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Books on the topic 'Cinema screens'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

1959-, Lord Susan, and Marchessault Janine, eds. Fluid screens, expanded cinema. University of Toronto Press, 2007.

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2

Sacco, Vincenzo. Screens Wide Shut: Cinema e massoneria. Rogas edizioni, 2018.

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3

Leonard, David J. Screens fade to black: Contemporary African American cinema. Praeger Publishers, 2005.

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4

Spencer-Hall, Alicia. Medieval Saints and Modern Screens. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982277.

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This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the

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5

Higgins, Teri, and Catherine Fowler. Epistolary Entanglements in Film, Media and the Visual Arts. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463729666.

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This collection departs from the observation that online forms of communication—the email, blog, text message, tweet—are actually haunted by old epistolary forms: the letter and the diary. By examining the omnipresence of writing across a variety of media, the collection adds the category of Epistolary Screens to genres of self-expression, both literary (letters, diaries, auto-biographies) and screenic (romance dramas, intercultural cinema, essay films, artists’ videos and online media). The category Epistolary encapsulates an increasingly paradoxical relation between writing and the self: fir

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6

Lefebvre, Martin, and Marc Furstenau. Special Effects on the Screen. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462980730.

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Since the very first days of cinema, audiences have marveled at the special effects imagery presented on movie screens. While long relegated to the margins of film studies, special effects have recently become the object of a burgeoning field of scholarship. With the emergence of a digital cinema, and the development of computerized visual effects, film theorists and historians have been reconsidering the traditional accounts of cinematic representation, recognising the important role of special effects. Understood as a constituent part of the cinema, special effects are a major technical but

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7

Trifonova, Temenuga. Screening the Art World. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724852.

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Unlike most studies of the relationship between cinema and art, which privilege questions of medium or institutional specificity and intermediality, Screening the Art World explores the ways in which artists and the art world more generally have been represented in cinema. Contributors address a rarely explored subject -art in cinema, rather than the art of cinema - by considering films across genres, historical periods and national cinemas in order to reflect on cinema’s fluctuating imaginary of ‘art’ and ‘the art world’. The book examines the intersection of art history with history in cinem

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8

1960-, Whelehan Imelda, ed. Screen adaptation: Impure cinema. Palgrave Macmillan, 2010.

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9

Khoo, Gaik Cheng, Thomas Barker, and Mary Ainslie, eds. Southeast Asia on Screen. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989344.

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After the end of World War II when many Southeast Asian nations gained national independence, and up until the Asian Financial Crisis, film industries here had distinctive and colourful histories shaped by unique national and domestic conditions. Southeast Asia on Screen: From Independence to Financial Crisis (1945-1998) addresses the similar themes, histories, trends, technologies and sociopolitical events that have moulded the art and industry of film in this region, identifying the unique characteristics that continue to shape cinema, spectatorship and Southeast Asian filmmaking in the pres

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10

Deveny, Thomas G. Cain on screen: Contemporary Spanish cinema. Scarecrow Press, 1999.

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11

1951-, Rieser Martin, Zapp Andrea, British Film Institute, and Zentrum für Kunst und Medientechnologie Karlsruhe, eds. New screen media: Cinema/art/narrative. British Film Institute, 2002.

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12

1964-, Grant Catherine, and Kuhn Annette, eds. Screening world cinema: The screen reader. Routledge, 2006.

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13

Deveny, Thomas G. Cain on screen: Contemporary Spanish cinema. Scarecrow Press, 1993.

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14

Berry, Chris. China on screen: Cinema and nation. Columbia University Press, 2006.

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15

Heider, Karl G. Indonesian cinema: National culture on screen. University of Hawaii Press, 1991.

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16

1949-, Farquhar Mary Ann, ed. China on screen: Cinema and nation. Columbia University Press, 2006.

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17

Marchessault, Janine, and Susan Lord, eds. Fluid Screens, Expanded Cinema. University of Toronto Press, 2007. http://dx.doi.org/10.3138/9781442684355.

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18

Marchessault, Janine, and Susan Lord. Fluid Screens, Expanded Cinema. University of Toronto Press, 2008.

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19

Marchessault, Janine, and Susan Lord. Fluid Screens, Expanded Cinema. University of Toronto Press, 2019.

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20

Martin, Florence. Screens and Veils: Maghrebi Women's Cinema. Indiana University Press, 2012.

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21

Marchessault, Janine. Fluid Screens, Expanded Cinema (Digital Futures). University of Toronto Press, 2007.

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22

Martin, Florence. Screens and Veils: Maghrebi Women's Cinema. Indiana University Press, 2011.

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23

Screens and veils: Maghrebi women's cinema. Indiana University Press, 2011.

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24

McKim, Kristi. Cinema As Weather: Stylistic Screens and Atmospheric Change. Taylor & Francis Group, 2013.

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25

Traverso, Antonio, ed. Southern Screens: Cinema, Culture and the Global South. Routledge, 2018. http://dx.doi.org/10.4324/9781315412696.

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26

Shaw, Deborah, Armida De La Garza, and Ruth Doughty. Transnational Screens: Expanding the Borders of Transnational Cinema. Taylor & Francis Group, 2020.

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27

Traverso, Antonio. Southern Screens: Cinema, Culture and the Global South. Taylor & Francis Group, 2016.

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28

Screens Fade to Black: Contemporary African American Cinema. Praeger Publishers, 2006.

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29

Philosophy-Screens: From Cinema to the Digital Revolution. State University of New York Press, 2019.

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30

McKim, Kristi. Cinema As Weather: Stylistic Screens and Atmospheric Change. Taylor & Francis Group, 2015.

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31

Cinema As Weather Stylistic Screens And Atmospheric Change. Routledge, 2013.

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32

Cameron, Allan. Visceral Screens: Mediation and Matter in Horror Cinema. Edinburgh University Press, 2021.

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33

Traverso, Antonio. Southern Screens: Cinema, Culture and the Global South. Taylor & Francis Group, 2018.

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34

Shaw, Deborah, Armida De La Garza, and Ruth Doughty. Transnational Screens: Expanding the Borders of Transnational Cinema. Taylor & Francis Group, 2020.

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35

Traverso, Antonio. Southern Screens: Cinema, Culture and the Global South. Taylor & Francis Group, 2018.

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36

Shaw, Deborah, Armida De La Garza, and Ruth Doughty. Transnational Screens: Expanding the Borders of Transnational Cinema. Taylor & Francis Group, 2020.

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37

Traverso, Antonio. Southern Screens: Cinema, Culture and the Global South. Taylor & Francis Group, 2018.

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38

Traverso, Antonio. Southern Screens: Cinema, Culture and the Global South. Taylor & Francis Group, 2018.

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39

Cameron, Allan. Visceral Screens: Mediation and Matter in Horror Cinema. Edinburgh University Press, 2021.

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40

Shaw, Deborah, Armida De La Garza, and Ruth Doughty. Transnational Screens: Expanding the Borders of Transnational Cinema. Taylor & Francis Group, 2020.

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41

McKim, Kristi. Cinema As Weather: Stylistic Screens and Atmospheric Change. Taylor & Francis Group, 2013.

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42

Traverso, Antonio. Southern Screens: Cinema, Culture and the Global South. Taylor & Francis Group, 2018.

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43

Cameron, Allan. Visceral Screens: Mediation and Matter in Horror Cinema. Edinburgh University Press, 2023.

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44

Screens Fade to Black: Contemporary African American Cinema. ABC-CLIO, LLC, 2006.

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45

Cinema As Weather: Stylistic Screens and Atmospheric Change. Routledge, 2013.

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46

Chinese Diaspora on American Screens: Race, Sex, and Cinema. Temple University Press, 2012.

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47

Shilina-Conte, Tanya. Black Screens, White Frames. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197511329.001.0001.

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Abstract Black Screens, White Frames offers a new understanding of cinematic blankness. Drawing on Gilles Deleuze’s philosophy, Tanya Shilina-Conte provides a detailed examination of non-images throughout film history. In different arts, including cinema, absence has often been understood in a negative way—as a lack or lacuna, a vacuum or void. To remedy this, Shilina-Conte advances the concept of the filmmaking machine as an abstract art machine in constant production, which shifts our understanding of absence in cinema from negative to generative theorization. In the course of machinic produ

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48

Cameron, Allan. Visceral Screens. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474419192.001.0001.

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Horror cinema grants bodies and images a precarious hold on sense and order: from the zombie’s gory disintegration to the vampire’s absent reflection and from the shaky camerawork of ‘found footage’ horror to the spectacle of shattering glass in the Italian giallo. Addressing classic horror movies alongside popular and innovative contemporary works, Visceral Screens shows how they have rendered the human form as a type of ‘image-body’, mediated by optical effects, chromatic shifts, glitches and audiovisual fragmentation. The question of signification is central to this metaphorical exchange, s

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49

Chakravorty, Pallabi. Screens and Dances. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199477760.003.0003.

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This chapter uses some key songs and dance sequences from past Bombay cinema and contemporary Bollywood films to illustrate the journey of screen dances to the televisual spectacle of dance reality shows. Part of this journey traverses the performance context of traditional ‘mujras’ to the emergence of ‘item numbers’ in Bollywood.

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50

Gardner, Colin. Chaoid Cinema. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474494021.001.0001.

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The book expands on a burgeoning area in contemporary film studies that explores absences and interstices such as black and white screens that interrupt the film narrative in order to explore buried or hidden philosophical and affective layers that, once revealed, will radically change our reading of the film. In this case I explore silences in the soundtrack – not ambient silence or so-called ‘room tone’ but complete sound drop-outs, as if the film projector had broken down, thereby jolting the audience out of their passive relationship to the screen so that they become aware of their surroun

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