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Books on the topic 'Convention of Cintra'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Crisp, C. G. Genre, myth, and convention in the French cinema, 1929-1939. Indiana University Press, 2002.

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2

1970-, Artale Corrado, ed. Carceri-- conventi-- campi di concentramento--: Tutte dentro! : il cinema della segregazione femminile. Bloodbuster, 2013.

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3

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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4

Concerning The Convention of Cintra. Humanities-Ebooks, 2014.

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5

Wordsworth's Tract on the Convention of Cintra. Creative Media Partners, LLC, 2022.

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6

Fay, Jessica. ‘My second Self when I am gone’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816201.003.0004.

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This chapter traces the cumulative influence of Wordsworth’s reading of a series of topographical and antiquarian studies on the poetry and prose he produced between 1807 and 1810. These sources contain extensive details about medieval monastic life in the north of England and describe how powerful coenobitic communities shaped the cultural and geographical landscapes they inhabited. The chapter shows how knowledge of the civic operation of the monastic world influenced Wordsworth’s thinking about primogeniture, living legacy, memorialization, and familial and democratic representation. It exp

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7

Berliner, Todd. Bursting into Song in the Hollywood Musical. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0011.

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Chapter 11 examines the aesthetic value of novelty in a genre’s evolution by tracing the history of the convention that characters in Hollywood musicals spontaneously burst into song without realistic motivation. The convention emerged in 1929 and largely vanished by the end of the 1950s. The chapter studies how studio-era filmmakers developed novel conventions that exploited the aesthetic possibilities of song in cinema. The eventual loss of the convention created new constraints on the uses of song, but it also enabled new aesthetic possibilities. Post-studio-era filmmakers transformed the c

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8

Geis, Deborah R. Culinary Cinema. Lexington Books, 2025. https://doi.org/10.5040/9781978748545.

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In this book, Deborah Geis offers a new approach to the evolving genre of culinary films that center on the acts of eating and cooking through close analyses of ten different films. These films range from the classics, like Big Night (1996) and Babette’s Feast (1987) to later box-office hits, like Chef (2014) and to films that deserve a second look, like East Side Sushi (2014), Burnt (2015), and Mid-August Lunch (2008). Throughout these analyses, the book focuses on tropes including the “big dinner” as it connects to intercultural and transcultural communities; the self-destructive perfectioni

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9

Crisp, Colin. Genre, Myth, and Convention in the French Cinema, 1929-1939. Indiana University Press, 2002.

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10

Crisp, Colin. Genre, Myth, and Convention in the French Cinema, 1929-1939. Indiana University Press, 2002.

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11

Loukides, Paul. Beyond the Stars Two: Plot Conventions in American Popular Film. Bowling Green University Popular Press, 1991.

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12

MacDowell, James. Happy Endings in Hollywood Cinema: Cliche, Convention and the Final Couple. Edinburgh University Press, 2013.

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13

Genre, myth, and convention in the classic French cinema, 1929-1939. Indiana University Press, 2002.

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14

Happy Endings In Hollywood Cinema Clich Convention And The Final Couple. Edinburgh University Press, 2013.

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15

MacDowell, James. Happy Endings in Hollywood Cinema: Cliché, Convention and the Final Couple. Edinburgh University Press, 2014.

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16

MacDowell, James. Happy Endings in Hollywood Cinema: Cliché, Convention and the Final Couple. Edinburgh University Press, 2014.

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17

MacDowell, James. Happy Endings in Hollywood Cinema: Cliche, Convention and the Final Couple. Edinburgh University Press, 2013.

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18

Rothermel, Dennis. Becoming-Animal Cinema Narrative. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0014.

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This chapter connects distinctive animal territories to specific uses of film language through a series of case studies, most notably Robert Bresson’s Au hasard Balthazar (1966), Michelangelo Frammartino’s Le Quattro Volte (2011), Bela Tarr’s The Turin Horse (2011), and Ang Lee’s Life of Pi (2012). Significantly, becoming-animal cannot be represented by conventional point-of-view and shot-reverse-shot editing (the structural mainstay of filmic suture), because it ties the animal to the conventional (and thus delimiting) human vectorial space of Deleuze’s action-image. Instead, inspired by Pier

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19

Mira, Alberto. Historical Dictionary of Spanish Cinema. 2nd ed. The Rowman & Littlefield Publishing Group, Inc., 2019. https://doi.org/10.5040/9798881822422.

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Historical Dictionary of Spanish Cinema covers Spanish cinema, its treasures its constant attempts to break through internationally, reaching out towards universal themes and conventions, and the specific obstacles and opportunities that have shaped the careers of filmmakers and stars. This book contains a chronology, an introduction, an appendix and an extensive bibliography. The dictionary section has over 200 cross-referenced entries on titles, movements, filmmakers and performers, and genres (such as homosexuality, nuevo cine español or horror). This book is an excellent resource for stude

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20

Chinese Cinema: Realism and Convention from the Silent Era to the Digital Age. University of Minnesota Press, 2023.

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21

Bhaskar, Ira, and Richard Allen, eds. Bombay Cinema's Islamicate Histories. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789383973.

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Popularly known as Bollywood, Bombay cinema conjures up song, dance and starry-eyed romance. Where do those conventions come from? Many derive from the historical influence of Muslim cultures interacting with other traditions in the Indian subcontinent. Contributions by major scholars of South Asian cultural history and Indian Cinema.

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22

Bhugra, Dinesh. Mad Tales from Bollywood: Portrayal of Mental Illness in Conventional Hindi Cinema. Taylor & Francis Group, 2015.

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23

The politics of India's conventional cinema: Imaging a universe, subverting a multiverse. Sage Publications, 1999.

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24

Bhugra, Dinesh. Mad Tales from Bollywood: Portrayal of Mental Illness in Conventional Hindi Cinema. Taylor & Francis Group, 2013.

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25

Bhugra, Dinesh. Mad Tales from Bollywood: Portrayal of Mental Illness in Conventional Hindi Cinema. Taylor & Francis Group, 2013.

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26

Bhugra, Dinesh. Mad Tales from Bollywood: Portrayal of Mental Illness in Conventional Hindi Cinema. Taylor & Francis Group, 2013.

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27

Bhugra, Dinesh. Mad Tales from Bollywood: Portrayal of Mental Illness in Conventional Hindi Cinema. Taylor & Francis Group, 2013.

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28

Khosrowjah, Hossein. Abbas Kiarostami and Iranian National Cinema. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350534858.

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The films of Abbas Kiarostami (1940-2016) are at once ambiguous and singular, challenging easy categorisation in national, generic, and formal terms. In this insightful study, Hossein Khosrowjah provides an in-depth exploration of Kiarostami's body of work, considering how his filmmaking confronts questions of cinematic representation, identity, and the myth of national unity. Challenging prevailing auteurist readings of Kiarostami’s work, Hossein Khosrowjah firmly anchors his filmmaking within the historical context of Iranian national cinema. Through a close reading of key films, includingCl

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29

Mad Tales from Bollywood: Portrayal of Mental Illnes in Conventional Hindi Cinema (Maudsley Monographs). Psychology Press, 2006.

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30

Holmlund, Chris, Lisa Purse, and Yvonne Tasker, eds. Action Cinema Since 2000. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781839022814.

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Action Cinema Since 2000 addresses an increasingly lively and evolving field of scholarship, probing the definition and testing the potential of action cinema to reframe the mode for the 21st century. Contributors examine a broad range of content, from blockbusters to smaller independent films, originating from China, Korea, India, France, the USA, and Mexico. Ranging from 2001: A Space Odyssey (1968) to Polite Society (2023), they consider the changing modes of action cinema, with streaming assuming global importance and an ever-increasing number of generic blends. They consider under-explore

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31

McGlazer, Ramsey. Old Schools. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286591.001.0001.

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This book marks out a modernist counter-tradition. The book proceeds from an anachronism common to Italian- and English-language literature and cinema: a fascination with outmoded, paradigmatically pre-modern educational forms that persists long after they are displaced in modernizing, reform-minded pedagogical theories. Old Schools shows that these old-school teaching techniques organize key works by Walter Pater, Giovanni Pascoli, James Joyce, Pier Paolo Pasolini, and Glauber Rocha. All of these figures oppose ideologies of progress by returning to and creatively reimagining the Latin class

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32

Baumgartner, Michael. Metafilm Music in Jean-Luc Godard's Cinema. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190497156.001.0001.

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Abstract This monograph explores the underresearched use of music in Jean-Luc Godard’s films and video essays from the early 1960s to the late 1990s. While Godard is largely hailed as a leading innovator of visual montage, unique storytelling style, and groundbreaking cinematography, his achievements as a leading pioneer in sculpting complex soundtracks altering the familiar relationship between sound and image have been mainly overlooked. On these soundtracks, music assumes the unique role of metafilm music. Metafilm music self-consciously refers to its own role as film music and disrupts the

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33

Sawhney, Rashmi. Revising the Colonial Past, Undoing “National” Histories. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0012.

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This chapter investigates the historical imagination of 1980s Indian women filmmakers seeking “companionship” with generations of women enduring or resisting convention in India's colonial past. Leveraging the emergence in the 1980s of an Indian women's cinema—and reflecting on the cinematic construction of gender debates in colonial India through its films, the chapter highlights the challenges they pose to establishing “national” narratives of gender or film history. Three films about gender and reform in late-nineteenth and early-twentieth-century colonial India are discussed: Phaniyamma (P

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34

Bourdeau, Loïc, ed. ReFocus: The Films of François Ozon. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479912.001.0001.

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A queer auteur who plays with generic conventions, François Ozon is one of France’s most prolific and best-known international directors, who has built a filmography that not only engages in the representation of non-normative sexualities, kinship and violence, but also makes room for social outcasts and marginalised communities. This edited collection brings together renowned and emergent scholars to investigate further questions of minority, queerness, (queer) intertextuality and gender representations, as well as secrecy, transgression and intimacy in his films, offering the most up-to-date

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35

Keegan, Cáel M. Lana and Lilly Wachowski. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252042126.001.0001.

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This book analyzes the filmmaking careers of Lana and Lilly Wachowski as the world’s most influential transgender media producers. Situated at the intersection of trans* studies and black feminist film studies, it argues that the Wachowskis’ cinema has been co-constitutive with the historical appearance of transgender, tracing how their work invents a trans* aesthetics of sensation that has disrupted conventional schemas of race, gender, space, and time. Offering new readings of the Wachowskis’ films and television, it illustrates the previously unsensed presence of transgender in the subtext

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36

Lewis, Hannah. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0008.

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The conclusion summarizes the book’s main points and themes, particularly the range of diverse responses to the arrival of synchronized sound film in France, and music’s significant role within those responses. It further suggests that examining the interaction between music and cinema during the critical technological juncture of the early 1930s not only nuances our understanding of 1930s French musical and artistic culture more broadly but also provides a new perspective on the development of poetic realist audiovisual practices, revealing “classic French” cinematic conventions as one among

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37

Mennel, Barbara. Mädchen in Uniform. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781839024207.

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Leontine Sagan’s Mädchen in Uniform (1931) is a groundbreaking German film that showcases women’s agency and desire behind and in front of the camera. Adapted from Christa Winsloe’s lesbian play, the story follows Manuela, an orphan in a boarding school for impoverished Prussian nobility. When she declares her love with her female teacher, the oppressive principal punishes her, leading to a desperate suicide attempt. Barbara Mennel’s compelling study firmly establishes Mädchen in the Weimar cinema canon. Mennel contextualises the film in 1920s theories of sexuality and the conventions of moder

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38

Richards, Rashna Wadia. Cinematic TV. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190071257.001.0001.

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In the last two decades, media scholars have often suggested that television has become cinematic. Once considered “a mere instrument of transmission,” as Rudolf Arnheim put it, or derided as a vast wasteland, TV is now praised for its visual density and complexity. Serial dramas, in particular, are acclaimed for their imitations of cinema’s stylistically innovative and narratively challenging conventions. But what exactly does “cinematic TV” mean? Cinematic TV takes up this question comprehensively, arguing that TV dramas quote, copy, and appropriate (primarily) American cinema in multiple wa

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39

Williams, Tami. Dulac’s Aesthetic Matures. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0004.

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This chapter illustrates Dulac's gradual shift from scenic naturalism and pictorial symbolism to the use of film-specific technical effects, and a choreography and montage-based notion of “rhythm within and between the images” in her feminist classic La Souriante Madame Beudet (1923), her subversive short L'Invitation au voyage (1927), and in a new restoration of her first surrealist film La Coquille et le clergyman (1927). The chapter also analyzes Dulac's lesser known La Folie des vaillants (1925), which among her narrative films comes closest to fulfilling her ideals of a “visual symphony”

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40

Muir, Stephanie. Studying City of God. Liverpool University Press, 2008. http://dx.doi.org/10.3828/liverpool/9781903663592.001.0001.

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A leading example of a resurgent Latin American cinema — ‘la buena onda’ — in the early twenty-first century, City of God was a huge international popular and critical success. A combination of intoxicating, Hollywood-style genre film-making and hard-hitting, social-realist subject matter, it was hailed as a masterpiece at Cannes in 2002 and seen by over 3 million people in Brazil, including the Brazilian cabinet. This book considers: The historical and industrial context of City of God — a brief history of Latin American cinema is followed by a more detailed account of film-making in Brazil —

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41

Ebner, David, and Larry Langman, eds. Hollywood's Image of the South. Greenwood Publishing Group, Inc., 2001. http://dx.doi.org/10.5040/9798400665912.

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From the 1920s and 1930s, when American cinema depicted the South as a demi-paradise populated by wealthy landowners, glamorous belles, and happy slaves, through later, more realistic depictions of the region in films based on works by Erskine Caldwell, Tennessee Williams, William Faulkner, and Robert Penn Warren, Hollywood's view of the South has been as ever-changing as the place itself. This comprehensive reference guide to Southern films offers credits, plot descriptions, and analyses of how the stereotypes and characterizations in each film contribute to our understanding of a most conten

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42

Koresky, Michael. Bathed in the Fading Light. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038617.003.0001.

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This chapter examines the film career of British director Terence Davies. The cinema of Davies is one of contradictions—between beauty and ugliness, the real and the artificial, progression and tradition, motion and stasis. These opposites reflect a certain struggle, for the filmmaker and his characters, to make sense of a confusing and sometimes violent world. For Davies, this struggle constitutes a reckoning with his past, a highly personal account of a fractured childhood; for the viewer it has resulted in one of the richest, most idiosyncratic, and arrestingly experimental bodies of work p

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43

Walker, Elsie. The Seventh Continent. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0003.

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This chapter is an auteurist analysis that establishes the fundamental sonic patterns of Haneke’s work, especially as they create impact through concentrated moments. Like Mother Courage’s silent scream, these moments are self-consciously constructed to unsettle us, raise questions, challenge conventions of representation, and demand our emotional and intellectual reactions to them as such. This close analysis of The Seventh Continent illuminates the dominant sonic patterns of Haneke’s cinema, including: heightened sound effects of everyday objects and actions, atypical emphasis on absent soun

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44

Chion, Michel. The Audio-Logo-Visual and the Sound of Languages in Recent Film. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0029.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Language is "divided" into its (unrelated) spoken and written forms. Cinema uses language in the distinctly different channels of sound and image, and thus is audio-logo-visual. Some films attempt to transcend the language division via embodied language (e.g., deaf sign language). This chapter considers the transition from silent film to sound and the presence of written speech in narrative films depicting screen media. Subtitling “kills” language: it cannot

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45

Mee, Laura. The Shining. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325444.001.0001.

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Taking a fresh look at The Shining (1980), this book situates the film within the history of the horror genre and examines its rightful status as one of the greatest horror movies ever made. It explores how Stanley Kubrick's filmmaking style, use of dark humour, and ambiguous approach to supernatural storytelling complements generic conventions, and it analyses the effective choices made in adapting King's book for the screen—stripping the novel's backstory, rejecting its clear explanations of the Overlook Hotel's hauntings, and emphasizing the strained relationships of the Torrance family. Th

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46

Saxton, Libby. No Power Without an Image. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474463157.001.0001.

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No Power Without an Image is the first detailed study of what filmic images can tell us about iconic photographs. Previous scholarship on iconic images, including the proliferation of recent writings on the subject, has typically centred on, or at least paid special attention to, the medium of photography. Yet the publications that helped create some of the most familiar such icons were deeply influenced by cinema, privileging dynamic photographs and layouts and juxtaposing photojournalism with film stills and film frames. Photojournalistic icons, moreover, often coexist as film or video seque

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47

Chen, Xiangyang. Woman, Generic Aesthetics, and the Vernacular. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0013.

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This chapter examines the hybrid origins of Hong Kong's Huangmei opera film. It shows how the Chinese Communist Party's demand for a cinema showcasing the national cultural past paradoxically facilitated the cross-border circulation of an indigenous, vernacular operatic tradition—featuring feisty rural women, female voice-over chanting, and frequent cross-dressing—into the modernizing idioms of Hong Kong's film industry. Under colonial suppression of local nationalist objectives, the resulting hybridized genre carried a vital female imaginary in nostalgic Chinese wrappings. In contrast to Indi

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48

Butterworth, Philip, and Peter Harrop. Staging, Playing, Pyrotechnics and Magic : Conventions of Performance in Early English Theatre: Shifting Paradigms in Early English Drama Studies. Routledge, 2022.

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49

Harrop, Peter, and Philip BUTTERWORTH. Staging, Playing, Pyrotechnics and Magic : Conventions of Performance in Early English Theatre: Shifting Paradigms in Early English Drama Studies. Taylor & Francis Group, 2022.

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Harrop, Peter, and Philip BUTTERWORTH. Staging, Playing, Pyrotechnics and Magic : Conventions of Performance in Early English Theatre: Shifting Paradigms in Early English Drama Studies. Taylor & Francis Group, 2022.

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