Relevant bibliographies by topics / Dominion Cinema (Edinburgh)

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Academic literature on the topic 'Dominion Cinema (Edinburgh)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Dominion Cinema (Edinburgh).'

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Books on the topic "Dominion Cinema (Edinburgh)"

1

Bruce-Gardyne, Tom. Movie magic: [Edinburgh's family-run Dominion cinema]. Caledonia, 2002.

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2

Zou, Hongyan. Western China on Screen. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474477857.001.0001.

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This book examines how films set in western China have represented cities since the 1980s by drawing on spatial theories first proposed by Henry Lefebvre and further developed in Edward Soja’s Thirdspace theory. Focusing on the cinematic representation of urban centres located in western China, this book breaks the long-standing stereotypes of the region established in the ethnographic films of China’s Fifth Generation filmmakers. The twelve films examined in this book record and represent a dynamic space transforming from enclosed spaces of production, traditional values, political inertia an
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Book chapters on the topic "Dominion Cinema (Edinburgh)"

1

Tsai, Beth. "Women Critics and Building the Auteur." In Taiwan New Cinema at Film Festivals. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474496919.003.0003.

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This chapter turns to the domestic reception of Taiwan New Cinema during and after festival circulation to reflect on film criticism’s discourses and transformation. The debates between domestic critics and their shifting attitudes towards Western art cinema’s paradigms—exemplified by news reporter Yang Shi-chi, screenwriter Chu T’ien-wen, and film critic, producer, and festival programmer Peggy Hsiung-ping Chiao—played a decisive role in mediating the canonical status of New Cinema. This chapter spotlights writings from the invisible and often-overlooked women in the workforce to chart how Ta
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2

Guarneri, Michael. "Male Vampires." In Vampires in Italian Cinema, 1956-1975. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.003.0005.

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The chapter zooms in on the cultural instrumentality of the vampire metaphor in Italy by studying Italian-made vampire movies as struggles for gender definition and domination that reflect the zeitgeist of post-war Italy, when a perceived decline in masculine authority due to the vicissitudes of World War Two, the hardships of reconstruction and the post-1958 neocapitalist consumerism went hand in hand with women’s ever-increasing challenges to traditional gender roles. The chapter ventures into the so-far uncharted territory of the Italian male vampires that populate horror parodies, straight
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3

López Lerma, Mónica. "Dissensus in the Community: Disrupting Neoliberal Affects in La Comunidad." In Sensing Justice through Contemporary Spanish Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474442046.003.0003.

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Chapter three rethinks the notions of political community and democracy through Alex de la Iglesia’s La Comunidad (2000), and places them in the context of the anxieties attending Spain’s integration in the European Monetary Union (EMU) in 1999. Taking as starting points Jean Baudrillard’s vision of the “consumer society” and Jacques Rancière’s account of the “politics of consensus,” this chapter suggests that La Comunidad launches a powerful critique of the ideological presuppositions and “regimes of visibility” of Western liberal democracies. However, departing from previous analyses, it is
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4

Guarneri, Michael. "Female Vampires." In Vampires in Italian Cinema, 1956-1975. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.003.0004.

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The chapter zooms in on the cultural instrumentality of the vampire metaphor in Italy by studying Italian-made vampire movies as struggles for gender definition and domination that reflect the zeitgeist of post-war Italy, when a perceived decline in masculine authority due to the vicissitudes of World War Two, the hardships of reconstruction and the post-1958 neocapitalist consumerism went hand in hand with women’s ever-increasing challenges to traditional gender roles. The chapter argues that the female vampires of Italian horror are not simplistically villainous, power-hungry sexual predator
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5

Talijan, Emilija. "Sonic Subjection: Gaspar Noé’s Irreversible and the Dystopian Limits of the Resonant Body." In Resonant Bodies in Contemporary European Art Cinema. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474483452.003.0003.

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This chapter takes forward notions of the ‘unlistenable’ developed in Chapter One as it discusses Gapar Noé’s Irréversible, another film that has been explored in relation to ‘extreme cinema’ and an unwatchable aesthetic. Noé deploys noise as a form of violence, domination and torture in ways that provide a different understanding of how we might become ‘all ears’ in the filmic experience, challenging previous positive conceptions of the resonant body. I show how sound works at a vibratory level in Noé, disrupting our relation to the spaces and time of the film, working to destroy an anthropoc
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