. Reading films from East,

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DeMichael, Tom. Modern sci-fi films FAQ: All that's left to know about time travel, alien, robot, and out-of-this-world movies since 1970. Applause Theatre & Cinema Books, 2014.

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3

DC Magnetron Reactive Sputtering of Low Stress AlN Piezoelectric Thin Films for MEMS Application. Storming Media, 1999.

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4

1945-, Auciello Orlando, and Krauss Alan Robert, eds. In situ real time characterization of thin films: Edited by Orlando Auciello, Alan R. Krauss. Wiley, 2001.

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5

Damman, P. Instability of thin films. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789352.003.0008.

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We will first discuss the stability of liquid films deposited on solid surfaces with an emphasis on the nature of intermolecular forces and thermal fluctuations that conspire to generate complex morphologies. We will see how the global dewetting dynamics is driven by the solid–fluid interface and that dewetting can be a powerful tool to study the nanorheology of complex fluids, such as polymer melts in ultra thin films. In the second part, we will consider thin elastic sheets constrained by mechanical forces. The canonical example of such a system is given by a simple paper ball. We will see h

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Netzer, Falko P., and Claudine Noguera. Oxide Thin Films and Nanostructures. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198834618.001.0001.

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Nanostructured oxide materials ultra-thin films, nanoparticles and other nanometer-scale objects play prominent roles in many aspects of our every-day life, in nature and in technological applications, among which is the all-oxide electronics of tomorrow. Due to their reduced dimensions and dimensionality, they strongly interact with their environment gaseous atmosphere, water or support. Their novel physical and chemical properties are the subject of this book from both a fundamental and an applied perspective. It reviews and illustrates the various methodologies for their growth, fabrication

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Conolly, Jez. The Thing. Liverpool University Press, 2014. http://dx.doi.org/10.3828/liverpool/9781906733773.001.0001.

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Consigned to the deep freeze of critical and commercial reception upon its release in 1982, The Thing has bounced back spectacularly to become one of the most highly regarded productions from the 1980s 'Body Horror' cycle of films, experiencing a wholesale and detailed reappraisal that has secured its place in the pantheon of modern cinematic horror. Thirty years on, and with a recent prequel reigniting interest, this book looks back to the film's antecedents and to the changing nature of its reception and the work that it has influenced. The themes discussed include the significance of The Th

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8

Shih, Shou-Po. Electrical characterization and aging studies of ALE ZnS:Mn ACTFEL devices with varying phosphor thicknesses. 1995.

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9

Conterio, Martyn. Black Sunday. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733834.001.0001.

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Despite its reputation as one of the greatest and most influential of all horror films, there is surprisingly little literature dedicated to Mario Bava's Black Sunday (1960), and this work is the first single book dedicated to it. This book places the film in the historical context of being one of the first sound Italian horror films and how its success kick-started the Italian horror boom. It considers the particularly Italian perspective on the gothic that the film pioneered and its fresh and pioneering approach to horror tropes such as the vampire and the witch and considers how the casting

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Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different exam

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Hilliard, Christopher. A Craze for This Sort of Thing. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799658.003.0005.

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The campaign of abusive letters led to a successful private prosecution of Rose Gooding by Edith Swan. This chapter explains the legal context of the Littlehampton case, discussing access to justice and the nature of criminal libel. Libel could graduate from a civil matter to a criminal one if public order was involved in some way, even figurative: if the libel touched on ‘infamous’ matters (such as homosexuality); if the libel undermined confidence in public institutions such as the police or the judiciary; or if it was repetitive, part of a harassment campaign that disturbed ‘the peace and h

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Takinami, Yuki. Modernity, Shoshimin Films, and the Proletarian-Film Movement. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0009.

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This chapter resituates the question of modernity in Ozu’s shoshimin eiga within the cultural and political context of proletarian-film movement in the 1930s. This chapter first focuses on the writings by leftist film critics. While, as is today, the term “shoshimin” designated the subject depicted in films, the same term was further used to underline the political attitude of the director. Consequently, “shoshimin eiga” acquired an implication quite opposite to that of today: the politically weak films taken from the shoshimin standpoint. The chapter further develops this other implication of

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Arzumanova, Inna. “It’s Sort of ‘Members Only’”. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.012.

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Teen dance films often follow a close formula that includes interracial romance, hip-hop dance, racial utopias, and allegiance to American exceptionalism. This chapter examinesSave the Last Danceas an example of these films, arguing that dance’s ability to render subject transformation through movement makes dance particularly conducive to utopian depictions of racial relations. In the film, dance transformation (from ballet to hip-hop) makes racial transformation possible. It is these choreographed racial transformations that reinforce narratives of U.S. exceptionalism and applaud white commi

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Hughes, Emily. Studying Talk to Her. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733438.001.0001.

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Talk to Her (2002) is a hugely rich and interesting, though ambiguous, film that met with both popular success and critical acclaim. The film won an Oscar for best original screenplay and has been hailed by some critics as Pedro Almodóvar's masterpiece. Yet like most of Almodóvar's films, little is clear-cut. The characters are complex and our affinity and empathy for them shifts throughout the film. This book provides an in-depth analysis of both the formal elements of the film (its narrative, genre, and auteur study) and the themes and issues it raises, discussing the social context of moder

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Thomson, C. Claire. Somethin’ about Scandinavia: Danish Shorts on the Post-war International Scene. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0007.

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Building on the picture of post-war Anglo-Danish documentary collaboration established in the previous chapter, this chapter examines three cases of international collaboration in which Dansk Kulturfilm and Ministeriernes Filmudvalg were involved in the late 1940s and 1950s. They Guide You Across (Ingolf Boisen, 1949) was commissioned to showcase Scandinavian cooperation in the realm of aviation (SAS) and was adopted by the newly-established United Nations Film Board. The complexities of this film’s production, funding and distribution are illustrative of the activities of the UN Film Board in

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Kord, Susanne. 12 Monkeys. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781999334000.001.0001.

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Terry Gilliam's 12 Monkeys (1995) was a commercial and critical success, but it is Gilliam's least understood film, even on the basic plot level. Aside from recognizable debts to specific films such as La Jetée (1962) and Dr. Strangelove (1964), 12 Monkeys plays with a number of genres: apocalypse and post-apocalypse movies, sci-fi, nuclear noir, and what is becoming known as “geek dystopia.” This book examines Gilliam's film — and briefly the TV series based on it — in the context of post-apocalypse movies and with an eye to the film's major themes, including mental illness, conspiracy theori

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Vogan, Travis. The NFL’s Smithsonian. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0004.

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This chapter focuses on the NFL Films archive, the largest sports film archive in the world. Building from the authenticity and emotional power the company assigns to film, president Steve Sabol calls the NFL Films archive “the soul of the NFL,” “the NFL's Smithsonian,” and “football's wine cellar.” NFL Films' archive consists of two main parts that serve overlapping functions: a fire-proof, temperature-controlled, limited-access vault that houses and safeguards nearly all the film the company has created and purchased since Blair Motion Pictures' beginning; a film library that organizes copie

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Jackson, Robert. Pruning Knife Busy. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190660178.003.0008.

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Chapter 7 addresses film censorship in the South, and places this history in the larger context of the American film industry as a whole. From early boxing films such as the Johnson-Jeffries fight of 1910, which led southern politicians to ban interracial boxing films (and, in some cases, all boxing films) to the prodigious work of individual southern censors including Lloyd T. Binford of Memphis and Evan R. Chesterman of the State of Virginia, this history reveals the embeddedness of Jim Crow ideology within all sorts of film institutions. In the years after World War II, when film censorship

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Duckett, Victoria. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0001.

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This book interrogates Sarah Bernhardt's crossover from theater into film and what her films can reveal to us today. It contextualizes and explains Bernhardt's popular success on film, asking why audiences in the early twentieth century celebrated an actress on film who they might never have seen on the live stage. It also looks at the role that feminism plays in enabling us to make sense of Bernhardt's films. The book argues that Bernhardt's films do not offer proof of her theatrical stage action, and that their excessive theatricality are not evidence of her incommensurability with film but

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Cooper, L. Andrew. Dario Argento. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037092.003.0001.

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This book explores the extreme violence that pervades Dario Argento's films, and particularly the ways in which they push the limits of visual and auditory experience by offending, confusing, sickening, and baffling the viewers. It looks at Argento's approach to his work over more than four decades of filmmaking, and his commitment to innovation that is evident in two closely related genres whose disturbing violence reaches previously unrecorded levels of pain, suffering, and mental anguish: crime thriller and supernatural horror. From his directorial debut, The Bird with the Crystal Plumage (

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Fisher, Jaimey. A Ghostly Archeology. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037986.003.0001.

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This chapter analyzes the films of Christian Petzold. Over the past twenty years and across eleven feature-length works, Petzold has established himself as the most critically acclaimed director in Germany. Five of his last eight films have won Best Film from the Association of German Film Critics (2001, 2005, 2007, 2008, and 2012). It is not only the critics, however, who admire Petzold's work: his breakthrough The State I Am In (Die innere Sicherheit; 2000) won the Federal Film Prize in Gold, the equivalent of a best-film prize for its year, an unusual recognition for an art-house film. His

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Marsh, Leslie L. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037252.003.0001.

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This introductory chapter provides an overview of the role of women in the Brazilian film industry during the twentieth century. Brazilian women have been channeling their visions of politics and society through cinema throughout the twentieth century. From the beginnings of sound cinema to the close of the studio era, pioneer Brazilian women filmmakers sought out their own opportunities from within the structures of the film industry. They often began as actresses who learned the craft of filmmaking and influenced a film's production while on set. Others relied on their personal finances to p

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23

Kronengold, Charles. Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0003.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores audiovisual intensification in post-1997 Hong Kong action films, focusing on the performance of everyday activities in Johnnie To’s 2004Breaking News (Dai si gin, 2004) This film’s heightened depictions of materiality, temporality, and the ordinary provide a means to register multisensory experience in a changing urban society. Sound and music work alongside the narrative and the mise-en-scène, creating a contrapuntal weave of lines thro

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Tulloch, John, and Belinda Middleweek. Real Sex Films. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.001.0001.

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Within the domain of film studies, the recent surge in films depicting graphic and high-impact sex and sexualized violence has been variously classified under the terms transgressive, brutal, provocative, real sex, and extreme cinema. These classifications, however, tend to underplay the films’ sociohistorical contexts and reflexive struggle for meaning. We argue that the similarities and differences between these real or simulated sex films are determined and mediated within geographical space and historical time. But every film book has its own personal historical starting point: in our case

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Walden, Kiri Bloom. Peeping Tom. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348370.001.0001.

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Reviled on it’s release, Peeping Tom all-but ended the career of celebrated director Michael Powell. The story of a murderous cameraman and his compulsion to record his killings, Powell’s film stunned the same critics who had acclaimed him for work he had made with Emeric Pressburger (as ‘The Archers’) in the years before. Luckily Peeping Tom was rediscovered and saved, largely due to the efforts of Martin Scorsese, and it is now considered a masterpiece of the Horror genre. In this Devil’s Advocate, published in the wake of the film’s 60<sup>th</sup> Anniversary, Kiri Bloom Walden charts the

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Jackson, Robert. This Southern Advent. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190660178.003.0002.

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Chapter 1 surveys the contributions of southerners to film with an emphasis on activity within the South. Linking the early development of the medium to post-Reconstruction “New South” ideology and grounding it in the efforts of several early innovators from Virginia, this chapter covers a number of important events and movements: the Spanish-American War of 1898, the emergence of Jacksonville, Florida as a major production center in the 1910s, the diverse history of North Carolina’s early film cultures (Asheville as a production center, Karl Brown’s Stark Love, diverse filmmaking ventures thr

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Miklitsch, Robert, ed. Back to Black. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038594.003.0001.

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This introductory chapter provides an overview of film nor. This “genre without a name” tends to reflect the films themselves, which are often about seduction and mystery, Sphinx-like secrets and labyrinthine riddles. One response to this mystique has been a determined demystification on the part of certain super-skeptical critics, the doom-and-gloom school, as a way to counter the “seductive power of film noir.” The result has been a series of grim pronouncements about the nothingness of film noir: that is to say film noir is a “black hole” that “never existed” and can only be found in books.

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Gustafsson, Tommy, and Pietari Kääpä, eds. Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.001.0001.

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Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. It discusses a range of internationally renowned examples, from Nordic noir such as the television show The Bridge and films like Insomnia (1997) to high concept ‘video generation’ productions such as Iron Sky (2012). Yet, genre, at least in this context, indicates both a complex strategy for domestic and international competition as well as an analytical means to identify the Nordic film cultures’ relationships to international trends. Conceptualizing Nordic genre film as an industria

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Duckett, Victoria. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0008.

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This book has explored Sarah Bernhardt's films in an attempt to recuperate a cinema that has been lost to us, not materially but perceptually. Through an analysis of Bernhardt's films, it has enlarged not only what we know of her biography, her performance on the live stage, and her engagement with film but also our understanding of what we can achieve through the practice of film history today. It has shown that, until World War I changed the political imperative of filmmaking in France, an actress of Bernhardt's stature had no qualms in adapting her performances to film, in presuming that sh

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Thomson, C. Claire. Symphony of a Short Film: A City Called Copenhagen. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0010.

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This chapter is devoted to a detailed account of the life cycle of one film, arguably the high water mark of Dansk Kulturfilm’s production: Jørgen Roos’ 1960 short A City Called Copenhagen. This film was nominated for an Academy Award in the Short Subject category. The commissioning process and funding negotiations for this film were prolonged and complex, and are referred to in the film itself, an example of its use of humour. The film was shot on the cusp of the 1960s, and so documents changes to the cityscape, including the presence of Arne Jacobsen’s SAS Hotel. A City Called Copenhagen als

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Conterio, Martyn. Mad Max. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325864.001.0001.

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Mad Max (1979) is a freak picture. Too classy and well-crafted to be lumped in with low-budget Ozploitation titles, yet completely unlike other films made during the 1970s Australian New Wave, George Miller's directorial debut is a singular piece of action cinema, one that had a major cultural impact and spawned a movie icon in Max Rockatansky (played by Mel Gibson). This monograph examines the film's considerable formal qualities in detail, including Miller's theory of cinema as “visual rock 'n' roll” and his marriage of classical Hollywood editing and Soviet-style montage. George Miller is a

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O'Sullivan, Carol, and Jean-François Cornu, eds. The Translation of Films, 1900-1950. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266434.001.0001.

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This rich collection of essays by film historians, translation scholars, archivists, and curators presents film translation history as an exciting and timely area of research. It builds on the last 20 years of research into the history of dubbing and subtitling, but goes further, by showing how subtitling, dubbing, and other forms of audiovisual translation developed over the first 50 years of the 20th century. This is the first book-length study, in any language, of the international history of audiovisual translation to include silent cinema. Its scope covers national contexts both within Eu

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Donnelly, Kevin J. Extending Film Aesthetics. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.020.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film remains at the apex of audiovisual culture, providing inspiration and aspiration for other media. Film music and other sounds from the soundtrack have extended film aesthetics beyond the bounds of film into other media and culture. Sound design now can use musical software to enhance sound effects in films and music composers to incorporate sound effect recordings. Soundtrack elements now appear to have an “aesthetic” character. Technology has engendered

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Tulloch, John, and Belinda Middleweek. “A man didn’t make this film alone”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0006.

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Part 2 of chapter 4 contributes to the dialogue of part 1 by combining an industry-based textual analysis with the findings of the authors’ social audience study of Blue Is the Warmest Colour. This part puts into interdisciplinary dialogue the mutually constructed meanings of “risk,” “desire,” and “intimacy” presented by this real sex film, as read by the macro discourses of film reviewing, risk sociology, and feminist-psychoanalytical film studies outlined in the first three chapters. In doing this it also introduces analytical themes that are explored extensively in later chapters of the boo

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Thomson, C. Claire. The Film World’s Cooperative Store: Institutions and Films of the 1930s and 1940s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0005.

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This chapter traces the early history of state-sponsored informational filmmaking in Denmark, emphasising its organisation as a ‘cooperative’ of organisations and government agencies. After an account of the establishment and early development of the agency Dansk Kulturfilm in the 1930s, the chapter considers two of its earliest productions, both process films documenting the manufacture of bricks and meat products. The broader context of documentary in Denmark is fleshed out with an account of the production and reception of Poul Henningsen’s seminal film Danmark (1935), and the international

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Rascaroli, Laura. Sound. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0006.

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In embracing an understanding of essay film’s soundscape that does not stop at voiceover, but extends to all the elements of a complex environment made up of speech, music, sounds, noise, and silence, this chapter moves beyond traditional logocentric and vococentric approaches to the essay film to explore the disjunctive interstice of Deleuze’s sound image. The complexly imbricated auditory space of Language Gulf in the Shouting Valley (2013) by Lawrence Abu Hamdan is considered in light of an essayistic use of voice and sound as political agents. Hypothesizing a genre of musical essay films,

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Fisher, Jaimey. Interview with Christian Petzold. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037986.003.0002.

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This chapter presents an interview with Christian Petzold, which mainly took place in July 2011, with a shorter followup in October 2012, at Petzold's office in Berlin. Topics covered include where Petzold grew up; the first film he can remember seeing in a movie theater; the atmosphere in Berlin when he arrived to study literature; his decision to transfer to the German Film and Television Academy in Berlin; his collaborations Harun Farocki; how he finds Farocki's nonfiction films; the impression left by the fall of the Berlin Wall in 1989 and the reunification of Germany in 1990; and the inf

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Schilt, Thibaut. An Interview with François Ozon. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036002.003.0002.

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This chapter presents a interview with François Ozon that took place on October 6, 2009. Topics covered include whether his latest film, Le refuge [Hideaway, 2009], was the third part of a “trilogy on mourning” of which Sous le sable and Le temps qui reste were the first two installments; the recurrent themes of mourning, death, and parent–child relations in his films; his screenwriting collaborations; his lack of regret for any of the films he made during his career; his documentary film Jospin s'éclaire; whether he believes that there is a link between someone's identity and the films that h

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Willis, Andy. From Killer Snakes to Taxi Hunters: Hong Kong Horror in an Exploitation Context. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0004.

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From the Shaw Brothers production line to the clones of Bruce Lee, Hong Kong cinema has long been seen as driven by raw commercial concerns. Like many other commercial film industries, most notably Hollywood, production in the Hong Kong film industry has also been focused on popular cycles of production. These have included phases when family melodramas, historical swordplay and kung-fu films, screwball comedies and triad based crime films have all proved successful at the domestic and regional box-office. As with other commercially focused film industries there has also been a low budget sect

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Duckett, Victoria. Nullius in Verba. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0002.

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This chapter challenges the notion that Sarah Bernhardt mouthed her lines on film due to her inability to act in a fittingly naturalistic way for film, and that her famous “golden voice” is brutally denied in a media that gives us the spectacle of an actress mouthing lines that we cannot hear. The chapter explains why an actress who was famous for her voice and gesture acts on silent film in terms of art nouveau acting, changes in visual literature, and the ongoing use of musical accompaniment—all of which allow us to reinterpret Bernhardt's relationship to the silent screen. It argues that Be

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Lewis, Hannah. “An achievement that reflects its native soil”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0004.

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The third chapter focuses on several French-language musical films, known as opérettes filmées (filmed operettas), that were produced by American and German companies and intended for French audiences. Because French production was slow to adopt sound film technology, many French personnel (directors, composers, and actors) worked on their first sound films through these international contexts. The films analyzed in this chapter—Chacun sa chance, Le Chemin du paradis, and Il est charmant—drew influence from a range of stage genres from different national traditions, and attempted to negotiate

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Avila, Jacqueline. Cinesonidos. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.001.0001.

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Cinesonidos: Film Music and National Identity During Mexico’s Época de Oro is the first book-length study concerning the function of music in the prominent genres structured by the Mexican film industry. Integrating primary source material with film music studies, sound studies, and Mexican film and cultural history, this project closely examines examples from five significant film genres that developed during the 1930s through 1950s. These genres include the prostitute melodrama, the fictional indigenista film (films on indigenous themes or topics), the cine de añoranza porfiriana (films of P

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Cooper, Sarah. Film and the Imagined Image. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474452786.001.0001.

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Film and the Imagined Image explores the extraordinary ways in which film can stimulate and direct the image-making capacity of the imagination. From documentary to art house cinema, and from an abundance of onscreen images to their complete absence, films that experiment variously with narration, voice-over, and soundscapes do not only engage the thoughts and senses of spectators in a perceptually rich experience. They also make an appeal to visualise more than is visible on screen and they provide instruction on how to do so as spectators think and feel, listen and view. Bringing together ph

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Davé, Shilpa S. The (Asian) American Dream. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037405.003.0006.

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This chapter focuses on the film comedy Harold and Kumar Go to White Castle (2004), an alternative to the immigrant journey often seen in Hollywood films where the old country is full of hardships, but the new country of America offers freedom and opportunity. Because the film is a stoner comedy, it is not readily recognizable as an Asian American story. However, within the genre of the stoner comedy, these films create a new narrative that normalizes Asian Americans and South Asian Americans as a central part of American culture and in the process redefines the boundaries of American regional

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LoBrutto, Vincent. Ridley Scott. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.001.0001.

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This, the first biography of film director Ridley Scott, investigates the life and moving-image work of a major cinema artist. Ridley Scott is a supreme visualist who applies artistry to telling motion picture narratives. The influence of his early work in commercials, television projects, short films, and music videos is explored. The arc of his life experience is examined to provide a total picture of the man, with emphasis on the look and content of his films. Each Ridley Scott film is presented from a series of views: conception, production, postproduction, critical and social reactions, b

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Fay, Jennifer. Inhospitable World. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696771.001.0001.

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Inhospitable World explores the connection between cinema and artificial weather, climates, and even planets in or on which hospitality and survival are at stake. Cinema’s dominant mode of aesthetic world-making is often at odds with the very real human world it is meant to simulate. The chapters in this book take the reader to a scene—the mise-en-scène—where human world-making is undone by the force of human activity, whether it is explicitly for the sake of making a film, or for practicing war and nuclear science, or for the purpose of addressing climate change in ways that exacerbate its al

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Fowler, Víctor. Some Dance Scenes From Cuban Cinema, 1959–2012. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.023.

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This chapter traces dance in Cuban cinema from the onset of the Revolution to contemporary films. In so doing, the author attempts to set up a Cuban structure of feeling and how a corporeal form ofCubanidadmanifests through various filmic representations, whether narrative or documentary film. Might dance be an inherent aspect ofCubanidad? How does the Cuban filmic apparatus incorporate dance and all of its complexities into a narrative about Cuban fortitude? The films discussed include:Un día en el solar, Los del baile, Memorias del subdesarrollo, Son o no son,andHabana solo.

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Robinson, Harlow. Lewis Milestone. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178332.001.0001.

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This book tells the remarkable personal and professional story of Lewis Milestone (1895-1980), one of the most prolific, creative and respected film directors of Hollywood’s Golden Age. Among his many films are the classics All Quiet on the Western Front, Of Mice and Men, A Walk in the Sun, Pork Chop Hill, the original Ocean’s Eleven and Mutiny on the Bounty, starring Marlon Brando. Born in Ukraine, he came to America as a teenager and learned about film in the U.S. Army in World War I. By the early 1920s he was editing silent films in Hollywood, and soon graduated to shooting his own features

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Thomson, C. Claire. A Free Hand: The Art Film versus the Art of Documentary. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0009.

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This chapter focuses on the short art film, a genre which emerged around 1950 to mediate the visual and plastic arts, often for international exchange. Danish films about national cultural heritage and the applied arts were the focus for state-sponsored film. These often circulated very widely: the production and distribution of Shaped by Danish Hands (Hagen Hasselbalch, 1948) and Thorvaldsen (Carl Th. Dreyer, 1949) are detailed as examples of Danish films seen by millions of international viewers. The chapter also highlights the artistry of the informational filmmakers themselves, as institut

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Johnston, Nessa. Sounding Decay in the Digital Age. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0012.

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Bill Morrison’s Decasia (2012) and Peter Delpeut’s Lyrical Nitrate (1991) are collage works made up of decayed silent-era film fragments. The films approach sound in contrasting ways: Lyrical Nitrate uses old 78 rpm recordings of operatic music as musical accompaniment to its decayed images, whereas Decasia uses a specially commissioned score and exists not only in DVD format but also as an elaborately staged performance piece. This chapter is an investigation of the role of the soundtrack within both films’ repurposing strategy, comparing and contrasting their sonic approaches, using a Chion-

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