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Books on the topic 'Historial films'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Historical dictionary of crime films. Lanham, MD: Scarecrow Press, 2013.

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2

Epic films: Casts, credits, and commentary on over 250 historical spectacle movies. Jefferson, N.C: McFarland, 1991.

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3

Epic films: Casts, credits, and commentary on over 350 historical spectacle movies. 2nd ed. Jefferson, N.C: McFarland, 2004.

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4

Vinuesa, Margarita Utrera. Historia de Mino Films: Mino Films S.A., cortometrajes. Sevilla: Junta de Andalucía. Consejería de Cultura, 1998.

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5

Ludvigsson, David. The historian-filmmaker's dilemma: Historical documentaries in Sweden in the era of Häger and Villius. Uppsala: Uppsala Universitet, 2003.

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6

A cinema of nonfiction. Rutherford: Fairleigh Dickinson University Press, 1990.

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7

Cinéma sous influence: Le cinéma à l'épreuve de l'histoire, de la littérature et des genres. Paris: Harmattan, 2007.

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8

Heritage film audiences: Period films and contemporary audiences in the UK. Edinburgh: Edinburgh University Press, 2011.

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9

Cine e historia: Las imágenes de la historia reciente. Madrid: Arco/Libros, 1998.

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10

Giovanni Scognamillo, aşk ve korku. Balmumcu, İstanbul: Hayal Et Kitaplığı, 2009.

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11

Burgoyne, Robert. The Hollywood historical film. Malden, MA: Blackwell Pub., 2008.

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12

Jidaigeki eiga no shisō: Nosutarujī no yukue. Chiyoda-ku [Tokyo]: PHP Kenkyūjo, 2000.

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13

Gert, Sauer. Sternstunden des deutschen Films. München: DSZ, Druckschriften- und Zeitungs-Verlag, 2001.

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14

Historical dictionary of animation and cartoons. Lanham [Md.]: Scarecrow Press, 2009.

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15

Evolution of Telugu films: A historical perspective. New Delhi: Research India Press, 2013.

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16

Davis, Natalie Zemon. Slaves on screen: Film and historical vision. Cambridge, Mass: Harvard University Press, 2000.

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17

Davis, Natalie Zemon. Slaves on screen: Film and historical vision. [Toronto]: Vintage Canada, 2000.

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18

Lehtisalo, Anneli. Kuin elävinä edessämme: Suomalaiset elämäkertaelokuvat populaarina historiakulttuurina 1937-1959. Helsinki: Suomalaisen Kirjallisuuda Seura, 2011.

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19

Aurrecoechea, Juan Manuel. El episodio perdido: Historia del cine mexicano de animación. México, D.F: Cineteca Nacional, 2004.

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20

Polskie kino dokumentalne 1989-2009: Historia polityczna. Warszawa: Wydawn. Krytyki Politycznej, 2011.

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21

Walton, Saige. Cinema's Baroque Flesh. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089649515.

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In Cinema's Baroque Flesh, Saige Walton draws on the philosophy of Maurice Merleau-Ponty to argue for a distinct aesthetic category of film and a unique cinema of the senses: baroque cinema. Combining media archaeological work with art history, phenomenology, and film studies, the book offers close analyses of a range of historic baroque artworks and films, including Caché, Strange Days, the films of Buster Keaton, and many more. Walton pursues previously unexplored connections between film, the baroque, and the body, opening up new avenues of embodied film theory that can make room for structure, signification, and thought, as well as the aesthetics of sensation.

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22

Ilkka, Kippola, ed. Dokumentin ytimessä: Suomalaisen dokumentti- ja lyhytelokuvan historia 1904-1944. Helsinki: Suomalaisen Kirjallisuuden Seura, 2009.

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23

Lasi, Giovanni. Il Risorgimento nel cinema italiano: Filmografia a soggetto risorgimentale 1905-2010. Italy: Edit Faenza, 2011.

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24

Historia del dibujo animado español. Murcia: Filmoteca Regional de Murcia, 1993.

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25

Spicer, Andrew. Historical dictionary of film noir. Lanham: Scarecrow Press, Inc., 2010.

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26

Historical dictionary of film noir. Lanham: Scarecrow Press, 2010.

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27

Symmons, Tom. The New Hollywood Historical Film. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-52930-5.

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28

Hollywood and the American historical film. New York: Palgrave Macmillan, 2011.

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29

Fritsche, Maria. Fiery Hungarians, subversive Czechs, snappy Germans: The recycling of history in postwar Austrian cinema (1945-1955). Trondheim: Department. of History, NTNU, 2010.

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30

Frimbois, Jean-Pierre. Les 100 chefs-d'œuvre du film historique. Alleur, Belgique: Marabout, 1989.

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31

Confrontation, (Festival) (38th 2002 Perpignan France). Les maitres du monde: Le pouvoir politique au cinéma : Confrontation 38 à Perpignan, Palais des congrès, du 05 au 12 avril 2002. Perpignan: Institut Jean Vigo, 2002.

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32

Historia kina polskiego: Twórcy, filmy, konteksty. Katowice: Wydawn. "Videograf II", 2009.

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33

Salmi, Hannu. Elokuva ja historia. Helsinki: Painatuskeskus, 1993.

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34

Taves, Brian. The romance of adventure: The genre of historical adventure movies. Jackson: University Press of Mississippi, 1993.

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35

Breve historia del dibujo animado en la Argentina. Buenos Aires: Libros del Rojas, 2004.

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36

Pride and prejudice [videorecording] / co-production of BBC Television and BBC Worldwide Americas ; in association with A&E Network ; producer, Sue Birtwistle ; director, Simon Langton. 2nd ed. New York: New Video Group, 1996.

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37

Guynn, William. Unspeakable Histories: Film and the Experience of Catastrophe. Columbia University Press, 2016.

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38

Unspeakable Histories: Film and the Experience of Catastrophe. Columbia University Press, 2016.

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39

Unspeakable Histories: Film and the Experience of Catastrophe. Columbia University Press, 2016.

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40

Tunzelmann, Alex von. Reel History: The World According to the Movies. Atlantic Books, Limited, 2015.

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41

Cinematic Eighteenth Century: History, Culture, and Adaptation. Taylor & Francis Group, 2017.

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42

Tech-Noir Film: A Theory of the Development of Popular Genres. Intellect Ltd, 2011.

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43

Historia filmu. Bielsko-Biała, Poland: Wydawnictwo Dragon, 2015.

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44

Conterio, Martyn. Black Sunday. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733834.001.0001.

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Despite its reputation as one of the greatest and most influential of all horror films, there is surprisingly little literature dedicated to Mario Bava's Black Sunday (1960), and this work is the first single book dedicated to it. This book places the film in the historical context of being one of the first sound Italian horror films and how its success kick-started the Italian horror boom. It considers the particularly Italian perspective on the gothic that the film pioneered and its fresh and pioneering approach to horror tropes such as the vampire and the witch and considers how the casting of British 'Scream Queen' Barbara Steele was crucial to the film's effectiveness and success.

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45

Landsberg, Alison. Engaging the Past: Mass Culture and the Production of Historical Knowledge. Columbia University Press, 2015.

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46

Landsberg, Alison. Engaging the Past: Mass Culture and the Production of Historical Knowledge. Columbia University Press, 2015.

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47

Engaging the Past: Mass Culture and the Production of Historical Knowledge. Columbia University Press, 2015.

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48

Landy, Marcia. Historical Film. Athlone Press, 2001.

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49

Stubbs, Jonathan. Historical Film. Bloomsbury Publishing Plc, 2009. http://dx.doi.org/10.5040/9781501351044.

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50

Gustafsson, Tommy, and Pietari Kääpä, eds. Nordic Genre Film. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.001.0001.

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Nordic Genre Film offers a transnational approach to studying contemporary genre production in Nordic cinema. It discusses a range of internationally renowned examples, from Nordic noir such as the television show The Bridge and films like Insomnia (1997) to high concept ‘video generation’ productions such as Iron Sky (2012). Yet, genre, at least in this context, indicates both a complex strategy for domestic and international competition as well as an analytical means to identify the Nordic film cultures’ relationships to international trends. Conceptualizing Nordic genre film as an industrial and cultural phenomenon, other contributions focus on road movies, the horror film, autobiographical films, the quirky comedy, musicals, historical epics and pornography. These are contextualized by discussion of their place in their respective national film and media histories as well as their influence on other Nordic countries and beyond. By highlighting similarities and differences between the countries, as well as the often diverse production modes of each country, as well as the connections that have historically existed, the book works at the intersections of film and cultural studies and combines industrial perspectives and in depth discussion of specific films, while also offering historical perspectives on each genre as it comes to production, distribution and reception of popular contemporary genre film.

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