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Books on the topic 'Landscape in cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Melbye, David. Landscape Allegory in Cinema. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230109797.

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2

Il paesaggio nel cinema italiano. Marsilio, 2002.

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3

Landscape allegory in cinema: From wilderness to wasteland. Palgrave Macmillan, 2010.

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4

Melbye, David. Landscape allegory in cinema: From wilderness to wasteland. Palgrave Macmillan, 2010.

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5

Italy in early American cinema: Race, landscape, and the picturesque. Indiana University Press, 2009.

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6

Catania (Italy). Centro culturale fieristico "Le ciminiere.", ed. L' Etna nel cinema: Un vulcano di celluloide : [catalogo della mostra]. G. Maimone, 2005.

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7

Pocci, Luca, and Paolo Chirumbolo. La rappresentazione del paesaggio nella letteratura e nel cinema dell'Italia contemporanea: The representation of landscape in contemporary Italian literature and cinema. Edwin Mellen Press, 2013.

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8

Fairfax, Daniel. The Red Years of Cahiers du cinéma (1968-1973). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048543908.

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The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, Cahiers du cinéma embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of Cahiers du cinéma produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the cont

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9

Nagib, Lúcia. Realist Cinema as World Cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987517.

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This book presents the bold and original proposal to replace the general appellation of ‘world cinema’ with the more substantive concept of ‘realist cinema’. Veering away from the usual focus on modes of reception and spectatorship, it locates instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: ‘noncinema’, or a cinema that aspires to be life itself; ‘intermedial passages’, or films that incorporate other artforms as a channel to historical and political reality; and ‘total cinema’, or films moved by a

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10

Khanjani, Ramin S. Animating eroded landscapes: The cinema of Ali Hatami. H&S, 2014.

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11

Greene, Naomi. Landscapes of loss: The national past in postwar French cinema. Princeton University Press, 1999.

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12

Ziegler, Damien. La représentation du paysage au cinéma. Bazaar, 2010.

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13

La représentation du paysage au cinéma. Bazaar, 2010.

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14

Cinema e paesaggio: Dizionario critico da Accattone a Volver. Le mani, 2009.

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15

Cinéma-paysages: Carnet de notes pour un film sur le Pô : éloge du silence. Yellow Now, 2013.

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16

Jarvis, Brian. Postmodern cartographies: The geographical imagination in contemporary American culture. St. Martin's Press, 1998.

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17

Postmodern cartographies: The geographical imagination in contemporary American culture. Pluto Press, 1998.

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18

Postmodern cartographies: The geographical imagination in contemporary American culture. Pluto Press, 1998.

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19

Cinema And Landscape. Intellect (UK), 2010.

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20

Gertz, Nurith, and George Khleifi. Palestinian Cinema: Landscape, Trauma, and Memory. Indiana University Press, 2008.

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21

Palestinian Cinema: Landscape, Trauma, and Memory. Indiana University Press, 2008.

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22

Melbye, D. Landscape Allegory in Cinema: From Wilderness to Wasteland. Palgrave Macmillan, 2015.

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23

Spanish Cinema 1973-2010: Auteurism, Politics, Landscape and Memory. Manchester University Press, 2013.

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24

Ashkenazi, Ofer. Anti-Heimat Cinema: The Jewish Invention of the German Landscape. University of Michigan Press, 2020.

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25

Liu, Mia Yinxing. Literati Lenses: Wenren Landscape in Chinese Cinema of the Mao Era. University of Hawaii Press, 2019.

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26

Landscape and Memory in Post-Fascist Italian Film: Cinema Year Zero. Taylor & Francis Group, 2013.

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27

Literati Lenses: Wenren Landscape in Chinese Cinema of the Mao ERA. University of Hawaii Press, 2019.

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28

Minghelli, Giuliana. Landscape and Memory in Post-Fascist Italian Film: Cinema Year Zero. Taylor & Francis Group, 2016.

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29

Hoolboom, Michael. Landscape with Shipwreck: First Person Cinema and the Films of Philip Hoffman. Images Festival of Independent Film & Video, 2001.

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30

Michael, Hoolboom, and Sandlos Karyn, eds. Landscape with shipwreck: First person cinema and the films of Philip Hoffman. Images Festival of Independent Film & Video : Insomniac Press, 2001.

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31

Hoolboom, Michael. Landscape With Shipwreck: First Person Cinema and the Films of Philip Hoffman. Insomniac Press, 2001.

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32

Mitchell, Tony. Music and Landscape in Iceland. Edited by Fabian Holt and Antti-Ville Kärjä. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.8.

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This chapter brings much nuance to the constant representation of Icelandic music through landscape, seascape, and icescape, drawing from longitudinal field research and interdisciplinary cultural research on landscape. The narratives of landscape in Iceland have multiple dimensions, including national identity, ecology, and cultural imagination, and they are culturally and politically complex. The main examples are two Icelandic films: The 2009 documentary Draumlandið (Dreamland) about the Kárahnjúkar Hydropower Project and its environmental impact, the 2003 feature film Nói Albínói (Nói the

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33

Carmontelle's Landscape Transparencies: Cinema of the Enlightement (Getty Trust Publications, J. Paul Getty Museum). Getty Trust Publications: J. Paul Getty Museum, 2007.

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34

(Editor), Laraine Porter, and Bryony Dixon (Editor), eds. Picture Perfect: Landscape, Place And Travel in British Cinema Before 1930 (A British Silent Cinema Festival Book) (New Research in British Film and Television Studies). University of Exeter Press, 2007.

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35

(Editor), Laraine Porter, and Bryony Dixon (Editor), eds. Picture Perfect: Landscape, Place And Travel in British Cinema Before 1930 (New Reasearch in Bristish Film and Television Studies). University of Exeter Press, 2007.

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36

Holes, Clive. Orality, Culture, And Language. Edited by Jonathan Owens. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199764136.013.0012.

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This article explores the relationship between linguistic form and function in the varying cultural landscapes of the contemporary Arabic-speaking world, including spontaneous speech, the contemporary electronic media (television, radio, the Internet), cinema, theater, and traditional performed oral literature, which have been revived and “reinvented.” It is shown that the relationship between orality and language in Arabic is complex. The layman’s mental landscape is of a “high,” literary, codified variety of the language strongly identified with a unifying religion (Islam) and a “golden age”

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37

Gaetana, Morrone, ed. New landscapes in contemporary Italian cinema. Annali d'Italianistica, 1999.

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38

Jean, Mottet, ed. Les paysages du cinéma. Champ Vallon, 1999.

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39

Cinquegrani, Maurizio. Journey to Poland. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474403573.001.0001.

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Journey to Poland: Documentary Landscapes of the Holocaust provides a new topographical methodology for the study of cinema and the Holocaust and addresses crucial issues of memory and history in relation to the Holocaust as it unfolded in the territories of the Second Polish Republic. Aiming to understand the ways past events inform present-day landscapes, and the way in which we engage with memory, witnessing and representation, the book creates a coherent cinematic map of this landscape through the study of previously neglected film and TV documentaries that focus on survivors and bystander

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40

Kalmár, György. Post-Crisis European Cinema: White Men in Off-Modern Landscapes. Palgrave Macmillan, 2020.

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41

Greene, Naomi. Landscapes of Loss: The National Past in Postwar French Cinema. Princeton University Press, 1999.

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42

Greene, Naomi. Landscapes of Loss: The National Past in Postwar French Cinema. Princeton University Press, 1999.

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43

Hunter, I. Q., and Matthew Melia, eds. The Jaws Book. Bloomsbury Publishing Inc, 2020. http://dx.doi.org/10.5040/9781501347559.

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After over 40 years, Steven Spielberg’s Jaws remains the definitive summer blockbuster, a cultural phenomenon with a fierce and dedicated fan base. The Jaws Book: New Perspectives on the Classic Summer Blockbuster is an exciting illustrated collection of new critical essays that offers the first detailed and comprehensive overview of the film’s significant place in cinema history. Bringing together established and young scholars, the book includes contributions from leading international writers on popular cinema including Murray Pomerance, Peter Krämer, Sheldon Hall, Nigel Morris and Linda Ru

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44

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 exam

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45

Pisters, Patricia. New Blood in Contemporary Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474466950.001.0001.

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Since the new millennium, a growing number of female filmmakers have appropriated horror aesthetics for their films. In this book Patricia Pisters investigates contemporary women directors such as Ngozi Onwurah, Claire Denis, Lucile Hadžihalilović and Ana Lily Amirpour, who put ‘a poetics of horror’ to new use in their work. In this way they expand the range of perspectives relating to gendered as well as racialized themes of the horror genre. Exploring such themes as rage, trauma, sexuality, family ties and politics New Blood in Contemporary Cinema takes avenging women, bloody vampires, lustf

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46

Toymentsev, Sergei, ed. ReFocus: The Films of Andrei Tarkovsky. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437233.001.0001.

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Despite an output of only 7 feature films in 20 years, Andrei Tarkovsky has had a profound influence on international cinema. Famous for their spiritual depth and incredible visual beauty, his films have gained cult status among cineastes and are often included in ranking polls and charts dedicated to the best movies ever made. Beginning with the late 1980s, Tarkovsky’s highly complex cinema has continuously attracted scholarly attention by generating countless hermeneutic challenges and possibilities for film critics. This book provides a fresh look at the director’s legacy, with critical ess

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47

Lehman, Frank. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0001.

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Hollywood Harmony revolves around three primary arguments: (1) tonal practices of the nineteenth century continue to flourish and evolve in film music; (2) chromaticism using consonant triads is a key ingredient of the “Hollywood Sound”; and (3) this chromatic style is associated with representations and evocations of wonderment in cinema. The book’s Introduction broaches these three claims with a brief initial analysis of studio logo music, before offering a survey of the scholarly landscape of film music theory, including treatments of chromaticism and so-called pantriadic music, especially

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48

1952-, Ehrlich Linda C., and Desser David, eds. Cinematic landscapes: Observations on the visual arts and cinema of China and Japan. University of Texas Press, 1994.

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49

Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. University of Texas Press, 1994.

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50

(Editor), Linda C. Ehrlich, and David Desser (Editor), eds. Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. University of Texas Press, 2000.

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