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Books on the topic 'Cinema Politica (Firm)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Screening truth to power: A reader on documentary activism. Cinema Politica, 2014.

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2

The politics of Hollywood cinema: Popular film and contemporary political theory. Palgrave Macmillan, 2013.

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3

Derek, Malcolm, Benegal Shyam 1934-, Sur Ansu, Ācārya Anila, and Nandan (Organization : Calcutta, India), eds. World cinema, power, politics, and hegemony. Nandan, 2005.

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4

Political film: The dialectics of third cinema. Pluto Press, 2001.

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5

Cesare, De Michelis, ed. L' estremista moderato: La letteratura, il cinema, la politica. Marsilio, 1993.

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6

African cinema: Politics & culture. Indiana University Press, 1992.

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7

Buchsbaum, Jonathan. Cinema engagé: Film in the Popular Front. University of Illinois Press, 1988.

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8

Visions of empire: Political imagery in contemporary American film. Praeger, 1992.

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9

Cinema engagé: Film in the popular front. University of Illinois Press, 1988.

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10

Sitney, P. Adams. Vital crises in Italian cinema: Iconography, stylistics, politics. Oxford University Press, 2013.

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11

Martin, Adrian. Mysteries of Cinema. Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986831.

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The major essays of the distinguished and prolific Australian-born film critic Adrian Martin have long been difficult to access, so this anthology, which collects highlights of his work in one volume, will be welcomed throughout film studies. Martin offers indepth analysis of many genres of films while providing a broad understanding of the history of cinema and the history of film criticism and culture. These vibrant, highly personal essays, written between 1982 and 2016, balance breadth across cinema theory with almost encyclopedic detail, ranging between aesthetics, cinephilia, film genre, criticism, philosophy, and cultural politics. Mysteries of Cinema circumscribes a special cultural period that began with the dream of critique as a form of poetic writing, and today arrives at collaborative experiments in audiovisual essays. Throughout these essays, Martin pursues a particular vision of what cinema has been, what it is, and what it still could be.

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12

European cinema and intertextuality: History, memory and politics. Palgrave Macmillan, 2011.

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13

Shadows on the past: Studies in the historical fiction film. Temple University Press, 1994.

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14

Cinema wars: Hollywood film and politics in the Bush-Cheney era. Wiley-Blackwell, 2010.

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15

Kellner, Douglas. Cinema wars: Hollywood film and politics in the Bush-Cheney era. Wiley-Blackwell, 2010.

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16

Kellner, Douglas. Cinema wars: Hollywood film and politics in the Bush-Cheney era. Wiley-Blackwell, 2010.

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17

Allegories of cinema: American film in the sixties. Princeton University Press, 1989.

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18

Jaikumar, Priya. Cinema at the end of empire: A politics of transition in Britain and India. Duke University Press, 2006.

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19

Cinema, theory, and political responsibility in contemporary culture. Cambridge University Press, 1997.

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20

The new face of political cinema: Commitment in French film since 1995. Berghahn Books, 2007.

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21

Zeydabadi-Nejad, Saeed. The politics of Iranian cinema: Film and society in the Islamic Republic. Routledge, 2009.

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22

Here's looking at you: Hollywood, film & politics. 2nd ed. P. Lang, 2005.

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23

Quand la politique se mêle de cinéma: La critique cinéma des grands quotidiens au prisme de l'engagement politique. Le Bord de l'eau, 2012.

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24

Nationalism and the cinema in France: Political mythologies and film events, 1945-1995. Berghahn Books, 2014.

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25

Here's looking at you: Hollywood, film, and politics. Peter Lang, 2000.

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26

The global auteur: The politics of authorship in 21st century cinema. Bloomsbury Academic, 2016.

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27

The crisis of political modernism: Criticism and ideology in contemporary film theory. University of California Press, 1994.

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28

Rodowick, David Norman. The crisis of political modernism: Criticism and ideology in contemporary film theory. University of Illinois Press, 1988.

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29

La democrazia al cinema: I dilemmi del costituzionalismo in cinque film. Meltemi, 2007.

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30

Fascism in film: The Italian commercial cinema, 1931-1943. Princeton University Press, 1986.

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31

Landy, Marcia. Fascism in film: The Italian commercial cinema 1931-1943. UMI Books on Demand, 2002.

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32

Baumbach, Nico. Cinema/Politics/Philosophy. Columbia University Press, 2018.

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33

Cinema/Politics/Philosophy. Columbia University Press, 2018.

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34

Frick, Caroline. Saving Cinema: The Politics of Preservation. Oxford University Press, Incorporated, 2011.

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35

Saving Cinema: The Politics of Preservation. Oxford University Press, Incorporated, 2011.

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36

Political animals: The new feminist cinema. I. B. Tauris & Company, Limited, 2016.

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37

Dienstag, Joshua Foa. Cinema Pessimism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190067717.001.0001.

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Cinema Pessimism uses the medium of film to explore the dilemmas of democratic representation. When is representation an aid to democracy, and when is it an obstacle? Why are democratic populations so perpetually dissatisfied with their representatives? An exploration of film representation gives us a unique standpoint from which to answer these and other questions. Representation contains dangers for democracy, including its ability to foster illusions of power and freedom in a citizenry rather than genuine autonomy. Film itself can be a powerful political narcotic, suppressing rather than expressing the humanity that is supposed to flourish in democracy. Most popular films today, like many elected representatives, frustrate and interrupt democracy rather than sustain it. In its best form, however, representation, both filmic and political, can add something irreplaceable to our political life. Democratic citizens are hard to represent because human beings only reveal themselves over time. Representing them thus holds special challenges that this work explores. Great representatives and great representations are rare, but when they do appear, they enhance our politics by sustaining the reciprocity and equality that are at the heart of any well-ordered human society. We can draw these lessons from films even as we resist the increasing saturation of modern life with representations that distract or degrade us.

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38

Hill, John. Cinema and Northern Ireland: Film, Culture and Politics. British Film Institute, 2006.

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39

Hill, John. Cinema and Northern Ireland: Film, Culture and Politics. British Film Institute, 2006.

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40

Rajadhyaksha, Ashish. 1. The political popular. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198723097.003.0001.

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Very little of India’s early cinema has been preserved, so its history is based on intense memories and short remnants of films. Indian cinema was ‘officially’ born with Dhundiraj Govind Phalke’s mythological Raja Harishchandra, released in 1913. This chapter asks what might happen if we look at what gets left out by the historical emphasis on this film, and on Satyajit Ray’s equally famous Pather Panchali/Song of the Road, released 32 years later. Providing details of a virtually unknown low-budget film Pitru Prem/Father’s Love (1929) and the first truly national commercial success, Gul-e-Bakavali/The Magic Flower (1924), it opens up the influence of India’s colonial history and the swadeshi political movement on cinema.

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41

Papadimitriou, Lydia, and Ana Grgić, eds. Contemporary Balkan Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458436.001.0001.

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The first inclusive collection to examine post-2008 developments in Balkan cinema, this book brings together a number of international scholars working within and beyond the region to explore its industrial contexts and textual dimensions. Exploring both mainstream and arthouse cinemas, the authors identify patterns, trends and common characteristics in the subject matter and aesthetics of films produced and distributed since the global economic crisis. With a focus on transnational links, global networks and cross-cultural exchanges, the book addresses the role of national and supranational institutions as well as film festival networks in supporting film production, distribution and reception. Through critical and comprehensive profiles of the cinematic output in each Balkan country, and with an equal focus on smaller and underrepresented cinemas from Montenegro, Kosovo, North Macedonia and Albania, the collection argues for the continuing relevance of the concept of ‘Balkan cinema’. This study conceptualizes Contemporary Balkan Cinema as a hybrid, trans-national encounter that offers multifarious responses to political and social challenges in the region: gravitation and/or disillusionment toward the European Union; migration; political and social instability; and economic recession.

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42

Archer, Neil. Cinema and Brexit: The Politics of Popular English Film. Bloomsbury Publishing Plc, 2020.

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43

Remapping World Cinema: Identity, Culture and Politics in Film. Wallflower Press, 2006.

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44

Stephanie, Dennison, Lim Song Hwee 1965-, and World Cinemas: Identity, Politics, Culture (2002 : University of Leeds), eds. Remapping world cinema: Identity, culture and politics in film. Wallflower Press, 2006.

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45

(Editor), Stephanie Dennison, and Song Hwee Lim (Editor), eds. Remapping World Cinema: Identity, Culture and Politics in Film. Wallflower Press, 2006.

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46

Dennison, Stephanie, and Hwee Song Lim. Remapping World Cinema: Identity, Culture and Politics in Film. Columbia University Press, 2012.

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47

1945-, Crowdus Gary, ed. The political companion to American film. Lake View Press, 1994.

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48

Nanney, Lisa. John Dos Passos and Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954873.001.0001.

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John Dos Passos & Cinema, the first study to use the novelist’s little-known writing for the screen to assess the trajectory of his prolific career, explores both how film aesthetics shaped his revolutionary modernist narratives and how he later reshaped them directly into film form. The book features previously unpublished manuscripts and correspondence illustrating case studies of his screen writing during the 1930s for Hollywood feature films and in an innovative independent treatment; it examines the complexities of his role in the 1937 political documentary The Spanish Earth; and it explores the unproduced screen treatment of his attempts from the 1940s on to adapt his epic trilogy U.S.A. directly for the screen and to realign its leftist politics toward the anti-Communist conservatism reflected in his work and activism of that period. John Dos Passos & Cinema thus provides a new context for and reading of his modernist literary innovations and his conservative political reorientation in the 1930s that redefined his literary career.

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49

Lee, Sangjoon. Cinema and the Cultural Cold War. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.001.0001.

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This book explores the ways in which postwar Asian cinema was shaped by transnational collaborations and competitions between newly independent and colonial states at the height of Cold War politics. The book adopts a simultaneously global and regional approach when analyzing the region's film cultures and industries. New economic conditions in the Asian region and shared postwar experiences among the early cinema entrepreneurs were influenced by Cold War politics, US cultural diplomacy, and intensified cultural flows during the 1950s and 1960s. The book reconstructs Asian film history in light of the international relationships forged, broken, and re-established as the influence of the non-aligned movement grew across the Cold War. The book elucidates how motion picture executives, creative personnel, policy makers, and intellectuals in East and Southeast Asia aspired to industrialize their Hollywood-inspired system in order to expand the market and raise the competitiveness of their cultural products. They did this by forming the Federation of Motion Picture Producers in Asia, co-hosting the Asian Film Festival, and co-producing films. The book demonstrates that the emergence of the first intensive postwar film producers' network in Asia was, in large part, the offspring of Cold War cultural politics and the product of American hegemony. Film festivals that took place in cities as diverse as Tokyo, Singapore, Hong Kong, and Kuala Lumpur were annual showcases of cinematic talent as well as opportunities for the Central Intelligence Agency to establish and maintain cultural, political, and institutional linkages between the United States and Asia during the Cold War. This book reanimates this almost-forgotten history of cinema and the film industry in Asia.

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50

Ahmed, Omar. Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.001.0001.

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This book traces the historical evolution of Indian cinema through a number of key decades. The book is made up of 14 chapters with each chapter focusing on one key film, the chosen films are analysed in their wider social, political and historical context whilst a concerted engagement with various ideological strands that underpin each film is also evident. In addition to exploring the films in their wider contexts, the book analyses selected sequences through the conceptual framework common to both film and media studies. This includes a consideration of narrative, genre, representation, audience and mise en scène. The case studies run chronologically from Awaara (The Vagabond, 1951) to The Elements Trilogy: Water (2005) and include films by such key figures as Satyajit Ray (The Lonely Wife), Ritwick Ghatak (Cloud Capped Star), Yash Chopra (The Wall) and Mira Nair (Salaam Bombay!).

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