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Books on the topic 'Live cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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1

Barker, Martin. Live To Your Local Cinema. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137288691.

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2

Digitaler Realismus: Zwischen Computeranimation und Live-Action. Die neue Bildästhetik in Spielfilmen. Bielefeld: transcript Verlag, 2008.

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3

Fouz-Hernández, Santiago. Live flesh: The male body in contemporary Spanish cinema. London: I. B. Tauris, 2007.

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4

Textual translation and live translation: The total experience of nonverbal communication in literature, theater and cinema. Philadelphia: John Benjamins, 2008.

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5

Raine, Michael, and Johan Nordström, eds. The Culture of the Sound Image in Prewar Japan. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089647733.

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This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan. Putting the cinema at the center of a ‘culture of the sound image’, it restores complexity to a media transition that is often described simply as slow and reluctant. In that vibrant sound culture, the talkie was introduced on the radio before it could be heard in the cinema, and pop music adaptations substituted for musicals even as cinema musicians and live narrators resisted the introduction of recorded sound. Taken together, the essays show that the development of sound technology shaped the economic structure of the film industry and its labour practices, the intermedial relation between cinema, radio, and popular music, as well as the architecture of cinemas and the visual style of individual Japanese films and filmmakers.
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6

Frascella, Larry. Live fast, die young: The wild ride of making Rebel without a cause. New York: Simon&Schuster, 2005.

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7

1944-, Nandy Subhash, ed. Montage: Life, politics, Cinema. Kolkata: Seagull Books, 2002.

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8

Cinema and life development: Healing lives and training therapists. Westport, Conn: Praeger, 2004.

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9

Nagib, Lúcia. Realist Cinema as World Cinema. NL Amsterdam: 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 totalising impulse, be it towards the total artwork, total history or universalising landscapes. Though mostly devoted to recent productions, each part starts with the analysis of foundational classics, which have paved the way for future realist endeavours, proving that realism is timeless and inherent in cinema from its origin.
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10

Catanese, Rossella, ed. Futurist Cinema. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089647528.

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Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema, Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.
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11

Guru Dutt: A life in cinema. Delhi: Oxford University Press, 1996.

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12

Guru Dutt: A life in cinema. New Delhi: Oxford University Press, 2005.

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13

Mennel, Barbara Caroline. Cities and cinema. Milton Park, Abingdon, Oxon: Routledge, 2008.

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14

War cinema: Hollywood on the front line. London: Wallflower, 2006.

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15

Szymanski, Adam. Cinemas of Therapeutic Activism. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463723121.

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The hegemonic meaning of depression as a universal mental illness embodied by an individualized subject is propped up by psychiatry’s clinical gaze. Cinemas of Therapeutic Activism turns to the work of contemporary filmmakers who express a shared concern for mental health under global capitalism to explore how else depression can be perceived. In taking their critical visions as intercessors for thought, Adam Szymanski proposes a thoroughly relational understanding of depression attentive to eventful, collective and contingent qualities of subjectivity. What emerges is a melancholy aesthetics attuned to the existential contours and political stakes of health. Cinemas of Therapeutic Activism adventurously builds affinities across the lines of national, linguistic and cultural difference. The films of Angela Schanelec, Kelly Reichardt, Apichatpong Weerasethakul and Kanakan Balintagos are grouped together for the first time, constituting a polystylistic common front of artist-physicians who live, work, and create on the belief that life can be more liveable.
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16

Hofmarcher, Arnaud. Le petit livre des répliques les plus drôles du cinéma. Paris: Le Cherche midi, 2008.

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17

Cities and cinema. Milton Park, Abingdon, Oxon: Routledge, 2008.

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18

Michel, Marie, ed. Lire les images de cinéma. Paris: Larousse, 2007.

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19

Gazdar, Mushtāq. Pakistan cinema, 1947-1997. Karachi: Oxford University Press, 1997.

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20

Gazdar, Mushtāq. Pakistan cinema, 1947-1997. Karachi: Oxford University Press, 1997.

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21

Peale, Norman Vincent. Cinéma mental. Saint-Hubert [Québec]: Éditions Un Monde différent, 1985.

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22

Intellettuali italiani e il cinema. Milano: B. Mondadori, 2004.

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23

Tolentino, Célia Aparecida Ferreira. O rural no cinema brasileiro. São Paulo, SP: Editora UNESP, 2002.

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24

Working like a homosexual: Camp, capital, and cinema. Durham: Duke University Press, 2002.

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25

Echoes & eloquences: The life and cinema of Gulzar. New Delhi: Rupa & Co., 2007.

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26

Khyentse, Jamyang. Ren jian shi ju chang =: Life as cinema. Beijing: Xin xing chu ban she, 2010.

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27

Lesbianism, cinema, space: The sexual life of apartments. New York: Routledge, 2008.

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28

Hoolboom, Michael. Life without death: The cinema of Frank Cole. Ottawa: Canadian Film Institute, 2009.

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29

Toffell, Gil. Jews, Cinema and Public Life in Interwar Britain. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-56931-8.

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30

Orson Welles: The stories of his life. London: Faber and Faber, 2003.

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31

Atkinson, Sarah, and Helen W. Kennedy, eds. Live Cinema. Bloomsbury Publishing Inc, 2017. http://dx.doi.org/10.5040/9781501324840.

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32

Live Cinema: Cultures, Economies, Aesthetics. Bloomsbury Publishing Plc, 2017.

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33

Live Cinema and Its Techniques. Liveright, 2018.

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34

Live To Your Local Cinema. Palgrave Macmillan, 2012.

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35

Live cinema and its techniques. Liveright Publishing Corporation, a division of W. W. Norton & Company, 2017.

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36

Howard, James. 'I Live Cinema': The Life and Films of Michael Powell. CreateSpace Independent Publishing Platform, 2013.

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37

Fouz-Hernandez, Santiago, and Alfredo Martinez-Exposito. Live Flesh: The Male Body in Contemporary Spanish Cinema. I. B. Tauris, 2007.

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38

Fouz-Hernández, Santiago. Live Flesh: The Male Body in Contemporary Spanish Cinema. I. B. Tauris, 2007.

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39

Walley, Jonathan. Cinema Expanded. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938635.001.0001.

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Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.
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40

Lara, Antonio. El Cine Ha Muerto. Pasado, presente y futuro de postproducción / The Cinema is dead. Long live the Cinema. Past, Present and Future of Postproduction. T&b Editores, 2005.

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41

Lewis, Hannah. Théâtre filmé, Opera, and Cinematic Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0005.

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Chapter 4 focuses on a famous debate between playwright Marcel Pagnol and film director René Clair. Pagnol was a successful playwright who was excited about film’s potential for recording live theater. His screenplays, perhaps most notably Marius, emphasized spoken dialogue, relegating music to a secondary role. Clair was a silent filmmaker who was interested in the poetic qualities of the image, and he feared that sound, particularly dialogue, would threaten cinema’s poetic potential. His film Le Million relied heavily on music, particularly live musical-theatrical forms like operetta and opera, to create alternative models for film’s sound–image relationship. The debate between Pagnol and Clair reveals diverging approaches to sound film, the aesthetic connections and tensions between live theater and cinema, and music’s importance in articulating those tensions.
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42

Frascella, Lawrence, and Al Weisel. Live Fast, Die Young: The Wild Ride of Making Rebel Without a Cause. Touchstone, 2005.

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43

Livre Du Cinema. PML/Annes, 1994.

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44

Duckett, Victoria. Conclusion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0008.

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This book has explored Sarah Bernhardt's films in an attempt to recuperate a cinema that has been lost to us, not materially but perceptually. Through an analysis of Bernhardt's films, it has enlarged not only what we know of her biography, her performance on the live stage, and her engagement with film but also our understanding of what we can achieve through the practice of film history today. It has shown that, until World War I changed the political imperative of filmmaking in France, an actress of Bernhardt's stature had no qualms in adapting her performances to film, in presuming that she could creatively engage with the cinema, and in attending screenings in cinema theaters themselves. The book has also argued that Bernhardt's films demonstrate the cinema's capacity to engage with art nouveau, to collaborate and re-present art nouveau performance and mise-en-scène to new audiences, publics, and cultures. In conclusion, the book suggests that Bernhardt is a visible reminder that excess in acting was an available, potent, and performative choice in the silent film.
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45

Dienstag, Joshua Foa. Cinema Pessimism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190067717.001.0001.

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Cinema Pessimism uses the medium of film to explore the dilemmas of democratic representation. When is representation an aid to democracy, and when is it an obstacle? Why are democratic populations so perpetually dissatisfied with their representatives? An exploration of film representation gives us a unique standpoint from which to answer these and other questions. Representation contains dangers for democracy, including its ability to foster illusions of power and freedom in a citizenry rather than genuine autonomy. Film itself can be a powerful political narcotic, suppressing rather than expressing the humanity that is supposed to flourish in democracy. Most popular films today, like many elected representatives, frustrate and interrupt democracy rather than sustain it. In its best form, however, representation, both filmic and political, can add something irreplaceable to our political life. Democratic citizens are hard to represent because human beings only reveal themselves over time. Representing them thus holds special challenges that this work explores. Great representatives and great representations are rare, but when they do appear, they enhance our politics by sustaining the reciprocity and equality that are at the heart of any well-ordered human society. We can draw these lessons from films even as we resist the increasing saturation of modern life with representations that distract or degrade us.
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46

Fan, Victor. Extraterritoriality. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440424.001.0001.

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This book examines how Hong Kong filmmakers, spectators and critics wrestled with a perturbation: What is Hong Kong cinema? Framed between the Leftist Riots (1967) and the aftermath of the Umbrella Movement (2014), this book scrutinises the interdependent relationship between cinema and politics by rethinking how Hong Kong cinema has been historically in-formed by dispossession and exclusion, rather than identity and belonging. It traces how Hong Kong’s extraterritoriality has been framed: in its position of being doubly occupied and doubly abandoned by contesting juridical, political, linguistic and cultural forces. It argues that filmmakers and spectators actively define and reconfigure Hong Kong cinema and media by fostering them as a public sphere, where contesting affects associated with these political lives’ shifting extraterritorial conditions and positions can be negotiated. Based on a combination of archival research, industrial studies, textual analysis and media and political philosophies, Extraterritoriality studies how creative works in mainstream cinema, independent films, television, video artworks and documentaries – especially those by marginalised artists – actively rewrite and reconfigure the way Hong Kong cinema and media are defined and located. These stylistically and political diverse works and practices seek – in their respective manners – to foster new ways to live with Hong Kongers’ double occupancy and double ostracisation that constantly deindividuate, desubjectivise, and deautonomise them, and how they can survive in their constant state of exception.
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47

Sen, Mrinal. Montage: Life. Politics. Cinema. Seagull Books, 2002.

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48

Cellular (New Line Cinema). Black Flame, 2004.

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49

Clements, Jonathan. Highwaymen (New Line Cinema). Black Flame, 2010.

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50

Sen, Mrinal. Montage: Life, politics, cinema. 2018.

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