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Books on the topic 'Cinematographic film - Case study'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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1

Partridge, C. J. Senso: Visconti's film and Boito's novella : a case study in the relation between literature and film. E. Mellen Press, 1992.

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2

Partridge, Colin. Tristana: Buñuel's film and Galdós' novel : a case study in the relation between literature and film. Edwin Mellen, 1995.

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3

1843-1920, Pérez Galdós Benito, ed. Tristana: Buñuel's film and Galdós' novel : a case study in the relation between literature and film. Edwin Mellen Press, 1995.

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4

Peck, Stephanie. The labour process and technical change: Laboratory film processing : a case study. typescript, 1985.

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5

Poett, Simon. An analysis of the use of music in film using Martin Scorsese as a case study. LCP, 2000.

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6

Fullerton, John. Spatial and temporal articulation, and the role of intertitles in pre-classical Swedish film: A case study, or Towards a new historiography. Derbyshire College of Higher Education, 1989.

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7

Mon, Ya-Feng. Film Production and Consumption in Contemporary Taiwan. Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089648884.

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This book uses the potent case study of contemporary Taiwanese queer romance films to address the question of how capitalism in Taiwan has privileged the film industry at the expense of the audience's freedom to choose and respond to culture on its own terms. Interweaving in-depth interviews with filmmakers, producers, marketers, and spectators, Ya-Fong Mon takes a biopolitical approach to the question, showing how the industry uses investments in techno-science, ancillary marketing, and media convergence to seduce and control the sensory experience of the audience-yet that control only extend
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8

Fossati, Giovanna. From Grain to Pixel. Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789463725002.

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In From Grain to Pixel, Giovanna Fossati analyzes the transition from analog to digital film and its profound effects on filmmaking and film archiving. Reflecting on the theoretical conceptualization of the medium itself, Fossati poses significant questions about the status of physical film and the practice of its archival preservation, restoration, and presentation. From Grain to Pixel attempts to bridge the fields of film archiving and academic research by addressing the discourse on film's ontology and analyzing how different interpretations of what film is affect the role and practices of
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9

Siewert, Senta. Performing Moving Images. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985834.

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Performing Moving Images: Access, Archive and Affects presents institutions, individuals and networks who have ensured experimental films and Expanded Cinema of the 1960s and 1970s are not consigned to oblivion. Through a comparison of recent international case studies from festivals, museums, and gallery spaces, the book analyzes their new contexts, and describes the affective reception of those events. The study asks: what is the relationship between an aesthetic experience and memory at the point where film archives, cinema, and exhibition practices intersect? What can we learn from re-scre
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10

Berliner, Todd. Raging Bull’s Stylistic Dissonance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0006.

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Illustrating some of the points made in chapter 5, chapter 6 offers an extended analysis of some complex tendencies in Raging Bull’s cinematography, editing, and sound devices. The film tests the limits of the classical Hollywood style and sometimes crosses over into avant-garde practice. Raging Bull offers an illustrative case study of the boundaries of Hollywood’s stylistic systems.
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11

Partridge, Colin J., and Benito Pérez Galdós. Tristana: Bunuel's Film and Galdos's Novel : A Case Study. Edwin Mellen Press, 1995.

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12

Partridge, Colin. Senso: Visconti's Film and Bioto's Novella : A Case Study in the Relation Between Literature and Film. Edwin Mellen Press, 1992.

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13

Geal, Robert. Anamorphic Authorship in Canonical Film Adaptation: A Case Study of Shakespearean Films. Palgrave Macmillan, 2019.

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14

Walter Greenwood's 'Love on the Dole': Novel, Play, Film - A Case Study. Liverpool University Press, 2018.

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15

Linda, Wood, ed. The commercial imperative in the British film industry: Maurice Elvey : a case study. British Film Institute, 1987.

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16

Herbert, Daniel, and Constantine Verevis, eds. Film Reboots. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451369.001.0001.

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Bringing together the latest developments in the study of serial formatting practices – remakes, sequels, series – Film Reboots is the first edited collection to specifically focus on the new millennial phenomenon of rebooting. Through a set of vibrant case studies, this collection investigates rebooting as a practice that seeks to remake an entire film series or franchise, with ambitions that are at once respectful and revisionary. Examining such notable examples as Batman, Ghostbusters, and Star Trek, among others, this collection contends with some of the most important features of contempo
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17

Stoker, Bram. Dracula. Bedford/St. Martin's, 2002.

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18

Lehman, Frank. Analyzing Chromaticism in Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0005.

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This chapter provides a set of small analytical case studies meant to illustrate important methodological and interpretive issues that arise in the study of chromatic film music. Five central topics organize these analyses, each with interesting ramifications for the structure and expressive content of film music: contextuality, distance, voice leading, equivalence, and patterning. Examples are drawn from a range of film composers and styles, with special emphasis placed on the idiosyncratic and influential work of Bernard Herrmann. A recurring theme throughout is that of leitharmonie—the use
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19

Frisch, Michael, and Douglas Lambert. Case Study: Between the Raw and the Cooked in Oral History: Notes from the Kitchen. Edited by Donald A. Ritchie. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780195339550.013.0024.

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For a long time, oral history documents have been encountered and understood in two polar dimensions, not inaccurately described as “raw” and “cooked.” Considering oral history as primary source material, many discussions focus on the conducting, collecting, preserving, transcribing, and organizing of interviews as the basic “stuff” of work in the field. Alternatively, oral history has been often been approached from the vantage of its use—as selectively “cooked” and presented as History—in or as an exhibit, a film, a book, an article, a website, a text sidebar, and so on. These dimensions are
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20

Moss-Wellington, Wyatt. Cognitive Film and Media Ethics. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552889.001.0001.

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Cognitive Film and Media Ethics provides a grounding in the use of cognitive science to address key questions in film, television, and screen media ethics. This book extends prior works in cognitive media studies to answer normative and ethically prescriptive questions: what could make media morally good or bad, and what, then, are the respective responsibilities of media producers and consumers? Moss-Wellington makes a primary claim that normative propositions are a kind of rigor, in that they force media theorists to draw more active ought conclusions from descriptive is arguments. Cognitive
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21

Williams, Tami. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0008.

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This introductory chapter discusses how Germaine Dulac played a groundbreaking role in the evolution of the cinema both as art and social practice. Over the course of her film career (1915–42), Dulac directed more than thirty fiction films, many marking new cinematic tendencies, from Impressionist to abstract. A careful study of Dulac's life and work establishes the importance of her voice in the diffusion and legitimization of French film and film culture, as evidenced through her prolific writings and lectures. She also played a prominent role in several cultural organizations such as the So
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22

Villa, Sara. Improvisatory Practices and the Dawn of the New American Cinema. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.30.

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In 1960, cinema critic Jonas Mekas welcomed the advent of the New American Cinema, praising the wave of independent movies produced in late 1950s for their casual and fragmentary nature. The key feature of these productions, which was particularly remarkable in the case of two major features—Shadowsby John Cassavetes andPull My Daisyby Alfred Leslie and Robert Frank—was an anti-Hollywood style that relied on improvisatory practices affecting all structural levels: from the acting to the montage, from the photography to the soundtrack. The style of this “spontaneous cinema” was a pastiche of mu
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23

Smith, Jeff. The Sound of Intensified Continuity. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.035.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines the role of the soundtrack in the “intensified continuity” style of contemporary Hollywood cinema. Drawing on David Bordwell’s work, it argues that contemporary sound design contributes much to the style’s “impact aesthetic.” Since 1970 soundtracks have increasingly foregrounded six dimensions that function as an aural counterpart to the cinematographic and editing strategies highlighted by Bordwell. The chapter concludes with a comparat
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24

Gallese, Vittorio, and Michele Guerra. The Empathic Screen. Translated by Frances Anderson. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198793533.001.0001.

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Why do people go to the movies? What does it mean to watch a movie? To what extent does our perception of the fictional nature of movies differ from our daily perception of the real world? The authors, a neuroscientist and a film theorist, propose a new multidisciplinary approach to images and film that can provide answers to these questions. According to the authors, film art, based on the interaction between spectators and the world on the screen, and often described in terms of immersion, impressions of reality, simulation, and involvement of the spectator’s body in the fictitious world he
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25

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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26

Lerner, Neil. Pride of the Marines. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.25.

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The 1945 Warner Bros. filmPride of the Marinesoffers a revealing case study for ways that a Hollywood film could represent visual impairments. Based on an actual Marine who had suffered serious vision loss while fighting in World War II, this film had a number of people working on it who would soon find themselves suffering under from the politics of anticommunism (two of its writers were among the Hollywood Ten, and its star actor was also blacklisted). In addition to visual elements, dialogue, and acting techniques, the music provides an important dimension to the ways blindness could be rep
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27

Walden, Victoria. Studying Hammer Horror. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781906733322.001.0001.

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When Hammer Productions was formed in the 1920s, no one foresaw the impact this small, independent studio would have on the international film market. Christopher Lee's mesmerizing, animalistic, yet gentlemanly performance as Dracula, Frankenstein's Monster, and the Mummy were celebrated worldwide, and the Byronic qualities of Peter Cushing's Dr. Frankenstein, among his many other Hammer characters, proved impossible to forget. Hammer maintained consistent period settings, creating a timeless and enchanting aesthetic. This book treats Hammer as a quintessentially British product and through a
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28

Bishop, Daniel. The Presence of the Past. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190932688.001.0001.

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In the tumultuous era of the late sixties and early seventies, several currents of American art and culture coalesced around a broad sensibility that foregrounded and explored the immediacy of lived experience as both an aesthetic and political imperative. But in films set in the historical past, this sensibility acquired complex additional resonances by speaking to the ephemerality of the present moment through a framework of history, myth, nostalgia, and other forms of temporal alienation and distance. The Presence of the Past explores the implications of this complex moment in Hollywood cin
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29

Rascaroli, Laura. Medium. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0002.

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This chapter focuses on the tendency of the essay film to use hybrid materials, to be transmedial, and, indeed, to be nonhierarchical and nonsequential. In this way, it is an expression of the bid to reproduce the nonlinearity of thought and to testify to the crisis of rationality in post-Enlightenment modernity. Shot with special anamorphic lenses that distort and “liquefy” the image, Aleksandr Sokurov’s video Elegiya dorogi (Elegy of a Voyage, 2001), the case study of this chapter, is a hybrid, unstable, fluid text. Its instability and fluidity are so constitutive as to become the core of So
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30

Motrescu-Mayes, Annamaria, and Heather Norris Nicholson. British Women Amateur Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.001.0001.

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In the rapidly growing study of amateur film, this groundbreaking book addresses the development of British women's amateur visual practice. Drawing upon social and visual anthropology, imperial and postcolonial studies and British, Commonwealth and gender history, the authors explore how women in Britain and overseas, used the evolving technologies of moving imagery to create visual stories about their lives and times. Locating the making, watching and sharing of women's recreational film-making against wider societal, technological and ideological changes, British Women Amateur Filmmakers di
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31

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 e
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32

Jackson, Robert. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190660178.003.0001.

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This introduction lays out the topic, arguments, and structure of the entire book. It begins with a brief case study of Annie Minerva Turnbo Malone’s use of motion pictures as part of her growing business empire in the early twentieth century, argues for the centrality of motion pictures to modern southern history and the influence of the South on the half-century development of the film industry from its beginnings to the early postwar era, and identifies the topics of each chapter to follow.
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33

Stead, Lisa. Reframing Vivien Leigh. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906504.001.0001.

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Reframing Vivien Leigh takes a fresh new look at one of the twentieth century’s most iconic stars. Focusing on Vivien Leigh as a distinctly archival subject, the book draws upon original oral history work with curators, archivists, and fan collectives and extensive research within a network of official and unofficial archives around the world to produce alternative stories about her place within film history. The study examines an intriguing variety of historical correspondence, costume, scripts, photography, props, and memorabilia in order to reframe the dominant narratives that have surround
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34

Moss-Wellington, Wyatt. Narrative Humanism. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474454315.001.0001.

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How can stories function as expressions of kindness to others, and how might the narratives we live by then affect our behaviour in the world? Is there such a thing as a ‘humanistic drama’? This book attempts to clarify the narrative conditions of humanism, asking how we can use stories to complicate our understanding of others, and questioning the ethics and efficacy of attempts to represent human social complexity in fiction. With case studies of films like Parenthood (1989), Junebug (2005), Little Miss Sunshine (2006) and The Kids Are All Right (2010), this original study synthesises leadin
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35

Lehman, Frank. Pantriadic Wonder. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0006.

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This chapter focuses on the wider cultural and psychological ramifications of chromaticism in film music. It is argued that pantriadicism strives for a specific affect: wonderment, and with it two subsidiary psychological states, frisson and awe. Both literary and cognitive/psychological accounts are given for this affect’s connection with harmony, with particular emphasis on the relationship of emotion and musical expectation. Frisson and awe have distinctive temporal profiles, leading to an evaluation of theoretical and empirical work on subjective temporality in connection with chromaticism
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36

Cook, Nicholas. Seeing Sound, Hearing the Body. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.7.

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This chapter argues that visual and embodied dimensions of performance are integral to the experience of live music. The author describes this as the “old multimedia,” since the principles of intermedial alignment and meaning production in performance are in essence the same as in the “new multimedia” that forms the dominant mode of music consumption in the twenty-first century. The chapter largely consists of an extended case study based on two filmed performances by Glenn Gould of the first movement of Anton Webern’sPiano Variations, Op. 27. It addresses the role in Gould’s interpretations o
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37

Rascaroli, Laura. Temporality. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0005.

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Opening with a discussion of the diptych form in film, seen as a dialogic structure activated in a spatiotemporal in-betweenness, this chapter focuses on films constructed around an interstice between incommensurable temporalities. In particular, it looks at filmic practices that spatialize time and at films that articulate the road as a palimpsest through which a diachronic way of thinking develops. The first case study is a diptych by Cynthia Beatt, Cycling the Frame (1988) and The Invisible Frame (2009), which follow the actor Tilda Swinton while she cycles the route along the Berlin Wall,
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38

Buchanan, David A., and David Denyer. Research in extreme contexts. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796978.003.0005.

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David A. Buchanan and David Denyer explore how unconventional methods have been used to study extreme settings which, involving degrees of risk and threat, are often considered challenging in terms of research access. These methods include the extensive use of single case studies based on non-traditional public information sources, embedding researchers in the context to be investigated, and the use of fictional accounts from film and television as sources of evidence. Organizational researchers using these methods are often cast in the roles of historian and detective, reconstructing event se
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39

Marston, Kendra. Postfeminist Whiteness. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430296.001.0001.

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This book is the first extended study into the politics of whiteness inherent within postfeminist popular cinema. It analyses a selection of Hollywood films dating from the turn of the millennium, arguing that the character of the ‘melancholic white woman’ operates as a trope through which to explore the excesses of late capitalism and a crisis of faith in the American dream. Melancholia can function as a form of social capital for these characters yet betrays its proximity to a gendered history of emotion and psychopathology. This figure is alternately idealised or scapegoated depending on ho
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40

Cordeiro, Jaime. O ensino de História: Algumas experiências. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-232-2.

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This book reports some of the author's experiences as a History teacher and as a scholar of his teaching. The chapters present some didactic proposals, but also reports of courses given on the subject of history teaching, as well as the examination of some cultural products that can be mobilized to teaching this discipline. In this case, didactic experiences and suggestions are presented with some with some cultural objects, such as books by José J. Veiga, the film Forrest Gump and some songs of Brazilian popular music. Representations about the periodization of the history of Brazil and Brazi
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41

Ruse, Michael. Darwinian Theory Comes of Age. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190867577.003.0010.

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As professional science, Darwinian theory is now a fully functioning paradigm. Darwinism as religion continues and war continues as a good confirmatory case study. There is now, thanks both to fossil finds and to refined molecular techniques, a much better understanding of human evolution and its history. This is new; the interpretations are not. There is much talk about killer apes, owing as much to Augustine as to Darwin, with speculations by Konrad Lorenz backed by dramatic writings by the film-script-writer-turned-amateur-anthropologist Robert Ardrey. Starting to play a major role are soph
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42

Woller, Megan. From Camelot to Spamalot. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197511022.001.0001.

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This book explores musicalizations of Arthurian legend as filtered through specific tellings by Mark Twain, T. H. White, and Monty Python. For centuries, Arthurian legend with its tales of Camelot, romance, and chivalry has captured imaginations throughout Europe and the Americas. In the twentieth and twenty-first centuries, musical versions of King Arthur and his Knights of the Round Table have abounded in the United States, shaping the legend for American audiences through song. The ever-shifting, age-old tale of King Arthur and his world is one which thrives on adaptation for its survival.
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43

Block, Marcelline, and Jennifer Kirby, eds. ReFocus: The Films of Michel Gondry. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456012.001.0001.

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The acclaimed French auteur behind the mind-bending modern classic Eternal Sunshine of the Spotless Mind (2004), for which he won an Academy Award for Best Original Screenplay, Michel Gondry has directed innovative, ground-breaking films and documentaries, episodes of the acclaimed television show Kidding and some of the most influential music videos in the history of the medium. In this book, a range of international scholars offers a comprehensive study of this significant and influential figure, covering his French and English-language films and videos, and framing Gondry as a transnational
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