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Books on the topic 'Film styles'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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1

Warne, Fiona Jane. Hybrid French choreography for the screen: Liaisons between dance and film styles. Birmingham: University of Birmingham, 2002.

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2

Films by genre: 775 categories, styles, trends, and movements defined, with a filmography for each. Jefferson, N.C: McFarland & Co., 1993.

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3

Malraux, André. Espoir: Sierra de Teruel : scénario du film. [Paris]: Gallimard, 1996.

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4

The Asian cinema experience: Styles, spaces, theory. New York: Routledge, 2012.

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5

Sturtevant, Elaine. Sturtevant: Catalogue raisonné 1964-2004 : Gemälde, skulptur, film und video = painting, sculpture, film and video. Ostfildern-Ruit: Hatje Cantz, 2004.

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6

1942-, Rüegg Arthur, ed. Hans Richter: New living : architecture, film, space. Baden, Switzerland: Lars Müller, 2001.

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7

Miles. David Bowie black book. London: Omnibus Press, 1988.

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8

Fragments: Bresson's film style. Rutherford [N.J.]: Fairleigh Dickinson University Press, 1986.

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9

Doggett, Peter. Lou Reed: Growing up in public. London: Omnibus Press, 1992.

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10

Lou Reed: Growing up in public. London: Omnibus Press, 1991.

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11

Performative histories, foundational fictions: Gender and sexuality in Niskavuori films. Helsinki: Finnish Literature Society, 2003.

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12

Timberlake, Justin. Justin Timberlake 'talking': Justin Timberlake in his own words. London: Omnibus, 2003.

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13

Chippy, Irvine, ed. Brunschwig & Fils style. Boston: Little, Brown, 1995.

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14

On the history of film style. Cambridge, Mass: Harvard University Press, 1997.

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15

Jack, Lyons 'Irish', ed. The Who concert file. London: Omnibus Press, 2004.

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16

Thompson, Dave. The Cure: A visual documentary. London: Omnibus, 1993.

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17

James, Ursini, ed. The noir style. Woodstock, N.Y: Overlook Press, 1999.

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18

Mathur, Paul. Siouxsie & the Banshees: The authorised biography. London, UK: Sanctuary Publishing, 2003.

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19

Pérez, Miguel Ángel Pérez. Hollywood film music: Cramping the composer's style. Alicante: Universidad de Alicante, Departamento de Filología Inglesa, 2004.

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20

The language and style of film criticism. London: Routledge, 2011.

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21

Film style and technology: History and analysis. 3rd ed. London: Starword, 2009.

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22

Mise-en-scène: Film style and interpretation. London: Wallflower, 2002.

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23

Robert Bresson: A spiritual style in film. New York: Continuum, 2003.

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24

Harmon, Renee. Film directing: Killer style & cutting edge technique. Los Angeles, Calif: Lone Eagle Pub., 1998.

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25

Transcendental style in film: Ozu, Bresson, Dreyer. New York, N.Y: Da Capo Press, 1988.

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26

Film style and technology: History and analysis. 2nd ed. London: Starword, 1992.

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27

Gibbs, John Edward. Mise-en-scène: Film style and interpretation. London: Wallflower, 2002.

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28

John, Mercer. Melodrama: Genre, style, sensibility. London: Wallflower, 2004.

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29

Ware, Lesley. My fab fashion style file. [Place of publication not identified]: Laurence King Publishing, 2016.

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30

Lamberti, Edward. Performing Ethics Through Film Style. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.001.0001.

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Emmanuel Levinas’s ethical philosophy has had a significant influence on film theory in recent years. This book proposes a relationship between Levinasian ethics and film style. It argues that films can convey Levinasian ethics not just through their subject matter but also through their use of style. The book brings this relationship between ethics and style into a productive dialogue with theories of performativity, such as J. L. Austin’s speech-act theory, Jacques Derrida’s notion of originary performativity and Judith Butler’s reconfiguration of performativity within the socio-political sphere. It explores Levinas’s influence on film through the study of three directorial bodies of work: those of the Dardenne brothers, Barbet Schroeder and Paul Schrader. The book focuses on a range of films, including the Dardennes’ Je Pense à Vous (1992), La Promesse (1996), Le Fils (2002) and The Kid with a Bike (2011), Schroeder’s Maîtresse (1975), Reversal of Fortune (1990), Terror’s Advocate (2007) and Our Lady of the Assassins (2000) and Schrader’s American Gigolo (1980), Mishima: A Life in Four Chapters (1985), The Comfort of Strangers (1990), Dominion: Prequel to the Exorcist (2005) and Adam Resurrected (2008). In doing so, it demonstrates how films can perform a Levinasian ethics through different styles.
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31

Realist Cinema as World Cinema: Non-cinema, Intermedial Passages, Total Cinema. Amsterdam University Press, 2020.

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32

Classic Hollywood: Lifestyles and Film Styles of American Cinema, 1930-1960. University of Illinois Press, 2014.

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33

Pravadelli, Veronica, and Michael Meadows. Classic Hollywood: Lifestyles and Film Styles of American Cinema, 1930-1960. University of Illinois Press, 2014.

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34

Naremore, James. Film Noir: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198791744.001.0001.

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Film noir is usually associated with a series of darkly seductive Hollywood thrillers from the 1940s and 1950s—shadowy, black-and-white pictures about private eyes, femme fatales, outlaw lovers, criminal heists, corrupt police, and doomed or endangered outsiders. But Film Noir: A Very Short Introduction demonstrates that the genre has much earlier origins and is more international in scope. The key themes and styles of film noir are discussed along with some of the most iconic film noirs, exploring important aspects of their history and ongoing influence: their critical reception, major literary sources, methods of dealing with censorship and budgets, social and cultural politics, variety of styles, and future in a world of digital media and video streaming.
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35

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 of chords and harmonic progressions in a motivic- and symbolic-rich fashion. Increasing emphasis is placed on hermeneutics and the issue of how music, and harmony in particular, aid listeners in structuring and interpreting filmic narrative.
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36

Intersecting film, music, and queerness. Palgrave Macmillan, 2016.

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37

Baker, Aaron. The Films of Steven Soderbergh. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036057.003.0001.

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This chapter examines the films of Steven Soderbergh. Soderbergh's twenty feature films present a diverse range of subject matter and formal styles. They range from his 1989 breakthrough hit Sex, Lies, and Videotape, about the sex lives of four twenty-somethings, to social-problem films such as Erin Brockovich and The Informant! (2009). Even the cost of making his films has shown great variety, ranging from the six-figure budget for Schizopolis (1996) to the star-studded Ocean's series blockbusters (2001, 2004, 2007) that averaged nearly one hundred million dollars to produce. The eclecticism in Soderbergh's movies would appear to invalidate a claim to the distinctive style typical of film authorship. However, the chapter argues that the variety of his work and the commercial viability of some of his films are prominent aspects of his individual style.
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38

Chaille, François. Cartier : Style et stylos. Flammarion, 2000.

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39

Jones, Matthew. Science Fiction Cinema and 1950s Britain: Recontextualizing Cultural Anxiety. Bloomsbury Academic, 2019.

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40

Padmanabhan, Mekala. Orchestra and song. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0011.

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Orchestras have played a seminal role in creating a vibrant soundscape in Indian films since inception. From the earliest skeletal complement comprising violin, tabla and harmonium in silent films to the dynamic and expansive orchestral colour, timbre and styles of the twenty-first century, Tamil film orchestral sonorities have drawn global attention to the ‘Kollywood sound’. Music directors have adopted a cross-cultural approach to musical composition, enriching film background scores and song interludes while establishing film music’s distinctiveness as a musical genre. This chapter explores the logistical, artistic and creative processes employed by Tamil film music directors to create memorable musical narratives within the cinematic context.
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41

Pravadelli, Veronica. (Dis)Adventures of Female Desire in the 1940s Woman’s Film. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038778.003.0005.

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This chapter studies noir's twin genre, the woman's film. While this genre's formal politics are quite similar to noir's, its focus on female identity entails a representation of female desire. The woman's film is the site of contradictory and antithetical functions: its narrative is structured by twisted plots and tortuous trajectories that often split into two opposite scenarios or styles—one representing the public/male/urban space and the other the private/female/domestic space. The genre's formal convolutions correspond with the contradictory discourse on postwar femininity, namely the opposition between the need to conform to normative femininity and the relentless effort by women to find new ways of being and new forms of desire. While the genre's proximity to noir's modern concerns cannot be underestimated, its gender interests lead to an excessive focus on the female body.
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42

Sullivan, Catherine, John Ford, Nicholas Baume, and Sebastian Egenhofer. Catherine Sullivan and Co: Film and Theatre Works 2002-2004. JRP/Ringier, 2005.

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43

Lehman, Frank. Harmonious Interactions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0007.

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This chapter draws together theoretical and methodological threads from the rest of the book while proposing a broader analytical model, in which various tonal styles—not only pantriadicism—interact. This model is based on a conception of triadic tonality space in which three paradigmatic axes (diatonicity, centricity, and functionality) create numerous distinct and modifiable tonal styles. These distinct styles are shown to harbor persistent associations in mainstream film music. It is argued that wondrous harmony often involves motion through triadic tonality space. A cinematically well-established example of this is the chromatically modulating cadence (CMC); the role of cadences in general for organizing film time is emphasized. The dialectic between tonal idioms has been mined for its connotative power by composers wishing to portray the various wondrous affects, and a variety of examples drawn from films that dramatize the “beatific sublime” are investigated, concluding with Alfred Newman’s The Song of Bernadette.
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44

David Bowie Black Book: The Illustrated Biography by Miles and Chris Charlesworth, Complete with. Music Sales Corporation, 1992.

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45

Graham and Art Kane. The Great Jazz Day: The Story of the Classic Photographs and the Unforgettable Film. Duane Press, 1999.

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46

Hip Hop On Film Performance Culture Urban Space And Genre Transformation In The 1980s. University Press of Mississippi, 2013.

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47

Lanier, Douglas M. Hamlet. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.35.

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Film adaptations of Hamlet have tended to fall into two broad categories, psychological character studies of Hamlet that emphasize Oedipal dynamics, and political readings that portray the prince as a rebellious crusader against various forms of systemic sociopolitical corruption. Of the former group, Laurence Olivier’s 1947 Hamlet has been particularly influential, casting a long shadow across film versions by John Gielgud (1964), Tony Richardson (1969), and Franco Zeffirelli (1990). Notable examples of political screen adaptations include the versions by Akira Kurosawa (The Bad Sleep Well, 1960), Gyorgi Kozintsev (1964), Kenneth Branagh (1996), and Michael Almereyda (2000). This article surveys the history and characteristics of these two styles of adapting Hamlet to the screen, focusing on how specific films have reshaped Shakespeare’s play to respond to specific historical and cultural contexts, to the demands of film as a medium, and to previous film adaptations of the tragedy.
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48

West Side Story As Cinema The Making And Impact Of An American Masterpiece. University Press of Kansas, 2013.

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49

Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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50

Dogett, Peter, and Peter Doggett. Lou Reed, Growing Up in Public. Music Sales Corporation, 1993.

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