Relevant bibliographies by topics / American cinema

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'American cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "American cinema"

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López, Ana M. "The State of Things: New Directions in Latin American Film History." Americas 63, no. 2 (2006): 197–203. http://dx.doi.org/10.1017/s0003161500062969.

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Twenty-five years ago, English-language scholarship on Latin American film was almost entirely identified with the New Latin American Cinema movement. The emerging “new” cinemas of Brazil, Cuba and Argentina, linked to evolving social movements and to the renewal of the pan-Latin American dreams of Martí and Bolivar (Nuestra América, “Our America”), had captured the imagination of U.S.-based and other scholars. As I argued in a 1991 review essay, unlike other national cinemas which were introduced into English-language scholarship via translations of “master histories” written by nationals (fo
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Betancourt, Manuel. "Whose Latin American Cinema?" Film Quarterly 70, no. 2 (2016): 9–16. http://dx.doi.org/10.1525/fq.2016.70.2.9.

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What do we talk about when we talk about Latin American cinema within the borders of the United States? Discussions of cinema from the region remain limited to the means of production: which films are produced and financed; how local filmmakers secure the money and access to make the films that then get tied to any given country's national cinema; the aesthetic and cultural movements that these films engender and replicate. But what of the distribution templates that circumscribe the kind of films and filmmakers that can make it to the United States, and under which circumstances? Looking at e
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Alves, Joana Gouveia. "Cinémas Choisis." Global Design, no. 47 (2012): 52–55. http://dx.doi.org/10.52200/47.a.43e7mt76.

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his essay analyzes the cinemas that were featured in L’Architecture d’Aujourd’hui from 1930 until 1939. This being one of the most influential magazines for the spread of Modern Movement ideas, its editorial line focused on the adaptation of building to function and on the distinction between European and American cinemas. Theoretical texts separated classic live theatre from cinema design since programme and features were completely different. Far from American euphoria and classic theatre sobriety, how was architecture for cinema envisaged?
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Riabov, Oleg. "The Enemy with Human Face? Rehumanization of the Images of Americans in the Soviet Thaw Cinema." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 1 (March 2024): 6–15. http://dx.doi.org/10.15688/jvolsu4.2024.1.1.

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Introduction. The article focuses on the changes that happened in the portrayal of U.S. characters in Soviet Thaw cinema. The contribution of the article in the field of cultural Cold War is threefold: for the first time, it studies the American characters’ images through the prism of the concept of rehumanization; establishes common and particular traits of deconstruction of the image of the enemy in Soviet and American cinema; and introduces new materials into scientific circulation. The materials consist of the movies on which Soviet cinematography worked in the early 1960s; reviews in film
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Rittmayer, Allison. "Latin American cinema." Historical Journal of Film, Radio and Television 36, no. 2 (2016): 272–75. http://dx.doi.org/10.1080/01439685.2016.1164476.

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Kleshchenko, Liudmila. "The image of Latin America in Soviet and American Cold War Cinema." Metamorphoses of history, no. 25 (2022): 0. http://dx.doi.org/10.37490/s230861810023095-4.

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The article examines the peculiarities of the representation of Latin American images in Soviet and American cinema during the Cold War. The author concludes that there are certain similarities in the representation of Latin America in the films of the USA and the USSR: both of them mainly create the image of Latin American countries as being at a lower stage of social development. The inclusion of images of third countries, including Latin American countries, in the film narrative was intended to perform the following functions: to demonstrate the atrocities of the enemy (against the populati
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Barrenechea, Antonio. "Dracula as Inter-American Film Icon: Universal Pictures and Cinematográfica ABSA." Review of International American Studies 13, no. 1 (2020): 259–77. http://dx.doi.org/10.31261/rias.8908.

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My essay explores the vampire cinema of Hollywood and Mexico. In particular, I trace the relationship between Universal Pictures as the progenitor of horror during the Great Depression and Cinematográfica ABSA's "mexploitation" practices. The latter resulted in the first vampire film in Latin America--"El vampiro" (1957). Rather than strengthening separatist national cinemas, the unintended consequences of genre film production make this a case of inter-American scope.
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Moore, Cornelius. "African Cinema in the American Video Market." Issue: A Journal of Opinion 20, no. 2 (1992): 38–41. http://dx.doi.org/10.1017/s004716070050153x.

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There are probably a billion videocassettes in the United States. Yet few, probably under a thousand, are African films. I want to ask why this is and describe a strategy to change it.How can one of the least known and most under-funded cinemas in the world, African cinema, find a place in the most lavishly promoted and capitalized media marketplaces on earth, the U.S. feature film market?
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Vohnsen, Mirna. "Spanish-American Studies: Latin American Cinema." Year’s Work in Modern Language Studies 80, no. 1 (2020): 432–53. http://dx.doi.org/10.1163/22224297-08001021.

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Rosen, Philip. "Nation and Anti-Nation: Concepts of National Cinema in the "New" Media Era." Diaspora: A Journal of Transnational Studies 5, no. 3 (1996): 375–402. http://dx.doi.org/10.3138/diaspora.5.3.375.

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[M]y knowledge of movies, pictures, or the idea of movie-making, was strongly linked to the identity of a nation. That’s why there is no French television, or Italian, or British, or American television. There can be only one television because it’s not related to nation. It’s related to finance or commerce. Movie-making at the beginning was related to the identity of the nation and there have been very few ―national‖ cinemas. In my opinion there is no Swedish cinema but there are Swedish movie-makers—some very good ones, such as Stiller and Bergman. There have been only a handful of cinemas:
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Dissertations / Theses on the topic "American cinema"

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Lynchehaun, Ross. "American cinema after 9/11." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4268/.

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The terrorist attacks in the United States of September 11, 2001, were unprecedented in the modern era, and they heralded a new era in politics as the Bush Administration pursued rigorous security policies at home and staged military operations in Afghanistan, and subsequently Iraq. Witness testimonies, and newspaper articles in the immediate aftermath of the attacks, revealed that many of those watching coverage of the attacks on television temporarily mistook the reporting for a Hollywood block-buster, an indication that there was some kind of relationship between 9/11 and Hollywood film-mak
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Parini, I. "ITALIAN AMERICAN GANGSTERSPEAK IN AMERICAN CINEMA AND ITALIAN DUBBING." Doctoral thesis, Università degli Studi di Milano, 2011. http://hdl.handle.net/2434/151767.

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This study aims to analyze the language variety spoken by Italian Americans gangsters in a corpus of five American drama films released in the 1990s, as well as the strategies used during the process of dubbing into Italian. Several studies have focused on the representation of Italian American gangsters in Hollywood films. However, most of the scholars who have worked on this topic have approached it from a film studies or a cultural perspective, while, to my knowledge, no-one has investigated the characters' linguistic characterization. Indeed, the identity of Italian American gangsters in A
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Ribon, Riccardo <1995&gt. "The 1980s AIDS Crisis in Contemporary American Cinema." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17032.

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The following work deals with the representation of the 1980s AIDS crisis in 21st century American cinema. Chapter 1 introduces the concept of “stigma” as theorized by Susan Sontag in AIDS and Its metaphors (1989). Stigma negatively contributed to the reception and treatment of the disease, which was considered an issue of just some minorities and thus ignored by the government and the institutions of the 1980s. I will use the concept in order to analyze the early representation of the AIDS crisis in the 1980s and 1990s AIDS movies such as An Early Frost (1985). Chapter 2 is devoted to analyzi
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Pheasant-Kelly, Frances. "Abject spaces: institutional settings in American cinema." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492871.

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Harrison, S. R. "American society, cinema and television, 1950-1960." Thesis, University of Manchester, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356104.

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Maldūnaitė, Christ Laima. "Jonas Mekas und das New American Cinema." Bern [u.a.], 2007. http://edocs.ub.uni-frankfurt.de/volltexte/2009/13231/.

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De, Ruiter Brian. "North American indigenous cinema and its audiences." Thesis, Swansea University, 2013. https://cronfa.swan.ac.uk/Record/cronfa42866.

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This dissertation examines the fictional and non-fictional films of Sherman Alexie, Chris Eyre and Zacharias Kunuk in the larger context of the development of North American indigenous cinema and its audiences. It examines the relation of the films to mainstream cinema and representations of North American indigenous populations by drawing on a wide range of critical responses. After the introduction, which surveys the literature in the field and demonstrates the need for the present study, Chapter One will discuss the persistence of stereotypical representations of Native Americans in cinemat
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Rhodes, Gary Don. "Emerald illusions : the Irish and early American cinema and pre-cinema, 1866-1915." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527949.

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Oliveira, Sandra Cristina Reis Marques de. "Representations of American youth in Hollywood film in the 1980s." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/2762.

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Mestrado em Estudos Ingleses<br>O presente trabalho propõe-se examinar diferentes representações da adolescência no cinema de Hollywood, particularmente na década de 80. Esta dissertação inicia a sua análise debruçando-se sobre as representações da adolescência no cinema de Hollywood, no período após a II Guerra Mundial, numa tentativa de determinar alguns acontecimento que afectaram a forma como essas representações evoluíram até ao final da década de 80. Finalmente, uma reflexão sobre os aspectos mais relevantes das representações da adolescência no cinema na época conservadora de Ronald Rea
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Beskow, Cristina Alvares. "O documentário no Nuevo Cine Latinoamericano: olhares e vozes de Geraldo Sarno (Brasil), Raymundo Gleyzer (Argentina) e Santiago Álvarez (Cuba)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-11012018-155955/.

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Esta tese analisa as representações estéticas e ideológicas na prática do documentário no Nuevo Cine Latinoamericano (NCL) a partir dos discursos dos cineastas Geraldo Sarno (Brasil), Raymundo Gleyzer (Argentina) e Santiago Álvarez (Cuba), entre os anos de 1964 e 1974. Para isso, estabelecemos paralelos entre a prática das realizações destes cineastas e os ideais e posições teóricas defendidos nos manifestos cinematográficos produzidos nestes países; bem como examinamos as vozes da produção discursiva que, neste período, enunciavam o cinema como instrumento de transformação social na América L
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Books on the topic "American cinema"

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Belton, John. American cinema, American culture. McGraw-Hill, 1994.

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John, Belton. American cinema/American culture. 3rd ed. McGraw-Hill, 2009.

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Slide, Anthony. Early American cinema. Scarecrow Press, 1994.

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Mason, Fran. American Gangster Cinema. Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230596399.

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Danks, Adrian, Stephen Gaunson, and Peter C. Kunze, eds. American–Australian Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1.

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E, Staples Donald, ed. The American cinema. 3rd ed. United States Information Agency, 1991.

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1953-, Diawara Manthia, ed. Black American cinema. Routledge, 1993.

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Ruth, Williams Linda, and Hammond Michael 1954-, eds. Contemporary American cinema. McGraw-Hill, 2006.

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Jim, Hillier, ed. American independent cinema. British Film Institute Publishing, 2001.

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Adriano, Aprà, ed. New American cinema: Il cinema indipendente americano degli anni Sessanta. Ubulibri, 1986.

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Book chapters on the topic "American cinema"

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Contemporary American cinema." In A Level Film Studies. Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-13.

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King, Geoff. "American Independent Cinema." In Introduction to Screen Narrative. Routledge, 2023. http://dx.doi.org/10.4324/9781003197911-5.

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D’Acierno, Pellegrino. "Cinema Paradiso." In The Italian American Heritage. Routledge, 2021. http://dx.doi.org/10.4324/9781003250005-28.

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Mann, Craig Ian. "America, Down the Toilet: Urban Legends, American Society and Alligator." In Animal Horror Cinema. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137496393_7.

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Poblete, Juan. "National cinema." In The Routledge Companion to Latin American Cinema. Routledge, 2017. http://dx.doi.org/10.4324/9781315720449-2.

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Danks, Adrian, Stephen Gaunson, and Peter C. Kunze. "Where I’m Calling From: An American–Australian Cinema?" In American–Australian Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_1.

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Gaunson, Stephen. "American Cartel: Block Bookings and the Paramount Plan." In American–Australian Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_10.

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Given, Jock. "The Multiplex Era." In American–Australian Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_11.

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Delamoir, Jeannette. "“Zest to the jaded movie palate”: Wallace Worsley, Scott R. Dunlap and The Romance of Runnibede." In American–Australian Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_12.

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Hollyfield, Jerod Ra’Del. "Defining Neverland: P. J. Hogan, J. M. Barrie and Peter Pan in Post-Mabo Australia." In American–Australian Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_13.

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Conference papers on the topic "American cinema"

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Rai, Sunny, Khushang Zaveri, Shreya Havaldar, Soumna Nema, Lyle Ungar, and Sharath Chandra Guntuku. "Social Norms in Cinema: A Cross-Cultural Analysis of Shame, Pride and Prejudice." In Proceedings of the 2025 Conference of the Nations of the Americas Chapter of the Association for Computational Linguistics: Human Language Technologies (Volume 1: Long Papers). Association for Computational Linguistics, 2025. https://doi.org/10.18653/v1/2025.naacl-long.568.

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Nekita, A. G. "Didactic And Heuristic Potential Of American Horror Cinema." In Pedagogical Education: History, Present Time, Perspectives. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.08.02.54.

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MAZZONI, CLAUDIA VIANA IAZE, MARIA LUIZA IAZE MAZZONI, and FELIPE GOUVEA PENA. "O uso do filme “O Sócio” em sala de aula: uma proposta." In Latin American Publicações. lapubl, 2021. http://dx.doi.org/10.47174/lace2021-0046.

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O cinema é capaz de retratar dilemas e questões sociais de forma mais ampla e explícita, possibilitando uma conexão maior com o espectador. Nesses termos, o presente trabalho teve como objetivo propor uma agenda de discussão sobre o machismo nas organizações a partir do filme “O Sócio”. O filme problematiza a questão do machismo de forma única, é crítico e ao mesmo tempo leve, traz grandes mensagens e também diverte. A proposta de análise evidencia diferentes e relevantes eixos de problematização.
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Fernandez, Guillermo, Waldemar Lopez, Fernando Olivera, Bruno Rienzi, and Pablo Rodriguez-Bocca. "Let's go to the cinema! A movie recommender system for ephemeral groups of users." In 2014 XL Latin American Computing Conference (CLEI). IEEE, 2014. http://dx.doi.org/10.1109/clei.2014.6965161.

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Rincón, Aintzane. "POPULAR CINEMA AND HUMANITIES. NORTH AMERICAN RECENT HISTORY AND THE MEANINGS OF ITS DEPICTION IN FORREST GUMP (ROBERT ZEMECKIS, 1994)." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/iceri.2016.1473.

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Kurtoğlu, Ramazan. "Financial-Economic Crisis and Hollywood’s Social Transformation Operations by Horror Movies." In International Conference on Eurasian Economies. Eurasian Economists Association, 2014. http://dx.doi.org/10.36880/c05.01055.

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The fastest change and transition in the human history is neoliberal capitalism’s 30 year global free market politics project which affects every part of the world with 1978 Washington Consensus. According to John Gray who is a well known academician and an intellectual of the new right-wing, neoliberalism is an apocalyptic secular religion which is based on pagan and Christian values and its ultimate goal is post-apocalyptic heaven in the real world. The best marketing expert of this heaven is, Hollywood based American cinema industry in crisis as well as in regular times. In this study, the
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Огарков, А. Н., and О. С. Субботина. "IDEAL AND SUBLIME: WES ANDERSON’S ANIMATION." In Мультимедиа: современные тенденции IX Международная научно-практическая конференция. Crossref, 2024. http://dx.doi.org/10.54874/9785605054290_72.

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Инновационная стилистика анимационных фильмов американского режиссера Уэса Андерсона отличается как от классического, так и от модернистского кинематографа. Ее особенность — в размывании границы между мультипликацией и кинематографической сценографией. В результате воображаемый и реальный миры синтезируются согласно единому замыслу их реконструкции до идеальной версии, предполагающей практическое слияние традиционно разведенных областей Прекрасного и Возвышенного. The innovative style of animated films by American director Wes Anderson differs from both classical and modern cinema. Its peculia
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MATVEEVA, E. V. "FILM ART AS A FORM OF CHRISTIAN DISCOURSE REPRESENTATION." In СЛОВО, ВЫСКАЗЫВАНИЕ, ТЕКСТ В КОГНИТИВНОМ, ПРАГМАТИЧЕСКОМ И КУЛЬТУРОЛОГИЧЕСКОМ АСПЕКТАХ. Chelyabinsk State University Publishing House, 2024. http://dx.doi.org/10.47475/9785727119631_67.

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The article is devoted to assessing the potential of film art as a form of Christian discourse elements representation and identifying ways to actualize Christian discourse in works of cinema based on the material of the American Christian drama “The Case for Christ”. The analysis of the film as an integral and complete product of film art is conducted at the level of three components: verbal, non-verbal and cinematographic. The results of the study show that at the level of verbal components, the most frequent structural type of biblicalisms are sentences. In most cases biblical lexical units
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DOSPINESCU, Liviu. "Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0011.

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This paper tackles several aspects of the ‟opening towards the Other” that has marked an emancipation trend in the arts of the stage for more than a century; I will name them living arts because, of all the arts, they are distinctly characterized by this essential quality. It also finds its meaning in the institutional decompartmentalization and the opening of disciplinary practices towards the others. Under the sign of the inherent human living presence, the living arts refer to experiences in the whole spectre of the stage arts, coming under a polymorphous subject of research as early as the
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Barsoumian de Carvalho, Beatriz, Felipe Ximenes de Brito Franco Ruela, and Matheus Bonini Machado. "PLANEJAMENTO REGIONAL E HABITAÇÃO RURAL NA AMÉRICA LATINA. O VI Curso Regional de Habitação Rural e os diálogos CINVA-SUDENE." In Seminario Internacional de Investigación en Urbanismo. Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme, 2024. http://dx.doi.org/10.5821/siiu.12656.

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The main objective of this article is to collaborate in the historiographic construction of the development of Regional Planning in Latin America, understood as a thought and an area of activity in the interface between Rural Sociology and Urban Sociology, in the context of the subcontinent starting from the second half of the 20th century. In this sense, the VI Regional Course on Rural Housing, held in Brazil in 1965 through a pioneering partnership between the Centro Interamericano de Vivienda y Planeamiento (CINVA) and the Superintendência do Desenvolvimento do Nordeste (SUDENE) is taken as
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Reports on the topic "American cinema"

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Fernández de la Reguera Ahedo, Alethia. Working paper PUEAA No. 17. Asylum seeking African families in transit through Mexico: between border controls and international protection. Universidad Nacional Autónoma de México, Programa Universitario de Estudios sobre Asia y África, 2023. http://dx.doi.org/10.22201/pueaa.002r.2023.

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African migrants in Mexico are migratory flows that have been less studied than migration from Latin America (Cinta Cruz, 2020). In the last five years, migrants from 35 different African countries were detained in Mexico. Although arrests of African persons are much lower than in the case of Central American countries, on average, between 6 and 19 African persons are detained per day. It is essential to know their mobility patterns, identify their international protection needs, and the main obstacles they face, whether to cross into the United States or to remain in Mexico as refugees (Narvá
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2da Bienal Interamericana de Video Arte del Centro Cultural del BID. Inter-American Development Bank, 2005. http://dx.doi.org/10.18235/0006115.

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Después de su presentación en Washington, D.C., la bienal comenzó el circuito itinerante en junio de 2005, en el Istituto Italo-Latino Americano (IILA) en Roma. Luego viajará a varios países que forman parte de un circuito de más de 13 países incluyendo Rusia, terminando en el XXII Festival de Cine de Santafé de Bogotá, Colombia www.bogocine.com/xxii/. Las instituciones del circuito incluyen: Espacio Fundación Telefónica, Buenos Aires, Argentina; Fundação Cultural de Curitiba, Curitiba, Brasil; 15 Videobrasil Internacional Electronic Art Festival, São Paulo, Brasil; Cine a la Calle, Cinemateca
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